*Lunch included in the ticket price

Never has there been greater demand for stories based on real events. On screen, on the stage, on radio and in publishing, the crossover between fact and fiction is increasingly relevant, and increasingly lucrative.

Are you interested in learning how to turn true stories – either contemporary or historical – into compelling drama or fiction? This one-day workshop focuses on the art of fact-to-fiction adaptation. How do you know what makes a good story for drama? What are the tricks of crafting complex, sometimes unwieldy stories into satisfying fictional journeys? How do you make historical stories resonate with modern audiences? What are the ethical and legal implications of turning real people into fictional protagonists? And how do you go about pitching these stories to commissioners, producers and publishers.

The workshop is led by writer and journalist Hugh Costello, whose screenplay for the HBO film Bernard and Doris (based on a true story) was nominated for an Emmy. He has written many dramas for TV and radio and specialises in transforming complex real events – such as the banking collapse and the sexual abuse scandal in the Catholic church – into powerful dramatic stories.

Image: via Shutterstock / jessicahyde

Never has there been greater demand for stories based on real events. On screen, on the stage, on radio and in publishing, the crossover between fact and fiction is increasingly relevant, and increasingly lucrative.

Are you interested in learning how to turn true stories – either contemporary or historical – into compelling drama or fiction? This one-day workshop focuses on the art of fact-to-fiction adaptation. How do you know what makes a good story for drama? What are the tricks of crafting complex, sometimes unwieldy stories into satisfying fictional journeys? How do you make historical stories resonate with modern audiences? What are the ethical and legal implications of turning real people into fictional protagonists? And how do you go about pitching these stories to commissioners, producers and publishers.

The workshop is led by writer and journalist Hugh Costello, whose screenplay for the HBO film Bernard and Doris (based on a true story) was nominated for an Emmy. He has written many dramas for TV and radio and specialises in transforming complex real events – such as the banking collapse and the sexual abuse scandal in the Catholic church – into powerful dramatic stories.

Image: via Shutterstock / jessicahyde

Never has there been greater demand for stories based on real events. On screen, on the stage, on radio and in publishing, the crossover between fact and fiction is increasingly relevant, and increasingly lucrative.

Are you interested in learning how to turn true stories – either contemporary or historical – into compelling drama or fiction? This one-day workshop focuses on the art of fact-to-fiction adaptation. How do you know what makes a good story for drama? What are the tricks of crafting complex, sometimes unwieldy stories into satisfying fictional journeys? How do you make historical stories resonate with modern audiences? What are the ethical and legal implications of turning real people into fictional protagonists? And how do you go about pitching these stories to commissioners, producers and publishers.

The workshop is led by writer and journalist Hugh Costello, whose screenplay for the HBO film Bernard and Doris (based on a true story) was nominated for an Emmy. He has written many dramas for TV and radio and specialises in transforming complex real events – such as the banking collapse and the sexual abuse scandal in the Catholic church – into powerful dramatic stories.

Image: via Shutterstock / jessicahyde

Never has there been greater demand for stories based on real events. On screen, on the stage, on radio and in publishing, the crossover between fact and fiction is increasingly relevant, and increasingly lucrative.

Are you interested in learning how to turn true stories – either contemporary or historical – into compelling drama or fiction? This one-day workshop focuses on the art of fact-to-fiction adaptation. How do you know what makes a good story for drama? What are the tricks of crafting complex, sometimes unwieldy stories into satisfying fictional journeys? How do you make historical stories resonate with modern audiences? What are the ethical and legal implications of turning real people into fictional protagonists? And how do you go about pitching these stories to commissioners, producers and publishers.

The workshop is led by writer and journalist Hugh Costello, whose screenplay for the HBO film Bernard and Doris (based on a true story) was nominated for an Emmy. He has written many dramas for TV and radio and specialises in transforming complex real events – such as the banking collapse and the sexual abuse scandal in the Catholic church – into powerful dramatic stories.

Image: via Shutterstock / jessicahyde

A presentation and panel discussion with film editors, producers and sound designers organised by Screen.

Multimedia producers, film editors and sound designers will show excerpts from their work and talk about collaborations and interactions with photographers, directors and artists. The projects presented explore political and personal storytelling in an installation format.

The panel will feature: Adrian Kelterborn, multimedia producer and film editor; Monica Alcazar-Duarte, visual artist and producer; Philippe Ciompi, sound designer, film editor, sound artist; and Tim Harrison, sound designer. Moderated by Ivan Sigal, co-founder of Screen and the executive director of Global Voices.

Speakers:

Tim Harrison is a sound designer based in London. After studying philosophy and computing, he founded narrative audio company Aumeta, working in the areas of film and video. Installation collaborations include Gideon Mendel’s Drowning World and Ai Wei Wei’s Sunflower Seeds. He also creates interactive video work and leads the sound design component of Film Practice at UAL.

Monica Alcazar-Duarte is a Mexican/British photographer, visual artist and curator/producer. Her work focuses on societies in the midst of a struggle to change. Most recently she completed a project challenging the portrayal of Mexican live in mainstream media and popular culture and collaborated with Edmund Clark on Virtue Unmann’d, an audiovisual installation piece that explores traditions of virtue and sacrifice in war in the context of a contemporary battlefield: drone strikes on tribal areas of Pakistan.

Adrian Kelterborn is a multimedia producer, film editor and a founder of Prismago multimedia productions in Basel, Switzerland. He was a lead multimedia producer for Magnum in Motion in New York. He is focusing on projects that are blending the languages of photojournalism, film, music, video art and performance into new media hybrids for online and offline platforms. His recent projects include Shipbreaking, a cross media opera for a music theatre installation, Fieber, filmic completion of musical score based on scientific research of fever, and Streaming Nation, a 4-channel video installation based on citizen video.

Philippe Ciompi is a sound designer and dubbing mixer, also active as film editor and sound artist. Trained in Switzerland, Berlin & London in music studies, film sound design and mixing, he constructs soundscapes and films with numerous artists and directors such as Ben Rivers, Andrew Kotting, Xiaolu Guo, Iain Sinclair, Stephen Dwoskin, Pia Borg/Ed Lawrenson, Jane & Louise Wilson, Åbake, Sarah Vanagt, Nina Conti and many others. He is a visiting lecturer for sound design at the Royal College of Art London and HEAD Geneva.

Ivan Sigal is a media producer, digital media advocate and storyteller. He is the executive director of Global Voices, and has produced media projects around the world. He is also the author of White Road, a book of photography and writing about Central Asia, published by Steidl in 2012, and KCR, a nine-channel installation that traces the path of the defunct Karachi Circular Railway.

Photo: Streaming Nation, a 4-channel video installation, directed by Alexey Layfurov, produced by Screen

Never has there been greater demand for stories based on real events. On screen, on the stage, on radio and in publishing, the crossover between fact and fiction is increasingly relevant, and increasingly lucrative.

Are you interested in learning how to turn true stories – either contemporary or historical – into compelling drama or fiction? This one-day workshop focuses on the art of fact-to-fiction adaptation. How do you know what makes a good story for drama? What are the tricks of crafting complex, sometimes unwieldy stories into satisfying fictional journeys? How do you make historical stories resonate with modern audiences? What are the ethical and legal implications of turning real people into fictional protagonists? And how do you go about pitching these stories to commissioners, producers and publishers.

The workshop is led by writer and journalist Hugh Costello, whose screenplay for the HBO film Bernard and Doris (based on a true story) was nominated for an Emmy. He has written many dramas for TV and radio and specialises in transforming complex real events – such as the banking collapse and the sexual abuse scandal in the Catholic church – into powerful dramatic stories.

Image: via Shutterstock / jessicahyde