Crowd-Funding Thoughts

In the past few weeks, crowdfunding has become a hot topic once again thanks to the success of the Veronica Mars Kickstarter campaign. It’s been a hotly debated subject – is crowdfunding now dead to indie creators as it’ll start to be taken over by bigger studios who want to get a bit of extra money in their pockets? Or is it just the beginning of something even bigger? Who knows? But I think that every single person who is planning to or is running a crowdfunding campaign can learn so much from the way this campaign has been run and some of the reasons it’s been so phenomenally successful.

1. Build your fanbase early.

Sure, Veronica Mars was on TV, with a pretty strong and devoted fan following in the years it was on. But they maintained the fanbase since the show has been off the air and when they put out the call to arms, the fans answered. And answered and answered and answered. There’s only a few days left of the campaign, but I reckon that they’ll still hit the five million dollar mark before their campaign is done. So get talking about your project. The easiest way to do stuff like this is to create your digital footprint. Tweet about it. Blog about it. Facebook page it. Make people aware of it. Give them as much access to the journey as you can so that when you need help, there are people there to give it to you. I reckon about 50% of the backers of With A Little Help From Our Friends were people that I’d met through Twitter since starting up the blog. They knew what was going on. And they were eager to help out when we needed to set up the budget.

2. Choose your limit carefully.


Think realistically about how much money you need. Think of the dream about you want. Then settle for somewhere in the middle. Be realistic but not cynical about the amount of money you think you can raise. If I was to do the With A Little Help From Our Friends campaign again, I’ve probably set my target a little higher. That’s not being greedy either – we weren’t asking for much in the first place. But because I wasn’t expecting the support I got (in the end, we raised 132% over our target), we hit the intended amount in the first week. And often once you hit your target, people think that that’s it and the contributions slow down a lot. In a typical campaign, you get most of your contributions in the last twelve hours as everyone comes together to help push you over the line. Rob Thomas of Veronica Mars obviously thought that two million dollars was a stretch (which would be rational thinking!), but looking at it now, if he’d asked for five million, he’d have probably raised that much by now too. Be hopefully realistic about your target limit.

3. Make your perks special.


Your perks are the things that are going to seal the deal. Honestly. If your project looks amazing but your perks are expensive and not thought through, people will hesitate. And you don’t want to give your audience a reason to say anything but yes. Think about the logical steps of money. $2, $10, $25, $50, $100, $200, $500. Maybe with a few others in between. It’s entirely up to you how you structure your perks. But think about giving people value for their money. Research other campaigns that have been successful. Veronica Mars is a great example. $25 for an exclusive t-shirt, exclusive pdf of the shooting script, regular updates and insights into what goes on on set. That’s a banging deal for $25 – especially if you’re a fan. $25 is often the most popular amount contributed to a campaign, so make it count. I remember a friend of mine once said that he’s happy to give $25 to a campaign as it’s like buying a DVD. This is a great point – if you haven’t got DVDs or t-shirts or tangible products until the backers start to hit $100, that’s a REALLY expensive piece of merchandise.

4. Make your pitch video count.


That’s what this is, after all. A pitch video. Keep it brief and to the point – unless you have super cool awesome imagery like The Underwater Realm or The Fitzroy. But if it’s talking heads, get across your tone, story, what you need the money for and yourself. After all, you’re asking people to give you money to trust that you’ll deliver them a product. You need them to buy into you and your project – very literally. There’s loads of space to explain more in writing and I’d really really encourage video updates throughout the campaign as it really helps build a sense of personality and excitement around the project. And by leaving them wanting to know more, they’re more likely to read what the rest of the campaign is about.
5. Do your research.

I really think that this is the key to running a strong campaign. Do your research before you start. There are loads of crowdfunding sites now – which is best for you? Kickstarter? Pozible? Indiegogo? Look into territories – Kickstarter is very US based, Indiegogo is UK based, Pozible is Australia but some support multiple currencies. Look into the wildly popular campaigns that have raised loads of money – what about them worked? Look into ones that haven’t worked and, sadly, failed – why didn’t they reach their target? What is unique about your project that you can offer?
I think that crowd-funding is going to become a much bigger player in independent creative projects. It already has done in the few years since it’s been around. With more projects out there competing against each other for attention, you really need to look at how you can make your work stand out. But it’s not impossible to raise money this way – in fact, I think it’s getting easier as crowdfunding becomes more prominent in the world. 
You’ve just got to be smart about the way you go about it. 
(I wrote a similar post to this as the With A Little Help From Our Friends campaign came to an end here.)

With A Little Help From Our Friends – Update!

I know what you’re thinking. It’s been a billion years since we shot With A Little Help From Our Friends, so why haven’t we seen anything in awhile? I want to thank everyone for their patience and support whilst we’ve been waiting for this to come around.

And it has come around.

I’m very pleased to announce that With A Little Help From Our Friends is finished.

And, to prove it, here’s a sneak peek of the DVD cover:

For all our backers on Indiegogo who gave us more than $10, look out in your inbox for the link to the completed film. For those who gave us more than $25, I’ll be in touch soon to double check your postal addresses to send the DVDs out to.

It’s been a long time in the making – but it does go to show that filmmaking is a long process. And I know for next time to schedule my post production a lot better so that it’s not as time consuming the next time around.

And despite how long it’s taken, it’s been a fantastic process! I’m looking forward to doing research into festivals over the next few weeks, once I’ve sorted out sending out the last few perks from the campaign.

Thanks again to everyone who got involved and helped out – we could not have done it without you. Hopefully it’s a little film that will make you laugh and you enjoy watching as much as we did making it!

Things I Learnt This Weekend: TV Writers’ Studio – Melbourne

Although not technically ‘this’ weekend, on the 23rd – 24th of February, I was lucky enough to attend Epiphany Artists’ TV Writers’ Studio. This took place in Melbourne and in Sydney and I headed off to the Melbourne one as Sydney is a little too far for me to commute. The wonderous gang at Epiphany Artists had pulled together some of the top consultants and writers in LA and dragged them Down Under to chat to a bunch of us Aussie writers – and it was an impressive bunch of people. Jen Grisanti, Steve Kaplan, Carole Kirschner, Ellen Sandler and Glen Mazzara all made the trek down to help inspire a bunch of writers to push themselves to find the best in their writing.

It was a crazy and intense weekend. The good kind of crazy and intense. It was split pretty evenly between a comedy strand and a drama strand, big chunks of the day dedicated to each. This was a great way to do it, I think, as then you could either be really selective about what you wanted to see and slip out during the sessions that didn’t attract you as much or go eagerly to all of them and make thousands of notes, like I did. There was also a third day which was set up to be like a mini writers’ room – again, split into drama and comedy – but I had to get back to work so unfortunately couldn’t go.

It was really fascinating to hear how the system works in LA. The structure of television – particularly in comedy – is so different from what I’m used to playing with in a more British or Australian model. But what I think I learnt the most is that there are so many different ways to approach writing something, so you have to feel really strong in the core elements of your story so that when different writers throw their own style of story at it, the core elements still shine through.

Another really interesting point that it threw up for me, was to really define for yourself as a writer the different core elements you’re working with. To take yourself through your idea and your story step by step to find out the functions of different characters and flagging to yourself something that you may have known subconsciously but bringing it to the forefront of your mind so you can work with it consciously. That was an incredibly useful tool for me to push myself to lock things in. I think that it’s easy as a writer to leave things up in the air and not define things, because sometimes when you define something it feels as though it can never be changed ever again.

But with definitions come creative limitations. And often it’s these limitations that make it a more creative place for you to work. If someone told you to write a short film script about anything you wanted, you’d find it hard to know where to start. But if someone told you to write a short script about absolutely anything, but set in the desert, that’s a creative limitation that allows your mind to work toward something.

By saying to yourself ‘My lead character is a 29 year old woman, who lives and works in a petrol station in the South Australian outback who wants to be free of her life and pursue her dream of becoming a singer, but is stuck there by her over-bearing, small town mother who can’t let go of her daughter and her best friend who is unhappily married and the only mechanic in town,’ you suddenly have a whole lot more possibilities to work with in every episode, story and arc you write than a blank page.

She’s 29 and feels like she’s achieved nothing with her life. Minefield of ideas for how she could try to seize the day. She wants to be a singer – very visual and occasionally musical. Can she actually sing? What if she’s awful? Maybe that’s a running joke – we never hear her sing so are never sure how good she is. The relationship between mother and daughter also holds endless possibilities for stories. Likewise, a potential romance in the best friend AND anyone else who comes through the servo on their way to/from the outback.

Creative limitation.

Define genre, character, protagonist, style and tone, locations and arena of the story, what your protagonist (or central character) wants – what gets them out of bed in the morning? What are they passionate about? Who is your target audience? This last one will usually define your character’s ages and personality. Not always – there are exceptions to every rule.

Mostly though, the weekend was a great way to think differently about my projects. It forced me to look at things from another perspective and I think that always really benefits you as a writer/filmmaker and your project. Even if it’s a completely different opinion to yours – you need to figure out how people made that leap to that space and work out how to guide them better to where you want them. It’s hard work to do, but incredibly beneficial.

Have a go at it. If you don’t like it, you don’t have to use it. That’s the beauty of writing – if something doesn’t work, throw it out. But it’s worth having a go to see what it might throw up.

Breaking In The New Year

It’s the last day on January 2013. I know, where did the last four weeks go, am I right? There’s been loads of new years blogs, talking about resolutions and what you should aim to achieve this year – they go around like wildfires in the first two weeks of January. And now, on January 31st, 2013, let me ask you. How are your resolutions going?

 I never make resolutions. I never really needed to. I’m not the sort of person who loves having a clean slate for a new year. I understand people who do – it’s a great kicking off point, a point in time defined by society that everyone knows about. It certainly is a fantastic time to decide what you want to do over the next twelve months. But I think that if you want to do something, start immediately. If you want to write, write. You want to learn a language? Do it now. Don’t wait. Start exercising? Eat better? Why wait until the end of the month? Start right this second. That’s how I look at things, anyway.

 I know a lot of people aren’t like that. And that’s okay. I have a lot of respect for people who do make resolutions and even more for the people who manage to stick to them. I think it’s awesome to have a goal, a deadline, a drive to achieve something. What I get a little concerned about is when people aren’t realistic about their goals. At the beginning of a year, anything is possible. That doesn’t mean that you should expect yourself to achieve everything.

 ‘I’ll finish that script, start writing those other two, plus three short films and get one of them produced and maybe toss around ideas for a TV show.’

That sounds awesome. But it’s not a realistic goal, really. Maybe if you were writing full time and had no engagements anywhere else. If you have got enough drive to achieve that much, by all means, go for it! That’s awesome. But for the rest of us, that’s a lot of pressure to put on yourself. And when you get to the end of the year and you’ve only finished that script and written two shorts, you might see that as a negative thing. That’s a brilliant thing! That is a fantastic effort and something you should absolutely be proud of.

The other thing I don’t like so much about resolutions is that you lose a bit of flexibility if you stuck to them 100%. If you want to finish your script before you do anything else, what opportunities are you closing yourself off to in the meantime? Life can throw anything at you – don’t shut them out because you think you should do something else in the meantime. If you’re substituting one project for another – excepting commissions and/or other work you’re being gloriously paid to do – ride it out. Go with it. You never know where it might take you.

This is my suggestion for an End of January Resolution. Keep it broad. Keep it simple. The only resolution that I would make this year would be ‘WRITE’. It doesn’t matter how much or how little. As long as I keep writing, that’s the key.

So what’s your End of January resolution for the rest of the year? Make it a verb. Choose something that will make you happy. Then go for it.

Last Blog Post of 2012

Hi all! I hope you’re not too swamped by the impending Christmas holiday and have allowed yourself plenty of time to get things sorted before the 25th. Ha, who actually does that? Christmas movies would be much less exciting if everything was all neat and tidily organised in time for Christmas Day.

I digress.

This will be my last post of 2012 and I just wanted to say thanks to everyone for reading the blog and sharing the posts if you found them useful. It’s been a pretty crazy year for me, both personally and professionally, and everyone who reads this blog has been a part of that.

‘With A Little Help From Our Friends’ is very close to being finished. It has taken a little longer than anticipated but that’s the way it goes when you’re working around full time jobs and differing time zones. Look out for updates on how we’re getting along in 2013, when we start looking toward festivals and other little bits and pieces, like a behind the scenes video and the difficult task of selecting the cover of the DVD!

2012 also changed the way that I write my scripts. I went from writing completely alone, only consulting people once I had a physical script in my hand, to acquiring a co-writer for half of the projects I’m working on at the moment. It’s been challenging and incredibly rewarding to work with someone else – we’re lucky that the skills we have compliment one another’s weaknesses and we work wonderfully well together.

But that being said, I still have my own individual projects that I’m working on (as does he), which have really come into their own this year. I’m incredibly proud of the body of work that I’m building up and can’t help but feel that 2013 has great possibilities for where I go from here!

So to all of you – thank you for reading, I hope you’ve had a wonderful 2012 and I wish you an even better 2013.

Merry Christmas!

Music To My Ears

Music can make or break a film.

I’ve lost count of the amount of times I’ve been watching a film and the perfect song has come on at the perfect moment. I might have never heard that pop song before but it exactly sums up the emotions of that moment. I then go out and buy the soundtrack and listen to the songs over and over again, forever associated with that film, that moment, that emotion. It happened to me with (500) Days of Summer. The soundtrack to that was fantastic. I now can’t hear ‘You Make My Dreams Come True’ by Hall and Oates without picturing most of this sequence.

Instrumental music is just as key. Every single time I hear this music, I get chills and I get immediately transported into the world of Harry Potter. It ebbs and flows, crescendos, crashes, builds, wanes, explodes – there is so much magic and emotion in the music that when I listen to the music, I can often quote lines of dialogue from the movies as I listen as it’s so completely tied in to one another.

Music is something that can be overlooked or underestimated, particularly in low budget films. But it’s astonishing how much music increases the overall production value. In much the same way that spending a little bit of time and money on cameras and sound equipment, finding the right music and having a composer who is willing to work on developing the sound with you is so crucial to the overall presentation of your film.

I was very lucky to have found Tzuriel Kastel via Twitter and he’s been fantastic to work with. There isn’t much that’s more exciting when you’re nearing the end of post-production and you slide some music under the picture locked cut to see it really come to life. Which is, actually, the point that we’re at now, excitingly enough. It’s taken a very long time to get here, but the end is in sight, which is incredibly liberating and (if I may say so) a big relief!

It won’t be too long, all things going well, before the short is finished. Which means that then we’ll have to start focusing on DVDs, festivals and all those fun things – as I think we have some money left in the budget!

Right, I’m going to stick on some music and get some more work done. Where should I go this time? Dancing with John Travolta in Grease/Saturday Night Fever/Pulp Fiction? Making pancakes with Mara Wilson in Matilda?

Oh, I know.

Saving the universe with The Doctor.

Links:

Rewriting.

This week, I’ve decided to continue on rewrites of a project of mine I haven’t touched in months. It’s interesting actually, because up until yesterday, I didn’t feel like I was ready to work on it. I was genuinely concerned that if I’d started working on it last week, or even two weeks ago, that I would manage destroy the good place the project was currently in.

I gave myself time (because at this moment, I’m lucky enough to HAVE time to give myself) and didn’t move on it before I was confident that I could do it justice. I waited an afternoon to give myself a little more distance on the project, rather than making a mess that I’d then have to unpick when I did the next rewrite and create a hell of a lot more work for me.

And these two days, I’ve been really happy with the way it’s coming together.

I remember when I started this rewrite, it was a real battle to get from scene to scene. I’m not sure if it’s because I’m back in a certain headspace or what, but what I’m writing at the moment seems to ebb and flow really well. And I’m discovering how tightly woven my earlier draft was. I’m trying to shave subplots out of it and realise that it links into something earlier or later. It’s frustrating but it’s great fun.

It’s also been a great chance to get back into the world and spend some time with the characters again. I’d forgotten how much fun they were – mostly because I’ve been working on other projects and hanging out with other characters instead – but it seems as though their voices are still ever present and clear in my mind, which is making each tweak easier to accomplish too.

So perhaps if you’re having trouble rewriting, perhaps give yourself a little more time away from it. Don’t be over critical of your work – get someone else to have a look over it and make sure they’re willing to tell you what works and what doesn’t. After all, in a rewrite, it’s just as crucial to identify what works as well as what’s broken.

After all, if you cut out a bunch of plot and character that works, it means the second draft will be a lot less strong and potentially more plot hole-y.

Sorry the post is short this week – but I really am eager to get back to it!

Happy writing!

P.S. Don’t forget, if you are rewriting, I run a script-reading service and am more than happy to help you to get from one stage of your script to the next!

The Scariest and Most Exhilarating Words In The English Language…

…Especially for a writer, are easily these.

The End.

The words The End represent hours, days, weeks, months, even years of work that have been leading up to that moment. Most people don’t even reach them half the time. But to get there is one of the best feelings in the world. You’ve accomplished your goal. You’ve finished that draft! It’s a great achievement to even get to that stage.
But once you’ve eaten your celebratory chocolate and given yourself a well deserved break, reality begins to set in.
What happens next?
It’s an intimidating thought. All the work you’ve done, all the things you’ve planned up until this moment are finished. Everything is ticked off your to do list. Sure, you have one or two notes about this draft, things you wrote but knew at the time you were going to change in the future, but what about the rest of it? All the problems you know are there but don’t know how to fix. Those clanging lines of dialogue amongst the ones that really sing. The character inconsistencies that don’t seem to ever change, no matter what you do.
Taking the next step in your project can sometimes feel like you’re back at the beginning. Particularly with a redraft. But don’t let it overawe you. The End is an incredibly powerful stage to get to, regardless of what draft you’re currently at. If it’s the end of your first draft, you’ve managed to get to the end of your first draft! They can be (and usually are) messy, hideous things that seem to have not a lot of direction and a whole lot of waffle. But you got there. And that means that the second draft will be all the better for a pudgy first draft – more to cut, more to shape and craft, more to streamline.
And the best part about hitting The End? You’re more likely to get there again in your second draft. Or the third one. Or the fourth. And yes, it takes time and effort and work to get to those six letters, but every time you reach them, you’re a step closer to typing them on that project for the last time. For me, that’s such an exciting idea – even if I don’t have any hope of making the film ever. It marks the completion of another stage of me as a writer and (hopefully) becoming even better.
It’s different for everyone, of course, but one fact still remains the same.
The End are the scariest and most elating words you will ever type onto your script.
Or blog post.
The End.

Come Together.

Sorry for the silence on the blog for the last month. It’s been completely manic and I’ve spent most of it in London, where I headed to attend the London Screenwriters’ Festival. Yep, all the way from Melbourne, Australia, to the other side of the world for a screenwriters’ festival. One of the best in the world (although I’m biased as I haven’t been to any others as yet).

The main aim of the festival for me was to shop around a sitcom idea I’ve been working on with my writing partner, Anton. We’ve gotten it to a point where we were both happy enough to put the feelers out to gauge interest on the idea – if you think that’s hard enough when you’re one writer, it becomes even harder when there’s two of you!

One thing that I noticed was that a lot of other writers were fascinated that we wrote together. Some asked why we did it, most asked how we did it and I began to realise that a lot of newer writers wouldn’t even think of writing with someone else. It’s interesting to think about, actually, because I’m not sure that I would choose anyone else to write with – I’m perfectly content writing on my own. I think one of the things that really works between Anton and I is that we still have our own individual projects that we work on alongside our group projects. This helps us to keep our independence so that we don’t have to rely on each other to write.

As for why we did it – I don’t remember ever consciously making the decision to be ‘co-writers’. The two of us were so used to working alongside each other on other projects: shorts, sketches, feature spec scripts – that as we discussed the merits of a sitcom idea, it really began to blaze into life and suddenly we realised that we were writing it together. We fell into it, really, which might be the best way of finding a writing partner. There was no pressure to write something together, no panic about whether we would work well together – we both knew and respected each other’s work, loved each other’s style of writing (which is so important – you really need to be each other’s biggest fan) and knew each other well enough that we could pull each other up on weak writing or mistakes. We just started writing together and that was it!

We’re still figuring out how we do it. After spending the best part of two weeks in each other’s company, we’ve really broken the back of it. Along the way, we quizzed everyone we met who mentioned that they had a co-writer as to how they did it. We met the lovely Ry Russo-Young at Sundance London, who told us about her process writing with Lena Dunham on their film Nobody Walks. Their process complimented each other as Ry also works as a director and Lena as an actress. We also managed to catch up with Sally Phillips at the London Screenwriters’ Festival who was happy to chat about the way she writes with others. And Ralf Little didn’t mind telling us about writing with Michelle Terry on The Cafe.

From chatting to others about how they co-wrote, we started to feel our way into it. It’s a process that needs a bit of patience, especially at the beginning when you’re still getting used to each other. We have definitely found our rhythm as writers and now it’s a matter of getting the words on the page, which we are managing to do a lot faster than we used to. Now that we’ve got that equilibrium, it’s really starting to flow, which is filling each of us with more confidence. And because there are two people working on a comedy script, it really opens up the opportunities for more laughs.

I really recommend working with other writers to strengthen your own work. That doesn’t necessarily mean co-writing, but at least consulting on other writers’ projects. I can’t think of a single project I’ve written in the past two years that I haven’t had someone else read and the best part of having a co-writer is that you can send them your stuff and they have to read it! It also helps build a community of writers around you which is never a bad thing. Surrounding yourself with like-minded people who understand why you spend most of your day in front of your computer is one of the best decisions you could ever make.

And when you find someone who is the same level of crazy as you, it’s amazing the kind of stuff you can come up with.

What To Do At Your First London Screenwriters’ Festival

It’s that time of year again. We’re two weeks out from the biggest screenwriting festival in Britain (I heard a rumour that it’s now the biggest one in the world).

The London Screenwriters Festival.

If any of you know me at all, you’ll know that I love this festival. To bits. Maybe a little bit more than chocolate. I know, right? But when I hit London in mid 2010 and knew I wanted to focus on my writing a little more, this was the first ticket I bought and I reckon it was one of the best decisions I ever made.

I’m not going to lie to you, it’s a huge investment. Especially if you’re not based in London and have to travel to attend – like I am this year, flying back to London from Melbourne (yes, I’ll be there, you should come and say hello!). But, I do think it’s a great way to spend your cold hard cash (they do take card as well) if you’re willing to get the most out of the festival.

‘How do I do that?’ I hear you ask.

For me, the biggest thing I’ve gotten out of the festival for the past two years has been the people I’ve met. That’s the big names – like script consultant royalty Linda Aronson and Disney/Pixar Royalty David Reynolds – as well as other delegates who have become co-writers, consultants and amazing friends.

Proof – Totes me and Dave Reynolds. BFFs.

So, by that logic, the first thing I’d suggest to anyone going to LSF this year is to talk to EVERYONE.

I know the majority of you heading there will be British. Don’t let that stop you! The thing is that you’ll have two main groups of people there. The people who are there for the first time and the people who have been there several times. The people who are there for the first time will ALWAYS want someone to talk to for fear of looking like they’re eating lunch alone. The people who have been there before know that the easiest way to make friends is to talk to everyone. You will never not be welcomed into a conversation – unless you plan on leaping on the stage when David Yates is talking about Harry Potter and interrupting the session (which I definitely was not thinking about ever). It’s so easy to talk to people and you’ve got an instant topic of conversation:

‘How brilliant is this festival?!’

Whilst you talk to people, make sure you talk about them AND yourself. What are your projects? What are theirs? What are you hoping to get out of the festival? You never know who you’re talking to. You never know who might be able to help you out or give you that nugget of information that completely turns your life around. Don’t be afraid to talk about your work either – you might be speaking to a writer about the horror film you’re working on and turns out they know a producer who happens to be looking for horror scripts but they write comedy and so promise to put you in touch. You never know and you have NOTHING to lose by talking to people!

Business cards are also a must. But don’t forget social etiquette when you hand them out. Don’t thrust yourself into a conversation of five people, hand around your business cards without introducing yourself then disappear to the next group of five. I know when that happens to me, I ditch the card as soon as. If you’re not willing to stop and chat to me for five minutes, why would I stop for five minutes to send you an email after the festival? Especially when I have no idea who you are other than the name on your business card. Always have a conversation first, then ask to swap business cards. It doesn’t have to be fifteen minutes long – just long enough that you’ve broken the ice and know a little more about each other.

Be flexible. Plan your days around the flipping amazing speakers they have this year but don’t be afraid to swap at the last minute or stick around to continue that conversation you’re having over lunch. Most of the sessions get filmed and go up on the delegate network after the festival so you can catch up on what you missed later.

If you’re worried about being alone on the first day, use the delegates network or Twitter to find people before you go. There is a really amazing and accessible network of writers and filmmakers out there who are attending the festival so why not suss them out beforehand?

But most of all, ENJOY IT. It’s crazy, overwhelming, manic and inspirational. It’s often the most hectic three days of a screenwriters’ calendar and you have a stonking hangover at the end of it (both literal and metaphorical, depending on how much you drink). I’d urge anyone who’s on the fence to take the plunge – there are discount codes available for tickets and they’re running a fab logline competition on Twitter to win your ticket so GO FOR IT.

Plus, like I said, I’m going to be there. Why wouldn’t you want to come?