<h1>Fleabag Script Analysis: What Makes Phoebe Waller-Bridge's Writing So Damn Good</h1><h1> </h1>If you've ever wondered why Fleabag hits differently from everything else on TV, this episode breaks down exactly how Phoebe Waller-Bridge pulled it off — one brilliant script choice at a time. Host Helen Tompson sits down with script editor and development powerhouse Eleanor Greene (25+ years in the industry, starting as a runner on Queer as Folk) to dig into the first episode of Fleabag with the kind of forensic detail that'll change how you watch — and write — forever. They cover the fourth wall and why it works here when it fails everywhere else, how Waller-Bridge's ruthless honesty shapes every character introduction, the feminist subtext hiding in plain sight, the Obama masturbation scene (yes, really), why the show is comedy and drama and why that question even matters, and the specific script cuts that made the final version so much sharper. Whether you're a writer looking for craft lessons or just a massive Fleabag fan who wants to go deeper, this one's got you covered. <blockquote>"Really good comedy has tragedy at its heart, 'cause otherwise the comedy's got nothing to feed off." — Eleanor Greene</blockquote> 00:00 - Welcome & why Fleabag Ep. 101:30 - Meet Eleanor Greene: 25 years in TV drama03:30 - From Edinburgh Fringe monologue to the fourth wall06:30 - Ruthless honesty & the writer-as-performer10:30 - Opening page: stage directions and the rhythm of 514:30 - Character introductions: inverting the convention20:30 - Lean writing, white space & the "Handsome man / Asshole guy" gag26:00 - The Obama scene & female desire on the page30:00 - Comedy or drama? It's really about length36:00 - The flip test: turning drama into comedy (and back)43:00 - The Save the Cat moment that got cut & the Harry timeline note53:00 - The MacGuffin: the statue, stakes and present-day plot57:00 - Feminism, the Godmother & disagreeing about who's the bitch

Fleabag Script Analysis: What Makes Phoebe Waller-Bridge's Writing So Damn GoodIf you've ever wondered why Fleabag hits differently from everything else on TV, this episode breaks down exactly how Phoebe Waller-Bridge pulled it off — one brilliant script choice at a time. Host Helen Tompson sits down with script editor and development powerhouse Eleanor Greene (25+ years in the industry, starting as a runner on Queer as Folk) to dig into the first episode of Fleabag with the kind of forensic detail that'll change how you watch — and write — forever. They cover the fourth wall and why it works here when it fails everywhere else, how Waller-Bridge's ruthless honesty shapes every character introduction, the feminist subtext hiding in plain sight, the Obama masturbation scene (yes, really), why the show is comedy and drama and why that question even matters, and the specific script cuts that made the final version so much sharper. Whether you're a writer looking for craft lessons or just a massive Fleabag fan who wants to go deeper, this one's got you covered."Really good comedy has tragedy at its heart, 'cause otherwise the comedy's got nothing to feed off." — Eleanor Greene00:00 - Welcome & why Fleabag Ep. 101:30 - Meet Eleanor Greene: 25 years in TV drama03:30 - From Edinburgh Fringe monologue to the fourth wall06:30 - Ruthless honesty & the writer-as-performer10:30 - Opening page: stage directions and the rhythm of 514:30 - Character introductions: inverting the convention20:30 - Lean writing, white space & the "Handsome man / Asshole guy" gag26:00 - The Obama scene & female desire on the page30:00 - Comedy or drama? It's really about length36:00 - The flip test: turning drama into comedy (and back)43:00 - The Save the Cat moment that got cut & the Harry timeline note53:00 - The MacGuffin: the statue, stakes and present-day plot57:00 - Feminism, the Godmother & disagreeing about who's the bitch

The London Screenwriters' Festival Podcast

Ep 027 Fleabag: With Producer Eleanor Greene and Screenwriter Helen Tompson

In this episode, Chris Jones interviews Angela Bhardwaj , a recent graduate of <a href="https://thetalentcampus.com" rel="noopener noreferrer" target="_blank">Talent Campus 9.0</a>, about her transformative experience in the screenwriting program. Angela discusses overcoming personal grief, the supportive and emotionally open environment, and highlights inspiring moments with guests like Charlie Brooker and Anthony Horowitz. The conversation explores unique activities such as fire walking, mentorship, and the importance of community. Angela emphasizes how Talent Campus empowered her as a writer, encouraging others to embrace vulnerability and growth. The episode captures the program’s blend of professional development, emotional exploration, and lasting creative connections. <ul><li>Introduction and Angela’s First Impressions (00:00:06) Chris welcomes Angela, who describes Talent Campus as “rocket fuel” and “Disneyland for screenwriters.”</li><li>Angela’s Writing Background (00:01:34) Angela discusses her experience writing thrillers and her first foray into horror.</li><li>How Angela Discovered Talent Campus (00:02:46) Angela explains how she found out about Talent Campus through LSF events and an email.</li><li>Personal Challenges Before Talent Campus (00:04:14) Angela shares the recent loss of her father and her initial doubts about attending.</li><li>Support and Encouragement to Attend (00:05:45) Chris’s supportive email and a conversation with a previous participant help Angela decide to attend.</li><li>First Day Nerves and Sharing Her Story (00:07:30) Angela describes her anxiety on the first day and being asked to share her personal story.</li><li>Emotional Openness and Group Connection (00:10:20) Angela reflects on how sharing her story fostered emotional openness and connection among participants.</li><li>The Power of Vulnerability in Storytelling (00:11:31) Chris discusses how Angela’s honesty set the tone for a deeper, more authentic experience.</li><li>Standout Moments: Group Sharing and Writing (00:14:26) Angela notes how participants connected personal experiences to their writing and opened up about their work.</li><li>Surprise Guest: Charlie Brooker (00:15:55) Angela recounts the shock and excitement of Charlie Brooker’s surprise appearance and his candidness.</li><li>Guest Speaker: Anthony Horowitz (00:17:58) Angela describes being inspired by Anthony Horowitz’s honesty and unconventional career advice.</li><li>Fire Walk Experience (00:20:23) Angela and Chris discuss the fire walk on day four as a metaphor for bravery and personal growth.</li><li>Overcoming Fear and Taking Action (00:25:09) Angela and Chris reflect on how the fire walk and Talent Campus encourage participants to face fears and take bold steps.</li><li>Screenwriting Masterclasses and Mentorship (00:28:26) Angela highlights the value of John York’s masterclass and working with mentor Emma Millions in small groups.</li><li>Ongoing Support and Community (00:31:10) Angela describes the lasting support, active WhatsApp groups, and increased self-belief gained from Talent Campus.</li><li>Transformation and Letting Go of Cynicism (00:33:22) Angela shares how even skeptical participants became fully engaged and transformed by the end.</li><li>Advice for Prospective Talent Campus Participants (00:35:31) Angela encourages writers on the fence to “jump in” and assures them of the program’s value.</li><li>The Importance of Process and Holistic Growth (00:38:50) Angela advises writers to trust the process, embrace the holistic approach, and write with heart and truth.</li><li>Closing Remarks and Aspirations (00:40:28) Chris and Angela wrap up, expressing gratitude and aspirations for future success.</li></ul>

In this episode, Chris Jones interviews Angela Bhardwaj , a recent graduate of Talent Campus 9.0, about her transformative experience in the screenwriting program. Angela discusses overcoming personal grief, the supportive and emotionally open environment, and highlights inspiring moments with guests like Charlie Brooker and Anthony Horowitz. The conversation explores unique activities such as fire walking, mentorship, and the importance of community. Angela emphasizes how Talent Campus empowered her as a writer, encouraging others to embrace vulnerability and growth. The episode captures the program’s blend of professional development, emotional exploration, and lasting creative connections.Introduction and Angela’s First Impressions (00:00:06) Chris welcomes Angela, who describes Talent Campus as “rocket fuel” and “Disneyland for screenwriters.”Angela’s Writing Background (00:01:34) Angela discusses her experience writing thrillers and her first foray into horror.How Angela Discovered Talent Campus (00:02:46) Angela explains how she found out about Talent Campus through LSF events and an email.Personal Challenges Before Talent Campus (00:04:14) Angela shares the recent loss of her father and her initial doubts about attending.Support and Encouragement to Attend (00:05:45) Chris’s supportive email and a conversation with a previous participant help Angela decide to attend.First Day Nerves and Sharing Her Story (00:07:30) Angela describes her anxiety on the first day and being asked to share her personal story.Emotional Openness and Group Connection (00:10:20) Angela reflects on how sharing her story fostered emotional openness and connection among participants.The Power of Vulnerability in Storytelling (00:11:31) Chris discusses how Angela’s honesty set the tone for a deeper, more authentic experience.Standout Moments: Group Sharing and Writing (00:14:26) Angela notes how participants connected personal experiences to their writing and opened up about their work.Surprise Guest: Charlie Brooker (00:15:55) Angela recounts the shock and excitement of Charlie Brooker’s surprise appearance and his candidness.Guest Speaker: Anthony Horowitz (00:17:58) Angela describes being inspired by Anthony Horowitz’s honesty and unconventional career advice.Fire Walk Experience (00:20:23) Angela and Chris discuss the fire walk on day four as a metaphor for bravery and personal growth.Overcoming Fear and Taking Action (00:25:09) Angela and Chris reflect on how the fire walk and Talent Campus encourage participants to face fears and take bold steps.Screenwriting Masterclasses and Mentorship (00:28:26) Angela highlights the value of John York’s masterclass and working with mentor Emma Millions in small groups.Ongoing Support and Community (00:31:10) Angela describes the lasting support, active WhatsApp groups, and increased self-belief gained from Talent Campus.Transformation and Letting Go of Cynicism (00:33:22) Angela shares how even skeptical participants became fully engaged and transformed by the end.Advice for Prospective Talent Campus Participants (00:35:31) Angela encourages writers on the fence to “jump in” and assures them of the program’s value.The Importance of Process and Holistic Growth (00:38:50) Angela advises writers to trust the process, embrace the holistic approach, and write with heart and truth.Closing Remarks and Aspirations (00:40:28) Chris and Angela wrap up, expressing gratitude and aspirations for future success.

Ep 026: Meet Screenwriter Angela Bhardwaj from Talent Campus 9

Helen Tompson is joined by TV writer, Lisa Holdsworth, to explore the pilot script for Happy Valley by Sally Wainwright. Focusing on what’s happening on the page, they look at how the script establishes character, place, and tone with speed and precision. The conversation covers the opening scene, Catherine’s introduction, the handling of exposition, and how story threads are set in motion. They also touch on structure, pacing, and what pulls us into the next episode. A close, practical read for writers looking to deepen their understanding of how strong television scripts work. ﻿Introduction and Guest Background (00:00:05) Helen introduces the podcast and guest Lisa Holdsworth, who shares her background as a Yorkshire-based TV writer.First Impressions of the Script (00:01:41) Lisa discusses the script’s fast pace, immediate immersion into Catherine’s world, and early introduction of Tommy.Building Tommy’s Character (00:02:21) They analyze how Tommy is built up through exposition before his full reveal, emphasizing his menace.Catherine’s Emotional Monologue (00:02:45) Lisa highlights the emotional impact and economy of Catherine’s monologue about Ryan’s backstory.Script Pacing and Scene Length (00:03:39) Discussion on the drawn-out scene on the page versus its brevity on screen, and the writer’s confidence.Economy and Confidence in Writing (00:04:25) Lisa praises Sally Wainwright’s efficient use of dialogue and action, and her avoidance of melodrama.Advice for Writing Layered Scenes (00:06:06) Lisa gives advice to new writers on handling complex, layered scenes and using dual dialogue.Introducing Catherine: Character and Exposition (00:07:41) They discuss how Catherine’s character is established through action and justified exposition.Effective Use of Exposition (00:08:28) Lisa explains how exposition is delivered naturally, avoiding info-dumping and making every character purposeful.Script’s Circular Structure and Emotional Payoff (00:10:33) They note how plot points come full circle and how emotional moments are earned through setup.Audience Alignment and Emotional Stakes (00:11:33) Discussion on how the script aligns the audience emotionally with Catherine’s perspective on Tommy.Setting Up Series Arcs and Story Threads (00:13:43) They explore the multiple story arcs, especially Kevin’s, and how structure supports both series and episode arcs.Kevin’s Character and Story Structure (00:14:58) Lisa analyzes Kevin’s role as antagonist, his motivations, and the contrast with Catherine’s resilience.Twists and Character Choices (00:17:18) They discuss the clever twist where Kevin’s impatience leads to disaster, and the consequences of his actions.Act Three and Series Hook (00:18:11) Helen asks about structuring the episode’s end to hook viewers for the next episode.Catherine’s Restraint and Character Complexity (00:19:09) Lisa explains Catherine’s adherence to procedure and the complexity of her desires versus her actions.Secondary Characters: Claire and Richard (00:22:57) They discuss how Claire and Richard provide different forms of support, enriching Catherine’s character.Gendered Support and Character Dynamics (00:25:14) Lisa analyzes the gendered dynamics of support from Claire and Richard, and their impact on Catherine.Regional Representation and Sense of Place (00:27:14) Discussion on how Sally Wainwright’s scripts authentically portray Yorkshire without romanticizing it.Authenticity vs. Romanticization (00:27:58) Lisa elaborates on the unvarnished depiction of Yorkshire and the importance of honest regional representation.Advice for Writers: Voice and Pacing (00:32:45) Lisa advises writers to stay true to their voice, get into the story quickly, and learn from Wainwright’s economy.Writing Style and Stage Directions (00:35:11) They discuss Sally’s distinctive stage directions and how they serve both actors and production.Closing Thoughts and Takeaways (00:37:39) Helen summarizes the episode’s key lessons and encourages listeners to study the script for its craft.

Helen Tompson is joined by TV writer, Lisa Holdsworth, to explore the pilot script for Happy Valley by Sally Wainwright. Focusing on what’s happening on the page, they look at how the script establishes character, place, and tone with speed and precision. The conversation covers the opening scene, Catherine’s introduction, the handling of exposition, and how story threads are set in motion. They also touch on structure, pacing, and what pulls us into the next episode. A close, practical read for writers looking to deepen their understanding of how strong television scripts work.﻿Introduction and Guest Background (00:00:05) Helen introduces the podcast and guest Lisa Holdsworth, who shares her background as a Yorkshire-based TV writer.First Impressions of the Script (00:01:41) Lisa discusses the script’s fast pace, immediate immersion into Catherine’s world, and early introduction of Tommy.Building Tommy’s Character (00:02:21) They analyze how Tommy is built up through exposition before his full reveal, emphasizing his menace.Catherine’s Emotional Monologue (00:02:45) Lisa highlights the emotional impact and economy of Catherine’s monologue about Ryan’s backstory.Script Pacing and Scene Length (00:03:39) Discussion on the drawn-out scene on the page versus its brevity on screen, and the writer’s confidence.Economy and Confidence in Writing (00:04:25) Lisa praises Sally Wainwright’s efficient use of dialogue and action, and her avoidance of melodrama.Advice for Writing Layered Scenes (00:06:06) Lisa gives advice to new writers on handling complex, layered scenes and using dual dialogue.Introducing Catherine: Character and Exposition (00:07:41) They discuss how Catherine’s character is established through action and justified exposition.Effective Use of Exposition (00:08:28) Lisa explains how exposition is delivered naturally, avoiding info-dumping and making every character purposeful.Script’s Circular Structure and Emotional Payoff (00:10:33) They note how plot points come full circle and how emotional moments are earned through setup.Audience Alignment and Emotional Stakes (00:11:33) Discussion on how the script aligns the audience emotionally with Catherine’s perspective on Tommy.Setting Up Series Arcs and Story Threads (00:13:43) They explore the multiple story arcs, especially Kevin’s, and how structure supports both series and episode arcs.Kevin’s Character and Story Structure (00:14:58) Lisa analyzes Kevin’s role as antagonist, his motivations, and the contrast with Catherine’s resilience.Twists and Character Choices (00:17:18) They discuss the clever twist where Kevin’s impatience leads to disaster, and the consequences of his actions.Act Three and Series Hook (00:18:11) Helen asks about structuring the episode’s end to hook viewers for the next episode.Catherine’s Restraint and Character Complexity (00:19:09) Lisa explains Catherine’s adherence to procedure and the complexity of her desires versus her actions.Secondary Characters: Claire and Richard (00:22:57) They discuss how Claire and Richard provide different forms of support, enriching Catherine’s character.Gendered Support and Character Dynamics (00:25:14) Lisa analyzes the gendered dynamics of support from Claire and Richard, and their impact on Catherine.Regional Representation and Sense of Place (00:27:14) Discussion on how Sally Wainwright’s scripts authentically portray Yorkshire without romanticizing it.Authenticity vs. Romanticization (00:27:58) Lisa elaborates on the unvarnished depiction of Yorkshire and the importance of honest regional representation.Advice for Writers: Voice and Pacing (00:32:45) Lisa advises writers to stay true to their voice, get into the story quickly, and learn from Wainwright’s economy.Writing Style and Stage Directions (00:35:11) They discuss Sally’s distinctive stage directions and how they serve both actors and production.Closing Thoughts and Takeaways (00:37:39) Helen summarizes the episode’s key lessons and encourages listeners to study the script for its craft.

Ep 025 Happy Valley: Script Conversation with Lisa Holdsworth and Helen Thompson

<h2>Anthony Horowitz: From Desperate Beginnings to Master Storyteller</h2> Anthony Horowitz’s journey into screenwriting began with what he calls pure desperation – not his own, but that of the producers of Robin of Sherwood who needed someone to write for their show. With no television writing experience whatsoever, Horowitz literally bought a “How to Write Television” book and taught himself the craft. His background in myths and legends made him a natural fit for the show, and before he knew it, he was writing for 13 million viewers. It’s a classic example of how sometimes the best opportunities come when you’re least prepared for them. What makes Horowitz particularly fascinating is his chameleon-like ability to adapt his writing voice to different universes. Whether he’s channeling Arthur Conan Doyle for his Sherlock Holmes novels or stepping into Ian Fleming’s shoes for James Bond, he’s mastered the art of hiding his own voice while maintaining the essence of these iconic characters. As he puts it, this skill of writing “in the style of somebody else” became incredibly useful throughout his career, allowing him to work across multiple genres and intellectual properties. When it comes to his creative process, Horowitz describes himself as a “radio receiver” for ideas, believing that good concepts will persist and demand to be explored. He’s particularly passionate about murder mysteries, though not for the reasons you might expect. For him, “Murder mystery is not about murder. Murder mystery is about people. It’s about emotion and it’s about situations.” He’s critical of the “cosy murder” trend, preferring stories that dig deep into genuine human emotions and community dynamics. Looking at the current entertainment landscape, Horowitz isn’t entirely optimistic. He observes that studios are increasingly focused on reproducing past hits rather than creating original content, making it harder for writers to break through with fresh ideas. Despite these industry challenges, his advice to aspiring writers remains refreshingly simple: believe in your work, enjoy the process, and remember that “if you can’t surprise yourself, how can you surprise your reader?” His philosophy is all about maintaining that sense of excitement and originality that has driven his remarkable four-decade career.

Anthony Horowitz: From Desperate Beginnings to Master StorytellerAnthony Horowitz’s journey into screenwriting began with what he calls pure desperation – not his own, but that of the producers of Robin of Sherwood who needed someone to write for their show. With no television writing experience whatsoever, Horowitz literally bought a “How to Write Television” book and taught himself the craft. His background in myths and legends made him a natural fit for the show, and before he knew it, he was writing for 13 million viewers. It’s a classic example of how sometimes the best opportunities come when you’re least prepared for them.What makes Horowitz particularly fascinating is his chameleon-like ability to adapt his writing voice to different universes. Whether he’s channeling Arthur Conan Doyle for his Sherlock Holmes novels or stepping into Ian Fleming’s shoes for James Bond, he’s mastered the art of hiding his own voice while maintaining the essence of these iconic characters. As he puts it, this skill of writing “in the style of somebody else” became incredibly useful throughout his career, allowing him to work across multiple genres and intellectual properties.When it comes to his creative process, Horowitz describes himself as a “radio receiver” for ideas, believing that good concepts will persist and demand to be explored. He’s particularly passionate about murder mysteries, though not for the reasons you might expect. For him, “Murder mystery is not about murder. Murder mystery is about people. It’s about emotion and it’s about situations.” He’s critical of the “cosy murder” trend, preferring stories that dig deep into genuine human emotions and community dynamics.Looking at the current entertainment landscape, Horowitz isn’t entirely optimistic. He observes that studios are increasingly focused on reproducing past hits rather than creating original content, making it harder for writers to break through with fresh ideas. Despite these industry challenges, his advice to aspiring writers remains refreshingly simple: believe in your work, enjoy the process, and remember that “if you can’t surprise yourself, how can you surprise your reader?” His philosophy is all about maintaining that sense of excitement and originality that has driven his remarkable four-decade career.

Ep 024 Anthony Horowitz: Success Strategies for Screenwriters

Award-winning screenwriters Meg LeFauve and Joe Forte share their insights on transforming ideas into movies, crafting powerful characters, taking notes, and navigating today’s screenwriting marketplace. A must-read for emerging screenwriters.

Award-winning screenwriters Meg LeFauve and Joe Forte share their insights on transforming ideas into movies, crafting powerful characters, taking notes, and navigating today’s screenwriting marketplace. A must-read for emerging screenwriters.

Ep023: Meg LeFauve and Joe Forte

<h1>Breaking Into Cannes: A First-Timer's Guide to Film Festival Success</h1>Ever wondered what it's like to rub shoulders with Hollywood stars at one of the world's most prestigious film festivals? Well, that's exactly what Rebecca Colby experienced during her first trip to the Cannes Film Festival. In a candid chat with Chris Jones from the London Screenwriters Festival, Rebecca spilled the beans on everything from chance encounters with Cuba Gooding Jr. to surviving on fancy party appetizers.Here's the thing that might surprise you - Rebecca didn't even have a finished project to pitch when she decided to attend. Like many of us, she questioned whether she should wait until she had something concrete to show. But as she discovered, that's not what Cannes is all about. It's about diving in, making connections, and learning the ropes of the industry. As she put it, "I'm so glad I did because I've learned so much this week."For all the introverts out there (and let's face it, there are plenty of us in the creative world), Rebecca's story is particularly inspiring. She went from being someone who'd typically shy away from networking to confidently working the room at exclusive events. The secret? A combination of preparation, support from the Talent Campus community, and the surprising discovery that industry veterans are actually eager to help newcomers. "People actually want to share what they've learned," she noted, which might come as a relief to anyone nervous about approaching the bigwigs.Let's talk practical stuff - because Cannes isn't just about the glamour. Rebecca and Chris shared some genius tips for making the festival work on a budget. Forget expensive restaurants; apparently, you can survive on party canapés for a week! They also emphasized the importance of timing - the first week is crucial for business networking, and there are clever ways to get accredited without breaking the bank. It's not just about the red carpet events; the Cannes Film Market is where the real business happens.One of the most valuable takeaways from their conversation was the long game perspective. Chris shared a fascinating story about a professional relationship that took twenty years to bear fruit. That's the reality of the film industry - it's not about quick wins but building genuine, lasting connections. Every conversation could lead to something down the line, even if it's not immediate.The transformation in Rebecca's mindset was perhaps the most striking part of the discussion. Before attending Talent Campus, she thought she was years away from being ready for something like Cannes. But sometimes, you become ready by doing the thing you think you're not ready for. As she reflected on her experience, it became clear that stepping out of your comfort zone isn't just about professional development - it's about personal growth too.For anyone dreaming of making it in the film industry, this conversation serves as a reminder that even the most prestigious events are accessible if you're willing to take the leap. The key is to show up, be genuine, and remember that everyone - even the biggest names in the industry - started somewhere. Whether you're a writer, director, or producer, there's room for you at Cannes. You just need to be brave enough to take that first step, even if you're surviving on canapés while you do it.

Breaking Into Cannes: A First-Timer's Guide to Film Festival SuccessEver wondered what it's like to rub shoulders with Hollywood stars at one of the world's most prestigious film festivals? Well, that's exactly what Rebecca Colby experienced during her first trip to the Cannes Film Festival. In a candid chat with Chris Jones from the London Screenwriters Festival, Rebecca spilled the beans on everything from chance encounters with Cuba Gooding Jr. to surviving on fancy party appetizers.Here's the thing that might surprise you - Rebecca didn't even have a finished project to pitch when she decided to attend. Like many of us, she questioned whether she should wait until she had something concrete to show. But as she discovered, that's not what Cannes is all about. It's about diving in, making connections, and learning the ropes of the industry. As she put it, "I'm so glad I did because I've learned so much this week."For all the introverts out there (and let's face it, there are plenty of us in the creative world), Rebecca's story is particularly inspiring. She went from being someone who'd typically shy away from networking to confidently working the room at exclusive events. The secret? A combination of preparation, support from the Talent Campus community, and the surprising discovery that industry veterans are actually eager to help newcomers. "People actually want to share what they've learned," she noted, which might come as a relief to anyone nervous about approaching the bigwigs.Let's talk practical stuff - because Cannes isn't just about the glamour. Rebecca and Chris shared some genius tips for making the festival work on a budget. Forget expensive restaurants; apparently, you can survive on party canapés for a week! They also emphasized the importance of timing - the first week is crucial for business networking, and there are clever ways to get accredited without breaking the bank. It's not just about the red carpet events; the Cannes Film Market is where the real business happens.One of the most valuable takeaways from their conversation was the long game perspective. Chris shared a fascinating story about a professional relationship that took twenty years to bear fruit. That's the reality of the film industry - it's not about quick wins but building genuine, lasting connections. Every conversation could lead to something down the line, even if it's not immediate.The transformation in Rebecca's mindset was perhaps the most striking part of the discussion. Before attending Talent Campus, she thought she was years away from being ready for something like Cannes. But sometimes, you become ready by doing the thing you think you're not ready for. As she reflected on her experience, it became clear that stepping out of your comfort zone isn't just about professional development - it's about personal growth too.For anyone dreaming of making it in the film industry, this conversation serves as a reminder that even the most prestigious events are accessible if you're willing to take the leap. The key is to show up, be genuine, and remember that everyone - even the biggest names in the industry - started somewhere. Whether you're a writer, director, or producer, there's room for you at Cannes. You just need to be brave enough to take that first step, even if you're surviving on canapés while you do it.

Ep022: My First Time In Cannes with Talent Camper Rebecca Colby

<h1>From Grief to Filmmaking: How Mari Found Her Creative Voice Later in Life</h1><h1> </h1>Mari's journey into filmmaking is proof that it's never too late to chase your dreams. After losing her husband, she found herself in her early 50s, looking for a new direction in life. Instead of playing it safe, she dove headfirst into the world of filmmaking, turning her beautifully written short story "Esmeralda" into a compelling film about grief, control, and chicken keeping (yes, you read that right!). What's super cool about Mari's story is how she just went for it. She joined Talent Campus, which she jokingly describes as joining a "cult" of creativity, and started saying yes to every opportunity that came her way. Her approach was refreshingly straightforward - she didn't wait for permission to make a film, she just decided to do it. As she puts it, "You do not need permission to make a film," which has become something of a battle cry for aspiring filmmakers. The way Mari built her film crew is pretty inspiring too. She started by pitching her project at Raindance, where she met her director Vipin. But here's the really awesome part - she was determined to do things right and actually pay her crew. She even got a lodger to help fund the film! That's the kind of dedication that turns dreams into reality. Working with actor Stuart Sessions was another big milestone in Mari's journey. Their collaboration came about through trust and personal connection, which shows how important relationships are in filmmaking. Every step was a first for Mari - from pre-production to working with professional actors - but she tackled each challenge with determination and a willingness to learn. What's particularly cool about Mari's story is how she's embraced the learning curve. Everything about making "Esmeralda" was new to her, but instead of letting that scare her off, she used it as motivation to learn more. She surrounded herself with experienced professionals and wasn't afraid to ask questions or admit when she didn't know something. That kind of humility and eagerness to learn is pretty refreshing. Mari's not stopping with just one film either. She's already working on another short film script about PTSD and has gotten involved with a local film group. She's even tried her hand at stand-up comedy! Her message to other older folks thinking about getting into filmmaking is crystal clear: don't let age hold you back. As she says, "Being older, don't let being older ever hold you back for anything." Her film's premiere at Genesis Cinema in Bethnal Green marks another milestone in her journey, but it feels more like a beginning than an end. Mari's story shows us that with passion, determination, and a willingness to learn, you can reinvent yourself at any age. It's not about having decades of experience or technical knowledge - it's about having the courage to take that first step and the persistence to keep going, even when things get tough. Through Mari's journey from writing to filmmaking, we see how life's hardest moments can sometimes lead to unexpected new beginnings. Her story isn't just about making a film - it's about having the courage to start a new chapter in life when the old one ends, about finding your voice when you thought you might have lost it, and about proving that creativity doesn't have an age limit.

From Grief to Filmmaking: How Mari Found Her Creative Voice Later in LifeMari's journey into filmmaking is proof that it's never too late to chase your dreams. After losing her husband, she found herself in her early 50s, looking for a new direction in life. Instead of playing it safe, she dove headfirst into the world of filmmaking, turning her beautifully written short story "Esmeralda" into a compelling film about grief, control, and chicken keeping (yes, you read that right!).What's super cool about Mari's story is how she just went for it. She joined Talent Campus, which she jokingly describes as joining a "cult" of creativity, and started saying yes to every opportunity that came her way. Her approach was refreshingly straightforward - she didn't wait for permission to make a film, she just decided to do it. As she puts it, "You do not need permission to make a film," which has become something of a battle cry for aspiring filmmakers.The way Mari built her film crew is pretty inspiring too. She started by pitching her project at Raindance, where she met her director Vipin. But here's the really awesome part - she was determined to do things right and actually pay her crew. She even got a lodger to help fund the film! That's the kind of dedication that turns dreams into reality.Working with actor Stuart Sessions was another big milestone in Mari's journey. Their collaboration came about through trust and personal connection, which shows how important relationships are in filmmaking. Every step was a first for Mari - from pre-production to working with professional actors - but she tackled each challenge with determination and a willingness to learn.What's particularly cool about Mari's story is how she's embraced the learning curve. Everything about making "Esmeralda" was new to her, but instead of letting that scare her off, she used it as motivation to learn more. She surrounded herself with experienced professionals and wasn't afraid to ask questions or admit when she didn't know something. That kind of humility and eagerness to learn is pretty refreshing.Mari's not stopping with just one film either. She's already working on another short film script about PTSD and has gotten involved with a local film group. She's even tried her hand at stand-up comedy! Her message to other older folks thinking about getting into filmmaking is crystal clear: don't let age hold you back. As she says, "Being older, don't let being older ever hold you back for anything."Her film's premiere at Genesis Cinema in Bethnal Green marks another milestone in her journey, but it feels more like a beginning than an end. Mari's story shows us that with passion, determination, and a willingness to learn, you can reinvent yourself at any age. It's not about having decades of experience or technical knowledge - it's about having the courage to take that first step and the persistence to keep going, even when things get tough.Through Mari's journey from writing to filmmaking, we see how life's hardest moments can sometimes lead to unexpected new beginnings. Her story isn't just about making a film - it's about having the courage to start a new chapter in life when the old one ends, about finding your voice when you thought you might have lost it, and about proving that creativity doesn't have an age limit.

Ep021: Making 'Esmerelda' with Mari Lawton

<h1>Essential Legal Tips for Screenwriters: A Friendly Guide</h1>Hey there, fellow screenwriters! Let's break down the most important legal stuff you need to know to protect your creative work and keep your career on track.First up, here's some good news about copyright - it's actually super simple! The moment you write your script, you automatically have copyright protection. You don't need to register it or jump through any complicated hoops. That said, you can't copyright an idea alone (bummer, I know), but once you've turned that brilliant idea into a script, you're protected. Pro tip: keep good records of when you wrote things, and make sure you can prove it's your original work.Now, let's talk about option agreements, which are basically like dating before marriage in the film industry. When a producer likes your script, they might want to "option" it, which means they're calling dibs on it for a while. They'll pay you a bit of money upfront (usually not life-changing amounts) for the exclusive right to develop your script. If they end up making it into a film, that's when the real money comes in. Think of it as a try-before-you-buy arrangement for producers.Got a great idea for a script based on a true story? Awesome, but hold up a second! Writing about real people and events can be tricky legal territory. You'll need to be super careful about using public domain information and might need to get permissions from the people involved. The last thing you want is a lawsuit for defamation! Remember that different countries have different laws about image rights too, so do your homework.Teaming up with another writer? Collaboration can be amazing, but it can also get messy without the right groundwork. Always, always, ALWAYS work with people you trust, but don't skip the paperwork. A simple written agreement about who's doing what, who gets what credit, and how you'll split any money can save you from major headaches later.When it comes to protecting your work while pitching it, keep it professional but practical. Sure, you could ask everyone to sign an NDA (Non-Disclosure Agreement), but that might make you look a bit paranoid and could put off potential collaborators. Instead, keep good records of your meetings and send follow-up emails summarizing what was discussed. Build relationships based on trust while keeping your business sense sharp.Remember, these legal aspects might seem overwhelming, but they're just part of the professional writing journey. Focus on creating great work first, but keep these principles in mind. The industry respects writers who understand both the creative and business sides of screenwriting. Stay enthusiastic about your projects, but don't forget to protect your interests along the way. And most importantly, don't let legal concerns stifle your creativity - just be smart about how you handle your work once it's ready to share with the world.

Essential Legal Tips for Screenwriters: A Friendly GuideHey there, fellow screenwriters! Let's break down the most important legal stuff you need to know to protect your creative work and keep your career on track.First up, here's some good news about copyright - it's actually super simple! The moment you write your script, you automatically have copyright protection. You don't need to register it or jump through any complicated hoops. That said, you can't copyright an idea alone (bummer, I know), but once you've turned that brilliant idea into a script, you're protected. Pro tip: keep good records of when you wrote things, and make sure you can prove it's your original work.Now, let's talk about option agreements, which are basically like dating before marriage in the film industry. When a producer likes your script, they might want to "option" it, which means they're calling dibs on it for a while. They'll pay you a bit of money upfront (usually not life-changing amounts) for the exclusive right to develop your script. If they end up making it into a film, that's when the real money comes in. Think of it as a try-before-you-buy arrangement for producers.Got a great idea for a script based on a true story? Awesome, but hold up a second! Writing about real people and events can be tricky legal territory. You'll need to be super careful about using public domain information and might need to get permissions from the people involved. The last thing you want is a lawsuit for defamation! Remember that different countries have different laws about image rights too, so do your homework.Teaming up with another writer? Collaboration can be amazing, but it can also get messy without the right groundwork. Always, always, ALWAYS work with people you trust, but don't skip the paperwork. A simple written agreement about who's doing what, who gets what credit, and how you'll split any money can save you from major headaches later.When it comes to protecting your work while pitching it, keep it professional but practical. Sure, you could ask everyone to sign an NDA (Non-Disclosure Agreement), but that might make you look a bit paranoid and could put off potential collaborators. Instead, keep good records of your meetings and send follow-up emails summarizing what was discussed. Build relationships based on trust while keeping your business sense sharp.Remember, these legal aspects might seem overwhelming, but they're just part of the professional writing journey. Focus on creating great work first, but keep these principles in mind. The industry respects writers who understand both the creative and business sides of screenwriting. Stay enthusiastic about your projects, but don't forget to protect your interests along the way. And most importantly, don't let legal concerns stifle your creativity - just be smart about how you handle your work once it's ready to share with the world.

Ep020: Top Six Legal Questions Screenwriters Ask with Lawyer Julian Wilkins

Horror writing isn’t just about throwing some blood and guts on the page – it’s about diving deep into the darkest corners of your mind and seeing what creepy creatures crawl out. That’s exactly what the folks on the Twisted 50 Volume 3 podcast showed us when they got together to chat about their spine-chilling anthology.The podcast brought together quite the crew – you had Chris Jones hosting, Kate Bemis wearing her editor hat, and three authors (James, Paul, and Lewis) who weren’t afraid to get their hands dirty in the horror genre. Kate kicked things off by admitting she had to wade through 150 stories, which is enough to make anyone’s eyes cross! She joked about needing her glasses, but you could tell she was totally up for the challenge. Things got really interesting when the authors started spilling the beans about their stories. Paul dove into his tale about a serial killer (because who doesn’t love a good murder story, right?), while James took us on a twisted journey through the mind of a psychopath on a date – talk about dinner conversation! Lewis brought something different to the table with his zombie apocalypse story, which actually came from a pretty personal place dealing with depression. It’s pretty amazing how writers can take their dark experiences and turn them into something creative. The whole gang got really deep when they started talking about where they get their inspiration from. It turns out writing horror can be kind of therapeutic – who knew? Lewis really opened up about how feeling out of control in his own life led to his zombie story, saying “I felt I had no control over my own self and the whole outside world is controlling me.” That’s the kind of raw honesty that makes horror stories hit home. One of the coolest things about Twisted 50 is how they handle feedback. Instead of the usual “this is great” or “this sucks,” they’ve got this whole community vibe going on where writers help each other out. James mentioned how easy it is to get lost in your own story and how having fresh eyes on your work can be a game-changer. The editing process sounds more like a writing workshop than a scary editorial chopping block. The conversation took an exciting turn when they started talking about possibly turning some of these stories into movies. I mean, who wouldn’t want to see these twisted tales on the big screen? Paul was practically bouncing off the walls with excitement about the film potential, and honestly, a horror anthology film sounds pretty sweet. The cherry on top was all the advice they dished out for aspiring horror writers. Kate dropped this gem: “The less you care, the better the writing almost always is.” It’s like she’s telling us to stop overthinking and just let our inner Stephen King run wild. They wrapped everything up by inviting writers to submit to Volume 4, basically saying “come on in, the water’s bloody… I mean, fine!” For anyone thinking about dipping their toes into horror writing, this podcast showed that it’s not just about scaring people – it’s about finding your voice, sharing your darkness, and maybe making some friends who are just as twisted as you are. Whether you’re writing about zombies, psychopaths, or things that go bump in the night, there’s room for everyone in this creepy little corner of the literary world.

Horror writing isn’t just about throwing some blood and guts on the page – it’s about diving deep into the darkest corners of your mind and seeing what creepy creatures crawl out. That’s exactly what the folks on the Twisted 50 Volume 3 podcast showed us when they got together to chat about their spine-chilling anthology.The podcast brought together quite the crew – you had Chris Jones hosting, Kate Bemis wearing her editor hat, and three authors (James, Paul, and Lewis) who weren’t afraid to get their hands dirty in the horror genre. Kate kicked things off by admitting she had to wade through 150 stories, which is enough to make anyone’s eyes cross! She joked about needing her glasses, but you could tell she was totally up for the challenge.Things got really interesting when the authors started spilling the beans about their stories. Paul dove into his tale about a serial killer (because who doesn’t love a good murder story, right?), while James took us on a twisted journey through the mind of a psychopath on a date – talk about dinner conversation! Lewis brought something different to the table with his zombie apocalypse story, which actually came from a pretty personal place dealing with depression. It’s pretty amazing how writers can take their dark experiences and turn them into something creative.The whole gang got really deep when they started talking about where they get their inspiration from. It turns out writing horror can be kind of therapeutic – who knew? Lewis really opened up about how feeling out of control in his own life led to his zombie story, saying “I felt I had no control over my own self and the whole outside world is controlling me.” That’s the kind of raw honesty that makes horror stories hit home.One of the coolest things about Twisted 50 is how they handle feedback. Instead of the usual “this is great” or “this sucks,” they’ve got this whole community vibe going on where writers help each other out. James mentioned how easy it is to get lost in your own story and how having fresh eyes on your work can be a game-changer. The editing process sounds more like a writing workshop than a scary editorial chopping block.The conversation took an exciting turn when they started talking about possibly turning some of these stories into movies. I mean, who wouldn’t want to see these twisted tales on the big screen? Paul was practically bouncing off the walls with excitement about the film potential, and honestly, a horror anthology film sounds pretty sweet.The cherry on top was all the advice they dished out for aspiring horror writers. Kate dropped this gem: “The less you care, the better the writing almost always is.” It’s like she’s telling us to stop overthinking and just let our inner Stephen King run wild. They wrapped everything up by inviting writers to submit to Volume 4, basically saying “come on in, the water’s bloody… I mean, fine!”For anyone thinking about dipping their toes into horror writing, this podcast showed that it’s not just about scaring people – it’s about finding your voice, sharing your darkness, and maybe making some friends who are just as twisted as you are. Whether you’re writing about zombies, psychopaths, or things that go bump in the night, there’s room for everyone in this creepy little corner of the literary world.

Ep018: Inside Twisted Minds: A Deep Dive into Horror Writing

<ul><li>Podcast hosted by Chris Jones discussing Talent Campus from the London Screenwriters Festival.</li><li>Guest Delanne shares her success stories after attending Talent Campus 7 in 2019.</li><li>Delanne highlights her experience at Talent Campus as a whirlwind of activities and networking.</li><li>Discusses her movie "Father Christmas is Back," which she wrote while recovering from flu, leading to her first paid writing job.</li><li>Emphasizes the importance of being prepared for opportunities, even in unexpected situations.</li><li>Talks about her book "The Box of Silver Stars," originally pitched at Talent Campus, which she self-published after challenges with traditional publishing.</li><li>Plans to rally the community to support her book's launch for a potential bestseller status.</li><li>Delanne's future projects include writing short films and features, focusing on storytelling rather than mainstream success.</li><li>Encouraged by her daughter to attend Talent Campus, which she credits for her growth as a writer.</li><li>ScreenSkills funded a project, which was welcomed news.</li><li>Balancing a creative career with adult responsibilities (bills, children) is challenging.</li><li>Persistence is key; keep pursuing creative dreams despite setbacks.</li><li>Teaching can help focus on writing.</li><li>Writing is essential for personal happiness and creativity.</li><li>Ideas often come unexpectedly and need time to develop.</li><li>It's important to finish projects to avoid psychological discomfort from open loops.</li><li>Completing projects allows for closure and the opportunity to revisit them later.</li><li>The conversation ended with a hopeful note about future connections and success.</li></ul>

Podcast hosted by Chris Jones discussing Talent Campus from the London Screenwriters Festival.Guest Delanne shares her success stories after attending Talent Campus 7 in 2019.Delanne highlights her experience at Talent Campus as a whirlwind of activities and networking.Discusses her movie "Father Christmas is Back," which she wrote while recovering from flu, leading to her first paid writing job.Emphasizes the importance of being prepared for opportunities, even in unexpected situations.Talks about her book "The Box of Silver Stars," originally pitched at Talent Campus, which she self-published after challenges with traditional publishing.Plans to rally the community to support her book's launch for a potential bestseller status.Delanne's future projects include writing short films and features, focusing on storytelling rather than mainstream success.Encouraged by her daughter to attend Talent Campus, which she credits for her growth as a writer.ScreenSkills funded a project, which was welcomed news.Balancing a creative career with adult responsibilities (bills, children) is challenging.Persistence is key; keep pursuing creative dreams despite setbacks.Teaching can help focus on writing.Writing is essential for personal happiness and creativity.Ideas often come unexpectedly and need time to develop.It's important to finish projects to avoid psychological discomfort from open loops.Completing projects allows for closure and the opportunity to revisit them later.The conversation ended with a hopeful note about future connections and success.

Ep019: Meet Dylanne Corcoran, Finding Representation and Work

<h2>Bringing the Page to Life; Directing This Year’s First Actors Table Read</h2> This past Friday, I had the thrilling honor of producing and directing this year’s first Actor’s Table Read.  The experience exceeded my wildest hopes, setting an exhilarating and promising tone for the rest of the sessions. On a uncommonly warm spring evening, Chris and I welcomed the irrepressible Rebecca Colby to read through a four pages of her screenplay, Overnight Excess, a acerbic comedy with bite, exploring of beauty standards within the modeling industry. With the help of our motley crew of talented actors, Chole J Wigmore, Ben Gardner Gray, Gareth Turkington, and Tiggy Bayley, we played with the characters’ intentions and power dynamics to bring Rebecca’s words to life. As a emerging director within the industry, it was both challenging and exciting to play around with this script that has such a strong voice, relying on each actor’s interpretation of the work and focusing their electric energy to build upon each subsequent read-through. From the first go-around to the final try, I watched as the actors settled into their characters, finding their footing and the confidence to bring a new perspective that Rebecca later commented was ‘revelatory’. As it was a invaluable learning experience for me, and I wanted to share a few of my thoughts for future actors, directors, and writers when applying for to their own Table Reads! <ol><li>Don’t be afraid to try new things.</li></ol> Reading new work is always scary, especially when the creator is in the room with you! There’s an instinct to do everything just right, but with art, there is no right or wrong. As a director, I always bring my own perspective on the work into the room, but I make it a priority to ask the actors for their interpretation of the characters and their motivations. Going in with an open mind is valuable for everyone involved. An actor/director relationship should be symbiotic, listening to each other’s ideas and extracting the best elements to create the best performance.  By playing with different intonation, intention, and direction between reads, I was able to get a sense of what feels right and what best serves the work. For me, this experimentation is crucial to the process.  <ol><li>There are no small roles</li></ol> In any script, there are bound to be leads and supporting roles. When playing a character with loads of lines, it’s not hard to give a nuanced performance based on the sheer quantity of content. However, the most fun roles are the ones where you can craft your own mini-narrative within the grander story! When speaking to each actor about their roles, we were able to exercise the most creativity with the characters who popped in and out. Dissecting leading lady Elle’s insecurities and deuteragonist Roy’s confidence was a clear objective, but working with Gareth and Tiggy to find motivation for their roles as office workers allowed us to mine unique motivation that helped their characters stand out. Just like in real life, each character on the page has a complex backstory that led them to the moment you are performing, and for those who appear less frequently, there is plenty of freedom to bring your interpretation to the page. Make the script fizz by finding ways to bring every character to life with depth, personality and their own arc! <ol><li>Bring your all… even through a screen!</li></ol> There’s something very artificial, even a little bit silly, about acting in a Table Read. There’s little to no staging, stage directions are being read aloud, and, if you’re over Zoom like we were, you’re alone in your room playing off people through a screen. It’s understandable to have trouble getting in the zone when you’re in your own home, but ALL of our actors brought the energy! This is always out goal. Energy truly sets the tone for the entire experience– if one person isn’t feeling it, the whole room is brought down.  Choosing to have fun and foster an encouraging vibe is like a top secret weapon in any directors arsenal, allowing the energy AND performances elevate as confidence in the room grows. It can make or break the experience, so I try not to be shy or hold back, and lead from the front, even if I am nervous. For me, this experience was unforgettable and would not have been possible without such a fantastic writer and cast of actors to help make it happen. We are SO excited for the next Table Reads, and we hope to see you all there!

Bringing the Page to Life; Directing This Year’s First Actors Table Read This past Friday, I had the thrilling honor of producing and directing this year’s first Actor’s Table Read.  The experience exceeded my wildest hopes, setting an exhilarating and promising tone for the rest of the sessions. On a uncommonly warm spring evening, Chris and I welcomed the irrepressible Rebecca Colby to read through a four pages of her screenplay, Overnight Excess, a acerbic comedy with bite, exploring of beauty standards within the modeling industry. With the help of our motley crew of talented actors, Chole J Wigmore, Ben Gardner Gray, Gareth Turkington, and Tiggy Bayley, we played with the characters’ intentions and power dynamics to bring Rebecca’s words to life. As a emerging director within the industry, it was both challenging and exciting to play around with this script that has such a strong voice, relying on each actor’s interpretation of the work and focusing their electric energy to build upon each subsequent read-through. From the first go-around to the final try, I watched as the actors settled into their characters, finding their footing and the confidence to bring a new perspective that Rebecca later commented was ‘revelatory’. As it was a invaluable learning experience for me, and I wanted to share a few of my thoughts for future actors, directors, and writers when applying for to their own Table Reads! Don’t be afraid to try new things. Reading new work is always scary, especially when the creator is in the room with you! There’s an instinct to do everything just right, but with art, there is no right or wrong. As a director, I always bring my own perspective on the work into the room, but I make it a priority to ask the actors for their interpretation of the characters and their motivations. Going in with an open mind is valuable for everyone involved. An actor/director relationship should be symbiotic, listening to each other’s ideas and extracting the best elements to create the best performance.  By playing with different intonation, intention, and direction between reads, I was able to get a sense of what feels right and what best serves the work. For me, this experimentation is crucial to the process.  There are no small rolesIn any script, there are bound to be leads and supporting roles. When playing a character with loads of lines, it’s not hard to give a nuanced performance based on the sheer quantity of content. However, the most fun roles are the ones where you can craft your own mini-narrative within the grander story! When speaking to each actor about their roles, we were able to exercise the most creativity with the characters who popped in and out. Dissecting leading lady Elle’s insecurities and deuteragonist Roy’s confidence was a clear objective, but working with Gareth and Tiggy to find motivation for their roles as office workers allowed us to mine unique motivation that helped their characters stand out. Just like in real life, each character on the page has a complex backstory that led them to the moment you are performing, and for those who appear less frequently, there is plenty of freedom to bring your interpretation to the page. Make the script fizz by finding ways to bring every character to life with depth, personality and their own arc! Bring your all… even through a screen! There’s something very artificial, even a little bit silly, about acting in a Table Read. There’s little to no staging, stage directions are being read aloud, and, if you’re over Zoom like we were, you’re alone in your room playing off people through a screen. It’s understandable to have trouble getting in the zone when you’re in your own home, but ALL of our actors brought the energy! This is always out goal. Energy truly sets the tone for the entire experience– if one person isn’t feeling it, the whole room is brought down.  Choosing to have fun and foster an encouraging vibe is like a top secret weapon in any directors arsenal, allowing the energy AND performances elevate as confidence in the room grows. It can make or break the experience, so I try not to be shy or hold back, and lead from the front, even if I am nervous. For me, this experience was unforgettable and would not have been possible without such a fantastic writer and cast of actors to help make it happen. We are SO excited for the next Table Reads, and we hope to see you all there!

Ep017: Directing This Year’s First Actors Table Read

<h1>Meet Susan Vermeer, Dylan Spicer and Ben McCallum... Three Demented Creative Souls</h1> Ever wondered what it's like to get your horror story published? The Twisted50 podcast gives us a fascinating peek behind the curtain, featuring three writers who made it into their third anthology. It's pretty cool to hear how different their stories are - from creepy social media hauntings to mysterious midnight visitors and spooky swimming pool encounters. The really interesting thing about these writers is that they're just like many of us - people who love writing but maybe haven't taken that big leap into publishing before. Take Ben, for example, who's been writing for years but kept it as his personal hobby. He actually submitted his story at the last minute (talk about cutting it close!) and ended up getting published. That's the kind of success story that makes you think, "Hey, maybe I could do this too!" What really stands out is how supportive everyone is in this community. It's not like those scary writing competitions where you submit your work into a black hole and never hear back. These writers talk about getting tons of helpful feedback from other writers, and how that actually made their stories better. Susan mentions how everyone genuinely wants to help make each story the best it can be - which is pretty refreshing in what can sometimes be a competitive field. The whole process sounds way less intimidating than you might think. Dylan (who actually won an award) keeps emphasizing how "brave" you need to be to just put your work out there. But he also points out that your odds of success are way better than in most other writing competitions. Plus, you get something valuable even if you don't make it into the anthology - actual feedback from real readers! Getting published seems to be a total game-changer for these writers. Ben talks about how amazing it feels when friends and family contact you saying they've bought your book and read your story. That's got to be one of the coolest feelings ever - knowing that people are actually reading something you created. And it's not just about the publication; there's an awards ceremony too, which really makes the writers feel celebrated. For anyone thinking about giving it a shot, these writers have some pretty encouraging words. They emphasize that you really can't lose - worst case scenario, you get some helpful feedback on your writing. Best case? You end up published in a horror anthology! The whole thing wraps up with a touching dedication to Ben's sister Amy, who helped get the project started, which just shows how personal and meaningful this whole experience can be. This isn't just about writing horror stories - it's about finding your tribe, pushing your creative boundaries, and maybe even seeing your name in print. As Dylan puts it, "You can really push an idea. You can have fun with it... you can't really lose." That pretty much sums up what makes this whole thing special - it's a chance to do something creative in a supportive environment where everyone wants you to succeed.

Meet Susan Vermeer, Dylan Spicer and Ben McCallum... Three Demented Creative SoulsEver wondered what it's like to get your horror story published? The Twisted50 podcast gives us a fascinating peek behind the curtain, featuring three writers who made it into their third anthology. It's pretty cool to hear how different their stories are - from creepy social media hauntings to mysterious midnight visitors and spooky swimming pool encounters.The really interesting thing about these writers is that they're just like many of us - people who love writing but maybe haven't taken that big leap into publishing before. Take Ben, for example, who's been writing for years but kept it as his personal hobby. He actually submitted his story at the last minute (talk about cutting it close!) and ended up getting published. That's the kind of success story that makes you think, "Hey, maybe I could do this too!"What really stands out is how supportive everyone is in this community. It's not like those scary writing competitions where you submit your work into a black hole and never hear back. These writers talk about getting tons of helpful feedback from other writers, and how that actually made their stories better. Susan mentions how everyone genuinely wants to help make each story the best it can be - which is pretty refreshing in what can sometimes be a competitive field.The whole process sounds way less intimidating than you might think. Dylan (who actually won an award) keeps emphasizing how "brave" you need to be to just put your work out there. But he also points out that your odds of success are way better than in most other writing competitions. Plus, you get something valuable even if you don't make it into the anthology - actual feedback from real readers!Getting published seems to be a total game-changer for these writers. Ben talks about how amazing it feels when friends and family contact you saying they've bought your book and read your story. That's got to be one of the coolest feelings ever - knowing that people are actually reading something you created. And it's not just about the publication; there's an awards ceremony too, which really makes the writers feel celebrated.For anyone thinking about giving it a shot, these writers have some pretty encouraging words. They emphasize that you really can't lose - worst case scenario, you get some helpful feedback on your writing. Best case? You end up published in a horror anthology! The whole thing wraps up with a touching dedication to Ben's sister Amy, who helped get the project started, which just shows how personal and meaningful this whole experience can be.This isn't just about writing horror stories - it's about finding your tribe, pushing your creative boundaries, and maybe even seeing your name in print. As Dylan puts it, "You can really push an idea. You can have fun with it... you can't really lose." That pretty much sums up what makes this whole thing special - it's a chance to do something creative in a supportive environment where everyone wants you to succeed.

Ep016: Embracing Horror, Inside the Twisted50 Writing Experience

<h1>The Power of Community and Creative Growth: Insights from the Twisted50 Horror Writing Project</h1> In an era where digital connections often feel superficial, the Twisted50 horror writing project stands as a testament to the enduring power of genuine creative communities. Through an enlightening podcast conversation between Chris Jones, Leo from Norway, and Eimear from Ireland, we discover how a shared passion for storytelling can transcend geographical boundaries and transform aspiring writers into published authors. The journey of these writers reveals a profound truth about the horror genre - it's not merely about violence or shock value, but rather a sophisticated medium for exploring deep-seated fears, societal issues, and personal transformations. As Eimear poignantly notes, "I had this idea that horror was very violent... But that's not what horror is about." This revelation challenges our preconceptions and invites us to explore the vast spectrum of horror literature with fresh eyes. The collaborative nature of Twisted50 emerges as a powerful antidote to the isolation often experienced by writers. The project's structure, combining deadlines, peer feedback, and community support, creates an environment where creativity flourishes. Leo's observation that the community is "so important and unfortunately rare in the arts in general" underscores the unique value of this supportive ecosystem.Perhaps most compelling is the project's role in combating imposter syndrome - that persistent doubt in one's abilities that plagues so many creative individuals. Through structured feedback and encouragement, writers find their voice and confidence. The transformation is particularly evident in Eimear's experience, as she progressed from being hesitant about horror to producing multiple short stories and discovering the genre's unexpected mental health benefits. The success of Twisted50 demonstrates that when writers are given the right platform, support, and community, they can overcome their creative barriers and produce compelling work. Leo's experience with his first story about a sadistic job interview shows how the project encourages writers to push boundaries and explore challenging themes while maintaining a supportive environment. For anyone considering joining a writing community or exploring the horror genre, the experiences shared in this podcast make a compelling case for taking that leap. The combination of structured support, diverse perspectives, and genuine encouragement creates an environment where writers can grow, challenge themselves, and ultimately find their unique voice in the vast landscape of horror literature.

The Power of Community and Creative Growth: Insights from the Twisted50 Horror Writing ProjectIn an era where digital connections often feel superficial, the Twisted50 horror writing project stands as a testament to the enduring power of genuine creative communities. Through an enlightening podcast conversation between Chris Jones, Leo from Norway, and Eimear from Ireland, we discover how a shared passion for storytelling can transcend geographical boundaries and transform aspiring writers into published authors.The journey of these writers reveals a profound truth about the horror genre - it's not merely about violence or shock value, but rather a sophisticated medium for exploring deep-seated fears, societal issues, and personal transformations. As Eimear poignantly notes, "I had this idea that horror was very violent... But that's not what horror is about." This revelation challenges our preconceptions and invites us to explore the vast spectrum of horror literature with fresh eyes.The collaborative nature of Twisted50 emerges as a powerful antidote to the isolation often experienced by writers. The project's structure, combining deadlines, peer feedback, and community support, creates an environment where creativity flourishes. Leo's observation that the community is "so important and unfortunately rare in the arts in general" underscores the unique value of this supportive ecosystem.Perhaps most compelling is the project's role in combating imposter syndrome - that persistent doubt in one's abilities that plagues so many creative individuals. Through structured feedback and encouragement, writers find their voice and confidence. The transformation is particularly evident in Eimear's experience, as she progressed from being hesitant about horror to producing multiple short stories and discovering the genre's unexpected mental health benefits.The success of Twisted50 demonstrates that when writers are given the right platform, support, and community, they can overcome their creative barriers and produce compelling work. Leo's experience with his first story about a sadistic job interview shows how the project encourages writers to push boundaries and explore challenging themes while maintaining a supportive environment.For anyone considering joining a writing community or exploring the horror genre, the experiences shared in this podcast make a compelling case for taking that leap. The combination of structured support, diverse perspectives, and genuine encouragement creates an environment where writers can grow, challenge themselves, and ultimately find their unique voice in the vast landscape of horror literature.

Ep015: Writing Short Horror and The Amazing Benefits, Twisted50 Success Stories

<h2>Unpacking Marcus Ryder's Game-Changing Speech on Diversity in Creative Industries</h2><h2> </h2>Recorded at the first <a href="https://thetalentcampus.com/talent-campus-makes-it-reel/" rel="noopener noreferrer" target="_blank">Make It Reel event.</a> Marcus kicked off his talk by connecting ancient Greek theater to modern democracy. It's not just some history lesson - he's showing us how storytelling has always been at the heart of how societies figure themselves out. "You cannot have theatre without eventually leading to democracy." But here's where it gets really interesting - Marcus drops this stat about diversity that had everyone reconsidering. Nearly 97% of us could be considered "diverse" in some way. It totally flips the script on how we usually think about diversity, right? It's not about ticking boxes or meeting quotas; it's about actually representing the real world we live in. The challenging stories unfolded when Marcusr opens up about his role at the Film & TV Charity. The mental health stats he shared are honestly pretty scary - over a third of people in the industry having suicidal thoughts. The charity's work in supporting industry professionals through their tough times shows just how desperately needed these services are. He talks about being an "angry Black man" in the industry, "Working twice as hard to get half as far is not just tiring. The unfairness of it creates anger." He's not just sharing his feelings; he's backing it up with hard facts about the challenges Black-led businesses face. It's the kind of truth-telling that makes people uncomfortable but needs to be said. What really stuck with me was how Marcus emphasized the importance of community and friendship in surviving the industry. His speaks aboput how his success came from building strong networks, especially with other people of color. The way he wrapped it all together was inspiring. Instead of just leaving us with problems, he gave us hope through action. His message about building supportive relationships isn't just nice advice - it's a survival strategy. And it's not just about individual success; it's about changing the whole industry from the inside out. He showed us that behind every diversity statistic, there's a real person with real experiences trying to make it in this industry. That's the kind of perspective that actually changes minds and leads to real change.

Unpacking Marcus Ryder's Game-Changing Speech on Diversity in Creative IndustriesRecorded at the first Make It Reel event. Marcus kicked off his talk by connecting ancient Greek theater to modern democracy.It's not just some history lesson - he's showing us how storytelling has always been at the heart of how societies figure themselves out. "You cannot have theatre without eventually leading to democracy."But here's where it gets really interesting - Marcus drops this stat about diversity that had everyone reconsidering. Nearly 97% of us could be considered "diverse" in some way. It totally flips the script on how we usually think about diversity, right? It's not about ticking boxes or meeting quotas; it's about actually representing the real world we live in.The challenging stories unfolded when Marcusr opens up about his role at the Film & TV Charity. The mental health stats he shared are honestly pretty scary - over a third of people in the industry having suicidal thoughts. The charity's work in supporting industry professionals through their tough times shows just how desperately needed these services are.He talks about being an "angry Black man" in the industry, "Working twice as hard to get half as far is not just tiring. The unfairness of it creates anger." He's not just sharing his feelings; he's backing it up with hard facts about the challenges Black-led businesses face. It's the kind of truth-telling that makes people uncomfortable but needs to be said.What really stuck with me was how Marcus emphasized the importance of community and friendship in surviving the industry. His speaks aboput how his success came from building strong networks, especially with other people of color.The way he wrapped it all together was inspiring. Instead of just leaving us with problems, he gave us hope through action.His message about building supportive relationships isn't just nice advice - it's a survival strategy. And it's not just about individual success; it's about changing the whole industry from the inside out. He showed us that behind every diversity statistic, there's a real person with real experiences trying to make it in this industry. That's the kind of perspective that actually changes minds and leads to real change.

Ep014: Diversity in Film and TV, with Marcus Ryder MBE (Recorded at Make It Reel)

<h1>How to Navigate the Screenwriting Journey: Lessons from a Master</h1>The path to creating a compelling screenplay isn't just about putting words on paper - it's about falling head over heels in love with your story. That's one of the key takeaways from an enlightening masterclass with screenwriter Rowan, who compares writing to marriage: you've got to love it deeply because only that love will get you through the tough times. It's refreshing to hear a professional admit that writing isn't always sunshine and rainbows, but the passion makes it worthwhile. Getting started with a screenplay is like preparing for a long jump - the run-up is actually more important than the jump itself. Rowan emphasizes that before diving into the actual script, writers need to spend time developing their idea, testing it with trusted listeners, and refining it until it sparkles. He suggests creating a 3-5 page document that captures your story's essence, which is way more manageable than diving straight into a full script. One of the most fascinating aspects of Rowan's approach is his "floating" technique - a clever way to handle those darling ideas that you love but might not fit perfectly in your story. Instead of killing them off completely (as the old writing advice goes), he suggests keeping them in a sort of creative limbo. They might find their perfect place later, or they might inspire something entirely new. It's like having a safety net for your creative ideas. The relationship between content and structure comes across as a kind of dance in Rowan's explanation. You need both partners - the what (content) and the how (structure) - to create something meaningful. He breaks down the essential elements that make a story work: a compelling hook, solid turning points, and most importantly, a character's quest that makes the audience genuinely care. His memorable quote, "If you haven't got a quest, the most important thing about your character is what do they want? And why do I give a shit whether they get it or not?" really drives this point home. Theme emerges as another crucial element in Rowan's toolkit. He introduces the concept of a "dramatic argument" - distilling your entire story into one powerful statement. But what's really cool is his two-winged approach to theme: it needs to work both as an abstract message and as something concrete within the narrative. It's like having a philosophical idea that actually plays out in real (story) life. Throughout the masterclass, Rowan maintains this perfect balance between practical advice and inspirational wisdom. He's not just teaching techniques; he's sharing a mindset about how to approach the craft of screenwriting. His emphasis on taking responsibility for your own creative journey while embracing the freedom that comes with it is particularly powerful. When he says, "The more responsibility you take for your own life, the more freedom you will have," it feels like he's talking about more than just writing - it's about the whole creative journey. What makes this masterclass particularly valuable is how Rowan weaves his personal experiences throughout his teaching. He openly shares his struggles and successes with current projects (referred to as Project A and Project N), making the whole process feel more real and achievable. It's like getting a behind-the-scenes look at how a professional writer actually works, complete with all the messy, human moments that make the journey authentic. For anyone serious about screenwriting, the key message seems to be that success lies in the preparation, the passion, and the persistence to keep refining your work. It's not about waiting for inspiration to strike or hoping for a lucky break - it's about putting in the hard work while maintaining that "insane passion" that got you started in the first place.

How to Navigate the Screenwriting Journey: Lessons from a MasterThe path to creating a compelling screenplay isn't just about putting words on paper - it's about falling head over heels in love with your story. That's one of the key takeaways from an enlightening masterclass with screenwriter Rowan, who compares writing to marriage: you've got to love it deeply because only that love will get you through the tough times. It's refreshing to hear a professional admit that writing isn't always sunshine and rainbows, but the passion makes it worthwhile.Getting started with a screenplay is like preparing for a long jump - the run-up is actually more important than the jump itself. Rowan emphasizes that before diving into the actual script, writers need to spend time developing their idea, testing it with trusted listeners, and refining it until it sparkles. He suggests creating a 3-5 page document that captures your story's essence, which is way more manageable than diving straight into a full script.One of the most fascinating aspects of Rowan's approach is his "floating" technique - a clever way to handle those darling ideas that you love but might not fit perfectly in your story. Instead of killing them off completely (as the old writing advice goes), he suggests keeping them in a sort of creative limbo. They might find their perfect place later, or they might inspire something entirely new. It's like having a safety net for your creative ideas.The relationship between content and structure comes across as a kind of dance in Rowan's explanation. You need both partners - the what (content) and the how (structure) - to create something meaningful. He breaks down the essential elements that make a story work: a compelling hook, solid turning points, and most importantly, a character's quest that makes the audience genuinely care. His memorable quote, "If you haven't got a quest, the most important thing about your character is what do they want? And why do I give a shit whether they get it or not?" really drives this point home.Theme emerges as another crucial element in Rowan's toolkit. He introduces the concept of a "dramatic argument" - distilling your entire story into one powerful statement. But what's really cool is his two-winged approach to theme: it needs to work both as an abstract message and as something concrete within the narrative. It's like having a philosophical idea that actually plays out in real (story) life.Throughout the masterclass, Rowan maintains this perfect balance between practical advice and inspirational wisdom. He's not just teaching techniques; he's sharing a mindset about how to approach the craft of screenwriting. His emphasis on taking responsibility for your own creative journey while embracing the freedom that comes with it is particularly powerful. When he says, "The more responsibility you take for your own life, the more freedom you will have," it feels like he's talking about more than just writing - it's about the whole creative journey.What makes this masterclass particularly valuable is how Rowan weaves his personal experiences throughout his teaching. He openly shares his struggles and successes with current projects (referred to as Project A and Project N), making the whole process feel more real and achievable. It's like getting a behind-the-scenes look at how a professional writer actually works, complete with all the messy, human moments that make the journey authentic.For anyone serious about screenwriting, the key message seems to be that success lies in the preparation, the passion, and the persistence to keep refining your work. It's not about waiting for inspiration to strike or hoping for a lucky break - it's about putting in the hard work while maintaining that "insane passion" that got you started in the first place.

Ep013: How to Navigate the Screenwriting Journey: Lessons from a Master with Rowan Joffé at LondonSWF

Podcast from the London Screenwriters Festival

Podcast from the London Screenwriters Festival

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The London Screenwriters' Festival Podcast

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