WELCOME To the London Screenwriters’ Festival 2017 My name is Chris Jones, get the most from your LSF founder and creative director of experience. the festival. And, just like you, I love storytelling and writing My hope and belief is that the screenplays. festival will change the way you look at your writing, your career and The LSF has fast become the most hopefully your life too. exciting, prestigious and largest event of its kind. So - open your mind and heart and get ready for one hell of an Over the three days of the festival adventure. It’s going to be you can expect to gain a massive awesome! Promise. amount of screenwriting knowledge, make powerful new industry contacts and connect with a whole new group of like-minded creatives. Chris Jones This pack will help you get the most Creative Director from the festival. I urge you to read www.LondonSWF.com it as soon as you can if you want to Follow me on Twitter @LivingSpiritPix

We have an official Twitter hashtag for the festival which is #LondonSWF. You can follow us on Twitter @londonswf Join us on Facebook at https://www.facebook.com/londonswf - do drop by and like the page, we use it for many announcements of upcoming stuff. We have a blog too – check it out at www.londonscreenwritersfestival.com/blog

3 SHAPE OF THE FESTIVAL The festival runs for three days from late for our parties (on Thursday, September 15th to 17th (Friday to Friday and Saturday nights). Sunday). We recommend planning for both.

The days start at 9.00am and end Plan to be present as much as around 7.30pm (with networking drinks possible as you won’t want to be running later). dragged away from the festival to other events over the three days. The venue is Regent’s University (which used to be called Regent’s College, but it’s the same building). On the first day of the festival there will be a bottleneck as the 1,000 delegates turn up to collect their passes, so arrive early.

We suggest no later than 8.30am on Friday 15th September.

Each day you can arrive early for breakfast (in the refectory) and stay

WiFi Access The good news is that we SHOULD have free WiFi. In past years this has been an issue but we have new contractors at the venue, so fingers crossed! Your WiFi code will be on the back of your pass when you collect it at registration.

4 GETTING THERE The London Screenwriters’ Festival Exit Baker Street tube station, take the is hosted by Regent’s University, in Marylebone Road exit and turn left. the heart of London and within the Walk past Madame Tussauds, before beautiful grounds of Regent’s Park. taking the next left onto York Gate, which continues onto York Bridge. Regent’s University, Inner Circle, Regent’s Park, London, NW1 4NS. Follow the road into Regent’s Park and the main entrance to Regent’s Baker Street is the closest Tube stop, University will be on your left-hand around ten minutes walk to the side. Please note that Baker Street university. Underground Station is not wheelchair accessible.

It’s not advised to travel to the venue by car as parking is expensive and limited.

Allow time to get lost on your way on the first day!

Do not lose your pass. Replacements will cost £20. Schedule updates and venue maps are available on-site and festival updates will be shown on info screens throughout the venue.

5 MAP OF THE VENUE

Don’t panic! The Venue is smaller than it looks and you will quickly get your bearings. It’s essentially a large quad with rooms on all four sides.

6 SCHEDULE OF EVENTS During the festival there are five sessions which can last between an separate strands of events – this hour and a half and two and a half means that at any one time five hours, depending on session and sessions are running concurrently. speaker(s). Friday will be our busiest day. We film many sessions to help you choose. Some speakers decline to be NO AUDIO OR VIDEO RECORDING filmed, however. Some sessions will be IS ALLOWED – WE FILM much more popular than others. Where EVERYTHING PERMITTED BY possible, we will flag this up so that SPEAKERS. you can make your choices with the most information.

Between sessions there is always a half an hour break minimum, with a longer one for lunch (around 90 minutes).

All sessions are one hour, with the exception of mid-morning double

Enhanced Security To ensure all our safety, we now operate bag checks when entering the site. You should factor in a slight delay when entering the venue, in order to carry out this important check. And it goes without saying, even though they are cute, no pets.

7 FRIDAY Herringham Herringham Tuke Hall Tuke Cinema Hall H243 Darwin D05 8:00am

8.30am PitchFest Bootcamp with Bob With BOB SCHULTZ Not filmed 9:00am Festival Opening With CHRIS JONES 9.30am Not filmed

10:00am BREAK BREAK BREAK BREAK BREAK 10.30am The BIG Guns of TV Writing a Thriller that Brainstorming Through the Coen Brothers: Unlocking Write, Camera, Action! With JOHN YORKE producers want to make Block the Mystery of These Get Your Short Made 11:00am ALISON OWEN and audiences want to With PILAR ALESSANDRA Master Storytellers Immediately BELINDA CAMPBELL watch Not filmed With SCOTT MYERS With CHRIS JONES & JED MERCURIO With EMMANUEL OBERG Not filmed BOB SCHULTZ Moderated by GUB NEAL 11.30am Not filmed

12:00 NOON

12.30pm

1:00pm

1.30pm LUNCH LUNCH LUNCH LUNCH LUNCH 2:00pm How to write familiar yet Ripping into Ripper Street Motion without Pictures: Meet Stephen Woolley, Sitcoms and other fresh and compelling with creator, writer and Writing for Radio 2.30pm characters producer Richard Warlow Celebrated UK Producer nonsense With JULIA MCKENZIE, JEREMY With CHRISTOPHER VOGLER With RICHARD WARLOW, With STEPHEN WOOLLEY With PAUL KERENSA HOWE, NEIL MCKAY & JACK WILL GOULD & moderated by BERNHARDT & Moderated by JEFF NORTON JONATHAN RUFFLE 3:00pm BREAK BREAK BREAK BREAK BREAK 3.30pm The BIG Vision: How to 'Filthily Funny': In Somewhere in time: Script to Screen - Planet of Attract Prolific Producers Conversation with Paul Writing Period Drama the Apes: The Last Frontier 4:00pm to YOUR Screenplay Abbott With MICHAEL HIRST & With MARTIN ALLTIMES, With RUTH CALEB & With PAUL ABBOTT & moderated moderated by SARAH WILLIAMS MATTHEW COSTELLO, NEIL RICHARDS, TONY GARNETT by JOHN YORKE NEIL NEWBON & FRASER AYRES 4.30pm BREAK BREAK BREAK BREAK BREAK 5:00pm How to write for the BBC Sensitive Handling of 'Withnail and I' Script Meet the Producers: Producing your Passion with Anne Edyvean | BBC Sensitive Materials: to Screen with Bruce Impressing the Power With KIM ZUBICK & moderated by 5.30pm Writersroom Writing True Crime Robinson Players PILAR ALESSANDRA With ANNE EDYVEAN With NEIL MCKAY & moderated by With BRUCE ROBINSON & With RORY AITKEN, STEVE JACKIE MALTON moderated by CHRIS HEWITT CLARK-HALL & ROBYN SLOVO 6:00pm BREAK BREAK BREAK BREAK BREAK 6.30pm Killer Scene Descriptions: Manifesting Success The Pitch Factor Networking drinks in the Make your documentary: With With Using Screenplay Style to CHRIS JONES & JONATHAN PILAR ALESSANDRA refectory till late Writing, producing and 7:00pm Express YOUR Writer's NEWMAN NED DOWD Not filmed CHRISTOPHER VOGLER & changing the world Voice With CRAIG MCCALL moderated by BOB SCHULTZ With SCOTT MYERS Not filmed 7.30pm Not filmed

8:00pm Writing Action with Jeb Stuart With JEB STUART & moderated by EDDIE HAMILTON A.C.E 8.30pm

9:00pm SATURDAY Herringham Herringham Tuke Hall Tuke Cinema Hall H243 Darwin D05 8:00am

PitchFest Bootcamp with Bob 8.30am With BOB SCHULTZ Not filmed

9:00am How to Find the Right Final Draft 10: Getting Writing the Icon: How one Producer for Your Film the Most from the Most woman conquered the 9.30am With FARAH ABUSHWESHA Popular Software Churchill Story With SHELLY MELLOTT & With ALEX VON TUNZELMANN CHRISTOPHER VOGLER Moderated by SARAH WILLIAMS SCRIPT CHAT 10:00am BREAK BREAK BREAK BREAK BREAK 10.30am How to create binge Pixar: The Secrets of Their Just Kidding: Writing The Infinite Character Arc: 'Whiplash' Script to Screen TVwatchers: Constructing Storytelling Craft Cracking Comedy Writing Continuing Drama Deconstruction with 11:00am and Interweaving multiple With SCOTT MYERS Features and TV With LORETTA PREECE Christopher Vogler protagonist stories Not filmed With EMMANUEL OBERG BILL ARMSTRONG With CHRISTOPHER VOGLER ANDY BAYLISS With LINDA ARONSON Not filmed JOHN YORKE 11.30am Not filmed LUCY RAFFETY SCRIPT CHAT KATE HALL JON SEN

12:00 NOON & JUSTIN YOUNG Moderated by BARBARA MACHIN

12.30pm

1:00pm

1.30pm LUNCH LUNCH LUNCH LUNCH LUNCH 2:00pm Gatekeepers: Building Strike: Writing JK Rowling's Fantastical Worlds and Raising Your Profile: Creating Paranormal Drama relationships with key New TV Crime Drama Universal Themes: Game Mastering Social Media for Film and TV 2.30pm influencers With TOM EDGE With STEPHEN VOLK With ZINA WEGRZYNSKI of Thrones like the Pros With With & moderated by JULIAN BOB SCHULTZ JO BOOTH 3:00pm FRIEDMANN BREAK BREAK BREAK BREAK BREAK 3.30pm Producer's Notes: A 2B or not 2B! Make your Writing for Young The Female Gaze II Deconstructing 'Memento' scripts water tight (even Necessary Evil Audiences With ANGUS LAMONT, With CHARLOTTE JOSEPHINE with Linda Aronson 4:00pm the tricky bit in the middle) With EMMA REEVES, TOBI ASHLEY PHAROAH, DANNY & moderated by MAUREEN With LINDA ARONSON With PILAR ALESSANDRA WILSON, JUSTIN TREFGARNE & BROCKLEHURST & ROLAND HASCOET SCRIPT CHAT Not filmed moderated by MARK PALLIS MOORE & moderated by KAROL 4.30pm SCRIPT CHAT GRIFFITHS BREAK BREAK BREAK BREAK 5:00pm Adaptations: How to write New Frontiers: Writing for The Girl With All The Gifts: My Big Break and adapt existing works the Chinese Market Urban Modern Horror With VINAY PATEL, CHARLOTTE 5.30pm or 'based on' true events With ROLAND MOORE, ANDY Deconstruction JOSEPHINE, ALEX VON & TUNZELMANN, ANDEE RYDER, With JEB STUART, DANNY BRIGGS, TOM KINNINMONT With MIKE CAREY moderated by JULIAN FRIEDMANN IAN BONHOTE & moderated by BROCKLEHURST & TOM EDGE TOM KEREVAN | SCRIPT CHAT 6:00pm BREAK BREAK BREAK BREAK BREAK 6.30pm Networking drinks in the Hollywood for Beginners refectory till late You Had Me at Page One Writing Sci-Fi 7:00pm With PILAR ALESSANDRA Moderated by LOUIS SAVY With ANDREW ZINNES Not filmed

7.30pm The 2017 British Screenwriters' Awards 8:00pm With DEBOARAH FRANCES- WHITE Not filmed 8.30pm

9:00pm SUNDAY Herringham Herringham Tuke Hall Tuke Cinema Hall H243 Darwin D05 8:00am

PitchFest Bootcamp with Bob 8.30am With BOB SCHULTZ Not filmed

9:00am Dynamic Dialogue Finding YOUR Path to a With PILAR ALESSANDRA Screenwriting Career with Not filmed 9.30am Hayley McKenzie SCRIPT CHAT With HAYLEY MCKENZIE SCRIPT CHAT 10:00am BREAK BREAK BREAK BREAK BREAK 10.30am LondonSWF Mini Film '71 Script to Screen LIVE What will actually happen Clash of the Titans: Vogler The A-Z of Storytelling Festival... Watch, meet with Gregory Burke & to your finished script? and Aronson on stage With NIK POWELL 11:00am and celebrate Angus Lamont LIVE Script Edit together SCRIPT CHAT With KAT WOOD With GREGORY BURKE With LUCY V HAY With CHRISTOPHER VOGLER VANESSA BAILEY ANGUS LAMONT Not filmed LINDA ARONSON 11.30am TOM KEREVAN Moderated by GILES ALDERSON SCRIPT CHAT JESS O' BRIEN SCRIPT CHAT Moderated by JONATHAN NEWMAN

12:00 NOON

12.30pm

1:00pm

1.30pm LUNCH LUNCH LUNCH LUNCH LUNCH 2:00pm Doing Crime: In Writing the Compelling Going from 'Pass' to 'YES!': How I Got My Agent The Truth About a Writer's Conversation with Jed Nemesis that Elevates Actors and the Script With KAT WOOD, JONATHAN Career 2.30pm Your Plot, Characters and With MANUEL PURO, SANJEEV Mercurio NEWMAN & moderated by GAIL With JEAN KITSON BHASKAR & moderated by TOM With JED MERCURIO, JOHN HACKSTON Stakes KEREVAN STRICKLAND & moderated by With SCOTT MYERS SCRIPT CHAT SCRIPT CHAT Barbara Machin | SCRIPT CHAT 3:00pm BREAK BREAK BREAK BREAK BREAK 3.30pm Everything you need to know Die Hard Script to Cracking Crime: Deep Characterisation Director's Cut: Cultivating about Script Editing Screen LIVE with Jeb Unforgotten Case Study With KIRA-ANNE PELICAN the most important With HAYLEY MCKENZIE, 4:00pm Stuart With CHRIS LANG, MARK DAVIS collaboration of your & SANJEEV BHASKAR projects CHARLOTTE ESSEX & moderated by With JEB STUART KAROL GRIFFITHS SCRIPT CHAT Moderated by CHRIS JONES SCRIPT CHAT 4.30pm & BOB SCHULTZ BREAK BREAK BREAK BREAK 5:00pm Writing strong, relatable The Best Writing Gig in and authentic LGBT stories Town: How big business is 5.30pm and characters making drama and paying With REBECCA ROOT big money Not filmed With MATT COWAN 6:00pm

6.30pm LondonSWF Close With CHRIS JONES Not filmed 7:00pm

7.30pm

8:00pm

8.30pm

9:00pm THE NETWORK LSFConnect.com is our private and for about a month after the festival. delegate network where you can It’s available year round and you can connect with other screenwriters, periodically log in for inspiration or producers and delegates attending instruction from one of the past session this year. videos.

It’s also where we share all the past As we edit session videos from this video sessions – there are around 300 year they will be uploaded into the online now. network (it takes around three months to complete them all). There are forums, groups and a chat room where we congregate to discuss If you missed your invite, drop us an anything related to the festival and email and Vicky Tolidou will sign you screenwriting. up – [email protected]

There is a two-minute orientation video in the network when you log in – try and watch it. The network will get VERY busy in the run up to the festival,

Where to eat There is a refectory at the venue. We stagger events to try and avoid long queues at lunch. Remember – you are in for the long haul so bring supplies with you! There is also a terrific small café across the road from the University, on the inner circle, called the Garden Café.

14 SPEAKERS

LEGENDS CHRISTOPHER VOGLER JEB STUART Story Consultant Screenwriter

Credits include: The Writer’s Credits include: Die Hard, The Journey: Mythic Structure for Fugitive Storytellers Jeb has been a motion picture Story consultant to the biggest and television screenwriter, names in Hollywood. director and producer for over 30 years and is considered one of the great action screenwriters in film history.

BRUCE ROBINSON EILEEN ATKINS Screenwriter, Director Actress, Screenwriter

Credits include: Withnail & I, Credits: Equus, Gosford Park The Killing Fields Legendary British Actress Bruce Robinson is the director Eileen is also the and screenwriter of Withnail co-creator of the iconic and I, How to Get Ahead in television dramas Upstairs, Advertising, Jennifer 8 and The Downstairs and The House of Rum Diary. Elliot with Jean Marsh.

15 HEADLINERS ALISON OWEN PAUL ABBOTT producer screenwriter, producer Credits include: Suffragette, Saving Credits include: Shameless, State of Mr Banks, Elizabeth Play, Cracker Alison is one of the UK’s leading film A BAFTA award-winning TV writer, and television producers. series creator and producer, Paul is one of the UK’s most revered writers working today.

PILAR ALESSANDRA SCOTT MYERS script consultant, educator screenwriter, producer, educator Credits include: The Coffee Break Screenwriter of ‘K-9’ with Jim Screenwriter Belushi and ‘Trojan War’ with Pilar’s students and clients have Jennifer Love Hewitt. written for Lost, Prison Break, Nip Screenwriter and producer, head Tuck, House of Lies, CSI and Family honcho at ‘Go Into The Story’ and Guy. Black List offical blog scribe.

STEPHEN WOOLEY producer Credits include: Carol, Interview with the Vampire Academy Award-nominated and Bafta-winning producer Stephen has produced and executive produced nearly sixty films in his storied career.

SCREENWRITERS

BILL ARMSTRONG JACK BERNHARDT screenwriter screenwriter Credits include: Doctors, The Indian Credits include: The Lentil Sorters Doctor Recipient of the BBC Radio Comedy After a successful career as a stage Writer's Bursary, Jack has written for and film actor, Bill transitioned into a wide range of shows and regularly writing in 2003, began work on Doctors contributed to series such as The in 2006 and has now become a core News Quiz and Dead Ringers. writer on the show.

ANDY BRIGGS DANNY BROCKLEHURST screenwriter screenwriter He wrote on Judge Dredd, Freddy Vs Credits include: The Five, Ordinary Jason and Aquaman and has worked Lies, Shameless, Clocking Off with Stan Lee, Robert Evans, Warner Danny is a BAFTA and International Bros. and Disney XD. Emmy-winning screenwriter who has written on some of the biggest UK dramas of recent years.

16 GREGORY BURKE MIKE CAREY screenwriter, playwright screenwriter, novelist, comic writer Credits include: ‘71, One Night In Credits include: The Girl with all Emergency the Gifts An award-winning and prominent Mike adapted the 'Girl With All the Playwright and Screenwriter, Gregory’s Gifts' from his own novel of the same most recent work is the hard hitting ‘71 name. starring Jack O’Connell.

MATTHEW COSTELLO TOM EDGE screenwriter, novelist screenwriter Matt has written and designed dozens Credits include: The Crown, Strike of award-winning and best-selling Tom Edge is a twice BAFTA-nominated games including The 7th Guest, Doom writer; he created the Netflix original 3 and Rage. comedy Lovesick and wrote on their epic drama The Crown.

KATE HALL MICHAEL HIRST producer screenwriter Credits include: Holby City, Credits include: The Tudors, Hollyoaks Vikings, Elizabeth Kate is the Series Producer of Holby A master of Period Drama, Michael has City, having previously spent over been a screenwriter for both film and four years as Story Producer on this television drama for over thirty years. flagship, primetime BBC1 drama.

CHARLOTTE JOSEPHINE TOM KEREVAN writer, actress screenwriter, producer Credits include: Blush, Bitch Boxer, Credits include: Tear Me Apart Blue Tom’s feature debut ‘Tear Me Apart’ Bitch Boxer writer Charlotte recently premiered at the Austin Film Festival won the inaugural BBC Screenplay and he is currently working on his First Award and is currently developing second feature ‘Gun’. a script with BBC Films. JACK BERNHARDT screenwriter RICHARD KURTI CHRIS LANG screenwriter screenwriter Credits include: Wolfblood, Primeval Credits include: Torn, Amnesia, A Richard and his writing partner Bev Mother's Son Doyle broke into the business by Chris is the writer of over 100 hours of writing and selling a spec script, prime time British drama including the Newton's Law, which led to 14 further award-winning 'Unforgotten'. movie commissions. DANNY BROCKLEHURST screenwriter JOSEPH LIDSTER BARBARA MACHIN screenwriter screenwriter Credits include: Torchwood, Credits include: Waking The Dead, Wizards Vs. Aliens The Bill Joseph has written scripts for radio Barbara Machin is the BAFTA and and television, including episodes EMMY award-winning screenwriter of Torchwood, The Sarah Jane who created BBC1’s worldwide selling Adventures, Wizards Vs Aliens and hit series Waking The Dead. Hetty Feather.

17 NEIL MCKAY JED MERCURIO screenwriter screenwriter Credits include: The Moorside, See No Credits include: Line Of Duty, Evil, Mo Cardiac Arrest Neil’s most recent drama ‘The Moorside’, Jed’s most recent credit, ‘Line of Duty’, about the abduction of Shannon is the most watched BBC2 drama Matthews in Dewsbury in 2008 was series in the multichannel era. broadcast on the BBC to widespread critical acclaim earlier this year.

ROLAND MOORE EMMANUEL OBERG screenwriter screenwriter & consultant Credits include: Land Girls, Credits include: Double Game Rastamouse, Smack the Pony Over the last few years, Emmanuel has Roland created the award-winning written and developed feature films for returning drama series Land Girls for Working Title, Film4 and Gold Circle. BBC1 and has written for a range of television series.

JESS O'BRIEN VINAY PATEL screenwriter, actor, director screenwriter, playwright Credits include: Girl A, Dolls Credits include: Murdered By My In the last 2 years of filmmaking Jess Father has staged three red carpet premieres BAFTA Breakthrough Brit, Screenwriter and has been named Into Film’s ‘One and Playwright Vinay is currently under to Watch’ 2016. commission to the Bush Theatre, as well as developing projects for the BBC and the BFI.

ASHLEY PHAROAH EMMA REEVES writer screenwriter Credits include: Life on Mars, Ashes Credits include: The Worst Witch, to Ashes The Dumping Ground Ashley is a veteran TV writer who has Emma is a versatile and experienced created and written several long- writer working across adult and running series for the BBC and ITV. children’s TV drama and the stage.

NEIL RICHARDS JONATHAN RUFFLE screenwriter, novelist writer, producer Credits include: Starship Titanic, Credits include: Tommies, Never Just Cause, The da Vince Code Mind The Buzzcocks Neil is a writer in TV, games, interactive Jonathan created, writes and produces and, more recently, novels. a four-and-a-half year real-time drama - Tommies which airs on BBC Radio this autumn.

ROBERT THOROGOOD ALEX VON TUNZELMANN screenwriter screenwriter Robert is the creator and lead writer Credits include: Churchill, Medici: of the 8 x 60' BBC 1 television series Masters of Florence 'Death in Paradise', his first broadcast After an outstanding start with her credit. biopic feature debut ‘Churchill’, Alex is definitely one to watch this year.

18 STEPHEN VOLK RICHARD WARLOW screenwriter, playwright screenwriter, showrunner Stephen Volk is a BAFTA-winning writer Credits include: Ripper Street, best known for the controversial 1992 Mistresses BBCTV "Hallowe’en hoax" Ghostwatch. Richard is the Lead Writer, Creator and Executive Producer on all five series of ‘Ripper Street’.

TOBI WILSON KAT WOOD screenwriter screenwriter, director Credits include: The Amazing World Credits include: Home, Arthur & of Gumball, Dangermouse Merlin Comedy writer Tobi is currently a Kat’s directorial debut, the short film Senior Writer on Cartoon Network's 'Home' starring Maggie Gyllenhaal, children's animated series The makes her the first ever UK winner of Amazing World of Gumball, now in its the Jameson First Shot Competition. 6th series.

JUSTIN YOUNG screenwriter, producer, playwright Credits include: Dickensian, Ripper Street Justin is currently developing a range of new shows with top independent drama companies including Red Planet, Drama Republic, Big Talk, and Red Productions.

PEOPLE WHO GET STUFF MADE

RORY AITKEN MARTIN ALLTIMES producer ceo/founder | the imaginati studio Credits include: Welcome to the Martin and Imaginati Studios are Punch, Shifty, The Autopsy of Jane currently focused on creating games Doe based on ‘The Planet of Apes’ Rory Aitken is a producer and founding franchise on console and PC. partner of Management and Production Company 42.

RUTH CALEB BELINDA CAMPBELL producer red planet pictures Credits include: Last Resort, Credits include: Death in Paradise, Tomorrow La Scala, A Poet in New Dickensian York TV Producer Belinda oversees Ruth is a multi award-winning all of Red Planet Pictures drama producer. She was awarded the O.B.E. development and productions. in the 2004 Queen’s Birthday Honours List for her services to Drama.

19 STEVE CLARK-HALL MATT COWAN producer director Credits include: Sherlock Holmes - An award-winning TV producer and A Game of Shadows former journalist, Matt is the Director of Steve is one of the UK's most MediaWorks.London, a tech focused experienced Producers. His credits consultancy and content agency based include 'Calendar Girls', 'RocknRolla' in Soho. and Kenneth Branagh’s 'Magic Flute'.

NED DOWD JULIAN FRIEDMANN producer film, tv and literary agent Apocalypto, King Arthur, Ondine, Agent and great supporter of Shanghai Noon and Last Of The emerging talent. Mohicans Julian has years of experience as a Apocalypto, King Arthur, Shanghai literary agent and was the founder of Noon and Last Of The Mohicans are ScriptWriter magazine. a handful of films on Ned's resume - it reads more like our movie collection! TONY GARNETT CAMILLE GATIN producer producer Credits include: Kes, Beautiful The Girl with All the Gifts producer Thing, This Life Camille Gatin recently won the Tony has had a prestigious and varied British Independent Film Award for career as an actor, script editor, Breakthrough Producer. screenwriter, director and producer.

WILL GOULD JEREMY HOWE producer drama commissioning editor Credits include: Peaky Blinders, Credits include: The Archers, Ripper Street Bloomsday Will is currently the Joint Managing Jeremy is responsible for Director of Tiger Aspect Productions, commissioning over 300 titles a year internationally recognised as one of for Radio 4. the UK’s most successful indie TV production companies.

RUTH KENLEY LETTS TOM KINNINMONT producer producer, screenwriter, director Credits include: It’s a Wonderful Life Credits include: The Carer, Colonia, Ruth runs JK Rowling’s Bronte Film Blind Revenge and TV and won both an Oscar and Tom has been Writing, Producing BAFTA for ‘It’s a Wonderful Life’ and Directing drama for more than 30 directed by Peter Capaldi years, initially for the BBC and then independently.

ANGUS LAMONT JOHN LLOYD producer screenwriter, producer Credits include: ‘71, The Girl With Credits include: Blackadder, Not The All the Gifts Nine O'Clock News, To The Manor ‘71 Producer Angus has been an active Born participant in the Scottish and UK John is best known as the original independent film production community producer of Not The Nine O'Clock for more than 25 years. News, Spitting Image, Blackadder and QI. 20 JULIA MCKENZIE GUB NEAL head of bbc radio comedy producer Credits include: The Jason Byrne Credits include: Prime Suspect, Show, French & Saunders Cracker, Queer As Folk Julia produces comedies for Radio 2. Gub is an award-winning producer who has headed up the Drama departments at both Channel 4 and Granada.

JEFF NORTON NIK POWELL writer, producer, author producer, director of nfts Credits include: MetaWars, Credits include: The Crying Game, Trucktown, Princess Ponies Mona Lisa Jeff is a writer-producer, and author Virgin co-founder turned Producer, Nik of the award-winning thriller series is the man behind some of the most MetaWars. successful and acclaimed British films of all time.

MICHAEL RYAN ANDEE RYDER founder, GFM Films producer Credits include: The English Patient, Credits include: Alleycats, McQueen What's Eating Gilbert Grape Producer Andee’s debut feature In 2000 Michael partnered with Guy Alleycats is distributed internationally Collins. Between them they have by a major international studio in over financed, sold and produced over 200 20 countries. films.

ROBYN SLOVO JENNY VAN DER LANDE producer producer Credits include: Tinker, Tailor, Credits include: Strike, Casualty, Soldier, Spy London Spy Former exec at BBC Films and head Recently Jenny worked closely with of film at Company Pictures, Robyn is Screenwriter Tom Edge as Story now an independent producer. Producer, developing Tom’s adaptation of J.K Rowling (aka Robert Galbraith’s) anticipated TV crime drama ‘Strike’ DAVID NICHOLAS WILKINSON ANDREW ZINNES producer screenwriter Credits Include: The First Film, How Screenwriter and documentary To Change The World producer. David has been involved in the production/ distribution of over 100 British feature films with budgets from £20,000 to $16 million. JOHN YORKE KIM ZUBICK md angel station producer, Hartswood Films Credits include: Wolf Hall, Credits include: License to Wed, Shameless, Life On Mars Yours, Mine & Ours John Yorke is Managing Director of Kim is a hands-on film and TV Angel Station where he works as producer. She most recently produced a drama producer, consultant and The Zookeeper's Wife, starring Jessica lecturer on all forms of storytelling. Chastain and directed by Niki Caro.

21 DIRECTORS GILES ANDERSON IAN BANHOTE director director & producer Credits include: The Dare, World of Credits include: Alleycats, McQueen Darkness Ian Bonhôte is an award-winning Award winning director Giles hosts the film Director and Producer. His first 'filmmakers podcast'. feature Alleycats was distributed in 20 countries.

CHRISTIAN JAMES CRAIG MCCALL director director Christian is a Director, Writer, Credits include Cameraman: The life Producer, Cinematographer and Editor. and works of Jack Cardiff And as if he weren’t busy enough, he Craig is a renowned documentary also hosts the ever popular filmmakers filmmaker who has over 20 years podcast (link in bio). experience.

COLM MCCARTHY JONATHAN NEWMAN director writer & director Credits include: Sherlock, Dr Who, Credits include: Swinging With The The Tudors Finkels, Foster, Mariah Mundi and the Most recently, Colm directed all six Midas Box hours of series two of Peaky Blinders, Jonathan most recently directed the starring Tom Hardy, Cillian Murphy and $25m movie Mariah Mundi and the Sam Neil, and written by Steven Knight Midas Box. (Dirty Pretty Things, Locke, Eastern Promises). JOHN STRICKLAND JUSTIN TREFGARNE director producer, writer, director Credits include: Line of Duty, Prime Credits include: Narcopolis, Peter Suspect 2, Clocking Off Rabbit John has been nominated for a BAFTA Justin is a writer, director and sometimes three times and has won directing actor whose work straddles Film, TV, awards for Rebel Heart and Bodies. Video Games and Comic Books.

ACTORS FRASER AYRES SANJEEV BHASKAR actor actor Fraser is an award-winning actor, writer Credits include: Unforgotten, The and CEO of The TriForce Creative Kumars Network Sanjeev gained notoriety as creator and performer of the hit series 'Goodness Gracious Me'. Currently he stars in ITV's 'Unforgotten' and will soon be seen in 'Paddington 2'.

22 AHD KAMEL NEIL NEWBORN actor, screenwriter, director actor Credits include: Collateral, Wadjda Credits include: Planet of the Apes: Best known for her role in 2012's Last Frontier critically acclaimed, and BAFTA Neil is an actor as well as high-profile nominee, 'Wadjda', which is Saudi AAA Video Games in Full Performance Arabia's first feature film. Capture artist.

REBECCA ROOT actor Credits incude: Boy Meets Girl, The Danish Girl Rebecca is best known for playing Judy in BBC Two’s ground-breaking comedy series 'Boy Meets Girl'.

PEOPLE WHO KNOW STUFF FARAH ABUSHWESHA LINDA ARONSON producer & founder of rocliffe practiotioner & screenwriter Credits include: Irreplaceable You, Author of: The 21st-Century The Last Photograph Screenplay Farah is a BAFTA-nominated producer, Linda Aronson returns to dazzle LSF best selling author and founder of the delegates with her game-changing BAFTA Rocliffe New explanations of how to construct non- linear and multiple storyline films.

SARAH BERGER MARK DAVIS artistic director editor Sarah is the Artistic Director and Credits include: Taboo, Unforgotten, Producer at the So and So arts club. Sherlock, Peaky Blinders Mark is an experienced short-form director with a successful background in cutting long-form drama for BBC, ITV and Channel Four.

ANNE EDYVEAN CHARLOTTE ESSEX head of BBC Writerstoom script editor Credits include: The Break, Holby City, Writer: Doctors, Script Editor: Casualty EastEnders, The Runaway Anne is the head of the BBC Charlotte has extensive script editing Writersroom, which finds and develops experience in development and new writers (and some directors) and production. champions them across television radio and online. KAROL GRIFFITHS EDDIE HAMILTON A.C.E. script editor & supervisor editor Credits include: How I Met Your Eddie has over twenty features under Mother, Friends his belt, including 'Mission: Impossible Karol Griffiths is a successful script editor - Rogue Nation' and ’Kingsman: The and development consultant with over Secret Service’. twenty years of experience. 23 ROXANNE HARVEY LUCY V HAY producer script editor Credits include: Casualty, The Bill, Bionic blogger, script editor and the Bad Girls voice of new writers! Roxanne has worked as the Story Legendary for her enthusiasm and Producer on Casualty for the past seven knowledge which she shares with her years and has also produced several community at Bang2Write. Core member episodes. of the LSF team. CHRIS HEWITT TIM HIGHSTEAD news editor | empire magazine senior editor, Channel 4 Chris Hewitt is the News Editor at Prior to joining C4 Tim previously the always OUTSTANDING Empire worked in film distribution, the London Magazine. Film Festival and the San Francisco International Film Festival.

CHRIS JONES JEAN KITSON filmmaker & author agent | kitson press associates Credits include: Oscars shortlisted Founder: Kitson Press Associates Gone Fishing, the Guerilla Handbooks Jean Kitson is an agent representing and a bunch of feature films film, TV, theatre and radio writers and Chris has spent his life making movies, directors. writing books and helping others make their movies.

JACKIE MALTON MANUEL PURO story consultant, writer casting director Credits: Prime Suspect, Waking The Credits include: Moon, The Machine, Dead Scar Tissue Jackie is Ex Detective Chief Inspector Manuel has worked with industry heavy Metropolitan Police and the role model hitters including Guillermo del Toro, for award-winning series Prime Suspect. Richard Attenborough and Nic Roeg, Guy Ritchie and Matthew Vaughn.

HAYLEY MCHENZIE SHELLEY MELLOTT script editor VP sales & marketing, Final Draft Credits include: Hollyoaks, Casualty, Shelly is vice president at Final Draft Blue Murder overseeing the Big Break Contest, social Hayley McKenzie is an experienced media, events, and customer relations for Script Editor in UK television and feature the company. films and the founder of Script Angel.

KIRA ANNE PELICAN LORETTA PREECE script cosultant & researcher producer, story producer, script editor Kira-Anne is an independent script Loretta has been personally responsible consultant, a PhD researcher in for storylining over 2000 episodes of Screenwriting, and visiting tutor at the mainstream British television. Met Film School, London.

24 LUCY RAFFETY REBECCA ROUGHAN producer & script editor development Credits include: Casualty, Eastenders Rebecca Roughan is development Lucy instigated a Writers’ Room system coordinator at the management and at Casualty, which now commissions the production company 42. She is currently majority of its writers in that way. story researcher on Channel 4’s recently announced major six-part spy thriller Jerusalem, written by Bathsheba Doran.

ZINA WEGRZYNSKI script & development editor Zina started off working in production, on shows such as Critical (Sky) before moving into the creative side of TV.

MODERATORS GUY COCKER GAIL HACKSTON broadcaster screenwriter & director Broadcasting credits: BBC 5 Live, Sky Credits include: 50 Kisses, Cancer News, CNN Hair Writes regularly for Wired, T3 and Gail’s short 'Cancer Hair' won ‘Best Stuff, and is the resident video game Fiction’ and ‘Best of Fest’ at the Isle of expert on BBC 5 live, Sky News and Man Film Festival and won IMDb New CNN. Filmmaker of the Year at Bath Film Festival. MAUREEN HASCOET MARK PALLIS agent & director broadcaster Credits include: 50 Kisses (‘Enough’ Credits include: Garrow’s Law, Iron segment) Monk, Tales of Peter Rabbit Maureen is a veteran of the LSF Barrister turned writer Mark served as production team, now working for story editor on Garrow’s Law and has Blueberry Creative Consultants. She several TV and feature projects ready is also a talented director in her own to go. right. LEWIS SAVY BOB SCHULTZ Sci-Fi London founder writer & producer Louis founded and has been the Credits include: Great American festival director and programmer for Pitchfest the Sci-Fi London Film Festival for 17 Bob has been the Executive Director years. of the Great American Pitchfest & Screenwriting Conference (GAPF) for 13 years. SARAH WILLIAMS screenwriter Professional singer and drummer, Sarah also writes for the screen and brings her impeccable moderating skills back to the LSF this year.

25 MAIN SESSIONS Over the three days of the London Screenwriters’ Festival we will run more than one hundred seminars, workshops and networking events for professional screenwriters. We film most sessions, so if you miss one, or two clash, you’ll be able to catch up later online.

Main sessions take place in the five main rooms: Tuke Hall, Herringham Hall, Tuke Cinema, Herringham 243 and the Darwin D05. At any one moment there will be four sessions to choose from.

26 ADDITIONAL SESSIONS

Please note that not all speakers will be available for Script Chats. Sessions that will have a ‘Script Chat’ will be marked accordingly in the schedule.

Script Chat It’s one thing sitting in an audience listening to that producer, agent or writer… it’s an entirely different thing getting real face-to-face time with them. That’s why we set up ‘Script Chats’ – special, intimate and informal chats with speakers that take place directly after Final Draft Genius Table their sessions. Got a Final Draft question you need answering? Need a bit of help getting After each session, many of our to grips with the features? The lovely speakers participate in our informal people from Final Draft will be at the “Script Chats.” Ranging in length festival and you can drop in at any time from 30-90 minutes, this is a great to get some world class expert help opportunity to get to know our from them. Located in the Refectory. speakers in depth. You do not need to book a place at the Script Chat sessions, just turn up (be aware that sometimes it can get a little busy).

27 Script to screen LIVE! The Elevator Pitch Our Script To Screen LIVE events are The idea is simple - the elevator doors where we play the film and discuss it open, you step inside only to find with the writers on stage, in real time. yourself alone with a top executive… We suggest you print the script and bring You have 90 seconds to get them to it with you for these AMAZING sessions. accept your business card! This micro All scripts can be downloaded via the workshop, based on the popular myth of Submissions, Booking and Info Page. writers meeting execs in elevators, is a great opportunity to try out your fabulous 90-second pitch. You might get an invite to submit your work, you might not… but you will certainly get an experience you won’t forget! The session runs on a first come, first served basis and you will only find out who is in the elevator when you step inside. Feel the fear…. And do it anyway! The Elevator Pitch will take place on Saturday & Sunday at 1:15pm in the Tuke Elevator on the Ground Floor. The Pitch Factor Feel the fear and do it anyway! Pitch in front of a live audience and win CASH!

Put £5 in a hat and pitch your script in front of a panel of industry professionals at our annual Pitch Factor, a relaxed and friendly environment where delegates pitch their project in two minutes or less. You do not need to book for the Pitch Factor, just turn up. Speed Networking Make new relationships FAST in our structured Speed Networking event. It’s tough to work an entire room at one event, there are just too many people to

28 meet, and social convention dictates that you’re more likely to spend more time spent stuck in a polite conversation with someone you know you’ll never work with rather than working the room to find the people you will. The answer for us is our organised Speed Networking.

Advanced Mentoring and Script Labs At the festival we run a number of intensive ‘closed door’ labs with experts and writers in hyper focused fields. The Actors’ Table Read The actors’ table read is an opportunity for you to get your screenplay worked on by professional actors and a director. This has proven to be our most successful initiative to date with 99.8% positive feedback from the 200 people involved last year. If you submit a script to the process and you are selected you will attend a one hour session where the director and the actors will work on one sequence (between 3 and five pages) of your script. These are closed sessions and they run throughout all three days of the festival.

Script Doctor drop in desk Get one-to-one script feedback on your screenplay from an experienced Script Doctor. Slots are now all taken but there is a drop-in desk during the festival next to registration. So if you want to just rock up with your script, get some feedback or ask for career advice, head over there and see one of the lovely Euroscript Doctors.

29 SCREENWRITERS’ AWARDS The 2017 British The Nominations... Screenwriters’ Awards This year at the London Screenwriters’ Outstanding Newcomer for British Festival we will run the fourth British Feature Film Writing Screenwriters' Awards, honouring • 100 Streets by Leon Butler outstanding writing from newcomers and • Eddie The Eagle by Sean Macaulay established screenwriters in both film and • The Girl with All the Gifts by Mike television. Carey • The Pass by John Donnelly And we will be expanding categories this • Prevenge by Alice Lowe year too, championing even more great • Under The Shadow by Babak Anvari British screenwriting. Best British Children’s Television Hosted by screenwriter, writer and • The Amazing World of Gumball by comedian Deborah Frances-White and The Writing Team Emmy Winning producer John Yorke, • Class Dismissed by The Writing who is also the former boss of Ch4 and Team BBC drama departments. • Counterfeit Cat by The Writing Team • Eve by the The Writing Team You can be sure it will be a star-studded • The Worst Witch by The Writing night to remember. Team

Don’t dehydrate! Bottled water can become expensive over the three days, so plan to bring a bottle and refill at one of the three filtered and chilled water fountains onsite. You can see their locations on the venue plan.

30 Outstanding Newcomer for British Best Comedy Writing on Television Writing Television • Apple Tree Yard by Amanda Coe • Camping by Julia Davis and Louise Doughty • This Country by Charlie Cooper • Damilola, Our Beloved Boy by Levi and Daisy May Cooper David Addai • The Durrells by Simon Nye and • Fleabag by Phoebe Waller-Bridge Gerald Durrell • The Hollow Crown by Ben Power • Flowers by Will Sharpe • NW by Rachel Bennette (Based on • People Just Do Nothing by Asim novel by Zadie Smith) Chaudhry, Steve Stamp and Allan Mustafa Best British TV Drama Writing • Upstart Crow by Ben Elton • Three Girls by Nicole Taylor • The Crown by Peter Morgan Best British Feature Film Writing • Little Boy Blue by Jeff Pope • Absolutely Fabulous: The Movie • The Moorside by Neil McKay by Jennifer Saunders • National Treasure by Jack Thorne • American Honey by Andrea Arnold • Free Fire by Amy Jump and Ben Best Crime Writing on Television Wheatley (Series/Single Drama) • T2 by John Hodge (Based on the • Broadchurch by Chris Chibnall novel by Irvine Welsh) • Born to Kill by Kate Ashfield, • A United Kingdom by Guy Hibbert Tracey Malone and Kate Gartside (Based on the novel by Susan • Broken by Jimmy McGovern, Williams) Shaun Duggan, Colette Kane and Nick Leather Lifetime Achievement Award To • Line of Duty by Jed Mercurio Be Announced On The Evening • The Missing by Harry Williams and Jack Williams • Unforgotten by Chris Lang 31 BOOK SIGNINGS Many of our speakers have a book that they have written, and will be available for signings in the bookstore. These signings will be indicated in the schedule. Turn up early as often a long queue forms.

Check the app, online schedule and info screens for when and where book signings will take place.

MA serial storytelling International Master’s Program ifs internationale  lmschule köln Start: Sep 2019 | Application from autumn 2018 www. lmschule.de/ma-serialstorytelling

Photo: pixabay.com/pixel2013 SCRIPT TO SCREEN Die Hard Watch the movie while reading the screenplay… DIE HARD!

For a decade, every successful action movie was pitched as “DIE HARD in a ______”

And now you can appreciate and analyse the one that started it all is it that makes John McLane the when LSF’s Script To Screen series ultimate reluctant hero? Are those brings you DIE HARD. Screenwriter the actual ingredients in a Twinkie? Jeb Stuart – the man who launched And of course, the question that the an entire genre – will be on hand to whole world is asking… Is “Die Hard” discuss the creation of his classic. a Christmas movie? Have you ever wondered about seeing your script turned into a world- This will be LSF’s most explosive changing movie? Writers, bubbies, Script To Screen yet. You may enter MA we are your white knights. with questions, but you will leave yelling, “Yippee-Ka-Yay, Em-Effer!” serial Come to the session having read the script, then enjoy Jeb’s commentary PS – If you want to go deeper, why as the film unfolds. He will address not read ‘Nothing Lasts Forever’ by storytelling the most incisive “Die Hard” Roderick Thorpe, the book Die Hard International Master’s Program questions: How did he create one of was based on? ifs internationale  lmschule köln the greatest villains of all time? What Start: Sep 2019 | Application from autumn 2018 www. lmschule.de/ma-serialstorytelling 33

Photo: pixabay.com/pixel2013 PITCHFEST 2017 What is it? On the day of your pitch... An opportunity to meet and chat • Turn up ON TIME to your pitching with influential agents and active session. producers. The people who have the • There will be around 10-14 execs, power to make your projects happen. producers or agents present for you to pitch to. If you are successful in booking you • There will be around 30 delegates have the opportunity to pitch your project pitching. to agents, producers and commissioners • The session lasts 90 minutes. in ONE of our 90 minute, limited pitching • Pitches rotate every five minutes, so sessions. This means face-to-face time make those minutes matter. with the very people who could launch • There will be a queue for each pitchee, your career, option your script or offer so choose who you want to pitch to insight into how to improve your pitching and get in line. techniques. • Once you have pitched, choose who you want to pitch next and get in line. • Do the maths, you will get between Who can you expect to be 3 and 8 pitches depending on which present? queues you join. Be tactical. The Great British PitchFest features • Get there early to be first in line! the cream of the British film industry, as • After each session, if a pitchee wants well as hungry and emerging producers to discuss your project further, it’s up to looking for new relationships. You can you to get contact details and follow find a full list of execs, producers and up. We will not supply their contact agents on the website. details later – so please don’t ask!

34 Some notes to manage your expectations • The execs, producers and agents may shift around or even drop out. • We will continue to add new execs, producers and agents in the run up to the festival. • Sessions last 90 minutes and as a delegate you may choose JUST ONE. • We try and have a ‘delegate-to-exec’ ratio of three-to-one in every session. Please note this is dependent on their availability. We do our best to make it • If this is your first pitching experience, even but it is not always possible. consider Saturday or Sunday as they • Thursday and Friday will be intense will be less intense and you can get and busy, Saturday less so, Sunday tips from other delegates. even less so.

Hollywood Pitchfest via Skype Get to pitch – face to face over Skype – with Hollywood producers and execs. Sessions are 90 minutes and you should get around 7 or 8 pitches in during that time. It’s the same rules as the Great British Pitchfest, only it will take place over Skype in the evenings of the festival.

35 The Pitchfest will take place on the top floor of the Acland Building in room A201 (opposite the Actor’s Table Read rooms). Queuing will take place outside the room and leading down the stairs.

Running out of Juice? Throughout the venue, on sponsor tables, you will see smartphone charging stations where you can recharge your devices. There are around 50 USB slots available, so hunt one down and get your self back to 100%! You will need your own device cable to recharge.

36 A FINAL WORD... Holy cow! You can see there is a Above all, remember to relax TON of stuff to do to get the most and have fun. Talent is great, but from the festival. It’s going to be relationships get you hired. Making an intense three days, so plan for friends is often more valuable than the marathon. delivering killer pitches or getting business cards from heavy hitters. Being prepared is the best way to Screenwriting is a lifelong pursuit get the most from the festival, so and a creative marathon, not a 100 get working on your pitches now. yard dash. At any given time there are five sessions running along with other Good luck and I look forward to events like the PitchFest, Labs, seeing you there! Actor’s Table read etc., so there is a LOT happening. We do film many Chris Jones and on behalf of the sessions and those will be marked whole team in the schedule. www.LondonSWF.com Follow me on Twitter @LivingSpiritPix

So what next? You will see at the end of this book we have more amazing seminars coming up. But in the meantime, jump into LSFConnect and look out for the sessions we filmed coming online in the coming weeks and months.

37 MAXIMISE YOUR FESTIVAL By Lucy V Hay meaning you may get some individual attention from the speaker/s, especially So, you’re coming to LSF! Congrats. via Q&As. This event is put on by writers FOR writers. We want you to be able to In addition, consider the value of harness the expertise and resources networking within small groups when available and propel your writing career others are in sessions. I’ve lost count of forward. Every year, delegates ask how the number of people who’ve told me, to get the most out of LondonSWF, so “If I’d gone to see X, I’d never have met we asked blogger, script editor and Y and now we’re working together on a networker extraordinaire Lucy V to give project!” More on networking, next. us her top 7 tips for grabbing LSF by the horns.… strap yourself in! Networking Lots of writers worry about approaching Plan ahead people at events, or believe erroneously Make sure you study the schedule. that their fellow writers are not useful to When deciding which sessions to watch them. “live”, consider what’s going on at the same time – remember, most sessions Remember, everyone is in the same are filmed, so it’s not “either/or” and you boat. Do not huddle together with the needn’t miss out altogether. people you know, or sit on your own. Try and mingle wherever possible. If you’re What’s more, some of the VERY not sure how to start conversations, here popular sessions (especially those are 10 easy questions to break the ice: with headliners) will be packed out. In contrast, some smaller sessions may 1. What are you working on at the bring more value to you “in the flesh” moment? because less people will be there, 2. Have you travelled far / what’s your hotel like?

38 3. Who are you hoping to meet during “I hear you have a horror screenplay?” the festival? That horror feature led to one of my first 4. Which sessions did you see today / paid writing assignments. Now, let’s which did you get the most out of? rewind and imagine I’d said to other 5. What do you want to get out of the writers, “Oh this and that” when they’d festival? asked what I was working on. That’s 6. Do you have any pitching tips? right: that producer, who’d been going 7. What genres are your favourites? round asking who had horror scripts, 8. Do you prefer movies, or television? would never have been told by those 9. Who’s your favourite actor? writers that I had one. Talk about a no- 10. What do you think of transmedia/ brainer. multiple platform writing?

Your writer colleagues are your greatest Business cards Have some. Do not even THINK of allies – never forget this. Don’t ignore attending LondonSWF without any. everyone in the hope of catching Jim Lots of people ask what should go on Uhls at the bar, or harangue your their business cards. I recommend a colleagues into hearing your practice minimal approach: Name, Job Title, pitch either. mobile number, website, email address. Social media handles/links to CVs, The more conversations you have, the showreels etc are optional. I always more likely you will be remembered for include my Twitter. the RIGHT reasons… For example: I went to a party, years and years ago. Avoid funky fonts, overly flashy or shiny I was writing a horror screenplay and cards – remember people will have whilst networking, told my logline to trouble remembering who is who, so will about 5 people. By the end of the night, probably want to write reminders on the a young producer (whose path I had back of cards, so make sure there is a NOT crossed that night), came over to blank bit where they can do this. me and said:

39 DO NOT have those itty bitty cards, you’re pitching 2) what genre it is 3) what oversized ones or round ones or the audience is 4) the logline [NOTE: If whatever. These get lost far too easily. you trip over your words, take a deep IN AN EMERGENCY: if you have no breath. Start again.] business cards or run out during the festival, whip out your phone and ask the Don’t babble. If the pitchee does not person in front of you who they are on seem interested, don’t try and force it. Twitter. Follow them immediately. Create Ask them if they’d like to hear another a list of people you meet at LondonSWF logline. If they say yes, rinse and repeat this way. Not on Twitter? SIGN UP NOW. the steps above.

If you don’t have another logline, don’t Pitching sit there like a lemon. Ask your pitchee Let’s face it: for a lot of LSF delegates, something. Have a conversation. I find a it’s all about the pitching. And why not: great icebreaker is, “What would you like LSF opens up a plethora of potential to see more of in the slush pile?” Make opportunities for writers, all in one place. a mental note of any recurring themes, What’s not to like about that! genres, or characters etc that crop up if So, a few things to remember when you ask more than one industry pro this pitching, especially in the Pitchfest: question. Make sure you’ve got your thoughts together. And another thing, lieutenant: Give one pagers to your pitchees only if they Sit down. Smile. Shake your pitchee’s ASK for them and never, ever foist an hand if it’s offered. entire script on them – or anything else like USB sticks, CDs or photos/props DON’T PANIC. No one expects you to and especially gifts, even if you mean be perfect. well: it can get really weird. If you have something you want to give someone Introduce yourself. Tell them: 1) what – my Bang2writers have brought me

40 chocolate in previous festivals, for SPECIFIC TIME AND DATE. I’ve lost example – give it to them in the refectory count of the number of times writers or similar, not a pitching situation! have said, “Let’s have coffee at LSF!” and I’ve said yes, only to not see them Also, make sure you know your ONCE, despite sitting in communal logline INSIDE OUT and can deliver it areas for ages (as I always do). FYI - If CONVERSATIONALLY and deliver it you don’t make an appointment with me, to all who ask, whether you’re pitching that’s fine – tweet me at @Bang2write, it formally or not. Remember, a logline and I’ll try and make it to see you. DON’T is a short description of the plot of your email, DM or PM me please, these don’t story. Whatever you do, do NOT confuse always come through in time. a logline with a tagline, which is the strapline on the front of a poster or DVD If you’re not on Twitter, check out the box, ie. “In Space No One Can Hear You tweet board. I and other speakers will Scream.” be using the #LondonSWF hashtag too and mentioning where we are at various Taking meetings intervals, which will flash up on screen. Want to meet someone specific at LondonSWF? The advice is simple: Getting there and back Email him/her before the festival and Leave your home or hotel in plenty of arrange IN ADVANCE. time. Each day of the festival starts around 9am, so be sure to arrive before This advice applies whether it’s a fellow this; lots of LSF delegates like to have tweeter or an industry pro, btw. What’s breakfast or coffee together in the the worst that can happen? S/he says refectory around 8am. Each day finishes no, too busy. You’ve lost nothing. around 7.30pm officially, though there’s opportunity to network in the bar ‘til late If that person emails back and says into the night. yes, they’d be delighted to accept your Some delegates have to leave earlier invitation for coffee, be sure to pick a than others on the Sunday (especially

41 those with childcare duties, like me), but It can be very tempting to have a few if you can, try and stay for Chris Jones’ jars of Dutch Courage, but try not to get closing speech which is usually around drunk at the festival. You’ll probably be 6pm and lasts half an hour, it’s a great, OK and not offend anyone, spew on positive way to round off the event. anybody or make anyone think you’re And last but by no means least… odd, but is it worth the risk?

So if there is a session you are Remember, it’s a small pond. Try not to DESPERATE to see firsthand, make slag anyone off. You never know who sure you get there as early as possible. knows who. This includes various TV programmes, movies, etc. It’s just not Be sociable. Live tweeting is a thing worth it. No one says you have to tell and we encourage delegates to use the lies about how much you loved a piece #LondonSWF hashtag and share their of work if you didn’t, but be positive or new-found knowledge and insights from risk looking like an amateur. the event itself in real time. But do make sure your mobiles are on silent so if they ring, it doesn’t disrupt anything. Equally, Concluding Decide what you want … and go get it, those on either side of live tweeters? tiger! Just remember your loglines, your Don’t accuse them of not listening, or business cards and don’t be a div. It’s all typing too loudly! ;) about making connections and forging those all-important relationships. Good Do note volunteers and LSF staff will luck! come in and out of sessions as we try and ensure the smooth running of the event for you behind the scenes. This will be done with the least amount of disruption possible, so please bear with us, thank you.

42 NETWORKING: A BLUFFER’S GUIDE By Chris Jones time with an implicit agreement that it’s OK to just walk up and start talking. Talent is great, but relationships get you Booze, a darkened room and a bit of hired. It’s not about collecting business music makes it easier. cards and convincing yourself that those cards equal a relationship – it’s about Don’t be afraid REALLY connecting with other people in The most important thing to remember a meaningful way. is that the person you are approaching is as nervous as you. They have That’s why we network. To make new insecurities too. In fact, the real irony is friends within our professional sphere. that they will probably be thankful that So the real secret to networking is you came to them, and secretly wish to just hang out like you would with that they were as good at networking as friends, but move around the group(s) you! Yes, I get it, you don’t want to do it. more systematically. You are looking for None of us really enjoy it. But films don’t people with whom you click, with shared get made in a vacuum and we all need values and vision, people who YOU can friends. So take the plunge. You will be help, and lastly, people who can help pleasantly surprised. you too.

The best thing about networking at the Look people in the eye and London Screenwriters’ Festival is that shake hands confidently you are already amongst friends. So When approaching, make eye contact, don’t be shy. smile, introduce yourself, shake hands (not limply) and speak up. When Networking Events someone shakes hands with that ‘limp’ These events work because we all agree handshake, you are sending a very to get together in one space at the same direct message – I don’t want to touch

43 you. If you mumble when talking, you amazed how much more likeable most are simply projecting: What I am saying of us become if we just keep our mouths is not worth listening to. There are shut for more of the time. When you plenty other people in the room, why have something genuinely relevant, would anyone waste time with someone illuminating or valuable, of course get who won’t shake your hand or speak involved. Remember, experienced up? Get out of your comfort zone and people talk about the industry all the time COMMUNICATE with confidence and and most of us can’t compete on that clarity. level, we just don’t have the knowledge, peer group and relationships. But talking Ask a question to start the relationship. about ‘the kids’, assuming you both have An easy way in is to ask a question… children, IS somewhere that you will both ‘How are you feeling?’, ‘Did you see share expertise, opinion and rapport. that last session?’, ‘How did you get on in your pitches?’ Keep opening questions lighter, more personal and Don’t Stay In One Place conversational. There will be time after Every conversation has a natural life you have made friends to ask about how – when that’s over, move on. Don’t to send them a script. linger awkwardly. It’s totally fine to say ‘It was great to meet, and there are so many others I want to meet here Ask questions and listen too, so I am going say to goodbye for Don’t launch into how cool you are and now…’ Shake hands, smile and move how amazing your script is. Doing this on. And if someone says that to you, could just get you into the competitive don’t get upset. It’s part of the unwritten cycle of mine is better than yours, agreement we make with each other at and that’s NOT a good way to make these professional events and parties. powerful new friends and allies. Ask questions. Interesting questions. Even personal questions. Be genuine in Your need to be ‘right’… your conversation and listen. You’d be The need to be ‘right’ is toxic - we

44 can all see it in others, but so rarely in others who you know could benefit from ourselves. Being ‘right’ will shut down the relationship. Facilitating success in conversations, even when you are, in others will always pay you dividends fact, ‘right’! So give it up and choose to in the long run. It also helps you move listen instead. I found out a long time ago around the room with great agility. that ‘right’ and ‘wrong’ are opinions and not facts. Be credible You may not know everything about the Compliment honestly, but business and that’s OK. don’t go overboard Being credible is about learning and Everyone likes to be complimented, applying that knowledge. It’s about so offer compliments. But don’t go humility and courage. It’s not just about overboard, you will come across connections and credits. And we all as a bit desperate. Equally, don’t have something to offer. Bottom line, do be disingenuous; we can all spot a not bullshit the bullshitters. Anyone with bullshitter. And no-one wants to be experience has heard every line before, friends with a desperate bullshitter. so don’t try and appear more important than you really are. You are you, and Be with that person you have a huge amount to offer. Don’t When you are with a person, BE with sell yourself short by pretending to be that person. There is a temptation to someone you are not. look over shoulders, eyeing up the next person to network with, but try to avoid it. Listen, connect and communicate. Give and take cards (and Ninety percent of people cannot or do follow up) not do this. Take business cards and exchange them – but understand that most will end up in the bin. You don’t want to leave with 300 Be a facilitator business cards from people you met, Think like a producer and introduce 45 you want to leave empowered with FIVE Don’t take it too seriously new and meaningful relationships. Smile and make friends. It’s not a competition. Successful and powerful Understand What People networking is just about are chatting, meeting new friends and having you fun. Want (and that’s you too) If someone is rude, they are probably We are all human animals and basically insecure, bluffing it, tired and just want the same thing. When we enter generally being human. Let it go. a new relationship (networking) we will ask… What can this person do for me? Can they entertain me? Can they Finally, remember we are help me get done what I want to get all in this game together done? Do I feel at home and attracted to The industry grows the more we them? Can I get some kind of intimacy? collaborate and help each other. Offer It’s what they are looking for. It’s what help and you will receive it. Be humble you are looking for too. Don’t take it and you will be rewarded with genuine personally if people don’t respond to relationships. Be bold and courageous your overtures – not everyone likes the and you will find success. same kind of music, Star Trek quotes, arthouse movies, strong cheese etc… See you at the bar!

Networking is not right or wrong, it’s just about people connecting. Often we are a tad insecure and a little tipsy too. If you don’t find what you are looking for, smile and move on with effortless grace. There are plenty more people to meet.

46 PITCHFEST: 20 EASY STEPS by Bob Schultz page. Visit often to develop your list of target companies.

What you can do now Go The Extra Mile! Design a one- 1. Finish your script. If you get a sheet. It should look as professional script request, you’re going to want to be as possible – spend money on a able to send it right away. Plus, a tight, professional graphic designer. You can effective script makes it easier to… find some good deals on sites like www. peopleperhour.com. If you can’t afford 2. Develop a logline. Title, genre, one, do the best you can. Include an protagonist, goal, obstacles, ending. eye-catching image (like you might find Tight and engaging, and reflective of on a movie poster), a logline, and your your script: If the script is funny, make contact info. the logline funny. If your script is a thriller, make the logline thrilling. What you can do in the 3. Follow our blog. In the months weeks before the event leading up to the Great American 5. Print business cards. These will PitchFest, we will continue to run blogs and articles from pitching experts, interviews with working writers, and links to other valuable resources to develop your screenwriting career.

4. Check out the execs. Executives are already committing to the event, and have begun submitting their profiles. As executives join us, we will continue to update the Great American PitchFest

47 be valuable throughout ScriptFest your name. Engage with cahiers at and your whole trip to LA. Remember, the supermarket. Get accustomed to networking must happen all the time, not listening closely and engaging strangers just at structured events like the Great on their terms. American PitchFest. Always have cards on you. Go The Extra Mile! Print your one- sheets on nice glossy paper. Make them 6. Research all of the companies look as professional as possible. If execs who will be attending. Even the ones are unsure about the script, they will you think you might not be interested check out the one-sheet the next day. in. Know what they’ve done before, Wow them. what they have in the pipeline, and what they are seeking at the PitchFest. Google is your friend. So is IMDb Pro What you can do the day and Deadline.com. Pitching isn’t a before performance, it’s a business meeting. 8. Re-read your script. Proofread, Sometimes it’s a spontaneous meeting yes, but familiarize yourself with your in an elevator, at the hotel bar, or in the character and story arcs, act breaks, hall. Be prepared. Do your homework. A and B stories, themes, story beats, You never know what contacts will structure, and every other aspect of the advance your career.

7. Practice, practice, practice. Note that practicing is different from rehearsing. Don’t recite your pitch. Instead, develop pitching SKILLS. Convince your friends to see movies and shows you’ve already seen. Try to convince the barista to draw a dinosaur on your cup instead of writing

48 craft. Have an idea of other projects it is similar to (financially successful ones), who would be good to star in it, and any elements outside of the script you have access to (locations, cars, money, etc.) You never know what questions the executive might have.

9. Upload your script and one-sheet onto your phone. Nobody accepts hard copies anymore, and even memory sticks are passé. Be ready to email your before script at a moment’s notice. It’s the 21st You’ve been let into the Waiting Area, century, act like it. and the bell is about to ring to launch your pitch. Here’s what you can do: 10. Choose your outfit. Professional and comfortable. If you have a costume 11. Relax. This pitch isn’t the whole you’d like to wear, now is a great time to world. The worst that can happen is the put it in the closet and never, ever take it executive says no. You have no deal out again. now, so you have nothing to lose.

Go The Extra Mile! Meet with other 12. Pop a mint in your mouth. Obvious ScriptFest attendees and work on reasons. your pitches together. Don’t wait for opportunities to arise. Create them 13. Body language. Does the exec look yourself. You are the master of your bored? Anxious? Tired? When it’s your destiny. Screenwriting success comes to turn to pitch, adjust your energy level to those who take the initiative. engage with her.

What you can do a minute Go The Extra Mile! Don’t fixate on

49 your pitch. The goal of your five-minute Go The Extra Mile! Ask the executive meeting is to build a relationship with the about herself. What does she want executive. The road to a script sale is to produce? Why did she get into the a marathon, not a sprint. Whether your business in the first place? Favorite script is a good match for the executive movies/TV shows? Taking interest in the or not, your personality, professionalism, executive is a much more effective way demeanor, and confidence will impact to build a relationship than a wall-to-wall your ability to build a professional hard sell on your script. relationship as much as your talent. What you can do after your 14. Don’t overestimate the exec. Remember, that exec across from you pitch is just a person who has made a career 17. Send the script to everyone who telling stories. You have a story. Tell it. requested it. You would be surprised how many writers chicken out, plagued 15. Be concise. You have five minutes by self-doubt. If you pitched a script for your meeting, but there needs to that’s ready to go, then let it go. If not, be room for questions and small talk. then get it ready and send it when it is. If you can start your conversation with But don’t let a script request evaporate. a 1-minute pitch, that’s good. With a 30-second pitch, even better. Try to get 18. Follow up six weeks later. If you it down to 10 words. If those ten words haven’t heard back, a polite follow-up result in the exec saying, “Tell me more,” is appropriate, but don’t act entitled or they’ve done their job. angry.

16. Once she says yes, all she can do 19. Be open to notes. Writing is is say no. Thank her, shake her hand, solitary, but filmmaking is collaborative. remember to get contact info, and head A producer must juggle a long list of to your next queue. If it’s a long one, take conflicting priorities. If she makes a the time to email your script right then suggestion you disagree with, politely and there. 50 ask the motivation for the change and Above all, be professional and suggest an alternate solution to achieve courteous, always. A producer isn’t the same goal. just looking for quality writing, she will be looking for a quality person 20. Keep on writing. You don’t want who writes. Becoming a professional to be a one-and-done writer. Agents screenwriter is akin to entering a will want to represent a writer who culture you may not be familiar can earn them more than just the one with. The best way to be welcomed commission. Producers, if they like your is to be welcoming, and the best material, will want more as you become way to receive favors is to do them. less of a risk. A writer writes. Don’t just sit Good luck, and we’ll see you at the around waiting for your ship to come in. ScriptFest! You go get some lumber and build your own ship.

Go The Extra Mile! Stay in contact. For everyone you met, every business card you collected, create a Google Alert. Google will send you updates on each of your contacts: When they have sold a script, appeared at a charity function, gotten an agent, changed jobs… the list goes on. Every update gives you an opportunity to strengthen the relationship. Congratulate them on their marriage. Cheer along with them when their favorite team wins a championship. Chat about the latest Star Wars movie, whether the exec is involved with the project or not.

51 THE IMPACT OF #IMPACT50FILM By Dee Chilton However it’s not just my own two short films (three if you count the other How one screenwriter turned fabulous version of one script another filmmaker in 2017. talented team has shot), it’s all the other Impact stories and films I’ve been Anyone who submitted stories to privileged to read and watch during the the ‘Impact50Film’ already knows whole process. the immense value of, and superb underlying premise behind, this Regardless of whether my films, or films Create50 initiative: to get writers made by others from my scripts, make it collaborating with filmmakers and/or into the final edit, I feel very much part of making stuff themselves, in other words the overall film and can’t wait to see the get us to take ACTION and not wait for resulting feature up on the big screen. anyone else’s permission. So what have I learned (or been For me, it’s been an amazing playground reminded of) during this process? So in which to write, feedback, enhance much I couldn’t possibly fit it all in this my writing skills, expand my filmmaking article (or book even), so here are the knowledge and collaborate to produce highlights. something tangible. I’ve seen all my initial two page scripts develop and mature, two of which have been beautifully brought to life now. I’ve enjoyed collaborations on two very different scripts, been heavily involved in two very different shoot days and advised a little from afar on one other. All of which have been awe inspiring to be a part of. How often is a writer thanked by an actor for being ‘allowed’ to bring their

52 • In the process of rewriting with a producer/director/filmmaker, be prepared to ‘defend’ your words, but not precious or intransigent about them. • Always be prepared to listen and be open to changes to make things clearer/better/stronger for the good of the story/characters/film (this goes for the edit too). • Once the time comes to lift the finalised words from the page, they character to life and be in a film? are not ‘my’ films, they are ‘our’ Having seen the edits of all three films. versions, I’m overwhelmed with pride, • Be a team player - stay flexible, not for myself, but for our films and for adaptable and open to your team’s everyone who has contributed to their suggestions and ideas, but support creation throughout this whole process. the director’s vision; they must have the final say. To know that my little ink blobs have • Do what you can to make the shoot translated to those beautiful images on a fun place to be and ensure all screen. involved know how valued their contribution is. To see characters brought alive and • Everyone being a supportive speaking my words, making them work collaborator creates a tight knit far better than they were written is a ‘family’ of like-minded people striving sublime experience, one that spurs me to produce the best film they can. on to do more and do even better. • This all led to us having great atmospheres on set. This allowed ‘happy accidents’ on the day of

53 DIALOGUE WITH ROBERT MCKEE What makes some dialogue sparkle There could be a disconnect between and jump off the page and into an truth and authenticity in a scene you actor’s mouth, where other dialogue find leaden because you’re not involved. is leaden, perhaps even true or You don’t believe whatever it is the authentic, but also dull? characters are doing through what they are saying. Even though it may be Dialogue that jumps off the page is colloquial or typical of whatever such a dialogue that calls attention to itself as character might say, it’s not authentic dialogue. Dialogue that “sparkles” is sort or true to what that character should be of like “The Terminator” and the line “I’ll saying in that scene at that moment. be back” or in “Sudden Impact” when Dirty Harry says “Go ahead. Make my When you lose interest in a scene and day.” Bits of dialogue that stick in the the dialogue calls attention to itself as mind and become repeatable outside just a bunch of words you don’t believe, of the context of the story. I don’t think the problem is in the subtext. It’s not that’s a good idea. Dialogue should not necessarily in what the characters are “jump off the page.” On the other hand, saying. It’s what the characters are it should get into the actor’s mouth in the doing. When characters speak, they most natural character-specific way. are taking an action and/or reacting to the action of another character in the Where dialogue is leaden, when the scene. Underneath what’s being said reader or an audience has a reaction outwardly, there are actions characters against dialogue and feels the sensation are taking and reactions characters are in the scene is leaden, it simply means having. The action-reaction that’s going they are not involved in the scene on underneath the dialogue is where the anymore and therefore time is passing interest is for the audience. The dialogue excruciatingly slow. The dialogue is is simply the tactic the character is taking not interesting to them, they are not outwardly to carry out that inner action. involved in the scene. The scene itself and anything being said is boring. That The cure to leaden dialogue is not becomes the experience of “leaden.” necessarily in the words themselves at

54 all, but rather in making certain that by What the character wants and how the action-reaction, action-reaction, what character goes about trying to get it is the characters are doing in a struggle the inner life of the scene. This includes to get what each of them wants out the motivations that drive that intention, of the scene captures interest. The even down to the subconscious mind. dialogue becomes tactics characters The secret, so to speak, of subtext is to are using in their struggle to get what just pay attention to it. To realize what’s they want. When the audience is really going on inside of a character involved in the give-and-take of the consciously and subconsciously and tactics of the characters as they say what they really want at this moment and and do outwardly what they say and do, to identify that with a scene intention. when the audience is involved in the You have to ask “What does this inner struggles of these characters one character want at this point in their life?” against the other, then the dialogue, as “What do they want to get in this scene you put it, will sparkle. as a step toward their object of desire (i.e. what they want overall in the life of Writing for subtext sounds easy to their story)?” the beginner, where the expert knows both how important it can be and how By identifying the desire in the scene, challenging it is. What help can you the source of conflict and antagonism offer writers who want to write with against that character’s desire, and step- more resonant subtext? by-step thinking of what that character would do inwardly that they express I’m not certain writing subtext sounds outwardly in the dialogue, connecting easy to anybody, beginner or not. In to the inner actions of the characters in fact, I know from experience when I talk their struggle to get what they want in the about writing for subtext, young writers scene, creates subtext. are paralyzed, they have no idea what I’m talking about and don’t have the first And then, common sense says the idea about going about doing it. characters have tactics, they have strategies. They don’t say out loud fully In my book, DIALOGUE: THE ART OF and completely what they are thinking VERBAL ACTION FOR THE PAGE, and feeling. They don’t turn around and STAGE, AND SCREEN, there are six say “Look, what I really want from you is chapters or more where I take various that you will show me a sign of love and scenes apart to show how the actions in commitment in our relationship.” Nobody the subtext build a scene progressively says things like that. Or, if they do, it’s as the dialogue is the outer expression not actually what they want (laughs). It’s of that. The way to create subtext just a tactic to get something else. underneath what is being said is to pay You have to figure out what the character attention to what the characters are really wants, why they want it, what’s actually doing and actually thinking and stopping them from getting it and then feeling in their desires while they go what would they outwardly do to cause a about doing it. reaction in the world that would get them what they inwardly want.

55 How can we avoid writing clunky Of course they make an effort to speak dialogue? on the nose. You can write dialogue in which people are trying to say exactly You would have to analyze what exactly what they are thinking and feeling. is “clunkiness.” There are going to be I gave that example of somebody some very simple steps—dialogue is with their psychiatrist—the patient clunky if just has too many words. If does everything they can to say on it’s taking more words than necessary the nose what they are thinking and for the character to express outwardly feeling to try to help the psychiatrist to in dialogue what they are trying to do understand them. They are not holding inwardly in action. It can become clunky anything back; they are paying the because they are using multi-syllabic or psychologist very good money to help poly-syllabic words when a one or two- them understand themselves. They are syllable world will do the same. being as outwardly honest and frank as For example, I have a pet peeve with they possibly can be. And what’s the people who use the word “utilize.” psychologist doing? Taking notes. And what’s in those notes? What the patient “Utilize” is a three-syllable word when is not saying. A psychologist is not a the one-syllable word “use” will always stenographer. A psychologist is someone substitute. There is no case in which who is trained to look through the on someone uses the word “utilize” in the nose expression of their patients which you couldn’t substitute the word to realize what’s really going on in their “use.” So they use three syllables when subconscious mind and why there is a one would do. But I know why they do disconnect between what they think they that, because “utilize’ sounds important. do in life and what they really do in life. When people want to sound intelligent they add syllables to words and words to It’s not as if you can’t write on the nose. sentences and sentences to speeches, If it’s appropriate for the character to say they just talk more. out loud what they are really thinking and feeling, then fine. But there always The cure for clunkiness is just a matter is a subtext underneath that. And that’s of economy and brevity in terms of the what keeps on the nose writing from number of words you use and the quality seeming on the nose. The ideal of all of the words you use. dialogue is that it is a transparency, that no matter how long a character tries Are there any strategies to rewrite to say out loud what they are exactly dialogue that is on the nose? thinking and feeling, the audience’s eye travels through the surface of the scene That goes back to what we were talking to the real thoughts, even subconscious about before. On the nose dialogue is thoughts and feelings that are going dialogue without a subtext. on underneath what the character is saying. That’s what’s the audience finds Of course people try to say out loud captivating—they know what’s really what they are fully thinking or talking. going on inside the character better than the character.

56 From November 9th - 12th, Robert McKee returns to his favourite city to deliver the legendary STORY Seminar and acclaimed LOVE STORY Day.

LONDON - REGENT’S UNIVERSITY INNER CIRCLE, REGENT’S PARK NW1 4NS

Learn More at

MCKEESTORY.COM

“Presented with such urgency and “The most innuential storytelling “The Ultimate Master.” power, Robert McKee teaches us theorist since Aristotle.” about life, death and the human heart.”

“McKee teaches what is not yet taught. He shines his unwavering analytical light on the structure and invisible substructure of dialogue. He takes a craft that is often considered instinctual or magical and reveals its chemical secrets.” TERRY JOHNSON Writer/Director Winner of the Tony Award, Olivier Award, Critics’ Circle Theater Award, and Writers Guild Award.

Available on It’s not a question of whether or not The reason we create character specific somebody will say out loud the truth voices, even within the same culture, is that they deeply believe in, it’s just that it to differentiate those characters one from becomes on the nose when there is no the other in order to tell the story all the subtext. The only time, generally, when better, because you avoid redundancy. we write on the nose dialogue without If characters react the same, speak subtext is in fantasy writing or sci-fi, the same, do the same things, if two where characters are allegorical types- characters are repeating each other, -hero, villain, etc., allegorical types not one of them has to be removed from to be mistaken for realistic characters. the story to avoid repetitiousness. Fine In various forms of symbolic writing writing is specific writing. we do write on the nose. We eliminate the subconscious mind, because the You have to find not your voice as a subconscious, or even the unsaid writer, but character specific voices and conscious mind, makes people realistic. the key to character specific voices is In fantasy, you don’t want realism, you vocabulary. You go into the character’s want symbolism. In those cases you do mind and you look for all of those write on the nose without a subtext. That objects, all of those actions that are is the exception. The strategy to answer unique to this character’s experience that that question is to put underneath express themself in word choices. There an awareness, a life underneath the is grammar and sentence constructions dialogue, conscious/subconscious drives that could also be character specific. the audience can become aware of that The place to start is vocabulary. People contradicts or contrasts with what the differentiate themselves by the choice of character is actually saying. words and they find their choice of words in their vocabulary, and their vocabulary Writers often write in their own is the result of the sum total of their voice. Are there any tricks writers cultural experience. Every sporting can use to create more pronounced event they’ve ever attended, every book and contrasting voices for their they’ve ever read, every concert they’ve characters? ever been to, every department store they’ve ever shopped. How they have The goal of any beautiful cast design or lived and interacted with their culture in any well-told story is that every character every possible way has given them their is distinctively different from every other specific vocabulary and vocabulary is character. How great these differences the most critical step in making dialogue are between characters depends. But, character-specific. obviously you do not want redundancy. You do not want two people speaking Do you have any tips on editing exactly the same. And you certainly don’t dialogue so that it lands on the necessarily want them talking in the listener with greater weight? writer’s voice. You want to distinguish each character and give them an The famous “omit needless words” individual speech style. from Strunk and White’s “The Elements

58 of Style” (Note for readers: an Does character determine dialogue or American English writing style guide) the other way around? is the guiding principle here. You edit dialogue by eliminating all unnecessary Yes, character determines dialogue. words short of turning dialogue into On the other hand, suppose you found a telegram (laughs). One of the most a wonderful style of speech that really important steps is not only economy, fascinates you and then it leads you to but the placement of the key word. ask the question, “What kind of person Every sentence, generally, has a word would talk like that?” As a result the or phrase within it that completes its inspiration you found in the dialogue meaning. It could be the verb, it could urges you to create a character who be the noun, but it’s a word or phrase actually would use that kind of dialogue. that if you took it out of that line of In those cases the dialogue creates the dialogue it wouldn’t make any sense. character, but they are rare. When you write from the inside out, as I advocate The key then is where you do you place in my teachings, dialogue is the final that key word—at the beginning, in the step, it’s the frosting on the cake. You middle or toward the end? I urge people create characters, you bring them into to use the periodic sentence. It’s the conflict, out of that you create story and suspense sentence. It’s the sentence then ultimately you have to find ways you cannot know the meaning of until for them to speak. Ninety-nine percent you hear the very last word. By delaying of the time as you create the character the meaning until the end of the line the the character then has to have a true audience then has to listen with curiosity speech style. There are exceptions wondering “What is this character when dialogue or speech style actually saying?” When the last word or phrase becomes the inspiration for a character, lands at the end of the sentence, but those are the exceptions. suddenly the sentence has greater impact. If you do it the other way, if you What advice would you offer a writer start the sentence with the key word, starting a redraft, with particular then everything after it is a modifier. It emphasis on dialogue? risks losing interest. First and foremost, eliminate all Now, you can’t have every single line of unnecessary dialogue. Write as lean as dialogue end on its key word because you can. At the same time you have to that becomes repetitious and it doesn’t think about the nature of the particular sound like conversation. You always characters and some characters mix periodic sentence with cumulative are loquacious, but they have to be sentences in order to create a loquacious in the most economical conversational tone. Generally speaking, way possible. If there’s a fault in writing withholding the meaning until the end of dialogue that needs to be addressed as the line gives greater weight or impact to you rewrite, it tends to be overwriting. every single speech. Say the absolute maximum with the fewest possible words and yet retain the

59 specific nature of the characters. particular images in language that these Exactly how much is too much or how characters would tend to use to get what little is too little nobody can say. The they want. economy of language is the first piece of advice you give to any writer in a rewrite. The two pieces of advice are economy The second is—even if the dialogue and specificity: as little as necessary is very economical—is it character but unique and true to the character specific? Do the characters tend to by drawing upon their life history and sound alike, or worse, do they all sound drawing on the world around them and like you? If so, then you have to go their culture. back into the story of these characters and imagine the past lives of these characters and create a vocabulary for them. What has their life experience been like that would add words and

Download the App We have an App for the festival. You can download it at http://my.yapp.us/LONDONSWF. With the app you can browse delegates, speakers, pitch execs, build your own schedule and more. Perhaps most importantly though, you can get Push Notifications from us throughout the festivals with important updates. You may need to enable notifications for the App in your smartphone settings.

60 THE LONDON BREAKFAST CLUB

The Breakfast Club is monthly initiative to connect creative and business professionals in film and TV. We do this by creating a safe place to network whilst listening to thought leaders, industry gurus and entrepreneurs.

The London Screenwriters’ Festival set it up as a monthly way to get screenwriters away from their screens, to inspire them through great information and speakers stories, afterward. And afternoon ones that we and to help connect them with other tend to host on Fridays. creatives and strengthen their peer Our home is the eclectic Phoenix groups. Artists Club on the edge of Soho in central London. ‘A very inspiring morning with lots of valuable information... Looking forward Come along and get a shot of to the next one!’ inspiration as well as cracking Nicholas Burman-Vince, information, and the opportunity to Screenwriter expand your peer group.

There is usually one Breakfast club per ‘The atmosphere at these events month as well as an archive of some is always uplifting. It reminds you of the past events that were filmed or why you love writing so much. You audio recorded. go home renewed, ready to face the blank page again.’ There are two kinds that we run, early Caroline Slocock, Screenwriter breakfast with speakers on at nine, meaning you can still get to work www.LondonBreakfastClub.com 61 TALENT CAMPUS 3.0 By Lucy Van Smit Hyland and actor Mary Lowe, had made a classy short JUNIOR, and their I loved Talent Campus 3.0. It went mentors immediately scheduled it into stratospheric from the get go. A full the Festival. Make it happen is their on 10 day immersive experience mantra. with awesome talent from diverse A standout moment for me was getting backgrounds, every age and a place in the Crime Writer’s Room with experience; playwrights and actors, Barbara Machin of Waking The Dead comedians, crime writers and writer/ fame. Six writers win the experience directors. Everyone was keen, of working with a top showrunner. I supportive and wickedly funny. was thrilled. What other course could deliver that kind of experience? Nerve- Filmmaker and festival director, Chris wracking? Yes, but I already knew two of Jones launched Talent Campus with the writers from Talent Campus and that ideas and exercises to take us beyond makes the Writer’s Room more exciting our comfort zone and to fire up our than daunting. courage. His ambition, talent and passion is second to none. When Chris As a novelist, the idea of pitching said we would walk on burning coals by my work to industry professionals is the end of weekend - we walked on fire. terrifying, but we were broken into As the biggest chicken, he made me smaller groups, and legendary Bob go first. I thought my feet would melt, Schultz makes pitching conversational but once I got the courage to step on and nails the heart of our stories. I wasn’t the embers, I barely felt a thing. My fear brave enough to apply for the Actors' was far bigger than any pain. I felt dead Table Read myself, but that opportunity proud afterwards. It set the tone for our is a given on Talent Campus. You are spirit. We could, and would, attempt pushed, almost kicked, through the anything. goalposts. Every hour, filmmakers and industry experts, like John Yorke In no time two 'Talent Campers', Ben crash in to show us what sells and how

62 perseverance pays off. How Shorts become the calling card to make feature films. Everything is designed to challenge and inspire and I came away remembering long forgotten skills. Other mentors included Karol Griffiths and Lucy V Hay and the support team are brilliant: Judy, Jenn, Vicky, Emma - their warmth creates complete trust.

If you want to be stretched and aim Another view… From Leia higher than you thought possible, then Vogelle Talent Campus is a great place to hang out with fellow writers, directors and (Thirty) Five go off to Campus... actors. It unleashes your creativity by taming your fears. Its intention is to Talent Campus was astonishing, scary, make us industry ready. You leave Talent transformative, fear-banishing and Campus with a toolbox of skills, great hugely exhilarating! Also lots of fun, ideas and confidence, and best of all, yet challenging en-route. I'm amazed a bunch of new writing mates cheering how resistant I was to some things, and you on. how freeing it is, to stop being afraid of them. Highlights? I was first up for Lucy van Smit is a writer, artist and the hottest Firewalk; and I NEVER go former TV producer/director. THE first. That was amazing; Talent Campus HURTING, her Nordic YA thriller is has changed me and that’s good. It's published by Chicken House Books reminded me of who I am, and pushed in July 2018. Agented by Sallyanne me to be more of who I can be! Sweeney. What to do now? Write like a monster; pitch like a Boss!

63 GET £40 OFF WITH CODE LSF17 SCREENWRITING CRAFT CRASH COURSE With Lucy V Hay What happens over the 11th & 12th November 2017 two days? In this highly practical event, you will Where: Ealing Studios learn how to create screenplays that How much: £139 stand out from the tsunami of good www.screenwritingcrashcourse.com (but not killer) scripts out there… Key elements covered include: The Screenwriters’ Craft Crash is a must for any writer who needs to get • HOW to write MORE visually to laser focus on their actual pages and create powerful images in the elevate it from ‘good’ to ‘recommend’. readers mind Bring your laptops, pens, highlighters, • HOW to craft your characters print-outs and game-faces! Expect to so they become even more write and rewrite. unforgettable • HOW to write dialogue that Be it structure, theme, plot, characters, sparkles, giving unique voices to scene descriptions, dialogue… Each each character area will be addressed and you will • HOW to avoid dialogue taking over learn how to refine, reduce and write your scenes with significantly greater impact. • WHICH structural methods will keep you on track and how to avoid overthinking • HOW to spot and avoid your ‘static scenes’ and ‘false movement’ and remove forever • WHY ‘good craft’ is NOT just screenplay formatting!

www.screenwritingcrashcourse.com

64 GET £40 OFF WITH CODE LSF17 WRITING TV With Pilar Alessandra relationships within your series th th that grab the hearts and minds of March 24 & 25 2018 readers and audiences alike • The unique rules of structuring and Where: Regents University outlining episode one. How much: £159 • How to build a world and draw www.writingtv.co.uk from it’s unique “rules”.

In an exciting atmosphere with around Guest speakers from leading UK 200 screenwriters, you will learn TV Production companies will be ‘through doing’… joining Pilar across the weekend to discuss what they’re looking for on • How to develop a “hook” for your their slate in 2018 and beyond, their series that reels in audiences and relationships with the commissioners commissioners and broadcasters, what they look for • Getting the form, genre and tone in a writer and how you can go about that’s right for your series getting your projects onto theirs (and • How to pitch your series and pilot their peers) read piles. episode so you go from “maybe” to “yes” www.writingtv.co.uk • How to create your series ‘bible’ • How to create a rich spectrum of characters that will ensure your series runs and runs • Fast and powerful tips for writing comedy and drama so you can write effectively and quickly • How to mine your concept and universe for numerous killer episodes • How to create compelling

65 GET £40 OFF WITH CODE LSF17

BREAKING INTO SCRIPT READING With Lucy V Hay What is included? rd th • Writing a fully professional report February 3 & 4 2018 • How to negotiate pay for your work and where to find it Where: Ealing Studios • Techniques for constructive How much: £139 criticism and avoiding conflict www.firstdraftwithpilar.com • What constitutes “marketability” • Identifying strong concepts Learn how to produce industry • Why context matters: how sample standard analysis for agents, scripts and sold scripts differ producers, production companies • Tips for helping writers improve and broadcasters – all of whom have their craft mountainous ‘read’ piles. The ability to • Understanding how logistics affect distinguish a ‘Pass’ from a ‘Consider’, filmmaking or even a ‘Recommend’ will make you • How to write positive script reports a valuable asset to the biggest and that get results for writers and most prolific production companies. execs and gets you re-hired for the Key elements covered include: next job • WHO uses script readers • WHAT the key components of a script report are • WHERE to source those elusive script reading jobs (even ones not advertised) • WHEN to walk away and avoid conflict with writers • WHY reading as a job can improve your writing AND most importantly, your understanding of the business.

66 TWISTED50 VOL.1 Get A Little Bit Twisted...

50 stories from 50 disturbed voices of modern horror…

Twisted 50 volume 1 is a deliciously dark slice of contemporary horror literature. Reading it is like attending a late night secret banquet where you know each course will serve up something unexpected, forbidden and unforgettably chilling. Take your private Twisted50 vol 2 is now in judging seat now for 50 luscious courses of and we should have the final book terror, from 50 of the strongest voices out for Christmas. in modern horror. It was the first book to come out of the LondonSWF The journey was at times very Create50 initiative and a resounding bumpy and some of the lessons success, knocking Stephen King from and personalities involved are quite the horror top spot on Amazon on the startling. We learned huge day of release. amounts about writers, book publishing and We also created an Audiobook which is marketing during the now on Audible. process of bringing the book to bookshelves, To celebrate, we hosted a fabulously and will be sharing this terrifying book launch and the journey on the blog. Twisted50 Awards in February – you can watch the video of what happened on the App.

There is also a very active website for the book at www.Twisted50.com.

67 LondonSWF senior team member Vanessa Bailey (usually found running between sessions locating Speakers, or making sure the bins are being emptied) wrote, creatively produced and stars in ‘Seeing Him’, a short film exploring the depths and impact of an unconventional love affair. Vanessa had never written or produced before but had been around enough expertise, motivation and inspiration at the festival to realise that there's no time like the present and no person like yourself to bring an idea to fruition.

Teaming up with Chris Jones to direct, Judy Goldberg to produce the shoot and a host of other LSF-ers, ‘Seeing Him’ was brought to life across an intense shoot and a challenging period of post-production. Screenwriting, crowdfunding, networking, filmmaking - all the elements that various members of the team had taught at LondonSWF were now being practically put to the test. On set and on the screen for all to see!

Currently enjoying a successful festival run, you can see the film and hera from Vanessa on Sunday morning of the festival in the LondonSWF mini film festival.

You can also follow our continuing journey on twitter @SeeingHimFilm on FB Seeing Him short film and at www.seeinghimfilm.com