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2018 ARTIST HANDBOOK
2
CONTENTS
Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Key Dates.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
What is the Fringe?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Registration.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Venues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Artist Opportunities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Ticketing and Settlement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Budgeting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Marketing and Publicity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Festival Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
The Business Side.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
DISCLAIMER
The information in this guide is correct at date of publication. All Artist resources are up-
dated as new information comes to hand. This document was created by Sydney Fringe
and may not be reproduced or copied without prior permission. Full ticketing terms can be
found at sydneyfringe.com and represent the most up to date conditions surrounding tick-
eting and terms.
ARTIST SERVICES SUPPORTED BY
3
VISION
This year the Sydney Fringe turns nine. Over the past eight years we have invested in our
model, carved out a slice of territory for ourselves on the annual arts calendar and found our
voice. While we have been rapidly expanding our international profile, and welcoming more
artists from across the seas, our voice remains uniquely Sydney. First and foremost, we are
here to highlight, amplify and promote the work of local Sydney based artists to the world.
Sydney’s is a brave, new, imaginative, challenging and experimental voice. Our artists push
the boundaries of genre, art form and innovation. Each year we work with our community to
transform the landscape of our city into unique experiences not found in Sydney at any other
time of the year. From activating unused buildings, unlocking hidden gems and presenting
major outdoor activations, the Sydney Fringe Festival connects you to the city in new ways.
We are an annual snapshot of how Sydney feels, where we are and where we are heading. It’s
new, it’s now and 2018 is shaping up to be bolder than ever before.
WELCOME
Welcome 2018 artists!
Over the past few years we have been steadily building a solid platform from which to
support the presentation of your work. Now that we are secure in our operational model
we are excited to be able to provide exciting opportunities for you. We’ve listened to your
feedback and we’ve been busy setting up new programs to help you including a subsidised
and supported Touring Hub, Circus Hub and Dance Hub. New award partnerships to help you
get your work beyond Sydney, and this year we’ve removed inside charges to most shows,
so more dollars end up in your pocket at the end of your season. Sydney Fringe really is your
festival. We are here to support you in any way we can and are eternally grateful for your
energy, passion and the creative offerings you shower on Sydney each year.
We are thrilled to continue our
partnership with Inner West
Council as our Major Partner Artist
Development ensuring that we
continue our vital artist services,
producer masterclasses and to
assist our local artists to develop
sustainable and viable careers.
Enjoy this year’s festival and we
can’t wait to see what you have in
store for us!
KERRI GLASSCOCK
Fesrtival Director / CEO
4
YOUR MAIN POINT OF
CONTACT
artists@sydneyfringe.com
(02) 9550 6087
5 Eliza Street Newtown 2042
5
KEY DATES
ARTIST REGISTRATIONS 31 MAR
CLOSE
MASTERCLASS 1: FUND IT TBA
MANAGED VENUE HIRE 31 MAY
AGREEMENTS DUE
POSTCARD BRANDING
STRIPS AVAILABLE
MANAGED VENUE HIRE 10 JUN
FEES DUE
MASTERCLASS 2: SELL IT TBA
MASTERCLASS 3: MAKE IT TBA
PUBLIC LIABILITY AND 15 JUL
RISK ASSESSMENTS DUE
FOR FRINGE MANAGED
VENUES
PRODUCER SPEED TBA
DATING NIGHT
PROGRAM LAUNCH PARTY 31 JUL
PRINTED GUIDE RELEASED 1 AUG
AND TICKETS ON SALE
6
Inner West
equals
plus
independent
It’s
in our
Inner West Council
proudly supports DNA
artists and creativity, and
is proud to be Major Partner
Artist Development for
Sydney Fringe Festival
For the latest Arts and Culture
in Marrickville, sign up for
Living Arts www.innerwest.nsw.gov.au For the latest Arts and Culture
in Marrickville, sign up for
Home to Sydney’s largest arts community
marrickville.nsw.gov.au artpost.marrickville.nsw.gov.au
WHAT IS THE SYDNEY FRINGE? The Sydney Fringe is an open access arts festival, the largest independent arts festival in NSW. Key facts The Sdney Fringe is an open access festival – meaning that anyone can apply to put on a show in September. There is no selection process and the festival is not fully programmed or curated. We try to find a home for all shows that register to be a part of the Festival. The Fringe curates a few festival events that feature in addition to all the events that register to be a part of the program. The Sydney Fringe does not produce any shows that register through our system. We’re here to provide you with the resources, support and exposure necessary to make your show a success. WHAT’S NEW FOR ARTISTS IN 2018? REMOVED INSIDE CHARGES This year we’ve removed inside charges to most shows, so more dollars end up in your pocket at the end of your season. Sell as many tickets as you can, pocket as many dollars as you can NEW DANCE HUB We’ve listened to your genre-specific needs and we’ve created new Dance Hub at PACT Theatre NEW CIRCUS HUB Join us in the fully-equipped Redbox for our new Circus Hub MORE FRINGE ARTIST PASS BENEFITS A WESTERN SYDNEY CREATIVE DEVELOPMENT PROGRAM TOURING HUB We’ve created a touring hub for international shows and our award-winners from around the country EMERGING ARTIST HUB We’re continuing our Emerging Artist Hub and expanding to three space to support first-time and early-career teams NEW TOURING AWARDS Adding to our existing awards with Melbourne Fringe and NZ Fringe, we’re adding a Perth Fringe World Tour Ready Award and Brighton (UK) Fringe Award as well as more category awards presented by NIDA
2017 SNAPSHOT
332
HOSTED SYDNEY FRINGE
EVENTS IN 2017
1162
INDIVIDUAL SESSIONS OVER 30 DAYS
(23% INCREASE FROM 2016)
Premieres
78.81%
SYDNEY PREMIERES
59.32%
WORLD PREMIERES
61.86%
AUSTRALIAN PREMIERES
Performance experience of majority
of artists in each event
29.31% 0-5 YRS
37.93% 5-10 YRS
32.76% 10+ YRS
REGISTRATION
REGISTRATION PROCESS STEP 3: Pay Participation Fee
The Sydney Fringe is an open access event. Once you’ve provided all your event and venue
The process to register and communicate with needs and paid your participation fee your event
the festival and the venues happens mostly in is officially a part of Sydney Fringe 2018.
a custom built online environment designed
specifically by the Sydney Fringe for our artists.
YOU’RE THEN BLOCKED FROM GOING
We did this to make things as automated and
ANY FURTHER.
easy as possible for you.
At this point in time, we will start working hard
You will need to consider your answers carefully
to find the right venue for your event. You
as the information will be used to populate your
will be contacted during April by our Artist
event page when the site goes live to our ticket
Services Team to discuss your event and venue
buying audience.
requirements.
Our EVENTOTRON portal makes it much easier
Once your event has been matched to a venue, by
to connect with other national and international
the end of May, we will open up the next Steps of
festivals when you’re thinking about taking your
the online portal.
show on the road. Most importantly, it’s easy to
use.
We won’t delve into too much detail here, as you STEP 4: Sessions
will be prompted online, but the main steps are: By now, you will have discussed your contract and
fees with your venue and can enter in the Session
STEP 1: Create an account + create (dates and times) that you have agreed on +
an event ticket categories and prices.
Once you have registered with your email address,
you will be sent a password to your email. Use STEP 5: Festival Guide
that password to login to EVENTOTRON. Once
You’ll be able to upload your final copy and
logged in, click + ADD EVENT.
imagery for the Festival guide and see a LIVE
PREVIEW of exactly how your listing will appear
STEP 2: Enter All Details and in the guide!
Venue Requirements
This is where you tell us about you, your event STEP 6: Approval + Sign-off
and what you need in a venue. We’ve kept the
In Step 6 you will be able to sign off on your
questions as simple as possible and you’ll be
event, approve how it will appear in the guide,
guided through the process with progress bars in
and sign the ticketing conditions.
each section.
The Venue Requirements section is where you
INTERNATIONAL PERFORMERS
provide us with all the relevant information so
that we can match you to a venue. The Sydney The Sydney Fringe welcomes International
Fringe plays an active role ensuring that works Performers. The Registration process is the same
are matched to the right venue. If you already as for a local performer, but you will be required
have a venue in mind, there is an opportunity to to answer a few more questions relating to
let us know about it in this Step. financials and taxation (For further information
refer “Ticketing and Settlements”)
The final question of the Venue Requirements lets
you read and sign off on the 2018 Event Presenter If you are an international performer, you are
Terms and Conditions. responsible for ensuring that your have the correct
Visa’s to perform in Australia. The Sydney Fringe
can offer limited support in the area of Visa’s.
Please contact artists@sydneyfringe.com for
further information.
11EVENT GENRES
When you register your event you’ll need to select from the following genres:
THEATRE
MUSIC
COMEDY
VISUAL ARTS
DANCE
SPOKEN WORD
& POETRY
PHYSICAL THEATRE
& CIRCUS
MUSICAL THEATRE
& CABARET
WORKSHOPS
& TALKS
FILM
FRINGE KIDS
12PARTICIPATION FEES
Our 2018 fees are:
1-3 SESSIONS 4-6 SESSIONS 7+ SESSIONS
PERFORMANCE $268 $397 $491
VISUAL ART $268
Participation Fees are GST free
Participation fees are non-refundable. Please think carefully about the amount of sessions you select.
What does my fee get me?
• An event listing/tile in the Sydney Fringe printed guide (40,000 distributed in 2017 throughout
metropolitan Sydney and beyond)
• A unique show page with ticket buying click-through on the Fringe Website sydneyfringe.com
• Ticketing and box office management provided by the Sydney Fringe
• Access to discounted advertising through Fringe Sponsors where possible
• Free access to all Artist Masterclasses
• The potential to be highlighted in Fringe features and advertising, in media partner publications
and online, where possible
• Artist Passes - access to see most shows for free
• Eligibility to be considered for a Fringe Award
• Access to touring networks
• Access to ticketing promotions
• Inclusion in ‘what’s on this week’ Social Media promotion
• Access to producer speed-dating night
Please note: Artists are responsible for all of the presentation, production and marketing costs
relating to their events
Your event is not official until payment of the participation fee is received.
13VENUES 14
OUR UNIQUE VENUE MATCHING PROCESS
While we’re an open access Festival, we take on the role of matching artists to their venue. This
ensures that artists find the right space for their event and have a greater chance of cost recovery.
Our team uses their knowledge of the industry and the city to work with producers and find the right
space. This process has also proven very successful with interstate and international artists who aren’t
familiar with the Sydney scene.
As part of your online registration you will need to document all of your venue requirements. The
Sydney Fringe will use this information to match you to an appropriate venue. Our Artist Services
Team will also contact each producer individually to discuss venue needs. You may already have a
venue in mind for your event or already be in conversation with a venue. If that’s the case you’ll have
the opportunity to let us know during the registration process.
EMERGING ARTIST HUB
As part of our commitment to supporting first-time artists and producers, the Sydney Fringe will
operate an Emerging Artist Hub to provide a safe and affordable home for new producers to bring
their work to life in a supported environment. The Hub also provides an opportunity for audiences
seeking emerging work to find it in one home. You can nominate for your show to be considered for
the Emerging Artist Hub during the registration process in ‘Venue Essentials’.
FRINGE-MANAGED VENUES VERSUS SATELLITE VENUES
The Sydney Fringe manages several venues during the festival. Artists programmed in these venues
will be charged a straight venue hire fee and will receive 100% of box office less any other applicable
charges, and GST if applicable.
Events programmed in other venues, which we call ‘satellite venues’, will be subject to a direct
agreement between the artist and the venue in regard to venue hire. Depending on the venue, a
number of hire structures may exist. Some of these include:
Straight Hire - Venues charge a fixed flat rental per week
Box Office Split - artist and venue split the box office takings to account for venue hire
Straight Hire / Box Office Split - venue charges a cheaper rental fee plus a share of box office
(e.g. 10 or 15% of box office)
No Venue Hire - there may still be charges for tech, equipment, staff etc. Some venues will waive
venue hire for events they feel will generate other revenue streams e.g. a bar
PLEASE CHECK OUR WEBSITE FOR UP TO DATE VENUE INFO
Check the sydneyfringe.com ARTISTS Tab for up to date venue information.
This year, we’ll publish a list of all participating Fringe venues as they sign on.
We’ll also list all our Fringe-managed venues, our special Hubs and any other
exciting venue opportunities.
15ARTIST
OPPORTUNITIES
16E-BULLETIN and Box Office policies of the venue you are
attending.
You’ll receive regular bulletins with key deadlines,
new opportunities and extra support for all those • Events for which Artist Passes cannot be used
nuts and bolts along the way. They will be sent for entry will be published on the Sydney
straight to your inbox so read them carefully and Fringe website.
stay in the loop.
• Collection times for artist passes will be
advised in artist newsletters
• Artist passes will be available from the Sydney
AWARDS
Fringe office from 1 September 2018
Judged by an industry panel of judges, awards
for genre excellence are presented on the last day
of the Festival. In addition to genre excellence, all
PRODUCER MASTERCLASSES
registered events are eligible to be considered for:
AND NETWORKING NIGHTS -
FUND IT. SELL IT. MAKE IT.
Melbourne Fringe Tour Ready Award
A 3-part Masterclass series presented in
SYNZ Award (with NZ Fringe) partnership with NIDA is designed to provide
Critical Stages NSW Touring Award detailed hands-on advice to guide you through
producing your event. We will provide you with
Perth Fringe World Tour Ready Award
additional printed resources, worked examples,
Brighton (UK) Fringe Award and an opportunity to ask questions and hear
from guest industry experts. The masterclasses
align with key festival dates to provide the
ARTIST PASS support you need as you work toward target
deadlines.
If there’s an empty seat, you can fill it for free as a
Fringe registered artist. This is our way of helping And why stop there? We’re hosting all
artist to support each other and to experience the masterclasses in one easy to get to location. Each
work the Fringe artistic community is making. masterclass will be followed by the opportunity to
network with other artists over a drink from the
Conditions of use:
bar.
• Your pass will only be issued once - they
cannot be repalced if stolen or lost
The National Institute of Dramatic Art (NIDA)
• The pass is not transferable and photo ID may
is pleased to continue our partnership with
be requested
the Sydney Fringe Festival which this year as
• If you are suspected of sharing your pass it the official partner of the festival’s Producer
will be revoked for the duration of the festival. Masterclass Program, in addition to the sponsor
This decision wil be at the discretion of the of the Emerging Artist Hub. Through this
Sydney Fringe management. partnership, NIDA continues to play a profound
role in empowering Australia’s storytellers and
Pass Entitlements:
cultural leaders.
Your pass allows you free entry into most Sydney
- NIDA
Fringe shows that have available seats. It is a
simple process. Just turn up before the show and
if there is an available seat, it’s yours.
Please note:
• You must comply with the Front of House
171
FUND IT
Fundraising and Budgeting
When: TBA
Where: Old 505 Theatre, 5 Eliza Street Newtown
Successfully managing a budget is essential to producing arts events. This
workshop will guide you line-by-line through your budget, give you tips for
reducing your costs and optimising your revenues, and leave you feeling
confident about the financial control of your project.
This workshop will also help you to create a funding strategy by taking an
in-depth industry look at your funding options. We’ll take a detailed look at
Sponsorship, partnerships, grants, private giving and crowd-sourcing.
Key Ideas: EXPENSES, REVENUE, CONTINGENCY, ARTIST FEES, TAX
AND LEGAL OBLIGATIONS, RECORD KEEPING, SPONSORSHIP, GRANTS,
PHILANTHROPY, FUNDING STRATEGY, CROWD-FUNDING
182
SELL IT
Marketing, Publicity + Social Media
When: TBA
Where: Old 505 Theatre, 5 Eliza Street Newtown
We’ll equip you with Marketing essentials and focus on creating a marketing
campaign and creating strong marketing collateral.
Learn how to sell your event to media and the press. Create effective
publicity kits and generate audiences through a range of strategies.
Having a successful social media campaign is essential to standing out in the
Fringe. With most Arts audiences online, you need to know where to post,
how to post and what will get you the right attention
Key Ideas: MARKETING STRATEGY, ADVERTISING, IMAGERY, COLLATERAL,
PUBLICITY, PRESS RELEASE, REVIEWS, EDITORIAL, RADIO, SOCIAL MEDIA
PLATFORMS, MEDIA ‘STORIES’, MOVING IMAGE, FACEBOOK, TWITTER,
INSTAGRAM, WEBSITE, BLOGS
3
MAKE IT
BARE-BONES LIGHTING,
SOUND, DESIGN AND
DIRECTION
When: TBA
Where: Old 505 Theatre, 5 Eliza Street Newtown
How do you create bold and exciting work on limited budgets and in pop-
up, low infrastructure or immersive spaces? This production 101 Masterclass
is hosted by expert teachers in design, sound, lighting and direction. Learn
some trade secrets, be inspired by some out-of-the-box ideas and embrace
bare-bones and low-fi performance and the doors it opens rather than closes.
Key Ideas: BARE-BONES PERFORMANCE, LIGHTING DESIGN, SET
DESIGN, SOUND DESIGN, EQUIPMENT FOR LOW-FI SPACES, IMMERSIVE
PERFORMANCE, SITE-SPECIFIC PERFORMANCE, DIRECTING IN UNUSUAL
SPACES, TRAVERSE PERFORMANCE, IN THE ROUND PERFORMANCE.
19PRODUCER SPEED-
DATING
Are you an emerging producer who would like to
investigate your ideas and practice with some of
the best producing brains in Sydney’s arts?
We’re hosting an afternoon of speed-dating to
give you access to experienced mentors in a fun
and relaxed networking environment.
Stay tuned for dates and location announced on
our Artist Facebook page and Artist E-Bulletin.
21TICKETING AND
SETTLEMENT
22FEES AND CHARGES
WHAT DO YOU (THE ARTIST)
PAY? WHAT FEES DO CUSTOMERS
1. Artist Inside Charge PAY?
Great news! This year we are further supporting Customer Booking Fee
artists by NOT charging inside charges for shows
registered through our registration system. All tickets Sydney Fringe sells through
sydneyfringe.com are subject to a $4 + 2% (GST
There are some exceptions to this including but Inclusive) customer booking fee per ticket sold.
not limited to Major Parnter venues, Major Events This fee is payable by the customer at the point of
and some events with higher capacities. sale.
2. Complimentary Tickets charge Please note that the Customer Booking Fee is
All comp tickets incur a $0.66c (GST Inclusive) passed on to the customer and not incurred by
fee payable by you the artist (beyond the free the artist. All tickets paid for via eftpos or credit
allocation discussed of 8% per performance/ card at the door of a Sydney Fringe managed
session) venue will incur a $1 (GST Inclusive) terminal fee.
BREAKING IT DOWN TO ACCURATELY SET YOUR TICKET PRICE
Using an average of 30% capacity houses over your season is a good guide when working out what
box office you need to recoup in order to break even with your projected income.
The average ticket prices at the 2017 Sydney Fringe Festival were around $22 Adult and $16
Concession. Usually Group and Preview ticket prices are similar to Concession tickets.
As most Sydney Fringe artists are NOT registered for GST, the Sydney Fringe will need to retain this
amount to pay to the government on your behalf.
For example:
TICKET PRICE LESS GST NET TO ARTIST
$22 - $2.00 $20.00
So, if you actually need to recoup $22, you should set your ticket price at around $24 to account for
GST.
23PRICE CATEGORIES
The Sydney Fringe has set the ticket categories that you will be able to select when inputting
ticket prices in the registration system. Please note that your event does not need to include all
price categories.
PREVIEW CONCESSION
Discounted tickets for any sessions prior to Priced lower than a standard adult ticket, and
the official opening of your season. Ticket applicable for holders of concession cards
price should be set lower than the normal (pensioner, senior, student, unemployed).
adult ticket and be the only price available
for the performance.
ADULT ALL
A standard ticket price category that should If you are only charging one price for all
be applied to all sessions except previews. tickets. It should be the only price you add.
CHILD GROUPS 6+
A discount for groups booking more than 6
For children 12 years and under who will
tickets, set lower than an adult ticket price.
occupy a seat. Children 2 years and under
Tickets must be purchased in one transaction
are free on lap.
for discount to apply.
24COMPLIMENTARY TICKETS TICKETING DATES
All complimentary tickets incur a $0.66c (GST 15th July – some early-release tickets to Fringe
Inclusive) fee per ticket payable by you the artist. partners
The Sydney Fringe will allow each presenter 1st August – Tickets on sale to the general public
to allocate up to 8% of their venue capacity,
per performance, free of charge. (This will be
calculated and managed by our Box Office
SALES AND DOOR LISTS
Manager) After 8% has been reached, the Producers will have access to sales reports and
presenter will incur the $0.66c fee per ticket for door lists from 1 August 2018 when ticketing goes
any additional complimentary tickets. live.
For Complimentary tickets to be entered in
our system, you will need to email our Box
Office Coordinator by 3pm, the day before
the performance for which you would like
complimentary tickets.
Please note that all complimentary tickets, under
or over the 8% allocation, need to be entered into
the ticketing system.
To allocate complimentary tickets, email our Box
Office Manager at
boxoffice@sydneyfringe.com
from 15th August 2018
RUSHTIX
For last minute ‘bums on seats’.
Rushtix will be available for purchase from 11am
on the day of the performance only.
For Rushtix to be entered in our system, you will
need to email our Box Office Coordinator by 3pm,
the day before the performance for which you
would like Rushtix activated.
You are able to activate Rushtix in advance, for
example for all of your performances, but they will
only appear from 11am on the day of each session.
To activate Rushtix, email our Box Office
Coordinator at boxoffice@sydneyfringe.com from
15th August 2018
25SETTLEMENT INTERNATIONAL PRODUCERS
PERFORMING IN AUSTRALIA
Sydney Fringe utilises services of I Wanna Ticket
(IWT) to manage ticket sales. IWT commit to International Producers must be aware of the
settle to the Sydney Fringe within two weeks of taxation requirements and laws for performing
each event conclusion. Settlement is contingent and earning income in countries where they are
upon receipt of funds from IWT. not citizens. The Sydney Fringe reserves the right
to withhold or deduct tax from the Settlement
Settlement of your ticket sales should be of international producers, in accordance with
completed within four weeks of your last Australian taxation legislation and international
session/performance, provided that all required tax agreements.
documents and information have been provided.
This includes: During the Registration process, you will be
required to answer questions relating to your
• A written record of your Door Sales for Country of Residence and whether you are
your performance/s (This does not apply carrying on a business in Australia – this will
to Producers performing in Sydney Fringe impact the manner in which The Sydney Fringe
Managed Venues) applies tax to your Settlement.
• A valid and active ABN or a Statement by a We strongly advise that you seek advice on this
Supplier (this should be provided during the as early as possible, so that there are no delays in
Registration process) Settlement.
• A valid invoice issued by you to the Sydney Sydney Fringe will charge a fee of $30.00 per
Fringe, which should include the following: transaction to transfer/make payments into a
1. If you are registered for GST, a statement that foreign bank account.
this is a Tax Invoice. “Tax Invoice” at the top of
the page is sufficient
SETTLEMENT PROCESS STEPS
2. If the tax invoice is greater than $1,000,
Once all sessions / performances are completed:
you must include the identity of the buyer.
eg Invoice issued to The Sydney Fringe or 1. Producer to email the Artist Services Team
include our ABN (16 393 987 277) (artists@sydneyfringe.com) the number of
tickets sold the at door (including scan of
3. Date the invoice was issued
door sheet)
4. A brief description of the services
2. Sydney Fringe prepare a detailed Settlement
5. Total amount due and the GST on the total Statement showing the total ticket sales less
amount (GST is only applicable if you are Inside Charges (if applicable) and any other
registered for GST and is noted in your applicable charges.
Settlement report).
3. Sydney Fringe emails the Settlement
6. Supplier Name and ABN Statement to the Producer, which includes
7. Bank Account and BSB the total amount owing/payable. Note. If
the Producer has an amount payable to the
8. Ensure that the file name of the invoice Sydney Fringe, an invoice will be issued to the
includes your Production name Producer.
4. Producer emails an invoice to the Sydney
GST Fringe for the total amount owing* - See note
If you are not registered for GST, your Settlement 5. If all details on the invoice are correct, Sydney
will be GST exclusive. Fringe will pay the invoice. Note. Payments are
made periodically – not on the day the invoice
*NB: the process relating to settlement is received.
statements and invoicing may change, and you Failure to produce any outstanding
will be advised of this via an Artist E-bulletin.
documentation by 30th November 2018 will result
in the Producer forfeiting their ticket revenue.
26BUDGETING
27Successfully managing a budget is essential to OTHER INCOME
producing an event. Your chances of breaking
even or generating profit are significantly SPONSORSHIP
increased when you accurately estimate your CROWDSOURCING
expenses and potential revenues. You will need a
FUNDING
carefully thought through budget to ensure (and
to prove to potential backers and investors) that GRANTS
you can deliver on your vision.
PHILANTHROPY
Under taxation law, if you are earning an income
OTHER
from your event at Sydney Fringe, you are
required to have an ABN and quote this on Tax TOTAL BOX OFFICE INCOME
invoices issued to the Sydney Fringe and your
venue. Visit www.ato.gov.au for more information
and don’t hesitate to contact our Artist Services
Team to guide you in the right direction with any
enquiries.
The main aim of budgeting is to avoid any hidden
or unexpected costs so that you can estimate,
as accurately as possible, your end position.
There are many different costs and revenue
avenues that you should consider and these
will significantly vary depending on the type of EXPENDITURE
event, length of run, venue and the level of your PRODUCTION COSTS
experience. Below is a basic budget template that
provides a general outline of the categories you DEVELOPMENT/REHEARSAL
should consider. SPACE
TIP: Baffled by budgeting? Attend our hands-on VENUE HIRE (PERFORMANCE)
Fund It Masterclass
SET
PROPS
BUDGET TEMPLATE
COSTUME
LIGHTING
INCOME SOUND
BOX OFFICE
AUDIO VISUAL
NO: PERFORMANCES TRANSPORT
AVAILABLE TICKETS RUNNING COSTS
AVERAGE TICKET PRICE BUMP IN/OUT CREW
EXPECTED CAPACITY PRODUCTION SUBTOTAL
TOTAL BOX OFFICE INCOME
28MARKETING ADMINISTRATION
OPENING INVITES GROUP PERSONAL INJURY
INSURANCE
OPENING NIGHT CATERING
PUBLIC LIABILITY INSURANCE
PROMOTIONAL PHOTOGRAPHY
ADMIN COSTS:
ARCHIVAL
PHONE, POSTAGE, ETC
PHOTOGRAPHY
APRA LICENSE
ARCHIVAL VIDEO
PERFORMANCE RIGHTS
GRAPHIC DESIGN
ADMINISTRATION SUBTOTAL
ADVERTISING :
STREET PRESS
ADVERTISING :
RADIO
SALARIES & FEES
POSTCARDS
CREATIVES & CREW
PROGRAMS: PERFORMERS
DESIGN & PRINT
OTHER
LIGHT BOX POSTER
SALARIES & FEES SUBTOTAL
DISTRIBUTION
PUBLICITY
MARKETING SUBTOTAL OTHER EXPENSES
CONTIGENCY (10%)
TICKETING & CREDIT CARD
CHARGES
BOX OFFICE SHARE (IF
APPLICABLE)
TOTAL EXPENDITURE
RESULT
29BREAKING DOWN SOME KEY EXPENSES
• Performance Venue Hire: The Fringe team will play an active part in matching events to the
right venue. It is essential to have a clearly defined contract with your venue and to understand
all the terms of that contract so that no unexpected expenses surface later in the game.
• Rehearsal Venue Hire: For many independent groups and producers, budgeting for a rehearsal
venue significantly impacts the bottom line. With few rehearsal venues in Sydney and higher
rates of hire, this cost could potentially take smaller companies into a financial loss. Think
outside the box here. Many indie shows are rehearsed in living rooms or unused residential
spaces. Is there a local business, say your local cafe, which you could ask to rehearse in at
night?
• Public Liability Insurance: It is a requirement of registration that all Fringe shows be covered for
Public Liability Insurance.
• Sydney Fringe Guide Advertising: This is an optional expense that allows companies/
groups to buy advertising space in the published Fringe Guide, 40,000 of which are printed
and distributed to potential audiences. All details for advertising options can be found at
sydneyfringe.com. This year we are offering artists affordable prices to advertise in our guide to
make your show stand out during the Fringe.
• Publicist: For larger or more established companies/artists, a Publicist is a very effective way
of ‘outsourcing’ publicity and press to an expert. Many smaller arts organisations or those with
short performance runs cannot afford these expenses. The Marketing section of this handbook
should equip you with all the necessary skills and knowledge to tackle this task.
• Contingency: It is important to budget for contingency as a buffer, should any unexpected
expenses arise. Generally speaking, contingency is budgeted at 5 – 10% (10% is recommended)
of total expenses excluding ‘Ticketing Expenses’
ESTIMATING TICKET REVENUE
For many independent arts events, ticket revenue is the largest source of income. Accurately
estimating ticketing revenue is important in order to see if expenses will be covered or to see how
much funding you will need to raise from other sources.
As a general guide, ticketing revenue before ticketing charges are deducted is estimated as shown in
the example table below:
Net Revenue that you the artist take = $4050 - $368.18 GST (withheld by Sydney Fringe unless you are
registered for GST)
Note: If you or your presenting company are NOT registered for GST, you will need to deduct GST in
your take-home revenue calculation as your venue will need to keep it and pay it to the government.
NUMBER OF VENUE EXPECTED AVERAGE ESTIMATED
X X X =
PERFORMANCES CAPACITY ATTENDANCE (%) TICKET PRICE REVENUE
6 (E.G.) X 90 X 30% X $25 (E.G.) = $4050
30FUNDING AND RAISING MONEY Sponsorship and Partnerships
Finding corporate sponsorship can be time-
Government Grants consuming and requires patience, but is well
worth it if you manage to secure some funds for
Arts Grants are available on the national (Australia
your work. The key to successful sponsorship is
Council), state (Arts NSW) and local (council)
be targeted with which potential sponsors you
levels. The process of applying for a grant is
approach. Successful sponsorship is not a matter
detailed and extremely time-consuming. For
of finding a company that you know generates
independent artists who are working with tight
profit and asking them for a donation. Instead, it
time frames, it is essential that you are completely
is important to consider how your project relates
eligible for a grant before dedicating time to
to an organization, what the organisation gains
writing the submission. For Fringe events, it may
from supporting your project and what non-
be worth considering development grants or
financial benefits you could offer your sponsor
cross-arts grants. Also, consider applying for local
such as logo placement, a private screening, a
government funding if your projects meet the
managing director introducing a show etc.
criteria - City of Sydney and Inner West Council
for example both offer local council artist grants It is also useful to consider what in-kind support
at various times of the year. a corporate sponsor could provide, that is non-
financial support. Think about the content of your
work and what might be interest a sponsor.
Private Donations / Philanthropy
Sponsorship works best when it is targeted,
Asking for money from your existing network of specific and personal - pick up the phone and try
contacts is an excellent way to build a small bank to meet face-to-face.
of funding to get your project up and running.
Private philanthropists may be supporters of
your past work and could include family and Crowdfunding
friends who are keen to support your project. Crowdfunding is a very effective way of raising
Philanthropy needn’t be a one-way street. some up front funding. Crowdfunding offers a
Consider the ‘benefits/rewards’ you could offer great platform for friends, colleagues and family
your patrons. These benefits could include to contribute while also reaching out to other
acknowledgement in your print and online media, potential donors who might get excited by your
complimentary tickets to the event, a private project.
performance for your patrons and special access
Popular Crowd-funding platforms include Pozible,
to an open rehearsal (to name a few).
Indigogo and Kick Starter.
TIP: Want specific strategies for raising funding?
Merchandise
Attend our ‘FUND IT’ Masterclass with expert
Merchandise could include the selling of your industry guests
show programmes, clothing (T-Shirts etc.),
CDs, DVDs, high quality photographs or other
novelty items. Make sure to budget for the cost
of producing your merchandise when estimating
your merchandise profit margin. Also, ensure that
you meet all intellectual property requirements
- you should own all the design elements and
content of your merchandise.
31MARKETING AND
PUBLICITY
32STARTING WITH STRATEGY
PREPARATION
50% ART, 50% SELL It is crucial to create a marketing and publicity
For many independent arts companies and plan in advance – this will help push your event
groups, limited resources and limited people- forward and create exposure to your intended
power means that most attention often goes audience. Think about the following:
toward producing the art or event itself, at the •Target audience – Who are they and how can you
expense of a marketing and publicity effort. For best reach them? Are there specific communities
groups that don’t have the budget to employ that you need to tap into that you can access
a Publicist, the push to get the work ready by direct contact or through less conventional
sometimes comes at a cost. The most consistent channels? Make sure your audience isn’t too
feedback we have had from Fringe artists over broad, as the more specific, the more targeted
the past few years is that they felt that starting you can be. It is important to outline this from the
marketing and publicity earlier would have start, as it will impact the look and feel of all your
significantly increased their audiences, and marketing material, the type of venue, the time of
therefore their income. We strongly recommend your show and the cost of tickets,
that you start your marketing effort well in
•Publicist – will you engage one or go it alone?
advance of Fringe Month and that you dedicate
equal time to marketing your work as you do to •What marketing material do you need?
creating it. Promotional flyers and posters / digital or print
advertising / social posts?
MARKETING BASICS •What does your shows imagery look like? Define
Marketing is, basically, everything that you do your identity, as consistency is key.
as an artist or company to place and create an
•Do you need to engage contractors to make
interest with your potential audience, encouraging
this imagery professional, attention grabbing and
them to see your event over and above someone
depict your shows narrative? Graphic designer /
else’s.
Photographer – do you need one?
With 300+ shows Sydney Fringe, like any Fringe
•Write your press release – see “Getting others
festival world wide, does not have the ability to
to talk about you” for all your publicity tips and a
provide extensive marketing support for each
press release template to get you started.
and every show. It is important that you create
a marketing plan for August and September •What media outlets, agency’s or distribution
in order to gather the audiences you want. A businesses do you need to engage? What are
marketing strategy is key. their lead times and how do these work into your
timeline?
Why do I need to market?
•What is your budget? Split your budget between
• To create knowledge, intrigue and
your different marketing channels [posters / fliers
excitement about your event
/ paid advertising / social]
• To maximize the number of tickets sold
• To raise the profile of your work,
performance, artists, or company
• To form connections with like-minded
peers and potential networks
• To place you as an artist in front of
potential partners and sponsors
• To prepare you for future projects that
you may have in mind – documentation
of your work or performance in the form
of posters, flyers, photos, press clippings,
reviews, etc.
33YOUR VISUAL IDENTITY Moving image
We cannot stress enough how important it is to To compliment your imagery, a show reel, teaser
have great imagery and publicity photos. it will or behind the scenes footage is very useful for
be the best investment of your time and money. social platforms, for us as the festival promoter
This imagery can be used across your marketing to push, as well as press to pick up for digital
material and for press enquiries. Previous artists articles. If you have the ability and the funds to
have had their images used time and time again produce video it can be a worthwhile investment.
throughout the Fringe period, due to their eye-
catching and striking images that have appealed
CREDITING THE FESTIVAL
to press and media publications giving them
that extra publicity for free. A clear, intriguing, You want people to know you’re an official
professional image will sell your show better than participant of the Sydney Fringe Festival, and we
anything. Make sure you have a strong image and want them to know it too.
logo that work together in several different types All artwork must contain the Sydney Fringe
of collateral. See below for standard collateral Festival logo, with certain venues requiring
specifications. specific logos from partners. These logo strips
can be downloaded from the Sydney Fringe
website, artist info page, from May 31st.
When creating marketing collateral, keep in mind
what the purpose is. Different collateral has a The billing required by your contract applies to all
different purpose, and will be seen in different press releases and publicity materials.
environments. •For all festival productions, we require the
• Poster: Make sure all the show information following format:
is included, as well as the Sydney Fringe website [your producing entity], as part of Sydney Fringe
for tickets. Make sure the poster is eye catching, 2018, presents [Your Show]
even when sitting amongst a wall of other
•Or, in cases where producer billing follows the
posters. Keeping in mind that people may not
title, use the following:
have time to read lots of text, so keeping the
poster punchy and to the point is key. [Your show], produced by [your producing
entity] as part of Sydney Fringe 2018,
• Flier: People will be picking it up and have
more opportunity to read, adding awards and •You must use our FULL NAME in official billing –
accolades or a short blurb about the show works Sydney Fringe 2018 – on postcards, posters, etc.
well in this instance.
Always include www.sydneyfringe.com as the site
• An image that will sit with copy: Such for more information or for tickets. If you have a
as a press image or an image for the Sydney separate web address for your show, please direct
Fringe guide or website, keeping it clean of any people to it from the Sydney Fringe site rather
words, and letting the image speak for you will be than including it as the destination on your press
important. release.
• Digital ad: Keeping the size of the ad in
mind, and keeping copy to a minimum, with a
strong image, will be key, as these tend to be
small. Keep in mind that the purpose of this ad
is to make people click, with the ad most likely
clicking through to the ticketing page of your
show with detailed information.
34STANDARD COLLATERAL SPECS MARKETING COPY / BLURB
Flyer So, what’s a blurb? It is a short piece of copy
A5 / Postcard / DL that should encapsulate everything about your
300dpi event, and convince the reader to snap up those
jpeg/PDF tickets. Creating a good blurb is one of the most
important things in your advertising arsenal. Right
Poster after your artwork, the perfect blurb can mean
the difference between a sale and a pass.
A4 / A3 / A2
300dpi 1. People love stories.
jpeg/PDF Make sure your blurb contains details about your
story, even if it’s a thin one. Don’t just fill your
Image for the Sydney Fringe Festival guide blurb with accolades, awards, stars, etc. Those
XXXw x XXXh pxl are great but ensure that there’s a story that the
300dpi reader finds compelling in your blurb.
jpeg/pdf 2. Let the people pick your words for you.
Hear how other people describe your work, and
Digital graphics for social then look for commonly used words.
Minimum width 1080pxl x height may vary
3. Look at what other people are writing
72 – 150 dpi
Visit other festival sites or ticket sales websites
jpeg/png
and browse through the shows, reading each
(note: This is the standard size for an instagram
graphic, that will also be bigger enough for blurb. Notice what techniques are used. After
facebook and other social platforms.) reading ten blurbs, decide which shows of the ten
you would want to see? Which shows do you not
Digital Graphics for Sydney Fringe Website paid want to see? Why?
advertising
400w X 136h plx
72 dpi
jpeg/png
Digital assets for other paid digital advertising
These sizes may vary but the standard sizes are
below:
Half Page: 300w X 600h pxl
Leaderboard: 728w X 90h pxl
MREC: 300w X 250h pxl
72dpi : >100kb
jpeg/png
Digital image for Sydney Fringe Website
300 x 300 pxl
72 dpi
jpeg/png
35PHOTOGRAPHY
Come up with a creative, striking image
that represents your show – think of
something that will express your show’s
identity and stand out. These shots will
be used for marketing materials, on the
Fringe website and in the Sydney Fringe
Festival Guide
Energetic, strong and original images are
a powerful tool. Strong imagery is also
what will give your event much higher
chances of press coverage.
>>
We strongly recommend that any
available marketing budget first be
dedicated to capturing that strong
image that will sell your show
36PRINTING AND DISTRIBUTION ADVERTISING
If you are thinking of distributing posters and If you have budget for extra activity, paid
flyers on your own, do bear in mind there are advertising in the right places can greatly extend
certain laws and regulations that you have to your shows reach.
follow. It is ILLEGAL to put up street posters
• There are paid advertising opportunities
and distribute a large number of flyers without
in the Sydney Fringe guide, as well as on our
a license. Therefore, make sure that you respect
website. These sit outside the standard listings
other people’s property, receiving permission
and will draw more attention to your show.
before you hang up your posters or when you
Contact our marketing manager at Jessica@
distribute your flyers on shop windows, cafes
sydneyfringe.com for more information about
and clubs. Otherwise the owner will remove your
these opportunities.
posters from the wall/window. Posters and flyers
cost money, as you know already, so when they • Taking out ads in print publications such
are taken down, that’s your money wasted. as newspapers, and magazines, can be expensive,
but if you are targeting the right audience, it can
be budget well spent. The Sydney Fringe Festival
You can always hire a professional poster/flyer has, in the past, partnered with certain print and
distributor. There are a number of distributors in digital publications, which has resulted in reduced
Sydney who can do the job for a fee and often, advertising rates for artists. Keep an eye on artist
they can distribute in areas where a regular communications for these opportunities.
person can’t. Depending on the amount of flyers
• Digital advertising is a very cost effective,
and posters, as well as areas that need to be
targeted and measurable way to advertise your
covered, the fees will vary. So, make sure you do
show. This can be done through paid search
your research before proceeding.
campaigns with google adwords, contacting key
websites that draw your target market, or putting
money behind ads and boosting posts in social
channels.
CROSS PROMOTION
Cross promotion is one avenue that you should
consider if you are sharing a venue with another
act/event, or if you know other Fringe artists.
37GETTING IT RIGHT ONLINE
The online realm is a big one, but when done Paid advertising on social
right, can result in a significant increase of reach Facebook (and instagram) has made It harder
for a lot less money. Making sure you chose and harder for events and businesses to reach
your digital channels with your target audience their audiences without monetary investment
in mind, and build a strategy that links all your in boosting posts or paid advertising. The key
platforms together, with consistent, regular and is engagement, if you create engaging content
engaging content. that people will like, comment on, share or
watch this will increase your organic reach to
SOCIAL MEDIA your community. Putting a bit of budget behind
Social media has become a key player in the these posts can be a great investment, and
online world, which is supported by a whole range allows you to target the right people. When
of statistics from last year’s festival. In 2017 we creating facebook ads, make sure to follow all
saw the number of people visit the Sydney Fringe the guidelines to get the best outcome for your
website, clicking through from a social media investment.
link, double on the previous year, it is the third
most used route to our website behind direct and
search engines, as well as people surveyed stating
Facebook in the top three most important sources
of information about the Fringe.
Make sure you choose the right platforms for the
amount of time you can invest, as well as thinking
of your target audience. Facebook, instagram,
twitter, snapchat, just to name a few, all engage
people differently.
>>
We ask artists to not name any Facebook
pages with ‘Sydney Fringe’ in their page
Make sure you like the Sydney Fringe Festival title. This will be an essential part of the
page on Instagram, Facebook and Twitter [@ artist contract and failure to comply with
sydneyfringe] and tag us as well as #sydneyfringe this could result in the Fringe withdrawing
when posting on all channels. an event from the Festival program.
Facebook is one of the main platforms that
sees results for shows across the board. Images
and video rank the best of this platform, so
keep them coming! Building a Facebook page
and maintaining it is one of the best marketing
strategies you can employ. It is something that
empowers your artists and friends to help you
promote your show. By creating a page instead
of a group, your posts will be published in your
fans’ mini-feeds, keeping you on their radar and
hopefully attracting new fans.
Creating a Facebook event is also a great way to
get information out to audiences, and providing
reminders and updates of the shows details.
38BLOGS EMAIL
Starting your own blog is also another good You have an email list, and so does everyone that
idea to promote your show, assuming you don’t is associated with your show or who wants it to
have your own website already. Blogging is a succeed. Email them an e-flyer of your event, ask
really easy way to get some current content up them to pass it on and spread the word. Send all
to inform your audience. Having a connected your friends and families details of your show a
dialogue with your audience is an essential way few weeks before it opens, and another during
to get them feeling involved with your work. You the season. Ask them to forward it onto their
want to be generating as much conversation networks and you’ll be increasing your reach
about yourself and the Fringe as you can. Just enormously.
be wary of too much shameless self-promotion,
Start thinking about an email database that not
make sure your content is relevant.
only encompasses your friends but expands
These posts can be shared through social media to include interested audience and industry
platforms, as well as helping your searchability in members - ask people to sign up to your mailing
search engines such as google, yahoo and bing. list when they arrive at your show.
FRINGE WEBSITE YOUTUBE AND VIMEO
This is where it all starts. The Fringe website
Moving image is a very effective way to
receives hundreds of thousands of hits during the
engage potential audience and to give them
months of August and September. Everything
an impression of what to expect in the live
we do will be about driving people to www.
experiencing of your work. You can shoot short
sydneyfringe.com in order for them to find out
videos on your mobile phones these days, easy
about our shows and to buy tickets.
unloadable to social media. Film behind the
scenes or even short segments of rehearsal or
performance.
It is crucial that www.sydneyfringe.com be the
central location for information about all shows
so that we can most effectively cross-promote,
helping all shows (and the event as a whole) to be OTHER PROMOTIONAL
a success. ACTIVITIES
When Sydney Fringe Festival launches in
Clearly, if you have an individual site for your September, it shouldn’t mean your marketing
show, you should be directing people to www. efforts have come to an end. The Festival will be
sydneyfringe.com for tickets. YOU MAY NOT the most critical period for all your promotions.
DIRECT THE PUBLIC TO CONTACT YOURSELF Make sure you are aware of what else is
OR ANY THIRD-PARTY AGENT FOR ADVANCE happening during The Fringe. Have your posters
TICKETS. and flyers handy with you at all times, since you’ll
never know when you’re going to need them, and
above all else just keep spreading the word.
>>
It is crucial that www.sydneyfringe.com be
the central location for information about all
shows so that we can most effectively cross-
promote, helping all shows (and the event as
a whole) to be a success. Clearly, if you have
an individual site for your show, you should be
directing people to www.sydneyfringe.com for
tickets. YOU MAY NOT DIRECT THE PUBLIC TO
CONTACT YOURSELF OR ANY THIRD-PARTY
AGENT FOR ADVANCE TICKETS.
39GETTING OTHERS TO TALK
ABOUT YOU
PUBLICITY THE SYDNEY FRINGE PUBLICIST
Good publicity is an essential element in Sydney Fringe Festival has a Publicist dedicated
organizing your event. Publicity, in simple words, to promoting the Festival as a whole. Sometimes
means media coverage for your show. It is a free there are opportunities to showcase some
flowing medium and it is important to remember events through our Publicity channels. The more
that this is not a form of free advertising, because proactive you are with providing us with a media
it cannot be paid for and you cannot totally release and interesting stories/images, the more
control what media writes about you. There we can do to try assist in the promotion of your
are a few main reasons why publicity should be event.
harnessed: one, to recruit your specific target
audience; and two, to gain profile and recognition
MEDIA CONTACTS
for your artists as well as organizers, sponsors,
company; to send your message out to a wider Assign someone in your team to collate press
audience that you may not be able to reach contacts and to start to make approaches with
personally. The media coverage that publicity your press release. Also have your team pool their
brings is a greater cache than advertising since it collective resources and industry lists and create a
carries third-party editorial endorsement. When mailing/email/phone list of people that you want
done correctly and effectively, it will be able to to know about the show
increase the promotional efforts and level of
awareness of your event.
The mediums of publicity include newspapers,
radio (mainstream and community), TV
>>
(mainstream and community), and the web. Please note that the Sydney Fringe does not
If you’re looking at print media, it could mean distribute a list of media contacts to artists.
targeting daily newspapers (The SMH or the
Daily Telegraph, Sunday papers), community
newspapers, monthly magazines (Time Out
Sydney), Gay Press (such as SX) or street press
(such as The Music and Brag). Each publication
has a different focus, so pick up a copy, get a
sense of the house style and tailor your message
to them.
Remember, print needs strong images, so here
is where your photos can help you. Offer them
straight away – preview versions in low resolution
first. Or they may want to send their own
photographer, so have a photo idea or location
prepared and ready to go.
40WRITING A PRESS RELEASE
You’ll need to generate Press Releases in order to create publicity. The purpose of these is to create
an angle for media to generate a story. Include positive press quotes, details of cast, a synopsis of the
show’s content, and any newsworthy details. Keep it simple, always be positive, play up any topicality
and keep in mind the needs of the publication and your target audience.
Remember to include:
• Who is involved?
• What the event is about?
• Why should we be interested?
• Where is it happening?
• When is it on?
• The Title of your Show
• The Name of the Company creating it
• Cast and Creatives
• Dates, Times and Venue/s
• Ticket prices and details for purchasing tickets
• Your Contact name and phone number (for media)
• The Sydney Fringe logo
Keep the press release to one page when possible, and no more than two. When you exceed the one
page maximum, insert the word MORE at the bottom center of the first page. Subsequent pages
should be numbered and alongside the page number, indicate the topic.
You want to balance it so that it’s both exciting enough to ignite a journalist’s interest, without
sounding too much like a completely self-promotional attempt. Writing for the media is different from
writing any other marketing pieces. Cut most hyped adjectives (awesome, fabulous), unless they’re
positive statements you can attribute to someone in the form of a quote. Also, get colleagues to
proofread the release, and check it again yourself. The last thing you want is date and spelling errors
(especially of names), or any other factual inaccuracies. Again, really think about what makes your
show unique, different and newsworthy, and make that the focus of your media release.
Be mindful when contacting journalists that some won’t have time to acknowledge your release but
may still be annoyed to have it sent twice. Be polite. Be diplomatic. Keep in mind that journalists don’t
know a thing about your show, and may just not be interested, without a strong angle. Remember this
when contacting a journalist, and make sure they know what you feel is vvthe newsworthy angle of
what you’re doing. Be prepared to accept a ‘no’ with good grace.
Still want some more details about Marketing and Publicity? Attend our ‘SELL IT’ Masterclass.
41You can also read
