Shannon Connellan

Congratulations to all the nominees at this year's British Podcast Awards. There are undoubtedly some interesting shows in the mix, and I hope that they use the nomination as a big professional springboard. But... By my - back of a fag packet, admittedly - calculations, 30% of this year’s nominees at the British Podcast Awards were produced or distributed by the BBC (48 of 162 show nominations). A single publisher representing almost a third of nominations is monolithic, and this is without most of its radio shows which are repackaged as podcasts. That's a massive bloc for most creators to compete with, and that's before even thinking about what Global, Sony, Amazon etc are doing in the marketplace (spoiler alert: taking up a lot of the remaining 114 nominations). The awards are under no obligation to recognise creative diversity. I wouldn't want them to patronise smaller podcasters or networks. And it's hard to know whether the homogeneity of the list is a product of jurors lack of omnivorous consumption, or the fact that independent publishers are not submitting to the awards (possibly a function of the very steep increase in the costs). There are some omissions from this list that are so glaring that I have to assume that the shows/companies didn't submit for consideration. Maybe I'm being too jaded. Full disclosure: Podot only submitted one show this year, and it wasn't nominated (we submitted into the Wellbeing category, which is a bad fit anyway). But inevitably the British Podcast Awards will come to represent a Best in Class list of UK podcasting, especially for those outside the narrow industry walls. I have to say, I look at some of those categories and I struggle – as a critic and consumer, rather than creator – to believe that these shows really represent the best of the business.

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On #WorldSuicidePreventionDay (10 Sept), I’m very pleased to announce that Inside Job Productions has been awarded a two year grant by NHS England to establish the Suicide Prevention Film Unit, based out of Wandsworth Prison in London. As the World Health Organisation (WHO) declares today, suicide is a major public health challenge with over 700,000 deaths each year globally. Each suicide has far-reaching social, economic, and emotional consequences, deeply affecting individuals and communities worldwide. Nowhere more so than in prisons, where health and social challenges are greatly amplified. This will be the first film production unit of its kind, recognising the importance of sharing relevant information and supporting informed conversations around the reasons why people choose to take their own lives or self-harm in our prisons today and how we can better support them during times of crisis. By putting prison staff and prisoners at the heart of the production process, we will ensure that the film and digital media content produced is authentic and therefore accessible to all. We’re proud to be picking up on one of the WHO themes of #WorldSuicidePreventionDay 2024: #StartingTheConversation. The primary purpose of producing the film content is to support and encourage conversations between individuals who may be considering suicide or self-harm and those who are there to support them. These conversations may explore coping mechanisms when you are struggling with life inside prison, or they may be about flagging up existing services or suggesting new ones. As well as using the conventional routes for disseminating film content in prisons, including in-cell TV, we will also be facilitating a series of screening events inside the prisons which will provide a safe space for prison staff and prisoners to view the films and discuss the content in some detail, motivated and aided by experts in the subject matters. We are currently assembling a strong coalition of volunteers who will provide the project with this invaluable support. We would be delighted to welcome more of you to this eminent group of suicide prevention champions. We look forward to taking this important new project forward with your support. https://lnkd.in/ecm_ZUyF #WorldSuicidePreventionDay #StartTheConversation

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🎬 5 Key Takeaways from Paul Mulraney's Talk on Vernacular Filmmaking 🎬 At the recent MA Film & Television Online (https://lnkd.in/dui8YqiR) Graduate Showcase at Falmouth University, Paul Mulraney shared his insights on vernacular filmmaking that resonated deeply with our community. Here are five powerful takeaways that every independent filmmaker should consider: 1. Embrace the Power of Local Stories: Paul emphasized the significance of hyperlocal storytelling. By focusing on the communities around us, we can uncover rich, untold stories that resonate on a universal level. 2. Redefine Production Value: It's not about the fanciest camera or the biggest budget. True production value comes from a perfect fit between the medium and the message. Sometimes, the simplest tools can tell the most compelling stories. 3. Prioritize Relationships Over Transactions: When money is removed from the equation, relationships and the process of filmmaking become the most valuable assets. This approach fosters genuine connections and a more authentic storytelling process. 4. Vernacular Filmmaking as a Philosophy: This method is more than just a technique—it's a way of life. It involves deep engagement with people, places, and stories, prioritizing honesty and humanity over commercial interests. 5. Collaborate and Exchange Creatively: Instead of relying on traditional financial exchanges, Paul advocates for a barter system among creatives. This fosters a supportive community where services are exchanged, enhancing the creative process. 🔍 Discussion Points: * How can independent filmmakers balance financial sustainability with the philosophy of vernacular filmmaking? * In what ways can local stories be made to resonate with global audiences? * What are some of the challenges and benefits you've encountered when prioritizing relationships over budgets in your projects? Continue the conversation and explore how we can all contribute to a more authentic and community-driven film industry. #IndependentFilm #VernacularFilmmaking #LocalStories #FilmCommunity #CreativeCollaboration #MAFilmAndTelevision #FalmouthUniversity #FilmmakingPhilosophy #PaulMulraney #FilmInspiration

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Interactive storytelling by the Royal Shakespeare Company helped invigorate my family and I during one of the bleakest periods of 2021 lockdown. Dream, by RSC, was an R&D project culminating in a run of 30 minute performances which the audience experienced via iPads and smartphones. We were able to drop fireflies into the digital environment which the performers, who were wearing motion capture suits and playing in the space, could react to. It was a relatively simple piece of interactivity but it drew all of us in; my children (well used to live streamed programmes themselves) still talk about it. Projects like that make me think: Is interactivity the future of storytelling? In our rapidly evolving digital landscape, it's become clear that audiences crave more than just passive consumption. They want to be part of the narrative, shaping the story with their choices and interactions. This shift calls for a reinvention of how we produce and distribute content, moving towards immersive experiences that blur the lines between creator and consumer. Exploring cutting-edge technologies like VR, AR and interactive web platforms offers us unique opportunities to engage with our audiences on a deeper level. By leveraging these tools, we can create bespoke experiences that cater to individual preferences while maintaining a cohesive narrative structure. This not only increases engagement but also helps build a stronger connection between the audience and the content. Looking ahead, the question is no longer if interactivity will become integral to storytelling but how we can harness its potential most effectively. Embracing this new model presents an exciting challenge for digital media producers: crafting stories that are not just told but experienced. Interactivity doesn't need to be complicated (it's better if it's not) or overly sophisticated. Simple is good, but the memorable experiences are more than just audience comments, Q&A and live polling. How will you make your storytelling interactive?

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Empowering a Deaf Filmmaker to Break Down Barriers in the Film Industry 📽️ Thrilled to announce our latest film for the Media Cymru x University of South Wales premiered at their Accessible Futures Summit, directed by the brilliant filmmaker, Ethan Blake Brooks. We’ve built a lasting relationship with Ethan, and this project is a testament to the power of collaboration and accessibility. 🎬 Ethan joined us as a freelance shooting assistant producer through a recommendation by BBC Commissioner, Christina Macaulay and his university lecturer, Sally Lisk-Lewis, while we were producing a BBC One documentary. He is Deaf and had been questioning his place in the industry after a challenging experience where accessibility wasn’t prioritised. 💡 But here’s where things changed: We made sure our set was fully accessible with additional BBC access funding to hire a sound recordist who could transmit sound via Bluetooth to Ethan's hearing aids. Afterward, Ethan told us that we restored his faith in the TV industry. Since then, he’s gone on to direct and produce for Channel 4 and BBC, proving what can happen when barriers are removed. 🔑 Our crew? A powerful collaboration between Deaf, Disabled, and Neurodivergent (DDN) talent alongside our team. This project showcased what an inclusive production really looks like. Ethan did it all on his own; we just empowered him to ask for the access support he needed, helping him break down the walls. In our film, Ethan and other DDN Welsh talent share their personal stories—the good and the bad—about their experiences in the industry. ✨ Take a moment to watch the film. It doesn’t take much to make workplaces more inclusive for DDN talent, and the value of different voices is immeasurable. 💵 If you work in broadcast most channels now have access funds so money shouldn't be an excuse. 🙏 Huge thanks to Sally and Richard Hurford for inviting us to make this film and for organising such a powerful summit. I learnt so much about how I can be an ally to all DDN people. Let's keep making space for everyone. #AccessibilityInFilm #DDNTalent #InclusiveWorkplace #DeafTalent #MediaCymru #Collaboration #FilmIndustry

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One of the most common questions I get from candidates in job interviews is what it's like to work for a company where the entire team is remote. As we're looking for new team members to join us, allow me to answer that question. Working remotely can be incredibly freeing; it means you're not tied to living in big cities where the rent is extortionate (I'm still in London, because I like to torture myself), nor do you have to spend money on rail cards, the Tube or buses. On the flipside, working from home can be isolating. It's just the nature of the situation. This is why it's so important for companies to keep staff engaged, and I'd like to think that we do that at JP. Through trial and error, we've found our groove. There was the dreaded Zoom quiz (I think the team will all agree it wasn't a winner) but there's also the annual JamFest – where our editors Ben Nicholls and Jody Knowles invite us to Cornwall to hang out on the beach, have dinners and drinks, and 'work'. Mind you, I once swam out a bit too far and had to be rescued by a hunky lifeguard but that one's on me... We do team meetings on Zoom just to say hi. We have a Slack channel that acts as a water cooler, where writers can chat about whatever they like (they share a lot of pet photos – I can't complain). We offer trainings, call them weekly and try to be available as much as possible. I can't speak for my team but I can say that from what I've seen in the past four years, they all appear to get on pretty well – which is a rarity in many physical offices. Working from home is about mutual respect and trust – and I trust my team. Yeah, we make bad jokes. We send gifs. We have an infamous Friday Question that the brilliant Lee from the World Team drops in the afternoon. This year's JamFest is happening after summer. I've (understandably so) been banned from ordering shots. I am fairly certain there will be some karaoke (we love that mic far too much) and I know we'll have a good time. So yeah, we're not in an office. All that means is that we make extra effort to create our own version of one. Enough from me... we've got jobs going. If you're looking for a change, give us a shout.

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BE YELLOW 💛 , GO GREEN 💚 Remember, it isn't just the festivals that need to be sustainable. It's also your responsibility, as an attendee to do what you can to reduce your footprint and the impact on the environment. Heading to a festival this summer? Here are 7 things you can do, to be greener; 💻 Turn off WiFi and appliances at home to save energy when you're not there. 🚰 Take a reusable water bottle, and find the refillable water stations, as well as reusable plates, cutlery and cups. 🚗 Reduce the amount of cars on the road by travelling with friends or in a carshare. 🛀 Take reusable/biodegradable toiletries such as wipes, soap, nappies, menstrual products, cotton wool and shampoo bars. Limit your plastic! 👗 Choose charity shops or charity partners to buy festival fashion, over fast, poor quality fashion, and don't buy what you don't need! ♻ Don't leave anything behind. Take everything home with you and recycle/donate/reuse accordingly. 🥙 Choose plant-based and sustainable food options during the festival If everyone who attended festivals, can you imagine the impact it would have on the environment? 😵 Welcome to my TED Talk! 🤣 #Festival #FestivalSeason #BEYELLOWGOGREEN #GoGreen #Sustainability

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David Reece does an excellent job of breaking down many of the factors that are foundational to modern dynamic pricing. 🎉 Including how discounts are in fact a type of dynamic pricing. He even considers the the potential for so-called "personalized pricing" that utilizes asymmetric data gathering to calculate what buyers are individually willing to pay. Literally, what is their pain threshold for pricing. The airlines and Amazon already utilize these algorithms, BTW 😓 The biggest challenge with these algorithms, even beyond feeling like they are a huge invasion of privacy... Is that there are very few guardrails on this technology that protect consumers against unfair business practices. Like red-lining geographic regions. 👺 Or charging more to certain demographies. Those behaviors have been present in other industries for a long time. Dynamic pricing is an important way for arts organizations to realize untapped revenue sources. But there are limits. Important food for thought. Thank you David. 🙏

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EXPERIENCED MID-CAREER SCREENWRITERS! I’m planning two pilot week-long residential screenwriter’s retreats this autumn! Entitled ‘From Pitch to Pilot’, they are aimed at supporting mid-career writers to develop their own original TV series. This emerged as an idea after the cancellation of BBC Doctors - which I’d written on for nearly 20 years - as I took advice from colleagues across the TV industry on what to pursue next as a ‘mid-career’ writer. They all suggested that what writers really need in the challenging TV drama landscape right now is an original spec pilot script, unique to their own distinctive voice and style. Writing a killer spec whilst working alone is incredibly hard, often next to impossible. Add to that the pressures of everyday life and, even when we do manage to write, we have to cross our fingers that what we’re producing is worth reading... I conceived ‘From Pitch to Pilot’ specifically to offer support to mid-career writers for these challenges. Each participant will spend an immersive week-long retreat living and working together with four other experienced screenwriters, pitching initial ideas, bouncing them around in a ‘writer’s room’, working on a great one-pager, before breaking down your dream pilot episode. The aim is for every participant to end of the week with – at minimum - a thoroughly detailed beat sheet/outline breakdown of their pilot that they can then confidently write in their own time. WHO? These retreats are designed for experienced mid-career screenwriters who have already had produced TV credits and know how to write screenplays. This is explicitly not intended to be a TEACHING SPACE. ME! I will be facilitating the retreat, as well as working on my own pilot. I am an award-winning writer for screen and stage with over 20 years of experience, as well as being an experienced facilitator and guide of retreats and workshops. WHERE? - The retreat will take place at the Emergence micro retreat centre in mid Wales (pictured below), a beautiful secluded rural smallholding, that I run alongside my partner Fern Smith. This is a space of peace, calm and tranquillity in which to work and rest. HOW MUCH? - Each retreat will have just four spaces. Three places at full price of £600 and one place at a reduced rate of £300. This will include seven nights accommodation, all guiding and facilitating, evening meal on the first night, self-catering thereafter. WHEN? - The dates for the two retreats are: Saturday 7th to Saturday 14th September; and Saturday 2nd to Saturday 9th November. Participants will be expected to attend for the full week. If all of this sounds just what you’ve been looking for, then DM me with an expression of interest, which dates you’d like to attend and your email address. I will then send you full details of the retreat schedule and how to book your place. And of course please share with anyone you think might be interested. 

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I spoke with Scholar's founders, Will Johnson and William Campbell, about their creative partnership and journey, and how their multimedia studio produces a diverse range of work in a welcoming atmosphere. The pair discuss their friendly competition at art school, making landmark projects for Playstation and Target, and now working with Zoom, Riot Games and more. Read the full feature below. LBBonline - Little Black Book

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How do you make the news when you're not actually that important? Ask Ed Davey. The Lib Dems could have easily been lost in this election campaign. No poll suggests that the party has a real shot of being anywhere near Government, Brexit has receded as an issue, and there are plenty of "small party fireworks" going on with Reform and the Greens. But they haven't been lost at all - and have actually gained some vote share. Here's how the strategy has worked. 🥉 Situational awareness. Lib Dem strategists know this is not an election like 2010 where they could decide the Government. They know that the media could easily squeeze them out of stories as a consequence. Rishi Sunak and Keir Starmer will always get some airtime simply by being the Prime Minister and Leader of the Opposition - the leader of the fourth largest party simply doesn't have that same right to coverage. 🏄‍♂️ Be good TV. The best way to counter getting squeezed out is to create media moments so intrinsically visually interesting that any editor won't be able to resist including them in a story - whether as a photo or as a clip. See Ed Davey bungee jumping today, or kayaking, or doing an interview on a fairground ride. Most politics imagery is fairly boring - men in suits talking - so the media are always on the lookout for something fresh, and Davey has delivered it. 🧡 Don't lose your heart. There is a risk to overdoing step two - becoming a clown, someone who will nakedly do anything for attention. Some may argue Davey has crossed that line, but I think he's stayed just shy of it. Part of that has been integrating messaging within the stunts: Today he asked voters to 'try something they haven't tried before' and vote Lib Dem before bungee jumping. More important has been a less flashy video the party released of Davey caring for his disabled son and talking about how this drives him. The big stunts hook viewers in; the personal narrative gives them something real to connect with. It might not win you an election, but it will certainly keep you from irrelevance.

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Exciting news to share

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My brand new book Plants with Superpowers published by Quarto Books US and Quarto Books UK is available for pre-order today - https://geni.us/75Plants. In my brand-new book, I wanted to share with you an incredible array of plants that you can grow at home and have extraordinary capabilities. In my brand-new book, I wanted to share with you an incredible array of plants that you can grow at home that have extraordinary capabilities. All the plants in this book are real. The natural world has gifted plants with superpowers. The 75 featured plants each have unique abilities that are wondrous to adults and children alike. Meet a sample of the plants that are not from another world, these are plants that are amongst us. They possess a dazzling array of powers you never thought could be real, and yet the varieties included in this very book, you can grow and enjoy in your garden or home. Learn the mysteries of these plants and you too will be able to appreciate these true wonders. #plants #preorder #plantswithsuperpowers

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🔊The Society of Freelance Journalists is delighted to be partnering again with the Thomson Foundation, a media development charity, on a ‘Train the Trainers’ workshop in January 2025. 👩‍🏫 These sessions, which are being delivered by Deborah Kelly and Catherine Mackie, are designed to help freelance journalists around the world run their own successful training workshops in future, both online and in person. 🕰️ It includes how to engage your audience, how to create a structure and how to work within time constraints. 📅 The workshops will be delivered in English. The dates are: Friday, January 17 2025 (13:00 - 14:15 London time) Friday, January 24 2025 (12:00 - 13:15 London time)   📜 Anyone who wants to attend must be a freelance journalist and should go to our website and sign up to our Slack group https://freelancesoc.org/ 👀 TF will only strictly accept the first 20 applicants. Both workshops are the same, so please don’t sign up for both dates - you need to pick 😊 ✅ Places will be issued on a first come, first served basis by TF. Please only reserve a place if you are sure you can attend as demand is expected to be high. More details can be found on SFJ's Slack group. Closing date for applications is Dec 31. ⚡ For 60 years, the Thomson Foundation has been helping media to innovate, survive and grow, supporting journalists in difficult places. It shows communicators how to tell their stories, connecting media and civil society with governments, donors and tech, around the biggest challenges of our age.

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'But the big question is: do these altruistic “pay what you can” models actually work for performing arts companies? To what extent do they boost companies’ audience reach and their bottom lines?' A great piece by my ArtsHub friend and colleague, Jo Pickup, exploring the question of whether now is the time to explore new ticketing models in light of the financial pressures facing so many Australians. https://lnkd.in/grpzMz2s

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Here is our roundup of news and updates in the creative sector that has caught our attention this week 📰 Autumn Budget 2024 - how this affects the creative sector Rachel Reeves' 2024 Budget introduces significant changes that could impact the UK's creative industries. Key measures include a 1.2% increase in employer National Insurance contributions and higher capital gains tax rates. While the budget promises substantial investments in public services like education and the NHS, and a 6.7% rise in the minimum wage, it has drawn criticism for not adequately supporting small businesses in the creative sector. The increased tax burden may make it harder for these businesses to thrive. Additionally, the rise in National Insurance contributions could discourage UK businesses from hiring locally, potentially leading to more international recruitment. Industry leaders have mixed reactions, appreciating the stability the budget brings but expressing concerns about its effectiveness in promoting growth within the creative industries. https://lnkd.in/ejA6iQBE 📰 AI is being warned. Thom Yorke and Julianne Moore, are among 10,500 signatories from the creative industry worldwide, have raised several specific concerns about AI. They emphasize that the unlicensed use of creative works to train AI systems poses a significant threat to the livelihoods of artists. They argue that this practice undermines the value of human creativity and originality, potentially leading to the exploitation of artists' work without proper compensation or consent. Additionally, they highlight the risk of AI-generated content replacing human-created art, which could diminish the role and recognition of genuine artistic talent https://lnkd.in/d_nsyVV6 📰 Creative Corridor - Connecting Creative Hotspots The RSA (The royal society for arts, manufactures and commerce) is working with Creative PEC and Arts Council England to bring together leaders across regions in the UK to grow the impact of the creative industries and connect existing clusters of activity to unleash potential. The RSA believes that creative corridors can stimulate economic growth by increasing linkages between creative clusters. The Northern Creative Corridor Charter was established and convened by the RSA in November 2023, with 30 founding signatories. https://lnkd.in/eB4PvYRe #creativeindustry #creativesector #creativeupdates #creativenews

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Today, I published my 25th article with A Young(ish) Persepective (23 reviews, 1 interview and 1 opinion piece). It has been a privilege to be trusted with delivering my verdict at press nights, and wild to see some of my quotes popping up on posters and in Instagram adverts. Here are 6 things I have learned since starting in November: 1. The first draft of any writing is always terrible. All that matters is getting it onto the page. Subsequent drafts are for making it good. 2. If you're going to deny a show the top rating, you must be able to articulate how it could be better. If not, even if the production wasn't to your taste it probably deserves it. 3. High (but realistic) expectations are important - nobody can trust a reviewer who rates everything 5*, or who never gives out 5*. 4. A good director elevates a mediocre script, and weak direction dampens a brilliant one. 5. Emotionally, it's harder than expected to negatively review a show. This is particularly true for stand-up, monologues and writer/performer combinations. (But it's vital to be honest in spite of this, so the audience know what they're going into and the show receives genuine feedback). 6. Most shows only change by half a star rating after their first 15 minutes. How you feel at that point it likely how you will feel all the way through. https://lnkd.in/eg7zZyue

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