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HOW TO
FRINGE2014
ARTIST GUIDE
Welcome
to the 2014 Capital Fringe Festival. Participating in the Fringe Festival
is a great way for you to take a risk with your work, to challenge yourself as an artist and hopefully gain new exposure
and experiences. We look forward to bringing artists and audiences together for 18 days this July to learn from
and challenge each other.There is no formula to follow to guarantee that your Fringe production will be a success.
It is your job to make your Fringe show stand out among the 130+ shows in this year’s festival. Stand-out shows
have at least one thing in common regardless of their genre: a captivating central idea that has been polished and
packaged brilliantly.Together these elements - creative direction, strong performances and effective PR - form the
foundation of a successful Fringe show. In short, you have to put a product on the stage that audiences want to see.
Capital Fringe uses the Fringe Artist Page (capitalfringe.org/participating-artists) to supply you with information
and enable you to make the best decisions about producing your show in the Fringe (check it often!).We can almost
guarantee that at some point during the Fringe we will all face challenges — unexpected things will happen.We strive
to be up front about our challenges in creating the Festival and we ask the same of you. Stay in touch with us — let us
know how things are going — this is the only way that we can help you realize the best Festival experience possible.We
are here to help you take advantage of the unique producing environment of the Capital Fringe Festival and give you a
learning experience which can be taken and applied elsewhere.We want you to build on your time with us and grow!
Thank you so much for choosing to participate with us in the Fringe. Remember to take a moment to breathe
and enjoy your show and those with whom you are creating.
— Julianne Brienza, CEO
Written by Capital Fringe Staff
Table of Contents
Contents
HOW TO FRINGE ARTIST GUIDE 2014
Introduction
Make a Budget
Preparing Your Production
Production: What to Expect
Marketing and PR Strategy
Your Marketing Materials
Press Release
Advertising
Social Media Fringe Box Office Information
Passes
Complimentary Tickets
Your Net Revenue During the Festival
Fringe Staff and Your Venue Manager Getting into Your Venue
Tech and Running During the Festival Creating Your Buzz!
Closing your show, Payout and the Future!
1
2
5
7
Appendix 1: Printers
Appendix 2: Awards at the Fringe
Appendix 3: Building the Buzz and More
Appendix 4: Email
Appendix 5: Participation Timeline
Appendix 6: Web and Guide Images
27
28
29
30
31
34
9
12
16
16
17
19
20
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23
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24
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26
Introduction
What does self-producing mean?
Capital Fringe Festival is a self-producing Festival. This means that while we produce the Festival overall, you
are responsible for creating, staging and marketing your individual production.
Capital Fringe will –
- Provide you with a venue and a venue manager
- Provide full box office services, including phone, online, counter and door sales
- Schedule an average of five performances during the course of the Festival and one technical re-
hearsal before your first performance
- Market the Festival overall, including sending out Festival press releases, advertising in the DC metro area, producing and distributing a printed Festival Guide and maintaining a Festival website.
- Provide you with information, guidance and support throughout the process.
Artists will –
- Pay a $575 participation fee towards the cost of their use of Festival resources.
- Pay $200 for general liability insurance, or provide their own insurance or Equity paperwork.
- Maintain communication with Capital Fringe throughout the process.
- Provide production details – technical and marketing – by strict deadlines.
- Create and stage your production within the parameters of Capital Fringe Festival scheduling and
technical capabilities.
- Market your show individually.
Why take part?
There are many reasons why you might want to take part in the Capital Fringe Festival – to develop and test
a new idea, to reach out to new audiences, generate reviews and just to have fun! It’s important to manage
your expectations and to think about what you’re hoping to get out of your Fringe experience.You should
bear in mind that it’s best to plan on only selling 30% of your total tickets. This is how we budget the Festival
ourselves! If you have things you would like to achieve with your Fringe production, this will inform how you
approach every stage of planning – production, your marketing campaign, and your budget overall.
Fringe by the Numbers
In the 2013 summer Capital Fringe Festival, there were:
130 Artists
745 Performances
18 Venues
30,868 Tickets Sold
1,582 multi-show passes sold
100 sell-out performances
330 additional performances sold at 50% or more
500 additional performances sold at 30% or more, and
$226,538 was given back to the artists.
1
Make a Budget
Not every group will have the same budget. Most Fringe groups will find that their expenses will greatly exceed
their income from ticket sales. For that very reason is it a good idea to begin with knowing how much you
want to invest into your Fringe production. Keep in mind that the average ticket revenue paid out to an artist/
group at the Capital Fringe Festival in 2013 was $1,800 (the highest pay out being $9,500 the lowest $160).
To help you get started on your Fringe Budget, here is an example of a budget template:
EXPENDITURE
Marketing
Photos/Video
Graphic Design
Posters
Postcards
Distribution
Print/Web Advertising
Programs
Merchandise
Miscellaneous
Marketing Total
Fringe Office
Application Fee
Participation Fee
Insurance Fee
Fringe Office Total
Administration
Phone/Fax
Postage
Equipment Insurance
Admin Total
INCOME
Net Ticket Revenue
In-Kind Support
Sponsorship
Grants
Program/Web Advertising
Merchandise
Donations
Miscellaneous
INCOME TOTAL
$25 or $50
$575
$200
Production Costs
Royalties
Board Op
Stage Manager
Creative Team
Cast
Venue Rental (auditions, rehearsals)
Set
Props
Sound
Lighting
Costumes
Transportation
Parking Tickets
Other
Production Total
Income Tax
(see note below)
Contingency
(5-10% Expenditure)
EXPENDITURE TOTAL
PROFIT/LOSS
Income Total
Minus Expenditure Total
TOTAL PROFIT/LOSS
*The person/organization on your W-9 will be issued an IRS Form1099 for Miscellaneous Income. The amount of tax due on this income
depends on both your production’s Festival revenue, the overall annual
income of the person/organization on your W-9, and other factors. For
more precise information in planning for any taxes due on your Festival
ticket revenue, you should consult an accountant.
2
Income
You should make sure you include a variety of income streams, and don’t just rely on your ticket revenue; remember, you won’t get that until 15 business after the Festival ends! To help you plan how to budget your net
ticket revenue, have a look at the Box Office section on page 22.
Sponsorship and Advertising
Sponsorship does not have to mean plastering the logo of some big corporation all over your show. The best
approach to sponsorship is to start small and local. Businesses in your community are more likely to take an
interest in your project than a larger, anonymous corporation. Use existing links – do you know someone who
owns a business? Do you frequent particular places? – to establish a conversation. Remember that you need to
present your potential sponsor with a benefit. Will they have an ad in your program? Could you come and do
a workshop for employees? Sponsorship should be mutually beneficial. And think creatively about what you can
get out of a sponsor. Instead of money, would it be more helpful to borrow a pick-up truck for a week or get a
donation of fabric? In-kind sponsorship can potentially be more valuable to you, and an easier thing for a sponsor to give.
Advertising is also a mutually beneficial arrangement. If you have a program, posters, postcards or a website,
you can include ads or logos from people who pay a set price for that exposure. This could be businesses advertising, but also other shows in the area that might be trying to reach out to your audience.
Merchandise and Events
Sometimes raising money takes a bit of initial outlay. Throwing fundraising events can be a good way to generate buzz about your show as well as raise some money. Explore ideas that will allow you put on an event that
is unique and relevant to your project.
Merchandise can be a good income generator, but you should be very conscious of your costs versus your
expected income. Again, having an item that is interesting and unique to your project is important – anyone
can put a logo on a t-shirt. Would an average patron really be interested in something like that? But creative
products such as CDs from projects that contain original music, for example, would be something an audience
member could take away as a unique souvenir of the show. This has proven particularly successful for past artists who have produced original musicals.
An economical way of planning your merchandise is to do it in conjunction with your crowdfunding ‘rewards’
- if your reward is a t-shirt, and the printer has a minimum order, sell your extras as merchandise to recoupe
some of your expense!
Merchandise sales are not possible at all Fringe venues - this will be noted in the information we send you
about your venue. Any merchandise sale requests should be submitted in advance to Fringe staff. When sales
are possible, artists are allowed to sell items during the 15 minutes before their show. This means merchandise
sales don’t interfere with your load-in, or any other show’s load-in or ticket sales.
3
Crowdfunding
Crowdfunding is an excellent way to reach out to your wider community to collect individual donations – by
creating a website where people can donate directly to your project, you can reach more people than just
by asking folks you know. The method emerged in 1997 when a British rock band raised money through fan
donations to produce a new album - the first crowdfunding website was created in 2000. There are a number
of sites that support this, and each has different guidelines and functionality. All will have some sort of fee (both
internal and for processing particular types of payments) and most will turn your funds over in about 2 weeks.
Some examples of crowdfunding sites are:
Kickstarter has a focus on creative project funding and is all or nothing – if you don’t meet your set goal,
you don’t get any of the funds pledged. It is currently the most popular site for this kind of crowdfunding and
has been successfully used by many past Fringe participants.
Indiegogo is more aimed at causes and allows you to choose from fixed or flexible funding. If you choose
fixed, you must reach your set goal to receive funds, but you are charged a lower fee than if you choose a
flexible campaign. This flexibility, as well as its flexibility on types of payment methods accepted and countries
where it operates, makes it a better option for some people.
There are more crowdfunding sites popping up all the time - you just need to look for what works for you!
Some other sites to check out are:
RocketHub
Hatchfund
Crowdtilt
Uruut
The key components to using these kinds of sites are setting attainable funding goals (especially if you’re going
with a fixed funding model!), having interesting and relevant rewards for the different levels of funding and using
online tools to get the word out! There are different approaches you can take to the timing of your campaign,
but the majority of successful crowdfunding campaigns for the 2013 Festival started in early to mid-May and
lasted for three to four weeks. Stats show that it’s TEN times more likely that your campaign will reach your
goal once you have raised half of it – so it’s important to get donations early! Both Kickstarter and Rockethub
have excellent crowdfunding ‘Schools’ on their sites – even if you choose a different site, their guides contain
lots of helpful advice!
Beware of Kickstarter Fatigue! Lots of people are using crowdfunding websites these days. Especially if you are part of a community that is producing a lot of work, you may find that many of your
friends and colleagues will be getting bombarded with emails and
updates. Be strategic! A successful crowdfunding campaign takes a
lot of time and it’s not worth it to blanket email and tweet everyone
you know repeatedly. Think about who you want to reach out to and
make that message personal!
4
Preparing Your Production
Preparing a show for a festival run is completely unlike any other producing environment! Taking the time to
plan in the months between getting into the Festival and July will make your experience a lot more enjoyable
and productive.
Rights and Permissions
In order to protect the integrity of the art being presented at Capital Fringe, we require you make sure you
have all the correct rights and permissions in place before you present your work.
For existing scripts, copyright information should be at the front of your copy, with details of publishers, such
as Samuel French or Dramatists Play Service.You will need to contact them in good time to secure the right to
perform the piece for Capital Fringe. Once you’ve received permission, we ask that you send us a copy of the
letter or email no later than Friday, April 11, 2014.
Most works lose their copyright protection 70 years after the author’s death. So, for example, there’s no need
to get permission to perform plays by Shakespeare or Sophocles.
It is also important to consider other elements of your production which might be the creative work of someone else. Music, clips from film or television, and poetry all may be copyrighted material which requires permission to use. Finding the creator or publisher of the work is the best way to start tracking down information
and making sure you’re allowed to use it.
Accommodation
Capital Fringe operates a billeting program where we connect artists travelling to DC for the Festival with
local artists or other members of the Fringe community as hosts. In some cases, it might just be space on a
floor for a sleeping bag, but we think it’s a great way to connect with new people, learn about the city, and keep
down your accommodation costs. If you requested artist billeting on your application form, we’ll be in touch by
the start of June with details. If, for whatever reason, we’re not able to accommodate your group, we’ll let you
know as soon as possible and help you find some low-cost alternatives.
Travel
Washington, DC is very well connected within and outwith the city.Venues for Capital Fringe are chosen with
their location in mind, and we encourage everyone to walk or take public transit between venues. If you are
new to DC, you should get a SmarTrip card, which will save you money on the Metro and buses. DC also has
an extensive bikeshare network, allowing you to rent a bike at one location and return it at another. This is an
excellent way to get around the city quickly!
If you have a car, and particularly if you need it to transport set and props for your show, make sure you investigate parking BEFORE you set out. Not all venues will have dedicated parking and a lot of metered parking in
DC has time limits during the day. It’s a good idea to set aside some money in your budget for parking tickets,
just in case!
5
Creative Team, Auditions and Crew
If you don’t already have your team in place, get cracking! Remember that you will be presenting a fully produced show – you cannot just submit a script.You may need a director, sound, lighting and scenic designers,
other specialized roles like choreographer or music director, and someone specifically to be a producer (or coproducer). Even if you are presenting a one-person show, you should consider whether it would be beneficial
to bring other people on – you may get more creative input by having a director for the piece; having someone
help with the producing can be a huge relief when you’re focusing on memorizing a script or going through rewrites; and though you may have a technically simple show, having a strong audio or lighting design can enhance
it.
Fringe productions start their auditions as early as February and continue through to June – it just depends on
how much rehearsal time you will need and what your casting needs are. Remember that many other Fringe
shows will be looking for casts around the same time - April is especially busy for auditions! Fringe artists have
free access to backstage.com’s audition posting service for the 2014 Festival. Details and instructions will be
emailed to you.
As you start to confirm your production plans, you may find you need a running crew for your show. Remember that Capital Fringe DOES NOT provide artists with a stage manager, board op, or any other crew to run
your show.You also need to consider your load-in and load-out times, which will be discussed later. Fringe productions should be a team effort, so if you can save on having a stage hand by having actors help move set, you
should make plans for that. We strongly recommend you consider having a stage manager, and if you find you
need further crew, make sure to factor that into your budget and don’t wait until the last minute to confirm
someone! As you will only have one technical rehearsal, you should make sure you have people comfortable
with the equipment in your venue so that time isn’t wasted by learning from scratch.
Actor’s Equity Association
One thing to consider when you are casting is whether you are going to use Actor’s Equity Association actors.
There are certain steps you will need to take when involving Equity members in your show, and you must let
Capital Fringe know by Friday, May 2, 2014 if you are going to be producing an Equity show.You’ll be put in
touch with Fringe’s Equity Liaison and she will be able to give you the full information on Equity regulations and
if you are eligible to produce under the DC Fringe code. This may have a bearing on your budget!
Rehearsals and Space
Some productions might rehearse for months, some for only a few weeks – it really depends on the work and
the availability of your team. But it is important to budget both time and money for this. Capital Fringe does
not have access to our Festival venues before we start preparing them, and we’re not able to arrange rehearsal
space for you. However, tapping into community resources like places of worship, community centers or libraries can often be a cost-effective way of getting rehearsal space. Libraries in DC, for example, will allow you
to use their meeting rooms for free, so long as your event is ‘public.’ (Some libraries may limit the amount of
times you can access this service; you might have to book under different names.) We will post information on
rehearsal spaces, including venues which are offering discounts to Fringe participants, on the Artist Page.
6
PRODUCTION: What to Expect and How to Prepare
Your Fringe Run Venue
Capital Fringe has coordinated a diverse group of venues that will accommodate a multitude of genre-defying
productions. From full-time theaters to Fringe-designed spaces, our production staff employ a system of management that is both focused and flexible to lay the groundwork for the success of your show.Your venue
will be equipped with, but not limited to, the following: a basic repertory light plot, a basic sound system, and
audience seating.You should NOT expect additional equipment such as projectors, pianos and microphones
just because you requested them. Please review the tech specs for your venue carefully and contact Fringe
Staff with any questions or concerns. If it is your intention to provide any technical equipment not provided by
Fringe, then you must first have them cleared with the Fringe Production Staff.
Teching your Production
Your technical requirements should be simple, as all Fringe Run Venues are equipped with varying degrees of
light and sound capabilities.Your Technical Rider, due with your accepted Artist Agreement and Participation
Fee, is your opportunity to go into detail about your technical requirements. This information is what guides
Capital Fringe to place you in your venue. Capital Fringe will do everything we can to accommodate your
needs, but please be prepared to compromise when necessary. Remember that you have limited time for your
technical rehearsal, so the more stream-lined your production is, the better.You also only have 15 minutes to
load-in pre-show and to restore the space after your show has ended so that the next group can set up. THIS
MEANS YOU HAVE A MAXIMUM OF 15 MINUTES TO STRIKE YOUR SHOW AND VACATE THE STAGE AND DRESSING ROOMS. By working within the time constraints of a fast-paced
festival environment, you will be challenged to create new and innovative ways of telling your story. It will also
inform your budgeting process.
Questions about
teching your
show?
Ask them!
Any and all questions
regarding your show prior to your
tech rehearsal should be
directed to Capital Fringe.
The role of the
Fringe is to coordinate
with each of the venues.
Please contact:
production@capitalfringe.org
7
Things you will provide
You will need to provide at least one representative to assist with the load-in and striking of all equipment,
scenery, props, lights and restoring the venue to its original state. Any additional technical elements (lights,
sound, props, costumes, set, crew) not already provided by the venue are your sole responsibility. Any changes
or additions to your Tech Rider should be submitted for approval to the Fringe Production Staff prior to your
scheduled load-in. Anything you are given permission to store at the space must leave the space directly after
your final performance. We do not provide dumpsters or refuse removal from any of our venues. Therefore,
anything you wish to throw away must be taken with you.
Each venue will be shared by multiple companies, which includes the sharing of dressing rooms, front
of house, and rest room facilities. Please be respectful of other companies, and leave all venue spaces clean and
well-cared for when you leave them.Your show is not the only show in the Fringe Festival, so please remember
that if we all work together to respect the venue and the other groups performing at that venue, then everyone can have a great experience. If everyone has a great experience, then the Festival will be able to return to
the venue, and your group will be able to return to the Festival.
Please Read: THE FRINGE FESTIVAL TAKES PLACE DURING JULY— A HOT AND
HUMID MONTH IN DC. KEEP THIS IN MIND WHEN PLANNING EVERY TECHNICAL
ASPECT OF YOUR PRODUCTION. While we make every effort to air condition our venues, please be
advised that not all venues have ice cold air conditioning. Add to that some additional lighting equipment that
will be kept on for hours at a time, and you’ve got a potentially dangerous situation for your company. Please
do not put your actors in heavy clothing or coats or materials that don’t breathe... seriously! Prepare your
actors to project their voices over the hum of an air conditioner or other equipment in the venue. Encourage
them to drink water, and provide it for them, if possible. We cannot be responsible for the health and safety of
your cast and crew, but we are concerned. We want all of our participants to have a positive experience, and
we will step in if we feel anyone’s safety is being jeopardized.
Bangs, blood and guts...
Are you using special effects in your show? We want to
help you make sure everyone stays as safe as possible,
while delivering an exciting performance. Start rehearsing
with your effects as early as you can! Fringe staff will be in
touch over the summer to talk through any questions.
8
Marketing and PR
What does the Fringe Office do to help?
+ Production and distribution of the Fringe Festival Guide (25,000 copies distributed throughout the DC
Metro area).
+ Official web site capitalfringe.org (June 1 - July 31 2013 had 855,334 Page Views; 5:43 Average Time on Site).
+ Fringe Festival Press Release(s).
+ Press Briefings.
+ Running and promotion of the Festival Box office to sell tickets on your behalf.
+ Widespread promotion of any Fringe marketing initiatives, such as Festival Passes.
+ Various events that we run to help you promote your show, from the Festival Preview to Baldacchino Tent
events throughout the Festival.
+ Artist Page and How to Fringe Artist Guide - yep, you’re reading it right now!!
+ Festival Press List.
+ Template Press Releases.
+ A page on our website dedicated exclusively to your show.
The one thing that we are unable to do is promote individual shows. This is where you come in. Our job is to
get local residents, national and international visitors and the press interested in the Capital Fringe Festival.
Your job is to make sure they want to see your show.
Strategy
Any marketing campaign needs two key elements: a budget and a target audience. This may sound obvious, but many groups arrive at the Fringe without a firm definition of either. Use your How to Fringe Artist
Guide to help you formulate a strategy with a timetable for action, set a realistic budget, identify the selling
points of your show and target them to a specific audience and media.
Throughout your campaign, you must always come back to these three central questions:
WHO do I want to talk to?
WHAT do I want to say?
HOW am I going to say it?
Set your Goals
Get your group together and decide what you would like to achieve.You may dream of huge ticket sales to
getting a stint on the Fringe Festival circuit. Some of you may have specific ambitions, however - such as encouraging a particular type of audience for a new art form or piece of work. These are all important factors in
formulating your marketing plan. Make a note of your goals, decide how you will assess them (Have I reached
my ticket sales goal? How many positive reviews have I received?) and let them help you stay on track.
9
Roles and Responsibilities
When you set your goals you also have to decide who will have key responsibility for achieving these goals
and remember that the bigger your goals are, the more time and commitment you will need to devote in order to get near to them. It is not a good idea for either the director or any of the actors to take on
this responsibility - as the second week of July approaches and 2am meetings and parties take
their toll, it is unlikely that they will have enough time or energy.
It is a good idea to find someone who is connected to your group who can commit to working on your press
and marketing on a fairly part time basis for April and May, and then full time (preferably on the ground in DC)
in the build up to and during the Fringe Festival. Be sure the this person has their own copy of this How to
Fringe Guide.
Some groups employ a professional publicist or PR agency to run their marketing campaigns. This can be
worthwhile but some groups may not be able to include this in their budget. Using this Guide diligently and
staying focused on your plans should yield a similar return.
Give your target
audience a reason to notice
YOU
Identify your target audience
There are roughly 130 different performing groups
in the Fringe. We have about 20,000 patrons who
attend shows.You’ll not only save time and money,
but also enjoy greater success if you start by identifying different categories of potential ticket buyers or reviewers. These may include: people who
already attend events similar to yours; people who
demonstrate or share an interest in your art and
its themes, author or setting; people who pass or
work near your venue; and, if you already perform
in DC, your existing audience and supporters.
Different types of people will want to go see your
show for different reasons - your task is to work
out what those reasons are so that you can start
persuading your target audience to attend your
show. The first step to understanding your target
audience is to see your show from their point
of view. Imagine that you are talking face to face
with someone from a particular group; try and
adopt what you presume to be their interests,
motivations, concerns, even barriers to attending
and then do your best to persuade them to buy
a ticket to your show. To do this you are going
to have to talk about the part or aspect of your
show that is most relevant to them.
Where are Fringe Audiences
from?
Fringe Audiences are:
30% male, 70% female,
50% are 25 -55 years old
60% make over $50K per year
Washington, DC - 52%
Maryland - 20%
Virginia - 20%
Out of the area - 8%
10
Message Delivery
Look at what you have decided to say to each target group and then start to think about the most effective
ways of getting this message across. Just as different people will turn up to your event for different reasons, it is
most likely that different people will need to be spoken to in different ways. Methods of communication include: flyers, your show blurb in the Festival Guide and web site, advertisements, personalized letters or emails
to target groups, facebook, twitter, blog, postcards, press release, photographs, features or reviews, window
displays, t-shirts...and really whatever you have the chutzpa to come up with and do!
Whatever you might choose for your marketing campaign, all should be able to work in conjunction with one
another, so consider each element carefully before you commit any of your available money and time, as some
may be more effective than others for your particular show.
Our recent Festival survey revealed that the vast majority of our audience uses our Festival
Guide and web site as their primary source of information on what to go and see (53%), followed
by word of mouth (20%), Washington Post (17%), and Washington City Paper (10%).
Timing your campaign
It is all in the timing...right? Remember that you need to have all your marketing materials in at the same time.
This may seem simple and obvious, but be sure to have all items on hand before the July 4th holiday, at the latest!
You should start organizing your marketing campaign as early as possible, but definitely from April onwards.You
should have sent your first press release by the end of April. Proof it and get those involved in your production
to approve it late March, which means you should start thinking about content for the release the moment you
are accepted into the Festival.You can download a Template Press Release from the Fringe Artist Site.
To get the most bang for your buck, you need to know when audiences are most likely to pick up the phone or
go online to get their tickets. Tickets go on sale June 19, so it is unlikely that any promotion you do before this
time will have much impact. Keep in mind that over half of the Fringe audiences book their tickets during the
Festival and the other half at the door just before the show.You’re going to want to focus the majority of your
efforts in the immediate lead-up to, and the Festival itself.
11
Your Marketing Materials
Design
If you are not a graphic designer...don’t try to be one. You should consider trying to hire one or
get someone to volunteer their time.You could ask for a reduction in the fee for a trade in advertising in your
program or make them a real nice dinner.
Your design will automatically shape the public’s perception of your production, so make sure the designer
knows how to answer the key questions listed above.You can help them in doing this by preparing a document
detailing exactly what you want. Make sure you see mock-ups of what they are doing before they produce the
finished product.
You should consider the variety of marketing materials you want to produce to deliver your message effectively to a wide audience. As mentioned above, these can include standard printed materials, e-bulletins or t-shirts.
in addition to your image on the Fringe website and Festival Guide.You should have continuity of design across
all of your materials, so you and your designer need to consider what will look good in what formats – something that looks great on an enormous poster might not translate well to the small image required for the
Festival Guide.
Four things to communicate to your designer:
+ Who the target audience is
+ How much copy and photography is involved and what is important
+ How much money you have budgeted
+ Deadlines
Images you need to provide to the Fringe Office:
Fringe Website Image
Festival Guide Image
PR Image - this is not required. But... we will put it on your page on the Fringe website. The press will be sent
there to get information on your show when they request it. If you have nothing up.... well that would be pretty
lame. A press image is one that is dramatic - one you would see in a newspaper or magazine. i.e. different from
your Guide/website image.
We recommend that the image for the Fringe Website and Festival Guide should be the
same. DO NOT include ANY TEXT in your image!
Your image will always appear next to your show details (show name, company name, etc) so there is no need
to reference that in your image.Your images will be due with your full marketing information in May and you’ll
be given guidelines on image size and file type with your Marketing Form. It is important that you take time to
make these images appropriate and good quality as they’ll be associated with your production throughout the
Festival. If you need inspiration, have a look through previous years’ Guides and archived Festival webpages! We
have included an example of both Guide and Website entry layout in Appendix 6.
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Your Show in Words - the copy
Copy is the term used for any written information promoting your show, whether this is in the Festival Guide,
on a press release, posters, postcards and advertisements. The right copy enables you to talk to the right
people in the right way.
Never write your copy by committee. It is perhaps better to choose someone to write your copy who is not
directly connected with the artistic side of the show - what the audience considers to be important is often
quite different from what the artistic director may find important.
Decide who is going to proof your copy. Always do this by committee. The person who has spent days writing
and rewriting the same sentence is the worst possible person to check for obvious mistakes.
To do these things, make sure everyone involved knows:
1. WHO you want to talk to
This is your target audience. Remember that one piece of copy may have to appeal to more than one target
audience.
2. WHAT you want to say
You have to be clear, concise and relevant.You need to strongly define what makes your show or company different from the rest, and why someone should spend time and money on your show.You first need to get their
attention - which can be achieved through a headline or an image - before promising them a benefit (i.e. the
craziest show that you will ever see in your entire life), telling them why you are in a position to deliver that
benefit i.e. “winner of the craziest show at the Oahu Fringe”) and how they can take advantage of your promise (book tickets now at 866.811.4111).
Make sure to include the obvious details:
Show title, company name, performance dates, performance times, venue name and location, ticket price, Fringe
Box Office number and location, sponsors and Fringe logos.
Depending upon how well-known your company is to your target audience, you may want to include the
names of any performers, directors, producers, composers or playwrights.
3. HOW you want it to be said
Here are some tips from The Marketing Manual (Heather Maitland, Arts Marketing Association):
+ Use simple, familiar words. Say ‘new’, not ‘innovative.’
+ Use short words. Say ‘strong’, not ‘muscular.’
+ Use active tenses. Say ‘book now’, not ‘tickets can be booked now.’
+ Make things personal. Say ‘have a good night out’, not ‘everyone has a good night out.’
+ Use short sentences. Only 4% of the population can read sentences of 27 words,
75% sentences 17 words and 95% sentences of eight words.
+ Avoid sub clauses such as “acknowledged as one of the most challenging and acclaimed theatre companies
in the United States, our work is a fusion of best in drama and music.’ Split it into two sentences instead.
+ Keep to one idea per sentence.
+ Use short paragraphs.
+ A conversational style is usually more appropriate than a formal one.
+ Avoid jargon like “Restoration Comedy” as few people will understand what that means.
+ Use design and layout to make your copy easier to read. Make sure that people who just glance
at your copy know where to start reading and what is important.
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Don’t freak out! You can do it.You will follow the marketing form* to create your blurb.
Copy you need to provide to the Fringe Office:
40 word blurb
10 word teaser blurb
The 10 word blurb is a teaser of your 40 word blurb.
Tips for writing your blurbs:
+ Focus on the content of your show - not star ratings, reviews or awards.
+ Make sure your copy is clear.
+ Do not use ALL CAPS - this will not grab attention.
+ The first line of the blurb makes an impact on the reader....choose your words wisely.
+ Your ten word blurb is a teaser of your forty word blurb.
*Your Marketing Form is a survey link that you can find on the Artist Webpage.
Print
Your posters and postcards are the most visible form of promotion and one of the most difficult to perfect.You want your poster and postcard to stand out in the Festival Box Office and around Downtown
DC as patrons walk from venue to venue. Audiences in DC are sophisticated...bad print can put people off
from coming to see your show.You do not have to have a lot of money to look professional, but you do
have to spend time getting it just right. The design is just as important as how the finished product actually
looks and feels in your hand!
Getting a quote from a printer
You should use a professional printer. Here are some things that you should have set before you contact them:
+ How many posters or postcards you want.
+ The kind of paper you would like it to be printed on (weight and finish).
+ The size of the item.
+ Are you printing in black and white or color - and if in color, how many colors are in the design?
+ Are you printing on both sides of the paper.
+ Arrange to get the final proof emailed to you as a PDF and be sure to sign off on it before it is printed.
+ The agreed delivery date and address.
Tips on paper, inks & images
+ Uncoated paper will absorb ink more easily, so finely detailed images or tiny fonts may appear slightly
blurred.
+ Photographs do not reproduce very well on textured papers.
+ Fancy metallic or fluorescent colors are super pricey - but sure are cool.
+ Make sure your postcards are made with heavier weight paper. If they are not, they will look floppy and won’t be able to stand up in postcards racks.
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GREEN PRINTING TIPS
+ Use recycled paper or paper harvested from sustainable sources-ask you printer.
+ If possible, use vegetable-based or organic inks-ask your printer.
+ Carefully calculate the amount of printed materials you will use, so that you don’t end up with a wasted
surplus.
+ Try and design your print so that it can have a life beyond its original purpose. Could your postcards also be
used as fans? Could they be used as art?
+ If you end up with a surplus, find a second use for it. Posters can be used to wrap presents, and postcards
can be used to decorate with.
+ Always print on both sides of the paper!
+ Can you send promotional material online instead of through the post? Send a PDF of your marketing material to people, telling them that “this email is part of my environmental initiative.” They will understand that
you are saving paper.
How much should I print?
Posters: 3 good - 1 minimum
(11” x 17” is a good standard size)
Postcards: 3000 good - 1000 minimum
(4” x 6” is the standard size)
At the back of this guide there is a list of printers
Distribution
So, now that you have all of your materials printed, what are you going to do with them? Distribution is an essential part of your whole marketing plan - include bars, shops, other Festival venues, etc.Your focus should be
the Festival Grounds. However, you should distribute all over the DC area if possible. Look at community calenders, go to similar events and hand out your postcards. Use your time effectively - target busy areas where
potential audience members may be. Get friends to help. Maybe it’s financially viable to hire someone. And
remember, it’s not just enough to shove a postcard at someone - engage people in conversation about your
show! It’s better to have 20 good chats with people on the street than to get rid of 200 postcards as quickly as
possible.
Fort Fringe
Space is available at the main Festival Box Office for artists to put up posters and lay out postcards for patrons
to take, and we encourage you to do so. There are some ground rules, however:
+ Artists are allowed one inch-tall pile of postcards at a time; it is not the job of the Box Office staff to replenish your postcard stack (don’t ask them to!). Massive stacks or multiple stacks will be recycled.
+ Artists may put up one poster only (no bigger than 11” x 17”). PLEASE do not post over someone else’s
poster. If you do, your poster will be recycled. There is no ‘saving a spot’ with a large piece of empty
paper. Get your poster done in time to get a good spot! You can come in ONLY during Box Office opening
hours on June 19th and from July 8th onwards. If you are an out-of-town artist, you may send your marketing
materials to:
CAPITAL FRINGE
ATTN: BOX OFFICE
P.O. Box 50659
WDC 20091
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Press Release
Public relations is broadly the methods by which you communicate about your show to the public. Specifically, how you reach out to the media, thereby communicating even more widely! Capital Fringe provides you
with template press releases, available for download on the Artist Page. We strongly suggest that you use these
templates. The template was designed with Peter Marks of the Washington Post in response to the onslaught of
Press Releases the first year of the Fringe Festival. When communicating with the press, keep in mind they are
receiving well over 100 press releases from artists in the Fringe - be concise!
Press releases should be pasted into the body of the email. This makes it that much easier for the recipient to
read your release. Don’t send attachments – releases or photos – as it creates extra work for the recipient
(which they might just not do!) and can clog their inboxes.
Taking the time to address each press person within the email makes a more personal connection. And if you
are going to mass send press releases, make sure to BCC all the recipients – there’s no need for media to
know who else is getting the release!
The content of your press release can be the deciding factor on whether media will come to your show – take
your time formulating your copy. And PROOF YOUR PRESS RELEASE! Make sure the release is formatted properly (as a document AND in the body of the email) and that the dates and times of your show
are correct! It’s surprising how many past shows have written incorrect information in their press releases –
proof, get others to proof, and proof it again!
In addition to your own distribution, Capital Fringe will put a pdf copy of your press release on your show
page. This makes your show page at capitalfringe.org a ‘one stop shop’ for press: they can book tickets, read
your show information, download your publicity image and your press release. We’ll ask for this by May 30th.
Remember that Capital Fringe won’t distribute your release for you!
Advertising
The Festival Guide and website are the single most important pieces of print and web for the Fringe. Both are
the most targeted, as the readers demonstrate an interest in attending the Fringe. Limited print advertising in
the Festival Guide is available until March 22nd and web banner ads on individual show pages can be purchased
closer to the Fringe (this is in addition to your 40 word description and image, which is included in your
participation fee). The booking for these spots is in high demand and limited space is available. The booking for
these spots is strictly first-come, first-served.
There are advertising deals that the Fringe has set up with our media partner the Washington City Paper, theaterMania and Brightest Young Things. These deals will be posted on the Artist Page.
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Social Media
You should set up a page on as many social networking sites as possible, so long as you can manage them. This
is a great way to get your target audience to notice and attend your show. Be sure that you set up just one
page on a site.You’ll need to consider if you want to set up a page as an artist or as the show – think about
what is going to have a longer life (is this the only show you’ll be producing? Will the show go onto be produced elsewhere?) and be consistent!
When sending messages through social media to announce your show, make the subject line concise and enticing. In all social networking messaging remember your three questions: WHO do I want to talk to, WHAT
do I want to say and HOW am I going to say it. This will ensure that you are conveying what the recipient will
experience when they attend your event. Don’t be too cool or witty with these messages. You want
to make your call to action clear. Fringe strongly suggests that you use the same image you have in the Festival
Guide and website. Do not use your postcard image OR have the title of your show in your image. If you use
these sites appropriately you can grow the numbers of your target audience very quickly.
Social media is active and interactive.You should have at least a broad plan before you start each page and
make sure to stay on top of them! People will use your social media to reach out to you - make sure you are
responding.You need to balance your desire for exposure with your ability to present good content.
Remember that all social media sites are different – they have different functionality and people use them for
different reasons. Capital Fringe primarily uses Facebook, Twitter and Instagram. Why use each one….?
Include us in your social media!
Capital Fringe already has its own social media base - take advantage of it! Post about your show and your
Fringe experience on our facebook page, tweet at us or find us on instagram, using this year’s hashtag
#capfringe14.
We love retweeting our artists!
facebook.com/CapitalFringe
@CapitalFringe
instagram.com/capitalfringe
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Social Media Management Tools
Setting up, and maintaining, multiple social media accounts can be a bit daunting, but there are tools to help!
Capital Fringe uses HootSuite to post content to both Facebook and Twitter, schedule updates and track clicks
across different social media platforms. It’s the most widely used tool of its kind and is very user-friendly. There
are other tools that have similar capabilities - have a look around and see what works for you! It’s a great way
to keep organized and makes management easier to share between different people.
Facebook
If you don’t have a show or company website, setting up a Facebook page should be your first step. Make sure
you are creating a page and not a profile. Think of this primarily as a place to have up to date information about
your show (and/or company!) and a way to communicate with people interested in your work.You should also
go on to create a facebook event for your show, once you have the full performance details. Facebook pages
can be used to communicate en masse, post pictures, link to other pages and promote partner groups/organizations.
Twitter
Twitter is more about headlines than any other social media – you only have 140 characters.You want to be
able to convey important, interesting or fun content succinctly. We’d discourage you from importing facebook
updates into twitter – you probably won’t keep to the 140 character limit, the update will be truncated in
the tweet and your followers will have to click to read the whole thing. Especially with mobile use, you want
followers to get the full picture without having to be directed elsewhere. As with all social media, you should
stick to a defined ‘persona’, but in the case of twitter, the medium allows you to post less conventional material
- keep it based around your show, but a funny cat picture can add a bit of random levity! Use hashtags wisely –
they’re a great way to connect to other relevant tweets, but ensure you create one that isn’t already in use. By
including the #capfringe14 hashtag, users can easily find your tweets when looking for all Festival tweets.
Instagram
Instagram is image-based, but there isn’t a word limit on captions.You can also comment on and favorite posts.
While you can post photos on both facebook and twitter, people join instagram solely to get images.You are
able to feed your instagram images to your facebook and twitter accounts, which can be helpful in tying the
accounts together. Sharing images is a great way to build buzz for your show – share dynamic rehearsal pics,
images of costumes or props, your just-opened box of freshly printed postcards… All these images can contribute to the excitement of putting on a show!
Official Hashtags
Hashtags are used on Facebook, Twitter and Instagram to link posts into searchable lists. It’s a way to tie
your update into a broader topic of interest - or collate other people’s updates about your work! We use
#capfringe14 for all Festival updates, as well as #capfringe14SOLDOUT for sold out performances and #capfringe1450% for performances that have sold half their tickets. Link your tweets to the wider DC arts community by using #dcarts and #dctheatre.
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Fringe Box Office
The main Festival Box Office is located at
Fort Fringe, 607 NY Ave NW WDC 20001
Look for the colorful awning!
All single tickets to Fringe performances are
$17.00
Fringe Buttons are $5.00 - $7.00
Tickets go on sale online & by phone
THURSDAY, JUNE 19
Fringe Box Office will open
TUESDAY, JULY 8
Pre-Fringe Box Office hours
(July 8 - 9):
12 noon – 7pm
Festival Box Office hours
(July 10 - 27):
Closed Mondays
Tuesday - Thursday: 3pm – 11pm *
Fridays: 12 noon - midnight *
Saturday – Sunday: 10am – midnight *
*subject to change
Box Office & Ticketing
Information
The Capital Fringe Festival is a self-producing festival.
With this in mind, we have partnered with TheaterMania
to utilize their proprietary ticketing system, OvationTix.
Your production in the Fringe will have a unique web
page on capitalfringe.org that will provide audiences with
detailed marketing and ticketing information.You will be
provided with your own Ovation Code to access the
ticketing system via the web, check your will-call and
comp lists.You may not sell or purchase tickets via this
log-in.
There will be a telephone for artists to reach the Box
Office directly. This number will be made available closer
to the Festival. This number is NOT for ticket sales!!
Fringe Button
There will be a satellite Box Office located at
The Atlas Performing Arts Center, 1333
H St NE WDC 20002. All tickets will be
available for purchase at this location. Opening
times will be confirmed at a later date.
The Fringe Button is required for entry to the entire
Festival. Patrons can purchase their Fringe Buttons
online at capitalfringe.org and at the venue or the Fringe
Box Office for the cost of $5 each from June 19 - July 10
(Buttons cost $7 from July 11 - 27).
Forms of payment accepted online, by
phone, or at the Fringe Box Offices:
Cash, AmEx,Visa, MasterCard, Discover.
NO CHECKS
The Button gives Festival attendees access to 30-40
offers and discounts from businesses located within
walking distant of the Festival Grounds, such as food and
drink specials and retail discounts.
Tickets and Buttons may also be purchased at
the venue 45 minutes prior to scheduled performance time. Cash only. Select venues will
offer credit card sales. Tickets will go off-sale
two hours prior to each curtain time.
Post-Festival, Fringe Button holders will continue to receive Fringe Button discounts, receiving information via
our monthly email bulletin.
The website for purchasing Tickets, Buttons
and Passes is capitalfringe.org
We encourage you to include information about the
Fringe Button in your marketing materials to ensure
your audience members don’t have any difficulty attending!
Tickets, Buttons and Passes can also be
purchased by phone starting June 19:
866.811.4111
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Passes
When a purchased pass is used to attend a Festival performance, the per ticket value
will be reimbursed to the artist. One Fringe Button is included with all purchased passes. Reservations are strongly recommended, though not required. Admission at the door without a reservation is based
on availability. Pass is required to collect tickets at the door.
vip/press/photographer - Comp
artist pass (that’s you!)
One non-transferable ticket to any Fringe performance. Distributed at Fringe’s discretion.
Artists will receive $7.00 off tickets sold at the door
to all Festival performances. Passes will only be issued
to the participants listed on the Artist Roster. This
form is due June 16th. The Primary Contact of each
production can visit the Box Office to pick up passes,
codes and other materials during Box Office opening
hours, starting July 8th. This is a pass just for discounted tickets - your team does not need it to take part in
the Festival!
all-access pass - $350
The pass holder can reserve one ticket in advance
to any show or get tickets at the door free depending upon availability. See 20 shows and the pass has
paid for itself. See more and you start saving!
magic pass - $220
20 tickets - Twenty friends can go to one show or
a couple can go to ten shows or you can get one
ticket to twenty different shows.
110-proof pass- $120
10 tickets - Ten friends can go to one show or a
couple can go to five shows or you can get one
ticket to ten different shows.
6-pack pass - $80
6 tickets - Six people can go to one show, three
people can go to two shows, and so on.
foh-ty pass - $60
This flexible pass will get you four tickets to any
Festival production you want.
Need Help?
If you have a problem or issue during the Fringe with
ticketing or anything related to the Box Office, please
contact us immediately. We can only help you
if you communicate clearly and openly with
us. Do keep in mind we are not presenting your
show—you are. However, we’re doing everything we
can to make sure your front of house operations run
smoothly. Perhaps you want to know how your show
is selling? You can check that yourself online; you will
receive your Ovation Code and directions via email
on June 2nd - you will be able to log on and check
your sales starting June 19th.
pair-up pass - $30
For one day only! This pass gets you two tickets,
two Fringe buttons and $10 off at the Baldacchino
Tent Bar. It’s only available in person at the Fringe
Box Office on the day it opens, June 17th.You
should come along and feed the buzz!
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Complimentary Tickets
Each artist will be allotted 10% of their respective house’s seating capacity for each performance to be used for
comp tickets.Comp tickets will be coded with a special marketing code that allows the artist to set aside tickets online.This code will be under your direct supervision and no one else will have use of this code unless you authorize it.
All comps must be reserved at least two (2) hours in advance of the scheduled curtain time. No comps are
available at the door and there is no returning unused or reserved comps.
If you have members of your group who wish to sit in the audience during a performance (director, ushers,
etc), reserving them a comp is the only way to guarantee them a seat. Otherwise, it is dependent on sales
and the discretion of your venue manager – artists may not use seats if a performance is sold out.
This freedom will allow you to:
+ Be the only one assigning comp tickets through the web site, using the code yourself. We do ask when you
are entering your comps that you enter the persons name they are for and email address.
+ Give comp ticket codes to those whom you want to attend, allowing them to order at their leisure online or via phone.
+ The press have their own passes and can reserve tickets themselves - there is no need to use your comps to
reserve tickets for them. Have them get in touch with the Capital Fringe publicist at press@capitalfringe.org.
PLEASE READ: If you choose to front load your run with comps to get on the sold out board at the Fringe
Box Office - we are not going to list you. Only legitimate sold out shows (that is patrons purchasing tickets
through our ticketing software or cash at the Box Office or venue) will be placed on the sold out board.
Capital Fringe reserves a small number of seats as needed for press and VIPs. Artists will not be reimbursed
for the value of these seats. If you go over you allotted amount of comp tickets your code will be shut off and
the full amount owed will be deducted from your total Box Office revenue.
I JUST WANT FREE TICKETS!!!!
Sure.. well, try volunteering!
Give something and get something back!
Volunteers of the Fringe are integral to the
timely execution of all aspects of the
Festival. As a way of thanking them for their
hard work, volunteers receive
vouchers, redeemable for tickets to any
Fringe performance.
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Planning Your Net Ticket Revenue
Budgeting your income based on your net ticket revenue is not as simple as assuming every show will sell out
at $17 a ticket. First, you should set a realistic goal. Capital Fringe budgets to 30% overall sales, and we suggest
you do too. This more conservative estimate will help you keep your finances in check and give you a better
chance at succeeding! Plus, it’s important to remember that the average ticket price for 2013 was $14.50 Capital Fringe sells a number of multi-show passes, and ticket revenue is different for each pass.
Ticket/Pass Name
Average Ticket Price, 2013
Single Ticket
Standing Room Only (select venues, door sales only)
Artist Ticket (only available on the door)
All-Access Pass
Magic Pass (20 tickets)
110-proof Pass (10 tickets)
6-pack Pass (6 tickets)
Foh-ty Pass (4 tickets)
Pair-Up Pass (2 tickets, plus other benefits)
Cost to Patron Total Per Ticket Revenue
$14.50
$17
$17
$10
$10
$10
$10
$350
$10
$220
$11
$120
$12
$80
$13.33
$60
$15
$30
$10
When it’s time to work out your net ticket revenue, there are a few steps you will need to take. This will be
detailed in the How to OvationTix Guide you’ll receive in June, but it’s important for your budget-planning.
Net Ticket Sales: When looking at your Net Ticket Sales, you’ll have the actual number of tickets sold.
These are only single tickets (which could be $10 or $17).
Flexible Pass Redemptions: The per ticket revenue for the passes that audiences used to see your show
will be listed separately on your wrap sheet.You’ll be able to see what kind and how many of each pass were
used by your audiences. The gross revenue from all these passes will be added up on your wrap sheet.
Ovation Fees: OvationTix charges per ticket fees for the use of their software and support in processing
ticket sales. Since Capital Fringe is a self-producing festival, the fees are split between us as the overall Festival
producer and you as the artist, according to your particular ticket split. Therefore, fees should be deducted
from your gross ticket sales (single ticket + pass redemptions) before taking your percentage. OvationTix
charges $0.25 per ticket for single tickets purchased in person and $2.08 per ticket for single tickets purchased
online or over the phone. There are no per ticket fees for passes redemptions.
Your Ticket Split: Capital Fringe artists take 50-70% of their net ticket revenue, depending on venue size,
facilities available and number of performances.You’ll be told your ticket split when assigned your venue and
performance schedule. The percentage you are given is the percentage that goes TO YOU.
So – in a nutshell:
(Net Ticket Sales + Flexible Pass Redemptions – Ovation Fees) x your ticket split =
YOUR Net Ticket Revenue for your run at the Capital Fringe Festival 2014
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During the Festival
Fringe Production Staff and Your Venue Manager
Each Fringe Run Venue will have one dedicated Venue Manager who is a member of the Fringe Production Staff.
The Venue Manager will be your main point of contact during the Festival, and will be with you at your venue
from your tech rehearsal to your final performance. During the Festival, you must first direct any questions or
concerns regarding your production or venue to your assigned Venue Manager.You should never go to the
venue employees or anyone not associated with Fringe Production Staff. There is a system in place for a reason,
and if you to attempt to circumvent the chain of command it compromises our relationship with the venue
and consequently our relationship with you. The Venue Managers are there to ensure that the Fringe stays on
schedule, the Box Office and audience changeover runs smoothly, and all venue requirements are met. The
Venue Manager is also trained to provide light-duty technical assistance. The Venue Manager is not there to be
your stage manager or board op, or in any way to run any aspect of your show. Please be sure you have the
proper crew to make your show happen.
Getting into Your Venue
You will be assigned a single technical rehearsal. The purpose of this rehearsal is to set up your performance,
write cues, and do a cue-to-cue on stage. Because of the short time available to you, you should rehearse and
drill the technical aspects of your production BEFORE you arrive at your venue. Capital Fringe shall provide
basic lighting setup, sound equipment, and minimal dressing space for the length of all performances in any
Festival venue.You must provide your own stage manager, light board op, sound board op, and any additional
running crew necessary for your production. These individuals must be approved by the Fringe Production Staff
prior to the Festival. The cost, procurement, and operation of additional production items shall be your sole
responsibility.You bear the risk of loss of any and all additional production items and property stored at your
venue. NOTE: there is minimal to no storage in all Fringe Run Venues – please be prepared
to take all props, set pieces, costumes, and equipment away with you after each performance. Also, any scenic elements you bring to your venue must be compact and be able to be set up and
taken down in 15 minutes or less.
Technical production assistance provided by the Fringe Production Staff is limited to the items mentioned
above.You take full responsibility for the associated salaries, costs and fees of additional technical assistance
such as stage crew, stage manager, props, costumer, and other technical assistance. All equipment for your production used during the Fringe is subject to the supervision and approval of the Fringe Production Staff. Capital
Fringe has the right to refuse permission for the use and/or operation of any construction, property, or effect,
which in its judgment might endanger you, the audience, or other artists - OR jeopardize the physical wellbeing of a Fringe Run Venue.
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Running during the Festival
While your show may be the most special thing in the world to you, it is important to remember that you are
part of a Festival and you may be sharing your venue with as many as a dozen other groups, just like you! In
order for everyone to have the best opportunity to showcase their work and sell tickets, we schedule the Festival tightly. It is essential that you keep to the schedule that was sent to you in April - you must not overrun
your 15 minutes of load-in/out or your performance running time.Your Venue Manager is in charge, not only
of supporting all the shows in their venue, but also of keeping the front of house and overall schedule running
smoothly. This means that if you run over your scheduled performance time, your Venue Manager will, after a
warning, turn the lights up and end your show. This ensures your venue stays to schedule and also allows your
audience members to get to their next show in time! Capital Fringe has a no late seating policy, and many
patrons book multiple shows in a day. We need to keep things running to schedule for both the benefit of the
artists AND the patrons. Please make sure you are at your venue in good time for your load-in and don’t try
to get in before your Venue Manager says so - you might distrupt someone else’s show! Please leave the space
promptly, making sure to clean up after yourself in both the performance space and dressing room. And then
head on over to the Baldacchino to chat!
How Long is my Tech?
You get one tech rehearsal in your assigned Fringe Festival venue. The length of your tech rehearsal is
double your performance run time plus 15 minutes to load-in and 15 minutes to load-out.
For example, if your running time is 70 minutes Load-in: 15 minutes
Tech Rehearsal: 140 minutes
Load-out: 15 minutes
TOTAL: 170 minutes
No Exceptions... we mean it.
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Creating your Buzz at Fort Fringe and Beyond!
The Baldacchino
So, you’ve got your show up and running – great! But here comes the hard part – you have to keep plugging
your show every chance you get! Luckily, Capital Fringe Festival thrives on word of mouth and patrons love
coming to the Baldacchino Tent Bar to learn what show to see next. Talking to people at the Tent is an indispensable way of promoting your show. Come armed with postcards and remember that it’s not about seeing how many you can get rid of in a short amount of time – it’s about having a meaningful conversation with
someone, really convincing them why your show is worth their time and money! Come in costume, have a
pitch ready, whatever you want to do – showing up is a good start!
Festival Venues
Another valuable asset of a Festival environment is that you know where to find Festival audiences – at other
venues! Capital Fringe tweets and posts on facebook when shows are sold at 50% and sold out, so keep an eye
on the feed. If you see a show is selling well, head on over to their venue when the performance ends and hand
out postcards as the audience exits.You can be strategic and target specific shows that share certain themes
with yours, or may share your audience.
Social Media
Stay on top of your social media! People may try and reach out to you through it – don’t leave them hanging!
Maintaining your social media presence throughout the Festival should be easy –you’ll have plenty of content,
from performance stories to press to exciting images. Remember to keep the feeds alive, keep them fresh, and
use hashtags to link to Capital Fringe!
Track Your Sales
Stay on top of your sales and patron lists! Knowing how many people are coming to a show will help you
target your efforts on which particular performances need publicizing.You’ll also be able to see when press are
coming to your show. They should be turning around a review or some kind of coverage within a few days – as
soon as a good review is published, spread the word! Promote your reviews through social media, online, and
maybe even print out an excerpt and staple them to your postcards.
Remember the Press
And, while many press will book their shows in advance of the Festival, some do continue to book throughout
the 18 days if they have heard about a show they want to see and write about! If you have something new to
say about your show (great reviews, sell-out houses), let them know. And the media always like a good story –
did something particularly ‘Fringey’ happen with your show? Feed the story to the press and maybe you’ll get
some coverage.
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Closing Your Show, Payout and the Future!
So, you’ve done your show and you survived - well done! Once you have finished your last show, you will need
to use your final load-out to clear everything from your show out of your performance space, or work out
with your Venue Manager when best to do it. Then have a drink, relax, and be sure to come to the Closing
Party and Awards Ceremony in the Baldacchino Tent Bar on Sunday, July 27!
Payout and Ovation Tickets
Following the Festival, we’ll compile your ticket sales and distribute your box office payment on August 15th.
Remember that the payment will be sent to the person and address in your W-9. If you change your address,
you need to let us know as soon as possible!
We have written a separate guide to help you navigate OvationTix and this will go into detail about tracking
your sales, calculating your settlement and extracting your audience contact details. Make sure you get all the
information you want about your sales and audiences by Friday, September 12th - that’s the day we delete this
year’s Ovation Codes and you won’t be able to access your reports any more!
So, what’s next......?
Capital Fringe is all about YOU! The Festival wouldn’t exist without its variety of artists taking a chance to create work in an un-juried and open environment. We want you to tell us about your experiences - the good, the
bad and the hysterical! We hope that you gain something from the experience of taking part in Fringe and we
want to make sure that we’re providing the best support we can. We’ll send you an artist survey after the Festival - please take the time to fill it out and help us make the Festival the best it can be!
Up next for Capital Fringe is fallFRINGE, in November 2014. It’s a great opportunity to give
your successful summer Festival show new life! If you’re interested in taking part, email
alex@capitalfringe.org.
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Appendix 1: Printers
There are many printers out there and this list only covers a few of them. In general if you are going to use a
printer you find on the internet (overnightprints.com or vistaprint.com) instead of a local service (groveprinting.com or themouseartist.com) you should search online for coupon or discount codes for that printer as
you could save as much as 50% or more on your print job.You’ll find that printers, even within this list, can vary
greatly in price. If possible, try to get samples of their work to make sure you’re getting good value for money.
Some online places to choice from. (Capital Fringe prints a lot through Vista Print and loves them!!)
overnightprints.com
themouseartist.com
groveprinting.com
docucopies.com
vistaprint.com
nextdayflyers.com
uprinting.com
postcards.com
printkeg.com
bargainbasementprinting.com
Tips on Postcards & Posters
We recommend that you use nothing lower than 11 point font
on your postcards and posters.
Do not bring 8 X 11 or 11 X 17 flyers to the Festival
Box Office to put out on the tables.
Do keep in mind the standard postcard size is 4 x 6 going larger could have advantages but it is harder to fit places.
The standard size for posters is 11 x17. We will
accept ONE poster no larger than this
size for display at the Fringe Box Office.
Unless you are doing a bunch of posters (more than 5), we
recommend going to Staples or Kinkos and printing on their
11x17 paper for about $3 a pop.
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Appendix 2: Awards at the Fringe
Fringe Audience Awards
Once again in 2014 Capital Fringe will conduct the Pick of Fringe - Audience Awards where audience members
can vote for their favorite shows in the Festival. When the voting system is set up, specifics about how to vote
and how to make sure your audience has every opportunity to make their opinion heard will be found on your
artist webpage.
Director’s Award
The Director’s Award is chosen by Julianne, Capital Fringe’s CEO. The criteria is best story and self-promotion.
The recipient of the Director’s Award (the top and by far the coolest prize) will receive a free marketing package from TheaterMania, Washington City Paper and more goodies to keep them producing here in the District
and within the Fringe touring network.
The awards will be announced at the Closing Party on Sunday, July 27.
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Appendix 3: Building the Buzz and More
Fringe Preview - Tuesday, July 8th
The Festival Preview will take place at the Baldacchino Tent Bar at Fort Fringe, 607 New York Avenue NW.
The Preview is always packed and it is a great way for you to promote your show. At the Festival Preview a
select number of groups (up to 20 or 30) have the opportunity to perform a few minutes from it.You also get
the chance to check out your fellow participants.
If you are interested in performing in the Fringe Preview please contact programming@capitalfringe.
org by the end of April. Please note - not everyone in the Festival can not perform at this event - it is
just not possible. We choose a range of shows that express the vastness of what will be at the Fringe that year.
You are STRONGLY encouraged to attend the Preview even if you are not performing!
FRINGE AND PURGE
Purge is the Washington City Paper’s Festival blog. This is a great tool for you the artist as it can create buzz
about the productions it covers. This year The Washington City Paper will be at it again. So, be sure to get your
marketing materials to The Washington City Paper so you can be a part of the Fringe and Purge craziness.
FRINGE TRAINING FACTORY
The Training Factory is the year-round artist incubator arm of Capital Fringe. It supports the development
of performing artists and companies in the Washington, DC area and beyond. In the lead-up to and during the
Festival, we hold discussions and workshops for artists and audiences interested in delving deeper.
Working in partnership with the Martin Luther King, Jr. Memorial Library, Capital Fringe will present the Training Factory at the MLK Library, located at 901 G St. NW, WDC 20001, on Monday evenings from June 16
through July 21. Topics will include self-producing, publishing for playwrights and musicians and how to use
Fringe Festivals as a touring network. Full details will be available in the Festival Guide and website.
OPENING AND CLOSING NIGHT
The opening night party on July 10th will go down at the Baldacchino Tent Bar at Fort Fringe, 607 New
York Ave NW. This will be a great night of Festival Festivity to kick off the 18 days of performance that follow.
This is a highly attended event - you will want to have someone there handing out your cards. DO NOT MISS
THIS EVENT!!
We will end the Fringe this year also at Baldacchino Tent Bar at Fort Fringe beginning at 8pm on Sunday, July
27th. We will present the awards and wrap-up the whole event in proper style.
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Appendix 4: Email
You might be the type of person that thinks if you email ALL Fringe email addresses you will get a return
email quicker. Well, you will not. The Fringe staff gets A LOT of email leading up to the Festival and during the
actual Festival. When sending emails to Fringe staff - just send them to the address that makes sense for your
question. Follow the list below as a guide.
Overall questions about your participation, Artist Roster, Fringe Run Venue or billeting questions....
alex@capitalfringe.org
Questions about Tech...
production@capitalfringe.org
Questions about selling tickets to your production or Ovation Tickets...
boxoffice@capitalfringe.org
Questions about marketing your show, blurb and image questions, ad sales....
communications@capitalfringe.org
Questions about press, obtaining the press list...
press@capitalfringe.org
Questions about your ticket spilt, W-9, Box Office payment...
katie@capitalfringe.org
Questions about volunteering...
volunteer@capitalfringe.org
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Appendix 5: Participation Timeline
Month
Action
January
to February
Keep thinking about your production – refine your plans, hone your budget, and get ready to
start sourcing income. If you are accepted into the Festival, you will need to have your technical
plans in place and your participation fee ready before the end of February.
February
Successful artists are notified of their acceptance into the 2014 Capital Fringe Festival early to
mid February. Any additional applicants which could be accommodated in our venues, are waitlisted. Waitlisted applicants will be notified if appropriate space opens up.
Successful applicants will be asked to sign their Artist Agreement, submit a completed and signed
Form W-9, submit a completed detailed Technical Rider and pay a $575 Participation Fee by 5pm
EST on February 28th.
Begin planning your Marketing Campaign. Make plans to attend the next How to Fringe Session,
which will focus on selling your show on March 10th at 6:30pm at Fort Fringe, or via Skype on
March 22nd at 2pm.
Using the Capital Fringe template press release, send a press release to any media contacts you
have to let them know you’re in the Festival!
If you are planning on buying an ad in the printed Festival Guide, payment is due.
Attend a How to Fringe Session, focusing on Marketing.
If you’re interested in taking part in the Festival Preview, please get in touch!
March
March to
April
You’ll be sent your Technical Rehearsal and Performance Schedule, Ticket Split and Venue Assignment by April 4th.
You can send a press release to let the media know your performance schedule and venue!
Finalize your budget.You should have a good idea of your marketing campaign and your technical
requirements enough to get quotes and confirm how much your outlay will be. Remember, you
won’t receive your box office settlement until 15 working days after the Festival ends!
If you need to, start fundraising! Crowdsourcing websites have been useful tools for Festival
participants in the past – look at examples from previous years, see which ones were most successful and emulate their techniques.
Instigate your online presence! Even though you might not be tweeting or facebooking all the
time, you should establish your project’s social media identity so you can build on a solid base.
There’s nothing worse than linking to a twitter feed that has no tweets! Use the #capfringe14
hashtag and start connecting with other participants.
Secure the rights to any copyrighted material you’re using for your project. We’ll ask for proof
of this by April 11th.
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March to
April
If members of your team are from out of town and require housing, get in touch asap! While
Capital Fringe cannot guarantee housing, we operate a billeting program and will try to house as
many artists as possible!
Work on your practice Marketing Form.You’ll be sent this in April. It will ask you for the full
details of your show for publicity purposes, including a description of your show, a list of those
featured in it, and your show images. The information on your Marketing Form goes into the
Capital Fringe Festival printed Guide and website and should be consistent with rest of your
marketing campaign.
If you have not secured a cast, start planning auditions. Fringe productions start auditioning as
early as late February and continue through March, April and May.
May
You must submit your insurance fee ($200) or documents by 5pm EST on May 2nd. If your
company produces throughout the year, you may already have general liability coverage – if not,
it might be cost-effective for you to consider getting it! If you are producing under the AEA DC
Fringe Code, you’ll need to submit proof of AEA membership and you will not have to pay the
insurance fee.
Your Marketing Form and Images are due by 5pm EST on May 9th - this is a strict deadline!
Send us a press release by May 30th that we can upload to your show page.
Fine tune your production! Keep the dimensions and technical abilities of your venue in mind
as you move forward. As you go through the rehearsal and design process, you can get in touch
with any questions about your venue!
June
How to OvationTix Guide and codes are sent out on June 2nd. Capital Fringe uses an online
ticketing system that allows you to gain access to your sales information and the contact details
of your patrons.You are also able to book your own complimentary tickets, up to 10% of your
overall house.
Artist Roster is due by 5pm EST on June 16. This tells us who is involved in your show and
Capital Fringe can issue Artist Passes to those people, getting them discounted tickets for Fringe
shows on the door.
Tickets, Buttons and Passes go onsale on June 19th.Your show page will go live on capitalfringe.
org and the printed Festival Guide will be available.
Press will also be able to start booking their tickets. Send a release with your most up to date
show details. If you get any press ticket requests directly, you can forward them onto the Festival’s publicist at press@capitalfringe.org. We handle all press bookings centrally.
July
The Festival Preview, a showcase event of a cross-section of the Festival, will take place on
Tuesday, July 8th. Press are specifically invited to the event, and it’s free to the public. Even if you
aren’t taking part on stage, you should come along, prepared to talk to people about your show!
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July
The 2014 Capital Fringe Festival runs from July 10 to 27. Word of mouth is hugely important
to ticket sales at the Fringe. Make sure you or your team is making the time to hang out at the
Baldacchino, promoting your show. Try to connect with other artists who might be interested
in cross-promotion. Go along to other venues, especially ones where there are sold out performances, and hand out postcards to people in line.You’ll meet lots of people, make new connections and promote your work in the process.
Have a good time! The Festival is a lot of work, but a lot of fun. It’s a great chance to meet new
people, and maybe find future artistic collaborators! The Baldacchino is always full of people
excited about the Festival and performance - there’s always someone to talk to and have a drink
with. Enjoy the music, soak up some sun, see other shows and remember that you are part of
an enthusiastic, supportive community who is excited by the kind of work you are producing.
Lap it up! And when it’s all over, come to the closing party and celebrate with your old, and new,
friends.
August
Your box office settlement will be sent 15 business days after the Festival ends, on August 15th.
Archive and file everything from the Festival. Pull all of your sales and customer information off
of OvationTix and do a final reckoning of your budget to track how you did.
September
Your OvationTix Code will be deleted on September 12th – make sure you’ve pulled all the
information you need from it before this happens!
..... Ready to do it all again?
Join the Capital Fringe mailing list for updates throughout the year - this is the best way to find
out about the application dates for 2015!
October
Applications for Fringe Run Venue productions will open. Have a production and apply - remember, it’s first-come, first-served based on what we can accommodate. Don’t leave it till the last
minute!
October to
January
Come up with some first draft plans, a preliminary budget, and contact the rights holders if your
work is under copyright.
January
Applications will close in January, 2015. And then it’s back to the top!
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Appendix 6: Web and Guide Images
Festival Website
Every show gets a unique page on capitalfringe.org.
You will need to submit your show image, 40-word
blurb, genre, sub-genre and other production details
in your Marketing Form by May 9th.You also have
the opportunity to include links to your website
and social media, a press image and press release.
Your show venue, dates and times are listed below
your show details, with links to purchase tickets.
Festival Guide
Your Guide image should closely
match your website image, as
you can see here.Your show
and artist name, 40-word blurb,
genre, sub-genre, performance
schedule and venue will be listed
in your Guide entry. The image
is small - make sure what you
are submitting works in that
size!
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