delegate welcome pack 2016 - london screenwriters' · pdf filedelegate welcome pack 2016...

www.LondonSWF.com September 2016 Draft 1

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Delegate Welcome Pack

2016

Version 1, May 19th 2016

The London Screenwriters’ Festival

is proudly sponsored by


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Welcome to the London

Screenwriters’ Festival 2016!

My name is Chris Jones, founder and

creative director of the festival. And, just

like you, I love storytelling and writing

screenplays.

The LSF has fast become the most exciting,

prestigious and largest event of its kind.

Over the three days of the festival you can

expect to gain a massive amount of

screenwriting knowledge, make powerful

new industry contacts and connect with a

whole new group of like-minded creatives.

This pack will help you get the most from the festival. I urge you to read it as

soon as you can if you want to get the most from your LSF experience.

My hope and belief is that the festival will change the way you look at your

writing, your career and hopefully your life too.

So - open your mind and heart and get ready for one hell of an adventure.

It’s going to be awesome! Promise.

Chris Jones

Creative Director

www.LondonSWF.com

Follow me on Twitter @LivingSpiritPix

PS – I recommend you print this document and read it over coffee, it will set

you up for an awesome LSF 2016!

PPS – There is a delegate area on the site where we share resources and

updates. You will have been sent a login already and you can login here

http://www.londonscreenwritersfestival.com/delegate-welcome

PPPS – You will need to copy and paste hyperlinks to open pages as they won’t

click through from a PDF.


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Plan for success at LSF 2016

To get the most from the festival, you need

to do some planning.

There is a TON of very cool stuff going on,

and we have found that many delegates

miss out because they didn’t read the

website, the emails or other messages we

send.

That’s why we created this booklet, to give

you the complete lowdown in advance.

We also suggest you print it out and read it – if you do this on a computer

screen, odds are you will skim it. And you don’t want to miss the good stuff do

you?!

1. Hit print.

2. Put on the kettle and make a cup of tea.

3. Switch off the phone.

4. Read the print aloud. It will take 15 minutes.

Chris Jones

Creative Director

London Screenwriters’ Festival

Online

We have an official Twitter hashtag for the

festival which is #LondonSWF. You can follow

us on Twitter @londonswf

(https://twitter.com/londonswf )

Join us on Facebook too 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


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Shape of the Festival

The festival runs for three days

from September 2nd to 4th (Friday

to Sunday).

The days start at 9.00am and end

around 7.30pm (with networking

drinks running later).

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 1000 delegates turn

up to collect passes, so arrive early. We suggest no later than 8.30am on Friday

2nd September.

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

our parties (on Thursday, Friday and Saturday nights). We recommend planning

for both.

Plan to be present as much as possible as you won’t want to be dragged away to

other events over the three days.

WiFi

Okay, so the good news is that we SHOULD have free WiFi throughout the entire

venue for the whole event. In past years this has been an issue but we have

new contractors at the venue, so fingers crossed! It is, in effect, it’s out of our

hands but we have been given promises. Your WiFi codes will be on the back of

your pass when you collect it at registration.

Bookstore

There will be a bookstore on site where you can

get signed books from our speakers so please

check the schedule for their allocated times. We

do now accept card payments but if you think

you need cash remember to bring enough with

you as the machine on site charges for

withdrawals.


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Getting There

The London

Screenwriters' Festival is

hosted by Regent's

University, in the heart of

London and within the

beautiful grounds of

Regent's Park.

Regent's University,

Inner Circle, Regent's

Park, London, NW1 4NS

Baker Street tube is the closest tube stop, around ten minutes walk to the

university. There is a Google map with directions here http://goo.gl/maps/n01dk

Exit Baker Street tube station, take the Marylebone Road exit and turn left. Walk

past Madame Tussauds, before taking the next left onto York Gate, which

continues onto York Bridge. Follow the road into Regent's Park and the main

entrance to Regent's University will be on your left-hand side. Total walking time

is approximately 10 minutes. Please note that Baker Street Underground Station

is not wheelchair accessible.

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

restricted.

Allow time to get lost on your way on the first day :)

When you arrive

Please bring a copy of the emailed receipt that

you received when you signed up. If you do

not have this, bring some ID instead. We want

to make sure that YOU get YOUR pass!

Do not lose your pass, replacements will cost £20.

We will also give you the most up-to-date schedule

and a map of the venue. There will also be a board

with all the speakers listed on it, to jog your

memory.

REMEMBER, ARRIVE EARLY!


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Map of the Venue: Regent’s University

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. At the back in

the private gardens will be the Final Draft Marquee. NOTE – This map WILL

change closer to the event as rooms lock in.


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Schedule of Events

The full schedule will go live some time in

mid August.

http://www.londonscreenwritersfestival.com/sc

hedule

During the festival there are five separate

strands of events – this means that at any one

time five sessions are running concurrently.

We film many sessions to help you with the

choices you may face. We do not film all

sessions as some speakers decline this.

Some sessions will be much more popular than others and, where possible, we

will flag this up so that 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 sessions

which can last between an hour and a half and two and a half hours, depending

on session and speaker(s).

Friday will be our most busy day and we recommend bringing a packed lunch if

you want to avoid waiting in line.

If you have applied for Pitching, Script Doctor Sessions, The Actors’ Table Read

or the Labs, or other small group / individual sessions, and if you are selected,

we will endeavour to schedule you so that none overlap. These include…

• The Advanced Script Development Labs

• The Actors’ Table Read

• The Pitchfest (takes place all Thursday, Friday, Saturday and Sunday).

• Hollywood Pitching sessions will take place on the Friday and Saturday

evenings.

• The Script Doctors take place on Saturday and Sunday.

• The new Writers Room initiative

• The new Speed Networking initiative

• Meet the Experts


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As you can see there are a lot of possible conflicts but we will do our best to

make sure we avoid problems.

NO AUDIO OR VIDEO RECORDING IS ALLOWED – WE FILM EVERYTHING PERMITTED BY SPEAKERS

Other Get-Togethers

There will also be drinks on Friday and Saturday nights, and very informal drinks on Sunday night (and off site).

Where to Eat

There is a refectory at the venue. We stagger

events to try and avoid long waits at lunch (which

helps a lot), but Friday will be hectic, so you might

want to grab some sandwiches from M&S at Baker

Street tube on the way in.

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.

Thursday night launch event!

OFFICIAL DRINKS THE NIGHT BEFORE THE

FESTIVAL BEGINS

September 1st, 7.00pm, Regents University

Join us for a drink on Thursday night as we open

LSF 2016…


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The Network

LSFConnect.com is our private delegate

network where you can connect with other

screenwriters, producers and delegates

attending this year.

It’s also where we share all the past video

sessions – there are around 200 online now.

There are forums, groups and a chat room

where we congregate to discuss anything

related to the festival and screenwriting.

We recommend you create a profile BEFORE the festival, in fact as soon as

possible. The headshot you upload to the network will be used for the delegate

book.

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, and for about a

month after the festival. It’s available year round and you can periodically log in

for inspiration or instruction from one of the past session videos.

As we edit session videos from this year, they will be uploaded into the network

(it takes around three months to complete them all).

If you missed your invite, drop us an email and Lisa Shelley will sign you up –

[email protected]

Watch past videos at http://www.lsfconnect.com/page/video-archive

Read the forums at http://www.lsfconnect.com/forum

Meet other delegates at http://www.lsfconnect.com/profiles/members


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Access the Submissions, Booking

and Info Page

Submissions to ALL initiatives such as the Legal

Clinic and Pitchfest Booking are accessible via the

2016 Submissions, Booking and Info Page. All

additional delegate information is also available

via that page. Log in using the unique password

which you have been sent. If you do not have this

contact [email protected]

Get access here…

http://www.londonscreenwritersfestival.co

m/delegate-welcome/

Talent Directory

List your details in the talent directory for other

screenwriters, filmmakers, producers and agents.

The talent directory will be published and shared a few

days before the festival. We will send PDF copies to all

delegates, all speakers and all pitch execs attending the

festival.

You must add your details BEFORE 23rd August

2016 at 23:59. If you do not complete the form

YOU WILL NOT APPEAR IN THE TALENT

DIRECTORY.

Applications opened on 16th May 2016.

Once you have entered the data you cannot change it so take your time to get

it right. We will copy your photo from the delegate network (please ensure you

have a photo in the network).

NOTE: Some of the data you give us will be left out of the delegate book, but it

will be used by the festival to get a better picture of our delegates so that we

can apply for funding next year. This is data such as your age group, gender and

where you are from.


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Speakers, Pitch Execs and Cast

and Crew

In case you missed them on the site you can

check out the professionals attending…

Please note that these lists are

constantly updated so check them

regularly as some speakers will drop out

due to work commitments.

Speakers here:

http://www.londonscreenwritersfestival.com/speakers

Pitch execs, producers and agents here:

http://www.londonscreenwritersfestival.com/britpitch

Actors and Directors for the Table Read here:

http://www.londonscreenwritersfestival.com/actors-and-directors

Sessions list here:

http://www.londonscreenwritersfestival.com/whats-on/sessions


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The Great British PitchFest 2016

What is it? An opportunity to meet and chat

with influential agents and active producers.

The people who have the power to make

your projects happen.

If you are successful in booking, you have the

opportunity to pitch your project to agents,

producers or commissioners in ONE of our 90

minute, limited pitching sessions. This means

face-to-face time with the very people who could

launch your career, option your script or offer

insight into how to improve your pitching techniques. We will send out an email

with information regarding how to book a session so please keep an eagle eye

out!

NOTE – We have added an additional day of pitching on Thursday the 1st

September to help with numbers.

Who You Can Expect To Be Present

We are flying in top agents, producers and

executives from Hollywood studios who will be

joined by the cream of the British film industry,

as well as hungry and emerging producers

looking for new relationships.

You can find a full list of execs, producers and

agents here…

http://www.londonscreenwritersfestival.com/britp

itch

The Pitchfest Booking System goes live at midday (UK time) on Saturday

27th August 2016. The hottest sessions usually fill up within minutes of the

system going live, so be prepared.

You can see the system here but it’s NOT live until 27th August…

http://www.londonscreenwritersfestival.com/pitchfest-booking

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.


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• 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 even but it is not always possible.

• Thursday and Friday will be intense and busy, Saturday less so, Sunday

even less so.

• If this is your first pitching experience, consider Saturday or Sunday as

they will be less intense and you can get tips from other delegates.

Remember, you may only book ONE pitch session at the PitchFest and

the system to book your place goes live on Saturday 27th August 2016

at midday, UK time.

On the Day of Your Pitch

• Turn up ON TIME to your pitching session.

• There will be around 10-14 execs,

producers or agents present for you to

pitch to.

• There will be around 30 delegates pitching.

• The session lasts 90 minutes.

• Pitches rotate every five minutes, so make

those minutes matter.

• There will be a queue for each pitchee, so choose who you want to pitch

to and get in line.

• Once you have pitched, choose who you want to pitch next and get in line.

• Do the maths, you will get between 3 and 8 pitches depending on which

queues you join. Be tactical.

• Get there early to be first in line!

• After each session, if a pitchee wants to discuss your project further, it’s

up to you to get contact details and follow up. We will not supply their

contact details later – so please don’t ask!


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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.

Friday: 6.00 – 7.30pm

Saturday: 8.00 – 9.30pm

This is the second time we have run the Hollywood Pitchfest and anyone who

has used Skype will know there is a high chance of dropped and failed calls. So if

you decide to try and book this session, you must be prepared for things to go

wrong. Fingers crossed they won’t… This is one way we are making more slots

available for delegates at the festival. Please bring electronic versions of your

writing / sales material. Bring anything that you can have ready to email execs

who are interested in your project.

http://www.londonscreenwritersfestival.com/whats-on/sessions/hollywood-

pitchfest-via-skype

* Pitching Thursday (Evening) Note

We recommend STRONGLY that you also sign up for

Pitching Thursday (Evening) with Pilar Alessandra –

get pitching tips from the top guru on the planet.

Ask others in the network, she is simply AWESOME!

Sign up below.

This is not the same as The Great British Pitchfest.

This is a day of pitching expertise in order to help

you in your future career.

You can pick up your pass for LondonSWF, go to Pitching Thursday evening class

then join us for drinks after in the Final Draft Tent – the class is just £20.

http://www.londonscreenwritersfestival.com/whats-on/sessions/pitching-

thursday-londonswf-festival-one-day-week-workshop


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PitchFest Room Layout (Room A201)

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.


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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.

Submissions open on 6th June 2016 and close 15th July 2016. Successful

applicants will be announced on 18th August 2016.

You can submit your script here…

http://www.londonscreenwritersfestival.com/atr/

Other Stuff You Might Want to

Apply for

Throughout the festival there are a number

of focussed ‘opt-in’ sessions and

initiatives. You will need to apply for some and

deadlines may be fast approaching, so take

action now.

ALL BOOKINGS GO VIA THE BOOKINGS,

SUBMISSIONS AND INFO PAGE

http://www.londonscreenwritersfestival.c

om/delegate-welcome


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Advanced Mentoring Script Labs

Apply for our Advanced Mentoring Script

Labs where you receive three hours of

mentoring from an expert. All labs run for

three hours (Day and time TBC). If you get into

a lab, you will of course miss sessions on

Saturday morning, but most are filmed anyway

and made available later inside the network. If

you want to pitch at the PitchFest, that means

you will also need to avoid that Saturday

morning slot and choose one either later on

Saturday, or on the Thursday, Friday or Sunday.

The labs DO NOT run at the same time as the Actor’s Table Read, so no clash is

possible there.

More information on labs here:

http://www.londonscreenwritersfestival.com/whats-

on/sessions/script-labs

Deadline: opens 4th July 2016, closes midnight 31st July.

The 2016 British

Screenwriters’ Awards

It was about time someone put the

originators and architects of great

storytelling front and centre. We rose to

that challenge in 2014 and launched the

British Screenwriters’ Awards.

This year at the London Screenwriters’

Festival we will run the third British

Screenwriters’ Awards, honouring outstanding writing from newcomers

and established screenwriters in both film and television. And again we

will be expanding categories this year too, championing even more great

screenwriting. Hosted by comedian Rhona Cameron, you can be sure it

will be a star-studded night to remember, so please come along on

Saturday 3rd September at 7.30pm!


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Script Surgery / Euroscript

Get one-to-one script feedback on your

screenplay from an experienced Script Doctor.

Euroscript have around 100 one hour slots

available on a first come, first served basis.

Firstly, you need to submit your script for

consideration: Booking opens on Monday 4th

July and closes on 12th August. Successful

applicants are announced on 16th August after

which they can book a slot with a reader.

http://www.londonscreenwritersfestival.com/scr

ipt-surgery/

NOTE: Slots can go within the first few hours, so be ready to act. If you are

successful you will then need to upload your script or idea immediately after

booking your slot so be prepared or you will lose it.

We also operate a drop-in desk during the festival. So if you want to just

rock up with your script, get some feedback or ask for career advice, head over

to the Script Surgery and book yourself a slot in one of the drop-in sessions.

www.londonscreenwritersfestival.com/whats-on/sessions/we-will-read-your-

script

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 setup ‘Script Chats’ –

special, intimate and informal chats with

speakers that take place directly after their

sessions.

At the end of each session there is a half an

hour break where you can spend time chatting

to speakers in depth. And you are not limited to half an hour, these sessions

have often run on for an hour and a half. 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). 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.

http://www.londonscreenwritersfestival.com/script-chat-2/


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All getting too much?

Visit our resident masseuse in the Final Draft

marquee for a world class 15 minute, revitalising

head and shoulder massage.

Bookings can be taken at the Registration stand after

10:30 on Friday at the festival.

Running out of juice?

Throughout the Final Draft Marque 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.

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.

Final Draft Genius Table

Got a Final Draft question you need answering? Need

a bit of help getting to grips with the features? The

lovely people from Final Draft will be at the festival

and you can drop in at any time to get some world

class expert help from them. Located in the main

Marquee.


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Sessions That Require Advanced Work

During the festival there are a number of sessions that require a bit of prep work

to get the most from them. The complete schedule will be going live in mid

August - http://www.londonscreenwritersfestival.com/schedule

Script To Screen Sessions

We will be running a number of Script To

Screen sessions at the festival.

The idea is simple. We send you the shooting

script that was used on set, you read it, then

watch the film on DVD at home, then attend the

session where we deconstruct the journey of the

project from idea, script, shoot, edit and final

distribution.

All scripts can be downloaded via the

Submissions, Booking and Info Page.

http://www.londonscreenwritersfestival.com/delegate-welcome/

Script To Screen LIVE

Our Script To Screen LIVE events are where we

play the film and discuss it with the writers on

stage, in real time. We suggest you print the

script and bring it with you for these AMAZING

sessions.

All scripts can be downloaded via the

Submissions, Booking and Info Page.

http://www.londonscreenwritersfestival.c

om/delegate-welcome/


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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.

Legal Surgery

Do you have legal issues you need a lawyer to help

you with? All delegates have the option to apply for

legal advice at our legal clinic, run by Blue Pencil

Media.

You can ask any question you like and their legal team

will do their best to answer your concerns. We are

running an application process for the limited slots over the festival. Apply

below.

Submissions are open on 27th June 2016

http://www.londonscreenwritersfestival.com/delegate-welcome/

Deadline is 9th August at 6:00pm

The Elevator Pitch

The idea is simple - the elevator doors open, you

step inside only to find yourself alone with a top

executive… You have 90 seconds to get them to

accept your business card!

This micro workshop, based on the popular myth of

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!


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Festival Week

In the run up to LSF we are running three ‘one day’ events. So you can make a

week of it!

Networking Tuesday, work the

room with confidence: Day 1

of Festival Week

Talent is great but relationships get you

hired. The ability to create powerful new

relationships in any given situation is one of

the primary factors in the success of your

career and that of any screenplay that you

write.

Yet ‘networking’ is an essential skill to master and arguably the biggest hurdle you must overcome in order to find the success your hard work deserves. That’s why we have created this one day workshop in the run up the London Screenwriters Festival called ‘Networking Tuesday’. We know how important it is and we are committed to you getting the most from the upcoming festival.

Date: Tuesday 30th August Time: 9.30am – 6pm Tickets: £48.50 http://www.londonscreenwritersfestival.com/whats-on/sessions/networking-tuesday-work-the-room-with-confidence-day-1-of-londonswf-festival-week


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Advanced Structure with

John Yorke: Day 2 of

Festival Week

The number one reason why great ideas, characters and stories fail at the final hurdle is poor structuring. In one day, shift your project from a great idea that is well executed into one that meets the needs of the film and television industry.

Date: Wednesday 31st August 2016

9:30am to 6:00pm Tickets: £48.50

http://www.londonscreenwritersfestival.com/whats-on/sessions/advanced-structure-with-john-yorke-londonswf-wednesday-2

Writing the TV Pilot that Sells

with Jen Grisanti: Day 3 of

Festival Week

Jen Grisanti has developed a story system

that has led 40 of her clients to sell their

pilots. Five of them went to series. In this

outstanding one day masterclass, Jen will

share with you her system of story that has

proven so successful.

Date: Thursday 1st September 2016

Time: 9:30am to 5:45pm

Tickets: £99


on/sessions/writing-the-tv-pilot-that-sells-with-jen-grisanti


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Pitching Thursday (Evening) With

Pilar Alessandra

Pitching Thursday is back! Our pre-festival, killer

pitch event fast-tracks you for the weekend of

pitching that lies ahead. Get fully ready for your

Pitchfest experience with Pilar.

“Absolutely inspiring and stimulating! It helps

even the shyest guy in the world to gain a

startling self-confidence in pitching. It’s also a

good exercise to test the real value of your

writing.”

Giordano Trischitta (Pitching Thursday 2012)

Date: Thursday 1st September 2016

Time: 6pm to 8:45pm

Tickets: £20.00


on/sessions/pitching-thursday-londonswf-festival-one-day-week-

workshop

New Sessions To Come…

The Writers Room Experience (TBC)

Get locked in for a whole day at the festival with a showrunner (Thursday) and

create a whole episode of a TV show

Speed Networking (TBC)

Meet 30 new writers, producers and directors in our fun and easy Speed

Networking sessions.


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Accommodation for LondonSWF

(onsite)

we are now able to offer cut price AND on-

campus student accommodation courtesy of

Regent’s University Student halls.

Staying on campus is a sure fire way to not

only save valuable sheckles, but you’ll highly

increase your networking opportunities after

hours with over 200 other delegates after

everyone else has gone home.

Reid Hall at Regent’s University offers a selection of single, twin and triple rooms

at the following prices:

Single Room: £64.50 per person per night

Twin Room: £54.00 per person per night

Triple Room: £47.00 per person per night

To book or for more information, please contact [email protected]

More information here… http://www.londonscreenwritersfestival.com/stay-

onsite-at-londonswf-with-the-new-accomodation-offering-from-the-festival

Accommodation for LondonSWF

(offsite)

If you are coming from out of town, we only

recommend the local Travelodge and AirBnB.

Travel Lodge Euston

+44 (0)871 984 6332 1-11

Travelodge Marylebone

+44 (0)871 984 6311


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Final Note From Chris Jones

Holy cow! You can see there is a TON of stuff to

do to get the most from the festival. It’s going to

be an intense three days, so plan for the

marathon.

Being prepared is the best way to get the most from

the festival, so get working on your pitches now.

At any given time there are five sessions running

along with other events like the PitchFest, Labs, Actor’s Table read etc., so there

is a LOT happening. We do film many sessions and those will be marked in the

schedule.

Above all, remember to relax and have fun. Talent is great, but

relationships get you hired. Making friends is often more valuable than

delivering killer pitches or getting business cards from heavy hitters.

Screenwriting is a lifelong pursuit and a creative marathon, not a 100 yard dash.

Good luck and I look forward to seeing you there!

Chris Jones

PS… IMPORTANT

Keep an eye out for emails from me that have a heading ### Important

message from the LSF Team ###

I will use the three hashtags ### to denote an important operational message,

so do please take the time to read them.


27

How To Get The Most Out of

the Festival by Lucy V

So, you’re coming to LSF! Congrats.

This event is put on by writers FOR

writers. We want you to be able to

harness the expertise and

resources available and propel your

writing career forward in 2016.

Every year, delegates ask how to get the most out of LondonSWF, so we asked

blogger, script editor and networker extraordinaire Lucy V to give us her top 7

tips for grabbing LSF by the horns.… strap yourself in!

Plan Ahead

Make sure you study the schedule.

When deciding which sessions to watch

“live”, consider what’s going on at the

same time – remember, most sessions

are filmed, so it’s not “either/or” and

you needn’t miss out altogether.

What’s more, some of the VERY popular

sessions (especially those with

headliners) will be packed out. In contrast, some smaller sessions may bring

more value to you “in the flesh” because less people will be there, meaning you

may get some individual attention from the speaker/s, especially via Q&As.

In addition, consider the value of networking within small groups when others

are in sessions. I’ve lost count of the number of people who’ve told me, “If I’d

gone to see X, I’d never have met Y and now we’re working together on a

project!” More on networking, next.

Networking

Lots of writers worry about

approaching people at events, or

believe erroneously that their

fellow writers are not useful to

them.

Remember, everyone is in the same

boat. Do not huddle together with the

people you know, or sit on your own.


28

Try and mingle wherever possible. If you’re not sure how to start conversations,

here are 10 easy questions to break the ice:

1. What are you working on at the moment? 2. Have you travelled far / what’s your hotel like? 3. Who are you hoping to meet during the festival? 4. Which sessions did you see today / which did you get the most out of? 5. What do you want to get out of the festival? 6. Do you have any pitching tips? 7. What genres are your favourites? 8. Do you prefer movies, or television? 9. Who’s your favourite actor? 10.What do you think of transmedia/multiple platform writing?

Your writer colleagues are your greatest allies – never forget this. Don’t ignore

everyone in the hope of catching Joe Eszterhas at the bar, or harangue your

colleagues into hearing your practice pitch either.

The more conversations you have, the more likely you will be remembered for

the RIGHT reasons… For example: I went to a party, years and years ago. I was

writing a horror screenplay and whilst networking, told my logline to about 5

people. By the end of the night, a young producer (whose path I had NOT

crossed that night), came over to me and said:

“I hear you have a horror screenplay?”

That horror feature lead to one of my first paid writing assignments. Now, let’s

rewind and imagine I’d said to other writers, “Oh this and that” when they’d

asked what I was working on. That’s right: that producer, who’d been going

round asking who had horror scripts, would never have been told by those

writers that I had one. Talk about a no-brainer.

Business Cards

Have some. Do not even THINK

of attending LondonSWF without

any.

Lots of people ask what should go on

their business cards. I recommend a

minimal approach: Name, Job Title,

mobile number, website, email

address.

Social media handles/links to CVs, showreels etc are optional. I always include

my Twitter.


29

Avoid funky fonts, overly flashy or shiny cards – remember people will have

trouble remembering who is who, so will probably want to write reminders on

the back of cards, so make sure there is a blank bit where they can do this.

DO NOT have those itty bitty cards, oversized ones or round ones or whatever.

These get lost far too easily.

IN AN EMERGENCY: if you have no business cards or run out during the festival,

whip out your phone and ask the person in front of you who they are on Twitter.

Follow them immediately. Create a list of people you meet at LondonSWF this

way. Not on Twitter? SIGN UP NOW.

Pitching

Let’s face it: for a lot of LSF

delegates, it’s all about the

pitching. And why not: LSF opens

up a plethora of potential

opportunities for writers, all in one

place. What’s not to like about

that!

So, a few things to remember

when pitching, especially in the

pitchfest:

� Make sure you’ve got your thoughts together.

� Sit down. Smile. Shake your pitchee’s hand if it’s offered.

� DON’T PANIC. No one expects you to be perfect.

� Introduce yourself. Tell them: 1) what you’re pitching 2) what genre it is 3) what the audience is 4) the logline [NOTE: If you trip over your words,

take a deep breath. Start again.]

� Don’t babble. If the pitchee does not seem interested, don’t try and force it. Ask them if they’d like to hear another logline. If they say yes, rinse and repeat the steps above.

� If you don’t have another logline, don’t sit there like a lemon. Ask your pitchee something. Have a conversation. I find a great icebreaker is, “What would you like to see more of in the slush pile?” Make a mental note of any recurring themes, genres, or characters etc that crop up if you ask more than one industry pro this question.

And another thing, lieutenant: Give one pagers to your pitchees only if they

ASK for them and never, ever foist an entire script on them – or anything else

like USB sticks, CDs or photos/props and especially gifts, even if you mean


30

well: it can get really weird. If you have something you want to give someone –

my Bang2writers have brought me chocolate in previous festivals for example –

give it them in the refectory or similar, not a pitching situation!

Also, make sure you know your logline INSIDE OUT and can deliver it

CONVERSATIONALLY and deliver it to all who ask, whether you’re pitching it

formally or not. Remember, a logline is a short description of the plot of your

story. Whatever you do, do NOT confuse a logline with a tagline, which is

the strapline on the front of a poster or DVD box, ie. “In Space No One Can Hear

You Scream.”

Taking Meetings

Want to meet someone specific at

LondonSWF? The advice is simple:

Email him/her before the festival

and arrange IN ADVANCE.

This advice applies whether it’s a fellow

tweeter or an industry pro, btw. What’s

the worst that can happen? S/he says

no, too busy. You’ve lost nothing.

If that person emails back and says yes, they’d be delighted to accept your

invitation for coffee, be sure to pick a SPECIFIC TIME AND DATE. I’ve lost count

of the number of times writers have said, “Let’s have coffee at LSF!” and I’ve

said yes, only to not see them ONCE, despite sitting in communal areas for ages

(as I always do). FYI - If you don’t make an appointment with me, that’s fine –

tweet me at @Bang2write, and I’ll try and make it to se you. DON’T email, DM

or PM me please, these don’t always come through in time.

If you’re not on Twitter, check out the tweet board. I and other speakers will be

using the #LondonSWF hashtag too and mentioning where we are at various

intervals, which will flash up on screen.

Getting there and back

Leave your hotel in plenty of time. Each

day of the festival starts around 9am,

so be sure to arrive before this; lots of

LSF delegates like to have breakfast or

coffee together in the refectory around

8am. Each day finishes around 7.30pm

officially, though there’s opportunity to

network in the bar ‘til late into the

night.


31

Some delegates have to leave earlier than others on the Sunday (especially

those with childcare duties, like me), but if you can try and stay for Chris Jones’

closing speech which is usually around 6pm and lasts half an hour, it’s a great,

positive way to round off the event.

And last but by no

means least…

So if there is a session you are

DESPERATE to see firsthand, make

sure you get there as early as

possible.

Be sociable. Live tweeting is a

thing and we encourage delegates

to use the #LondonSWF hashtag

and share their new found knowledge and insights from 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, those on either side of live tweeters? Don’t accuse

them of not listening, or typing too loudly! ;)

Do note volunteers and LSF staff will 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.

It can be very tempting to have a few jars as Dutch Courage, but try not to get

drunk at the festival. You’ll probably be OK and not offend anyone, spew on

anybody or make anyone think you’re odd, but is it worth the risk?

Remember, it’s a small pond. Try not slag anyone off. You never know who

knows who. This includes various TV programmes, movies, etc. It’s just not

worth it. No one says you have to tell lies about how much you loved a piece of

work if you didn’t, but be positive or risk looking like an amateur.

Concluding

Decide what you want … and go get it,

tiger! Just remember your loglines, your

business cards and don’t be a div. It’s

all about making connections and

forging those all-important

relationships. Good luck!


32

Pitching your screenplay and

movie with Signe Olynyk

How to pitch your movie or screenplay,

by the gal who has run Pitchfest for a

decade!

Like many writers, pitching is something that

hasn’t always come easy to me. As someone

who has had to overcome tremendous shyness

and learn how to pitch in order to get my

movies made, there are a few things I have

learned that might help others to do the same.

Pitching is a necessary evil. You must pitch if you want your project to be

produced. The only sure-fire way to make sure your script never gets made is

to never tell anyone about it. But there is hope – you are probably much better

at pitching than you think. Never pitched before? Think again. When you go to

a job interview, you are pitching. When you convince your friends to see the

latest Bollywood film when everyone wants to see ‘Avengers’, you are pitching.

When your kids plead for another hour past bedtime to play X-Box… Well,

okay. They are pitching you. But you get my point – most of us pitch every

single day without realizing it.

A successful pitch must be much more than simply convincing or selling

someone on something. The best pitches are conversational – as if you are

telling your friends about a great movie you just saw. Conversational means

there is an exchange by both parties – sometimes the person you are pitching

has questions, or they are engrossed with your pitch and respond with their

body language. If you are doing it right, they are engaged and listening to

every exciting word you are sharing, and the communication between you and

the person you are pitching is filled with give and take. You give by telling about

your character’s overall goal, they take by leaning in. You tell them how your

character overcomes their obstacles. They gasp. They ask a question. You give

an answer. A great pitch is like a dance – but you are the one leading and

reacting as your partner responds to you. Give and take, back and forth.

Actually, that sounds like something else. But you get my point. You are

hosting the meeting, and as such, you control the information that is shared. As

the conversation continues, you lead it back to what needs to be conveyed.

One of the biggest mistakes writers make when they are pitching for the first

time is that they tell too much information. Shot by shot, scene by scene – this

is what causes grey hair to grow, and executive eyelids to droop. But how do

you know what is too much? Too little?


33

As my producing partner, the fabulous Mr. Bob Schultz sometimes laments, ‘If I

could tell it to you in 90 seconds, why would I have told it to you in 90 pages’?

Bob is referring to a logline, which is often described as the one sentence, ‘tv

guide’ version of a story. A pitch does not need to be short, but it does need to

be succinct. You need to be extremely selective about the finding the true heart

of your story, and it is much more difficult to do than one might think. It means

stripping away all the hard work you’ve put into your script, and reduce it down

to the bare bones in order to pitch it effectively. We don’t need to know your

character’s backstory. We don’t need to know who you imagine casting as the

lead. All we need are the bones.

And what are the bones? Let’s plot out the skeleton of your pitch.

Title

First, tell me the title of your script. Easy enough,

right? Well, not so fast. Here’s what I’m thinking

about as a producer when you tell me your title

and begin the bones of your pitch…

I am wondering if your title starts with an A, B, C,

or maybe a number. Or is there another title for

your concept that would? People often rent their

films through VOD, Netflix or Red Box these days,

and they generally start at the first letter of the

alphabet and make their way through the movie selections, starting with the ‘A’

titles and working their way down (or starting at ‘Z’ and working up. Rebels, I

know). Distributors also prefer titles with one or two words as they tend to lend

themselves more easily to foreign sales and generally translate more easily into

other languages. Is it a title that captures the theme of your film (ie ‘Alive’,

‘Misery’, ‘United 93’)? Is it a title that is high concept, meaning you

immediately understand what the movie is going to be about, just by hearing

the name (ie ‘Bad Teacher’, ‘Buried’, ‘Contagion’)? Although it isn’t always easy

to create unique titles that fulfill theme, distribution preferences, and still

capture a strong sense of your story, you increase the chance of success for

your screenplay if you do.

Genre

Identify the genre of your film. Is it a comedy?

Horror? Rom-Com or Historical Drama? An

Executive wants to know what genre you are

pitching because it establishes the mood for the

rest of the pitch, and sets up what they can

expect of your story. If you launch right into

your pitch about a woman giving birth to a


34

zombie baby, we need to know whether that script is a comedy or a horror so we

know how to react as you pitch it. If it is a true life story about your zombie

baby, I’m so sorry to hear it. Are the rights available?

Here’s my producer brain again, mulling over what I am listening for and

thinking about as you pitch. The most successful domestic films are not always

the most successful internationally. For the terms of this article, ‘domestic’

refers to North America, and ‘foreign’ refers to everywhere else. Comedies

generally need to have A-list talent to perform well at the box office, and it is

difficult for a company to take a chance with a new writer on a multi-million

dollar movie. Comedy (including Romantic Comedies & what I call ‘Jerk

Comedies’) is also very subjective, and what is funny in North America may be

offensive, or simply not translate well into other cultures or languages

internationally. Action films are still the most successful genres at the box

office, domestically and abroad. However, this genre also tends to be more

expensive to produce, because there are so many setups required (number of

shots) to successfully achieve many of the sequences audiences expect, and

also, because recognizable or A-list cast must generally be attached (translate:

bigger budget).

As I listen to your pitch, I am thinking about whether this is a genre I can raise

enough money for, is it something I can attract cast to, is it unique enough from

every other horror movie out there, and will it sell internationally? Having a

sense of what is important to an exec is important because it can help the

person pitching to identify the reasons why their script may not be an exact fit

for a particular company. You might think an indie producer is kookoo-bananas

for not optioning your big budget studio extravaganza that is a brilliant script (it

really is!), but factors such as ‘can I raise enough money at this point in my

career’ are massive factors that are often beyond your control. My hope is that

by sharing some of this information, you will better understand why an exec

can’t always come on board your project – even if the script is outstanding. It is

often a matter of just finding the right match, and sometimes, well, that just

requires luck and perseverance. Happenstance.

But, I digress. I can write more about some of these issues another time. Let’s

get back to the bones of pitching.

Protagonist

Now that we know the title and genre, we want to

know ‘who is the main character’? Through

whose eyes are we experiencing this story? It

needs to be someone who we can relate to, and

we need to care enough about them and their

goal to want to go on this 90-ish minute journey

with them. As an audience, we want to


35

experience their growth, and see them evolve. Our favorite movies start with a

character who has a certain behavior or world point of view, and through the

challenges they face in pursuit of their goal, they evolve to become a different

person. By the end of the story, your protagonist’s behavior and world point of

view has changed. For better or worse. Experiencing that character growth

allows audiences to escape and live vicariously through the characters. That

ability to escape and be enlightened to a new character perspective is largely

how movies enrich all our lives, and why we go to movies in the first place.

Goal

Once I know the title of your screenplay, the genre,

and who the protagonist is, I will want to know what

that character wants. What physical, tangible goal are

they pursuing? Save the planet from the speeding

meteorite? Get the characters off the bus before it

explodes? Find the groom before the wedding? Come

up with one more cliché goal before I finish this

article? Although an emotional goal can be a

consequence of this pursuit, the goal must be an

actual, physical one. The goal for your main character is not to ‘fall in love’, but

it might be to ‘save the swamp’. Falling in love is often the emotional

consequence. Sigh. We should all save more swamps. Plus, lizards are

awesome.

Obstacles

Okay, now that we know the character’s goal, we need

to know what the increasingly difficult obstacles are

that stand in the way of him, her, or it reaching that

goal. The best screenplays always involve a strong

opponent, whether that nemesis is another character

or monster, a force of nature, or an establishment.

The shark in ‘Jaws’. Jigsaw in the ‘Saw’ movies.

Number Six in the ‘Battlestar Galactica’ tv series. The

demon in the ‘Paranormal Activity’ movies. Darth Vader is all of these things – a

character, a monster, a force of nature, and he represents an establishment.

Villains with their own goals and obstacles that conflict with the goals and

obstacles of your protagonist are often more relatable and interesting than

characters of extreme degrees. The mustache twirling villains and wicked

witches of the past are made more human by putting their needs in direct

conflict with your hero character. One of my favorite writing exercises is to

reverse the roles of my main character and their antagonist, and tell the story

from the other character’s point of view. If you’ve seen the broadway version of

‘Wicked’, you will know how successful that exercise can be. To me, ‘shades of


36

grey’ are always more interesting than characters who are pure evil, or pure

goodness. Although I enjoy hearing Snow White sing.

Making sure the stakes your character faces are serious enough is often where

many screenplays (and pitches) fail. A brilliant script consultant I like to work

with on all my projects is Mr. Robert Southhill ([email protected]). He

often calls these types of scripts a BOSH. Bunch Of ‘Stuff’ Happens. It’s when

one thing after another simply happens to your protagonist, instead of the

character striving towards a specific goal, struggling, and overcoming the

obstacles that are in the way. Your goal has to be a real, physical, tangible goal

that has such dire consequences for your character that we must root for them,

and care enough to go on this journey with them. By making the stakes high

enough for the character, you raise the dramatic impact of each obstacle.

Making sure that the obstacles in your character’s way are increasingly serious is

a way to deepen our commitment to the character and root for their success. If

your character’s goal is to drive from Canada to Los Angeles, who cares? But if

2,500 angry writers will tie her to a stake and roast her at a bbq if she doesn’t

get there and make sure she puts on a great conference for them, then the

stakes are significantly higher. What are the obstacles in the way? 2,700

miles? Construction? Hordes of cattle all over the highway in Montana? Not

good enough. The stakes need to be serious enough that it becomes a ‘do or

die’ effort. Trust me, it is.

Pitching In general

Like a great movie trailer, the pitch should

have a beginning, middle, and an end –

without giving everything away. In the

beginning, you tell who it is about and what

they want. The middle of your pitch is

where you tell what gets in the way of your

protagonist reaching that goal, and what

they did to overcome it. The ending is

where you tell the lesson learned, not just the lesson for the character – but the

lesson that your audience walks away with, enriched for the experience of

having seen your film.

Every pitch is a little bit different. All pitches need to have to have the bones

that I already described, but they also need to be tailored to whoever you are

pitching. If you are pitching an actor, you want to spend more time focusing on

the character. What their character arc is. How they change through the course

of your story. You will want to spend extra time focusing on the juicy bits that

make the role a character an actor would want to play. If you are pitching an

agent, you may also want to pitch yourself and your ability to take on writing

assignments, to write fast, and the connections you already have. If you have

optioned a property and are pitching an investor or studio exec, you are going to


37

expand your pitch to address casting and foreign sales, and budget details.

You’d want to get into who your key crew are, what’s your schedule, your

budget, and financial plan. You have to know who you are pitching so that you

can adjust your pitch to reflect what they are looking for, and target those needs

in your pitch. All pitches should have the bones of your story, and be expanded

upon to be able to address the other needs of whoever you are pitching.

The core. The bones. The skeleton. It all means the same thing. You need to

know who your protagonist is. What they want. What obstacles are in the way

of that goal, and what is the lesson learned.

If you are still nervous about pitching and need more advice, the two best pitch

coaches I know are Bob Schultz ([email protected] – Bob runs the Great

American PitchFest with me, and is also my producing partner) and the awesome

Pilar Alessandra from www.onthepage.tv. Pilar is a pitch and script consultant,

and an exceptional teacher who leads ‘Pitching Thursday’ at the LSF. She has

one of those ‘fill in the blank’ type of templates that essentially does the work for

you. Writers simply fill in the blanks and immediately start pitching. It’s that

easy.

Pitching can be terrifying, especially if it is your first time. But before I sign off,

I want you to take a hard look at yourself. You wrote this brilliant script. You’ve

worked hard to master your craft. And now you’re ready to bring it into the

world. Be proud of that. And confident. You have accomplished something

amazing, so remember that with every pitch meeting you go into. Now, you just

need practice.

Signe Olynyk

www.Pitchfest.com

A Screenwriters Guide to

Networking

Talent is great, but relationships

get you hired.

It’s not about collecting business cards

and convincing yourself that those

cards equal a relationship – it’s about

REALLY connecting with other people

in a meaningful way.

That’s why we network. To make new friends within our professional sphere.

So the real secret to networking is to just hang out like you would with friends,

But move around the group(s) more systematically. You are looking for people


38

with whom you ‘chime’ (click?), with shared values and vision, people who YOU

can help, and lastly, people who can help you too.

The best thing about networking at the London Screenwriters’ Festival is that

you are already amongst friends. So don’t be shy.

Networking Events

These events work because we all agree to

get together in one space at the same time

with an implicit agreement that it’s OK to

just walk up and start talking. Booze, a

darkened room and a bit of music makes it

easier.

Don’t be afraid

The most important thing to remember is

that the person you are approaching is as

nervous as you. They have insecurities too. In fact, the real irony is that they

will probably be thankful that you came to them, and secretly wish that they

were as good at networking as you! Yes I get it, you don’t want to do it. None of

us really enjoy it. But films don’t get made in a vacuum and we all need friends.

So take the plunge. You will be pleasantly surprised.

Look people in the eye and shake hands confidently

When approaching, make eye contact, smile, introduce yourself, shake hands

(not limply) and speak up. When someone shakes hands with that ‘limp’

handshake, you are sending a very direct message – I don’t want to touch you.

If you mumble when talking, you are simply projecting: What I am saying is not

worth listening to. There are plenty other people in the room, why would anyone

waste time with someone who won’t shake your hand or speak up? Get out of

your comfort zone and COMMUNICATE with confidence and clarity.

Ask a question to start the relationship

An easy way in is to ask a question… ‘How are you feeling?’, ‘Did you see that

last session?’, ‘How did you get on in your pitches?’ Keep opening questions

lighter, more personal and conversational. There will be time after you have

made friends to ask about how to send them a script.

Ask questions and listen

Don’t launch into how cool you are and how amazing your script is. Doing this

could just get you into the competitive cycle of mine is better than yours, and

that’s NOT a good way to make powerful new friends and allies. Ask questions.

Interesting questions. Even personal questions. Be genuine in your conversation

and listen. You’d be amazed how much more likeable most of us become if we

just keep our mouths shut for more of the time. When you have something

genuinely relevant, illuminating or valuable, of course get involved. Remember,

experienced people talk about the industry all the time and most of us can’t


39

compete on that level, we just don’t have the knowledge, peer group and

relationships. But talking about ‘the kids’, assuming you both have children, IS

somewhere that you will both share expertise, opinion and rapport.

Don’t Stay In One Place

Every conversation has a natural life – when that’s over, move on. Don’t linger

awkwardly. It’s totally fine to say ‘It was great to meet, and there are so many

others I want to meet here too, so I am going say goodbye for now…’ Shake

hands, smile and move on. And if someone says that to you, don’t get upset. It’s

part of the unwritten agreement we make with each other at these professional

events and parties.

Your need to be ‘right’…

The need to be ‘right’ is toxic - we can all see it in others, but so rarely in

ourselves. Being ‘right’ will shut down conversations, even when you are in fact,

‘right’! So give it up and choose to listen instead. I found out a long time ago

that ‘right’ and ‘wrong’ are opinions and not facts.

Compliment honestly, but don’t go overboard

Everyone likes to be complimented, so offer compliments. But don’t go

overboard, you will come across as a bit desperate. Equally, don’t be

disingenuous; we can all spot a bullshitter. And no-one wants to be friends with

a desperate bullshitter.

Be with that person

When you are with a person, BE with that person. There is a temptation to look

over shoulders, eyeing up the next person to network with, but try to avoid it.

Listen, connect and communicate. Ninety percent of people cannot or do not do

this.

Be a facilitator

Think like a producer and introduce others who you know could benefit from the

relationship. Facilitating success in others will always pay you dividends in the

long run. It also helps you move around the room with great agility.

Be credible

You may not know everything about the business and that’s OK. Being credible

is about learning and applying that knowledge. It’s about humility and courage.

It’s not just about connections and credits. And we all have something to offer.

Bottom line, do not bullshit the bullshitters. Anyone with experience has heard

every line before, so don’t try and appear more important than you really are.

You are you, and you have a huge amount to offer. Don’t sell yourself short by

pretending to be someone you are not.

Give and take cards (and follow up)

Take business cards and exchange them – but understand that most will end up


40

in the bin. You don’t want to leave with 300 business cards from people you

met, you want to leave empowered with FIVE new and meaningful relationships.

Understand What People Want (and that’s you too)

We are all human animals and basically want the same thing. When we enter a

new relationship (networking) we will ask… What can this person do for me? Can

they entertain me? Can they help me get done what I want to get done? Do I

feel at home and attracted to them? Can I get some kind of intimacy? It’s what

they are looking for. It’s what you are looking for too. Don’t take it personally if

people don’t respond to your overtures – not everyone likes the same kind of

music, Star Trek quotes, arthouse movies, strong cheese etc… 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.

Don’t take it too seriously

Smile and make friends. It’s not a competition. Successful and powerful

networking is just about are chatting, meeting new friends and having you fun.

If someone is rude, they are probably insecure, bluffing it, tired and just

generally being human. Let it go.

Finally, remember we are all in this game together.

The industry grows the more we collaborate and help each other. Offer help and

you will receive it. Be humble and you will be rewarded with genuine

relationships. Be bold and courageous and you will find success.

See you at the bar!

Chris Jones


41

Principal Sponsors

Final Draft is the professional’s choice and the

entertainment industry standard in screenwriting

software. www.finaldraft.com

Bluecat Screenplay Competition: Best UK

Screenplay: $1,500, Grand Prize: $15,000!

Deadline: November 15th.

www.bluecatscreenplay.com

Regent’s University and the School of Drama, Film

and Media have played host to the festival since

inception in 2010. www.regents.ac.uk

Screenwriting course accepting no more than 12

students per year and offering a rigorous mixture of

workshops and seminars.

www.alc.manchester.ac.uk

Robert McKee appears in London annually for his

legendary STORY Seminar as well as his TV Drama

Day (part of his GENRE Seminar). mckeestory.com

ScreenCraft is an LA based screenwriting

consultancy and contest platform, providing access

to top professionals. www.screencraft.org

An intensive 8-month full-time postgraduate course

on TV writing and producing, based in Berlin and

taught in English. www.serial-eyes.com

Script Pipeline develops writers for film and

television, connecting them with top producers,

agents, and managers. www.scriptpipeline.com

Creative Skillset empowers the Creative Industries

to develop skills and talent.

www.creativeskillset.org


42

Partners

London’s leading provider of practical filmmaking

courses, based in Ealing Studios.

www.metfilmschool.co.uk

Euroscript offers professional and practical creative

screenwriting courses, consultation and screenwriting

competitions for film and TV.

www.euroscript.co.uk

The Writers’ Guild of Great Britain is a trade union

representing writers for film, TV, radio, theatre,

books, poetry and videogames.

www.writersguild.org.uk/

The Great American PitchFest is an annual event and

has been going since 2003!

pitchfest.com

Scriptapalooza has been around since 1998, it runs

an annual screenplay competition with over $50000

awarded in prizes. scriptapalooza.com

Philip Shelley Script consultancy covers reading,

development and marketing, working with writers,

producers and production companies. script-

consultant.co.uk

Festival Formula strategises film festival submissions

for filmmakers. www.festivalformula.com

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