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Edinburgh Festival Fringe Participant Roadshow


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Edinburgh Festival Fringe 2012, Participants Roadshow 11 February 2012.

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Edinburgh Festival Fringe Participant Roadshow

  1. 1. Edinburgh Festival Fringe Society Roadshow 11 February 2012 Venue 150 @ EICC
  2. 2. Welcome by Barry Church-Woods
  3. 3. Panelist Introductions
  4. 4. Christabel Anderson
  5. 5. Kath Mainland
  6. 6. Laura Eaton-Lewis
  7. 7. Richard Wetherington
  8. 8. Sam Gough
  9. 9. Barry Church-Woods
  10. 10. Edinburgh Festival Fringe• Largest arts festival in the world• Entirely open access• Began in 1947• Artist led• 2542 events registered in 2011• Ranges across all art forms
  11. 11. Fringe Programme
  12. 12. Festival Fringe and the Festival Fringe Society
  13. 13. Journey from A to B – Summary• Research and sign up to the mailing list on• Find a venue and negotiate your performance slot including dates, times and ticket prices. Visit• Register your show with the Fringe Society• Visit
  14. 14. Fringe Fees• Registration fees are dependent on the length of the run• 1 to 2 shows £96.00 including VAT• 3 to 5 shows £204 including VAT• 6 or more shows £295.20 including VAT if you register by 21 March• 6 or more shows £393.60 including VAT to register by 11 April, the printed programme deadline
  15. 15. Deadlines• 11 April 2012 for the printed programme• Most performers and companies submit their information for the printed programme• 97% of our audience have seen the printed programme• Registration after 11 April for web-only listings is open until the end of the festival
  16. 16. Preparing for the Fringe• Book accommodation• Rehearse your show bearing in mind the technical and time constraints of the Fringe• Maintain contact with your venue• Plan your Media and Marketing campaign
  17. 17. Making the Most of the Fringe• See other shows• Come into Fringe Central, our participants’ centre, for networking and development events
  18. 18. Motivation to Participate in Fringe• Do a show you believe in and meet the punters half way• Can be a launch pad for future touring
  19. 19. Presenting work in Edinburgh• Motivation can be to make piece of work and meet other artists• Formative experience• Remember to print flyers!
  20. 20. Reasons to come to the Fringe• Opportunity to perform with your peers and to producers and promoters• Opportunity to be part of the largest arts festival in the world• An addictive experience!
  21. 21. Why Are You Coming to the Fringe and What Should You Bring?• Understand why you want to do the Fringe• Then pair what you bring with what you want to get out of it• No right answer to what will do well• Believe in your work, bring your best work
  22. 22. Sam Gough• Most venues will offer box office splits• Usually venues will require a guaranteed minimum payment
  23. 23. The Fringe Guide to Choosing a Venue• Visit Fringe_guide_to_choosing_a_venue_2012.pdf• Speak to venue managers and ask questions• Find out how the financial deals work, what is and what isn’t included• What works for you?
  24. 24. Research Venues and Locations• Do lots of research• What other work has been presented in that space?• Where will your show fit in?• Use last year’s programme as a guide, visit:
  25. 25. Venue Financial Models• Free model – venue is free and you dont charge for tickets ‣ Works as a collective• Straight hire fee – venue fee is fixed in advance and you keep all your ticket sales ‣ Works well if you need to know your costs up front• Box office split with guarantee – you and your venue split ticket income ‣ Often 60/40 in the company’s favour but subject to minimum guaranteed payment to the venue
  26. 26. Edinburgh is not Conventional• Shows go on all day and all night throughout the festival• Constant turnover of work• Time of day you perform is important• No right or wrong slot but conventions that exist elsewhere might not apply ‣ Childrens shows often in the morning ‣ Theatre in the afternoon, and ‣ Comedy in the evening – you can follow trends or not
  27. 27. When to Perform• Remember other festivals are taking place in Edinburgh• Think about who your audience is• What are you in competition with?• Ask your venue manager for advice and use last year’s programme
  28. 28. Negotiating Venue Agreement• Trust in the Venue Manager is important• Maintain a good relationship• Location and venue buzz is important• Contact more than one venue, have a number of options• Don’t play venues off against each other• Speak to other companies and artists who have performed at venues• Find your niche
  29. 29. Venue Technical Support• Facilities vary widely ‣ Most will have lights, sound and seating – it could be basic or quite advanced• Communication is key – know what the venue is providing, what you have to bring and who is paying for what• Limited set up time as you are sharing the space with other companies• It’s amazing what you can achieve in limited turnarounds if you are prepared• Think about storage, shared dressing rooms and valuables – know where everything is going• Most venues are temporary so don’t assume anything and keep in contact with the Venue Manager
  30. 30. How do You Get the Money?• Scottish based artists can apply to Made in Scotland by November the year before• Crowdsourcing e.g.• No one answer, talk to other companies• Everything from bake sales to public money
  31. 31. The Fringe Guide to Selling a ShowVisit
  32. 32. The Fringe Programme• Use your programme entry as the cornerstone of your marketing campaign• You have 40 words to sell your show• Show your entry to people who don’t know your show to get their feedback• Image is important• Use your image and text consistently throughout your campaign
  33. 33. Value of a Public Relation Specialist• Not everyone needs a PR specialist, it depends why you are coming to the Fringe• You should have one person to co-ordinate media and marketing• An outside eye is useful in working out how to communicate your message• Find the PR who is right for you, build a personal relationship• If you are looking for reviews and future touring, it’s good to have one person, who knows the Fringe concentrating on your PR
  34. 34. Flyers• Flyers are vital to selling your show• Flyering can be soul destroying!• If you are in a one-person show, ask any other people who are involved to flyer or make pals with other solo performers and flyer for each other• Some shows are suited to flyering in big visual costumes on the Royal Mile, some aren’t• Find similar shows in the Fringe Programme and exit flyer• Engage the audience, get to know people and what they what to see
  35. 35. Fringe Society Resources• Use the Fringe Guide to Selling A Show which includes case studies• Contact the Media team on• Fringe_guide_to_selling_a_show_2012.pdf
  36. 36. Networking Opportunities• Networking is just talking to people, the Fringe is very friendly• Be open to talking to everyone• Be friendly and get to know people properly – you may meet your future collaborators• Be business ready – have flyers and business cards ready• Know what to say about your show and what questions to ask• Come to Fringe Central for events and discussions as an easy way to start your networking• Use the Participant Development service – visit
  37. 37. Sams Advice• Understand how to finance your show• Rehearse a 10 to 15 second pitch which you can give to anyone at anytime – you never know
  38. 38. Richards Advice• Do something you really believe in and love
  39. 39. Lauras Advice• Get together the best team you can• Build a relationship with your venue and PR team
  40. 40. Kaths Advice• Be open to all of the fantastic things happening around you
  41. 41. Christabels Advice• Use the resources of the Fringe Society – we’re here to help, so get in touch• participants•• 0131 226 0026• And in August come and see us at Fringe Central!
  42. 42. Barrys Advice• Look after yourself – eat some vegetables!
  43. 43. Edinburgh Festival Fringe Society Roadshow 11 February 2012For more information on participating in the Edinburgh Festival Fringe, visit Produced by Inner Ear (