ROCLIFFE NOTES ON THINGS I WISH I KNEW MY FIRST DAY ON SET

SET ETIQUETTE & THINGS I LEARNED THE HARD WAY

There is nothing more exciting than giving someone new their first experience of being on set. You watch the excitement and newness of it all, through their eyes. For some they become disillushioned by the tedium, others are thrilled by the experience, but never forget this is actually work. It's work we enjoy doing and hard with long hours. I am a great believer in bringing new people on a set, to learn and experience. I give them a sheet with a list of things of they need to know. Largely because I wish I’d been told them when I started. Manners and attitude will get you well-liked and asked back. Be polite to everyone. It’s a team effort and there is a management system to it all – more often than not that means starting at the bottom and it doesn’t often live up to your expections. There is nothing worse than hearing a newbie say ‘that’s not my job’, ‘I didn’t sign up for this’, ‘that’s outside of my job spec’ – if you find at the end of the day it is not for you then by all means say that but not during the day when it is at its most stressful.

ROCLIFFE NOTES ON THINGS I WISH SOMEONE TOLD ME ABOUT WORKING ON SET: 

Communication is key. People love problem solvers – people who think on their feet, who help and keep busy. This is part personality, part-attitude, part-common sense and part-ability to do the job that will make people want you around. Someone commented on set recently that you can work with inexperience but it's very hard to work with a bad attitude.

An eager, upbeat personality will be well appreciated – no one likes a faffer but having a cheery personality on your team can really brighten the day. Eagerness to get going – runners are called that for a reason because to run is often a requirement of the job.

This is a performance or results driven industry. I learnt two things from this firstly you need to do your job well and secondly the tough bit that came as a shock to me is people who do their job brilliantly but are really unpleasant (ie abrupt, rude) this will be tolerated as they get the job done and well. 

Sets are very flirty environments and friendly places. Don't read too much into it - people are amusing themselves passing the time. Over-familiarity can be out of place and certain terms of endearment can cause offence. If someone acts inappropriately to you then report it to your HoD, if that doesn't work then let someone in production know, as no one should feel uncomfortable in their workplace.

You should be reimbursed for travel you undertake on behalf of the production ie for runs and for any calls you make from your mobile. This should be agreed in advance. Should you be working for free most productions will cover expenses which refer to travel and lunch but check what your lunch allowance is. Avoid buying anything for a production out of your own money. Ask for a float and KEEP all receipts. 

Understand and adhere the hierarchy whether you like it or not – directors are like the Prime Minister (producers are on this level too but not necessarily on the creative level), ADs rule the floor, heads of department are next and everyone else are the workers.

It is your responsibility to get yourself to and from set, a location, and within plenty of time. Print out a map if needed. If you are really lost then call someone like the coordinator or production secretary, not the producer. Ultimately you are responsible for getting yourself to set on time. A 1^st AD I work with says 10 minutes before unit call is 30 minutes late. 

With regard to transport in my experience people are good at giving each other lifts if it is a remote location so ask around if you don’t have any means to get there or home. 

Be mindful of personal hygiene, wear deodorant and shower each day - personal hygiene is essential. Sets are crowded and confined spaces - someone will tell you to wash – it's horrid but true.

Wear sensible flat shoes on set and bring weather-proof clothing for exterior shoots - shooting crew need it and you’ll appreciate having it in wet or cold conditions.

Sets are a mine of gossip and suggestion. Crews love it – how else do you fill in the time between takes? If you tell one person something chances are an entire crew will know. Avoid.

Don’t stand by the sidelines watching it go on around you – no matter how complex film-making may seem – there’s always someone needing help. Look and be busy. Ask who’d like a tea/coffee, remember how they like it. Cables to be tidied, boxes to be moved, bins to be filled or emptied, tables to be wiped, kit to be lugged somewhere, a stand or a flag to be held. Ask what can be done, needs to be done next and prep accordingly.

Don’t make excuses – no one wants to know. People are stressed, tired, working to a demanding schedule only give explanations when asked and that is to clarify. Take responsibility, not the blame, as no one likes a cover up. Say sorry and get on with it. Unfortunately, with the tight time factor many of us suffer from the perfection complex so want things done perfectly. A task that normally takes 15 minutes to do but takes you 30 don’t explain why – apologise and say it won’t happen again. People will get it.

Crew welcome questions and curiousity about how something is done. It’s a given on a set that newbies will do that and eagerness is respected. There is a difference between curiousity and badgering. Downtime - on arrival and breaks between set ups is good. Let people have their lunchtimes. Talk to the department crew you want to work in, not necessarily the Head of Department (HOD) ie camera talk to the assistants, the grip or lighting, speak to the electricians (sparks), want to direct go to media or video village, ask to help lift things. Sets are busy places, dawdling, being disruptive, giddy and simply hanging around on set during shoot will be frowned upon.

Language and terminology on sets differ especially terms and names for equipment. Asking is key but remember the answers. Enquire how to do something rather than figure it out, ask where something goes rather than putting it down anywhere. Anywhere or over there can mean it is lost, if it can’t be found. 

Key phrases are ‘mind your backs’, usually means watch out someone is walking towards you with heavy kit. DFI – don’t follow instruction. Breakfast refers to the first meal of the day, lunch is the main meal of the day and these don’t follow a time pattern if on splits (starting in the middle of the day) or nights.

Should you be sent on an errand or a ‘run’ - ask where should you bring the item back to and who should you hand it to. Get a VAT receipt. Give the change to the person who gave you float and quite literally hurry up and run if necessary!

At meal times always allow cast and shooting crew ahead of you, you shouldn’t be first in line any way. Don’t plonk yourself beside the director, producer and DOP offering suggestions. Bring it to your HOD. If it is a safety issue, go straight to the 3^rd AD – again with this one common sense prevails.

There is always something that needs to be done and no excuse for doing nothing. When watching on set - check that there are no cups or rubbish lying around – have your eyes pealed. It will be noticed.

DON’T BE SURPRISED IF YOU END UP DOING SOME OF THE FOLLOWING:

Fill the photocopier with paper

Tidy general areas – put things in bins

Clearing plastic cups being mindful they are not left on set and could end up in the film – do a circuit of the set at least once an hour

Check bins – fill them and empty them

Check there is toilet paper and hand-wash and that they are tidy

Runs to shops

Making tea/coffee/bring cups of water

Photocopying

Standing by a door way or blocking off areas ie manning a door and not letting anyone in

Research general topics

GETTING WORK ON A FILM or TV SET

Getting work on a film set can seem like a big industry secret – it can boil down to many factors luck, who you know, birth-right, education or timing. There is no set path but there are loads of jobs in production. 

Begin by understanding that there are different departments, some on the floor (on set) and others behind the scenes. Crafts that are purely based in and around the set include Assistant Directors, Camera, Lighting and Sound; Crafts that are both on set and off set are make up, costume, art department; off set departments comprise production, editorial and location.

There are some realities to working on a sets to be aware of before you embark on this career path. Most are discovered through trial, error and embarrassment – but remember we told you so first. 

• Freelancers (which is what we are) don't know where the next job is coming from and are not guaranteed work. 
• Rare as it is, jobs do fall through at the last minute for creative as well as financial reasons. 
• Prepare for little sleep and long working hours. 
• Forget about a social life. Should the 4-week schedule clash with Glastonbury - you may face the possibility of having to choose one over the other. 
• Develop thick skin and toughen up because a lack of gratitude or appreciation comes with the territory. 

No matter what your training, there will be no better way to learn than being on the job, being on set is where to pick up how it is done. 

ROCLIFFE NOTES ON BREAKING INTO PRODUCTION: 

The educational route is a popular one. The degree courses and one-year diplomas don’t automatically lead to employment or that you'll walk into work but you will gain experience. The advantages are enormous, you will get to understand the system and play with equipment. Anytime spent with equipment is invaluable, as nothing slows a shoot down quicker than an incompetent crew member. 

One year courses give practical experience like working with equipment and the making of films, they give an advantage, over the next guy who doesn’t. You won’t go straight into the role of head of department but you will learn how to handle equipment responsibly and create a reel showing what you are capable of. It teaches you about the different crafts. You need to equip yourself in the best way possible for a role in the industry and that’s what ostensibly the educational route offers. AIDAN ALCOCK, PULSE COLLEGE.

Working on student films is a great way in. Many student films take non-student people on shoots. You get experience and a show reel. It is also a place to nurture relationships, get the contact details of the crew and stay in touch. Use social media to maintain that relationship – Facebook, LinkedIn, Twitter and Instagram. However, don’t be offended if someone rejects your facebook request as that may be for personal use. 

People in life do need luck, don’t let anyone tell you differently. Sometimes you just don’t realise the luck you have around you. One of my pieces of luck was in the village I grew up in was a guy, Richard Branson who became my best friend. Most people get into groups because they like each other but at film school you meet people who have something to offer you that's different to you. They bring something else to the table and that’s what can give you the advantage. NIK POWELL, DIRECTOR NATIONAL FILM AND TV SCHOOL 

Prepare to work for free as work experience, on shorts and student films – it is the most likely way in. It’s all about creating contacts and a community. Search for work on mandy.com, Shooting People, forums.

Contact diary services and agencies like Gems Agency, Sara Putt or Production Guild – they often have listings of low-budget or start up projects, where you can gain experience. JAYNE GREGORY at GEMS AGENCY, says their motto is 'today’s runners tomorrow’s directors'. They encourage newbies to get in touch or join their Facebook page, which lists entry-level roles. Her advice to anyone who gets on a job is to commit the whole day and don’t even think out going out that night!

If someone asks me what skills would I advise them to acquire, I will always say First Aid training and being able to drive. These are invaluable. I have known runners to be chosen not because of their experience but because of an up-to-date first aid certificate as one is needed someone on a splinter unit. 

Write to production companies, facility companies (camera, lighting, grip equipment companies), line producers, production managers and ask what entry level jobs they have. The Knowledge is a great directory for sourcing this information. Remember you have to bide your time and the work may seem menial but you will be rewarded eventually. 

You will notice at some point that not everyone has got there through hard work. The reality of the industry is that nepotism exists and is accepted. Life isn’t fair but before you give off these guys still have to learn their craft. General rule about unfairness on set – avoid sulking and back-biting. Leave that for drinks or after the shoot. Most people want to keep working and so keep their heads down. 

Take your responsibility seriously. When asked to block off (stopping people walking through areas or keeping noise down) - don’t let people through and make the T signal with your hands. They will stop knowing the production is turning over. If you are sent to make tea and didn’t ask whether people want sugar and milk – bring some back in a cup with stirrers. Carry a note book - write things down. Take the job seriously whatever the task - you’ll stand out if you don’t. 

Develop skills and learn. Hurry up and wait! It takes one single job to climb the ladder and it can also take years to do so too - there are no hard and fast rules. Being organised and taking direction are key skills, these can be acquired. Watch how those around you do it. Show willing. It's all about attitude and a bad one smells. 

A way to impress is to arrive early and see if you can help set up, stay behind and help to put things away. Utilise the chances in front of you – most technical guys are only too happy to share knowledge with you once you’ve shown willing and competence. One 1st AD I worked with, used say 10 minutes before unit call is 30 minutes late. 

After a shoot has ended thank people individually, go and shake their hand, even if it is several days later it is never too late. Tom Harper, one of my favourite directors, thanked everyone at the end of each week. It really made a difference. I've always been impressed by runners or work experience who seek you out to thank you at the end of a job. I write a hand-written card to most heads of department and crew after a shoot because without them we wouldn't have a film. When openings come in, people remember those who were personable and hard-working.

Every job is an opportunity to meet people who may take you with them so give yourself every fighting chance. 

Keep persisting, you will get work on a set, if you want it. 

THE TUMULTUOUS TIDES OF SOCIAL MEDIA - A WRITER'S SERVANT OR MASTER

I am in the process of extracting myself from all social engagements including social media and bid farewell (for now) to Facebook and tweet ups. Ahead of me lies the final stretch to the finish of my book the Rocliffe Notes. It got me thinking about the phrase about addiction and how it applies to social media - what a great servant social media is but what a terrible master it can be. I am also acutely aware that without social media, I would be without a book deal. 

Interestly when I talked to Megan Holland, who looks after all of Rocliffe's social media, she asked could she write a blog about this. Megan Holland is a talented writer and a social media guru - she's the one who posts those wonderfully inspiring writing quotes - so here is her take on the action and distraction behind this medium.

ROCLIFFE NOTES ON SOCIAL MEDIA AND WRITING BY MEGAN HOLLAND

There is a strange stigma when it comes to the gap between social media and writing. I think that a lot of people see it as a hindrance - and I can understand why.  Imagine you’ve closed yourself off in your private writer’s study, phone is disconnected, fingers are poised to write and suddenly - ‘I think I’ll just check Twitter.’ We’ve all been there. I work in social media, so I’m there 90% of the time.

So that’s why I decided it was time to create a comprehensive guide of using social media to boost your writing and creativity.

Writing can be lonely. It is in itself an isolating art form, which is why so many people turn to collaboration. Twitter is a great place to combat isolation, allowing you to talk to other writers and draw strength from them. Caitlin Moran has spoken before about Twitter as a companion for a lonely day (as long as you don’t let it distract you!). Writers are so open to start a conversation, and are often full of great ideas. See social media as a gateway, allowing you to chat with writers from all over the world.

Sharing your work. I love to use my Twitter as a place to share my blog posts, and find that’s where a lot of my blog traffic comes from. It’s a great place to grow an audience. Nowadays breaking into writing (be it film, tv, stage, books) puts a lot of pressure on the writer to have a persona. If you can establish yourself on the internet, then that’s going to encourage an agent into understanding that you have the capability to publicise yourself - something that is really important. 

Finding events and opportunities. There’s something to be said for using Facebook and Twitter to find open mic nights and create small communities of writers. I never thought that being a writer would involve standing on stage and reading a story out, but it’s an example of how much the role of a writer is developing. Keeping an eye on your twitter feed and interacting with people can be the perfect way to find yourself stood on the stage, feeling a little nervous and ready to welcome a world full of people to your writing. 

A place to find great recommendations. When my book list is running low, or if I want to try a new film or TV series, I love to ask my followers for suggestions. You can find some absolute gems in there (in fact, one of my blog followers sent me a list of about 30 books the other day and I was absolutely over the moon). 

Follow writing blogs and twitters. You’ll find that when you spend your day reading great quotes and opportunities, it’s hard not to want to write some more…

So at the end of the day, social media is a writer’s haven. It’s a safe place, as long as you remember to get out of there and actually do some writing. Speaking of which, Rocliffe has put out a call for Children’s TV writers - so get your pens at the ready and find out more information at www.rocliffe.com.

Like what Megan has to say - You can find her at her blog, or chatting away on twitter @miggysworld.

Writing Quote of the Week

Susan Cooper (@buzzedition) “Engage, Enlighten, Encourage and especially…just be yourself! Social media is a community effort, everyone is an asset.”  

Keep Writing! 

SCREEN WRITING FOR CHILDREN

This year we launch a BAFTA Rocliffe New Writing Forum focusing on Writing for Children with the support of the London Book Fair. As with all our calls writers submit a ten page extract but rather than focus on a medium this call can be an animation or live action, feature film, TV series or sit-com – anything as long as the focus is screen writing for children. Read the full press release here.  

Writing for Children is a particular skill in itself. The diversity alone is fascinating – what stimulates 2 year olds may not be the same for 5-6 year olds and then let's not forget the 7-12 year olds. BAFTA Children's Event Producer Lisa Prime told me Children’s TV tends to officially end at 12. Although feature film is slightly different and aimed at a family audience. BAFTA's rules for the Children’s Awards that includes 12A films. 

My childhood TV diet in Libya in the 1970s were the imaginative adventures of Sinbad and Alaaedin – both in Arabic and English. In the summer when the weather was good, we could pick up Tunisian TV stations – which I called ‘tuna TV’. They had a better selection of westerns, musicals and more cartoons than the Gadaffi-filled propaganda and televised executions that interrupted broadcasts. The dialogue was dubbed into Arabic but the songs were always in English. I particularly loved stories or shows that included following colourful characters and quests, which on reflection were to some degree always safe jeopardies. They opened up my world and kept the dark moments of that period of my life at bay, as well as my western understanding alive. As I grew, my choice of viewing was very similar to my reading choices. I liked characters in stories who broke rules, were naughty – unlike my school reading books with the utterly mundane goody-two-shoes characters of Peter and Jane. I revelled in stories about the Knights of the Round Table, Greek Myths and Irish Folk Tales. 

The first show to turn me into a telly addict was the Muppet Show - as a teenager I even watched Fraggle Rock, although I didn't necessarily broadcast that. When Duncan Kenworthy was a guest at a forum, he and I sang the theme tune together. I was so impressed he had produced Fraggle Rock that I almost forgot his other work - Four Weddings and A Funeral, Notting Hill & Love Actually. I can still recall the anticipation of waiting to watch each episode from week to week. My school friends and I would discuss the characters, star guests and the sketches in between. I was even given the Muppet Show cook book for Christmas. 

As an adult, I no longer can claim to be an authority on the subject of children's TV other than the occasional Muppet Movie. Elly Brewer and Ben Ward are - check out their credits on IMBD. 

Rocliffe Notes on Writing for Children’s Television by Elly Brewer & Ben Ward

Know your market. Watch the output of the age group you’re aiming at and do some research to make sure your idea hasn’t been done before. Or if it has, that you’ve put a really fresh spin on it. Develop great characters. However unusual your concept or location, it’s characters the audience will fall in love with and keep coming back for. Make sure your dialogue sounds natural. Do people really talk like that? Read it aloud to see how it sounds – and if it’s easy to say. Keep the pace up. Get in to scenes as late as possible, say what needs saying and get out again. Fast. Show don’t tell. Make sure there’s plenty of action. And you don’t always have to use dialogue – a look or gesture can convey a huge amount. Number scenes and pages (or it’s an editing nightmare). Double-check for typos and spelling mistakes. Let your script lie overnight, give it one final polish in the morning, then submit. ELLY BREWER

You must be original. There are a lot of people trying to do what you're doing and comparatively few opportunities... so make sure you stand out. If you're writing for an existing show, watch everything you can. Similarly, if you're writing for a specific network, watch as much of it as you can. It helps to have the same terms of reference as your audience. Exploit your setting and theme. If you're set on a farm, try writing down 50 things about farms before you start. If it's about siblings, write down 50 things about siblings. If that's what it's about or where it's set you may as well get the most out of it. Don't just 'write for kids', write for yourself. If you don't find it funny or moving, it's unlikely anyone else will. Be open to suggestions for changing your work. Some of them will be good. Don't put all your eggs in one basket. There are a million reasons why an idea or a script won't make it so having a few scripts on the go can make the disappointment easier to bear. BEN WARD

WRITING QUOTE OF THE WEEK

“I’m not writing to make anyone’s children feel safe.” J. K. Rowling

Keep Writing!

ROCLIFFE NOTES FROM FILM LONDON ON LOW-NO BUDGET FEATURES

Many regional bodies in the UK have low budget film schemes. Like them or loathe them, they give many first-timer feature makers a way in, within a supported network. These opportunities are available to you but the trick is to apply for them in the right way. To understand more, I spoke with the team behind the Microwave initiative and asked them for their tips on making a low budget film. 

Film London recently relaunched Microwave, their feature film training through production fund. This year the scheme has come back bigger and is better than ever with £150,000 for up to six films over three years. 

Microwave helped to produce Hong Khaou's critically-acclaimed Lilting, BAFTA-nominated Shifty and Plan B's directorial debut, iLL Manors as well as Borrowed Time, Strawberry Films and Mum & Dad.  

The scheme looks for ambitious teams driven to tell singular and authentic stories which embrace and make a creative virtue of the challenges of micro-budget film making. Their aim is to support bold and surprising cinema that will grow and excite audiences, contributing positively to an increasingly diverse landscape for British film. 

Deborah Sathe, Head of Talent Development and Production, said: 'We are hugely delighted to launch our Microwave feature film fund again – and excited to find the next generation of storytellers to follow in the footsteps of Lilting, Shifty, and iLL Manors.' 

I asked them to share their insight into things that work and to consider when applying.  

ROCLIFFE NOTES FROM FILM LONDON: 

1. One of the first questions to ask: is this a film that will compromise itself in order to be made on a low budget? If so, it’s not the right project.
2. Preparation time and development is your most abundant and valuable resource. Just because you've been funded, that doesn't mean you're ready to go shoot. Is the script the very best it can be?
3. On a low budget, the narrative has to work seamlessly on the page; the script can’t hide behind production values of a higher budgeted film
4. Do an actors read-through in advance of the shoot and incorporate changes. With a limited budget, there is no time to find the scene on set.
5. Consult with the editor during the final draft to ensure everything needed is there, and vice versa. Low budgets don’t allow for extra fat on the script; you need the most efficient ratio possible between what’s shot and what makes the final cut.
6. Make a panel of trusted readers to read at key stages to save on a script editor. Keep it small and consistent, too many voices are unhelpful
7. Have the script embrace the realities of the shoot – location, budget, schedule – and not fight against them. Has it made a virtue of them? Embrace constraint as an opportunity to make something better.
8. What is your films key location? Or are there two? Three will most likely be be your maximum, both in terms of cost, and in terms of logistics.
9. Does it really have to be at night? Does there have to be a crowd? Is there really a child there? Is there really a dog there? Does the car really need to be moving? Do you really need that song? Find the essential narrative purpose of the scene and be faithful to it, remove the extra details that will strain your budget. 
10. Choose your project very carefully. Are you prepared to dedicate the next three years of your life to it? No matter the sacrifice, no matter the lack of money, no matter the odds against it?

It really is worth understanding and following these guidelines when considering submitting a project. You don't have to lose the story just because you will not have the perfect budget to make it - in truth no film ever does have enough money - you can adapt it. You are the creator of that world so be challenged and be creative. Should you find you cannot create a world in which this story can exist at this budget level, then perhaps write a different story that does. 

Film making from script to screen will always be filled with compromise. The films that work have a a truth, a fundamental truth, at the heart of the story they tell - what's yours? Remember the script will carry the film from start to finish. I'm a firm believer that all writers and writer-directors are more than one idea - commit to a career not a screenplay and use schemes such as this to springboard you. 

The closing date for entries is 30 July CLICK HERE for more info. If you qualify, apply and see where you get to. Good luck! 

Keep writing!

TABLE READS - A TOOL OF A WRITER'S TRADE

Writing can be a very solitary thing as much of what we do with characters are developed and exist solely in our head. So when we write, it is important that we capture all of the dimensions of these imaginery characters in the written word and get what's inside our mind, outside of our head and onto the page. One of the best ways to see if we have achieved that, is to listen to other people read our work aloud. It gives a distance and a value to each voice, in a way that reading it aloud by yourself cannot provide. For a writer, it is really important to hear how the reading sounds.

For many a wordsmith, the first time their script comes alive is magical. It is also a very, very useful tool. Intimate table reads give an understanding of how the script is working. It is easy to tell if the characters came alive. Did it make sense? Are too many characters saying the same thing? Getting feedback from actors is also helpful and can feed into the development process. I recommend that a writer or writer-director should not take part in the reading but listen and make notes.  

I would always recommend doing a table read before casting the script. It doesn’t matter if the script is a short, feature, sitcom or TV drama, hearing the work read aloud will be of enormous value and undoubtedly improve the script.

TEN SCRIPT POINTERS FOR SETTING UP A TABLE READ

1. Use the first table read as a development tool rather than a selling tool. Think of it is as a spring clean, would you invite people to watch you clean up? Probably not but you can ask people to help you out. I would advise you to keep the first reading very simple – actors, writer, director and producer and one or two trusted writer-friends.
2. Casting actors can seem like the most daunting task begin with, so start with who you know. Do you know any actors? Do your friends know any actors? Ask the actors you know if they know other actors, you can advertise for actors on Shooting People, PCR, call drama schools and ring agents, give them a cast breakdown. Be honest with actors and agents that this is a table reading to help with the development of the script and you would like the feedback of actors. I would advise you not to promise anyone a role yet, as it is very early days, what if that role gets cut? That said, be appreciative of what an actor is bringing to the reading. 
3. Divide up the roles in advance and send the script to performers so they know what roles they are reading. Assign a strong actor with the role of reading the narration – they will drive the energy. Ask them to read it in a normal voice, without affectation but to keep the energy up. Don’t worry about casting people who do not physically fit the roles, cast an actor who can bring out the personality and emotional depth of the role.  Send the script by email to each actor with a list of the parts they are playing. Rocliffe recommends using no more than 6-8 actors including 1 narrator – who only reads the stage directions/action etc. and scene changes.  If there is a clear protagonist and antagonist then assign one actor each of these roles.  Use two male and two female actors – younger and older and assign each of the roles accordingly – older female, younger female and double up.
4. Find a quiet, well lit room. Pubs with music don’t tend to work, however, many central pubs have quiet space and will give you the room. Make the location central for everyone not just central to you. Give clear instructions as to the time, the place and ask them to come 15 minutes early. Organise the reading at least 4 days in advance and confirm details before the day. You can use your home as long as it has room to accommodate everyone. 
5. Make sure to provide water, coffee, tea as reading can be thirsty work. I would also suggest sweets of some kind - chocolate dries up the throat but boiled sweets can help lubricate the voice. Also supply highlighter and pencil/pens.
6. Print out single or double-sided copies for the actors, bind it with ACCO clips (see stationers) so the pages will stay together. You will need a copy of the script for each of the actors reading and yourself. You can email this to them in advance but you not expect actors to print their own copies and they shouldn’t have to share. There is no need to print off pricey copies for anyone other than the writer, director, producers.  
7. For the first ever table read, the script should be read aloud by actors in a single sitting i.e. without interruption.  Do not stop to give notes or acting pointers during the reading. Make notes throughout. Remember to be polite, not bossy - they are there to help you.  
8. Should you wish to record the reading, always ask the actors in advance if you can record it. This should only be used for your purposes to listen again. Do not distribute this recording as a selling tool.
9. Discuss the script with the actors. Ask them what their thoughts are on the characters. They may feel a character is too thin, need more backstory; were the goals, needs, wants of each character clear enough? Does each character have an arc or disappear? Do they feel the characters are thought through enough or under or over written? Write down all the notes you get. Thank the actors in person and then send a follow up thank you in writing (by email), in the email invite them to share with you any thoughts that have occurred to them since.  
10. Write up your notes that evening or the next morning whilst they are still fresh and make revisions immediately whilst you are still fired up.

Writing quote of the week

"The inner life of the [imagination], and not the personal and tiny experiential resources of the actor, should be elaborated on the stage and shown to the audience. This life is rich and revealing for the audience as well as for the actor himself" ~ Michael Chekhov

Keep Writing!