The post Exciting Changes Ahead for Eventotron! appeared first on Eventotron.

1. Overview
The Plugin is an out-of-the-box solution designed to integrate your Eventotron event and venue data seamlessly with your WordPress website. It provides:
• Website integration with real-time sync of information collected from artists and venues in Eventotron.
• Automatically generated, filterable “What’s On” pages, event, performance and venue posts using customizable templates.
• Flexible search and filtering options.
• Display of related events and venue profiles.
• “What’s On Next” and “Nearby” functionality via shortcode.
• Full support for selling tickets directly through your website, as well as facilitating in-person ticket sales at your venue(s).

2. Installation and Support
The Plugin is simple to install and set up. Eventotron will provide support for installing and configuring the Plugin using the default templates, subject to our overall Terms of Use: /terms-of-use/.

3. Ticket Sales
The Plugin includes functionality to sell tickets for your events directly on your website. It also supports in-person ticket sales, giving you flexibility to manage and sell tickets in the way that best suits your festival, season, or venue.

4. Customization
• The Plugin allows you to customize templates to match your website’s style.
• You may add or modify search and filter functionality based on data you collect via Eventotron.
• You may customize event, performances and venue posts.

5. Custom Code and Templates
The Eventotron Plugin is intended to be used ‘as-is’. We suggest that clients exploit the built in customisation options and, if necessary, implement their own CSS and javascript. However there is provision for clients to override the built in-templates and direct manipulation of the code is not prohibited, subject to the following conditions:
If you choose to:
• Build your own templates,
• Make significant changes to the default templates, or
• Modify the Plugin’s code itself,
you will be outside the scope of our support policy. Support requested for resolving issues due to customizations is provided at the discretion of Eventotron and will incur additional fees.

6. Data Control and Display
• The Plugin is designed to give Eventotron clients control over the information they display on their website and the tickets they sell.
• If a developer, agency, or third party makes changes to the Plugin files that impact this functionality, Eventotron will not be liable for any resulting issues.

7. Disclaimer of Liability
Eventotron is not responsible for any disruptions, errors, or issues that arise from:
• Custom modifications or template changes made by you or your developer(s).
• Changes to Plugin files that affect event, venue, performance or ticketing data display.
• Any misuse or misconfiguration of the Plugin.

8. Updates
Eventotron may, from time to time, provide updates to the Plugin to address bugs, improve functionality, or comply with evolving requirements. It is your responsibility to apply these updates in a timely manner.

9. General
• These Terms of Use apply in addition to Eventotron’s overall Terms of Use (/terms-of-use/).
• In case of conflict between these Plugin Terms and Eventotron’s overall Terms, these Plugin Terms shall prevail solely concerning the Plugin.

By installing and using the Plugin, you acknowledge that you have read, understood, and agree to be bound by these Terms of Use.

The post Eventotron SSBO WordPress Plugin – Terms of Use appeared first on Eventotron.

The post New Festival or Season Sign Up FAQs appeared first on Eventotron.

Log in to Eventotron using the email and password you set the account up with or received by email when you were joined.

Click on FESTIVALS & SEASONS in the top menu.

Under MY FESTIVALS & SEASONS you will see a list of the festivals/seasons you have access to. Click on the one you wish to work on. You will be in the management dashboard for that festival/season.

That’s it! More info on managing a festival or season is available here.

The post Find your Festival or Season appeared first on Eventotron.

Oldest and longest-running fringe festival in Scandinavia.

Stockholm Fringe Festival (STOFF) was launched in 2010 by Helena Bunker, Lina Karlmark and Adam J. K. Potrykus. The 13th edition takes place from the 13th  – 17th of September 2022.

We’re all from an artist background – we’d performed at Edinburgh Fringe, won awards at Melbourne Fringe and recognised that the fringe format needed to arrive in Scandinavia. Stockholm was the first and only. The first year it operated out of one venue with two stages to now being the biggest in the Nordics and inspiring other new fringe festivals throughout Scandinavia. STOFF started to coach and co-launch fringe additions in a bunch of other Nordic sister cities, which led to the launch of the Nordic Fringe Network (NFN). Comprising 13 festivals across 7 countries, NFN supports fringe festivals and opens one main artist call a year covering the whole region. While we’re united in the artist call, each festival is unique.

STOFF grew too much in its early years, and organisational stretch marks started to show. The team and crew didn’t grow at the same pace as the festival and administratively it was becoming too complex. It was decided to re-structure to be a boutique festival. In hindsight, we should have joined Eventotron five years ago as we’d have been able to grow and reduce the extra admin. Maybe we would have taken a different approach if we’d had the right tools from the start.

STOFF is a week-long festival – it’s a showcase of innovative work. It is also a networking platform programming lots of activities, workshops and panel events for artists. STOFF always has a huge headline act as a hook and to spread the limelight over the up-and-coming acts. This year (2022) we’re excited to be welcoming back Forced Entertainment with a brand new show.

At the core, we’re left of centre, feministic and punky. One could claim that STOFF’s profile over the years has been somewhat pretentious. Or, serious if you like. In the first fringe festival year, we had nearly no stand-up acts! We’re like a reverse birthday cake, we started with a few slices of performance styles,  and have added different genre slices over the years. It’s been an organic process.

Open-access or curated?

Curated but try to be democratic. Curated because it’s too expensive for artists to hire space in Stockholm. STOFF hires the venues and give that (with technicians etc) to the artists we programme. Artists take all ticket sales, apart from the booking fee and we don’t charge an application fee. STOFF has not-for-profit charity status and finances the festival through funding support from local, regional and national governments. We have partners whose support is in-kind; lending equipment, rehearsal space etc.

STOFF is democratically curated across genre, geography, and gender. We look to elevate specific topics which in turn diversifies festival audiences. An example of this was a collaboration with the National Black Theatre of Sweden. Putting people on stage who wouldn’t necessarily be the first to apply to STOFF meant changes across future applications from artists to audiences attending the festival.

We have several projects outside of the main fringe – recently setting up the first phase of a future digital performance culture house (Arena STOFF).

It’s a new project which received funding that helps to feed our all-year-round strategy with fringe offerings online and IRL. We know digital is here to stay, the benefits it provides in terms of access, being environmentally friendly, and global, are endless. It also comes with challenges. How do build and retain online audiences, making performance worth paying for – monetising it better? How do give space for existing gaming audiences in our sphere? How do we best help to keep new digital stages safe, inclusive and community-minded? If readers have an idea about what this future culture house should look like, please register and share your thoughts: https://www.arenastoff.com/

What is your artist callout process?

It starts with the Nordic Fringe Network open artist call in Dec/Jan/Feb, then each festival in the network chooses its own programme. The festivals close to each other discuss programming plans so that artists can build mini-tours. Eventotron has been great for this – you created a whole new way for artists to apply to the Nordic Fringe Network and the majority of the network is now using Eventotron.

“Prior to using Eventotron everything was done via email and google forms. We had monster spreadsheets that nobody could handle.”

This year we did less promotion of the open call than usual elsewhere and still got loads of applications via Eventotron. It saved us a lot of grief in explaining the fringe sector to artists. The more festivals use Eventotron the easier the job of explaining the fringe concept to applicants is!

“The artist call process alone is worth the Eventotron subscription fee. The managing of the show copy and visuals for program listings is the other major drawcard for us.”

How do you work with venues?

We have standard bookings with some spaces that we always work with. We hire venues. Everyone is chronically underfunded in the sector so we try to hire but are usually offered a special rate. The venues are invited into Eventotron to populate their profiles but SF does all the matching events with venues and scheduling. Artists and venues don’t really communicate much at all until the festival month.

Most useful marketing tools?

The website is the most useful tool for marketing the festival. It’s a Squarespace website and then the what’s on / ticketing section is all in an Eventotron microsite but users don’t know that – it all looks exactly the same stylistically.

We used to do a big printed programme but we’re not planning to this year. Press and the website are key. Posters and word of mouth. Branded social media banners for artists to use. Many little streams become a river. In the beginning, artists would arrive and expect the audience to just appear. Now we have more fringe circuit artists who understand that they have a responsibility to market their shows.

What does a successful STOFF look like?

A good year we reach an audience of around 10K. Lots of shows are unticketed, and there is lots of site-specific work, sometimes with tiny audiences (1 on 1 experiences). It’s not about volume but about the quality of the experience. Expect the unexpected – we aim to be a bit weird, bit different – performance you’re not going to get anywhere else in Stockholm.

“Success is when the artists feel they came and had a good meeting with the audience.”

We downsized to a boutique size so that there are enough fringe audiences for everyone. We went too big for several years, nowadays we welcome between 70 – 100 acts/companies performing in small spread-out venues across Stockholm, so reaching local communities in a way we couldn’t at the start because we presented everything in the big main cultural venue. We’ve grown in quality and audience. We’ve also been successful in welcoming more diverse audiences and artists.

How do you communicate with artists?

Eventotron is our one-stop shop for this purpose.

What is your Box Office setup?

One of the main benefits for us using Eventotron is the Super Simple Box Office. Being in charge of our own box office and not being forced into a huge fee-hungry mechanism has made a big impact.

“The support is amazing, if I had to rate your customer service and response time against other services I’m using you guys are in my top 3.”

We’ve tried four different box offices before and none have been nearly as good. We had one issue with a ticket buyer last year. Just one, and that was an issue with Stripe, not Eventotron. Eventotron is saving us hours and hours of labour.

Top Tip

We set up a closed Facebook group for our artists before the fringe starts so they can communicate with each other and get to know one another, share ideas and ways to market their shows etc.

Advice for a new fringe festival manager

1. Remember the artists make your festival. They are your client. Treat them right and invest in them.
2. Have good agreements and legal contractual documents. Being black and white and nearly patronising people is better than misinterpretations down the line.
3. Look after your mental health. Invest in tools to have more time for yourself. Investing in Eventotron has given me more time to look after my wellbeing.

The post Stockholm Fringe Festival Case Study appeared first on Eventotron.

Toronto Fringe is a charitable not-for-profit in Ontario, Canada – it’s been running for 35 years and is the second oldest Fringe in Canada after Edmonton.

We produce Toronto Fringe Festival (TFF) in the summer which is a large, un-juried, accessible, indie platform for artists and audiences. We also produce the smaller, juried / curated Next Stage Festival (NSF).

The core year-round team is just 5 people, the team grows for the run up and duration of TFF and NSF.

TFF welcomed around 160 companies in 2019 across 15 main venues – this year (2022) it was about 90 companies across 11 main venues.

How did the pandemic change your way of working?

TFF happened this July (2022) in person for the first time since 2019. We cancelled 2020 and ran a digital version of the festival in 2021. Many team members hadn’t experienced a full in-person festival before this year so it was quite full on getting everyone up to speed. Plus there were covid protocols to manage. TFF maintained a vaccine policy for artists and staff. Masks were required for all audiences and staff as this was the message coming from the theatre-going community in terms of what would make them feel safe and able to enjoy the festival.

We deferred artists from 2020 and moved them forward the two years so they got their opportunity to perform live at TFF.

“Eventotron made transferring artists from one festival to the next easy – we were able to track all the information across to the next year.”

NSF was originally established in January when most theatres are dark in Toronto so we had easy access to spaces and little competition for audiences. In January 2022 theatres were closed last minute due to a lockdown which put a stop to the festival two weeks before launch. So NSF is now going to happen in October – in this new slot we’ll be competing with other theatre programs but hopefully it will be easier for the team and audiences will be keen to see performance at that time of year.

Covid meant we were constantly changing and pivoting. This year’s TFF was smaller and that felt more manageable for the staff and also audiences who have just not been coming back in the same way as before the pandemic.

“We are scaling back a bit to be able to gradually build capacity up again. We’re fitting the festivals to what the market / the community can handle and sustain.”

How does the lottery system work?

Slots in main theatre venues are filled by a lottery draw. Artists/collectives apply to a specific category and receive a number for the lottery draw. The lottery system is designed to be fair, and strives to remove systemic gatekeepers.

The Canadian Association of Fringe Festivals (CAFF) runs a touring lottery that opens for applications prior to TFF. TFF holds touring lottery slots along with Edmonton Fringe, Orlando Fringe, Winnipeg Fringe and others. Artists who get tour slots through CAFF are then responsible for paying each festival’s registration fees and TFF fold those CAFF artists into all our communications and scheduling.

TFF’s own lottery slots are made available for International (10% of slots), National (10% – 15% of slots) and local / Ontario companies.

We use the Lottery Tools in Eventotron to assign every application a number within their slot category. We hold a lottery draw (and party) in December to determine the companies in each category. Numbers are drawn at random, and then we approve those successful applications and they move into the registration phase and into the festival, to complete the rest of our forms.

In 2020 we introduced a 2-phase lottery draw in order to ensure at least 50% of all slots available are filled by IBPOC artists. The first 50% of slots in each category are drawn from IBPOC applicants only, until the slots are filled or no more IBPOC applicants remain, before drawing the remainder of slots with the rest of the general applicants in the pool.

Artists pay an application fee to apply to the lottery, and a participant fee to accept an offer via Eventotron. TFF covers all the costs of the venue and tech team, handles ticketing, venue insurance, patron services and festival marketing.

TFF offer slots for two max show time lengths – 60 minutes and 90 minutes. We’re working to phase out 90 minute length shows in the Fringe – they are expensive to produce, expensive to rehearse and Fringe audiences trying to pack as many shows into their day as they can are likely to choose a shorter run time over a longer. We are trying to help the artists help themselves with guidance like this, we gain a lot of insight into what works and how our audiences behave.

“We’re not here to tell the artist what to do or produce their shows for them but we are here to support and give artists the best opportunity to have a successful experience at the Fringe.”

Within the Ontario / local slots we have categories to incentivise artists from communities or areas who might not usually consider applying to this type of festival. We want to get the message out there that the Fringe is for them, that it is their platform. We’re aware that the history of the Fringe movement is rooted in a Canadian arts ecology that systematically prioritized white voices, and audiences. We’re actively working to challenge the “white-washed”, “cliquey” perception that was a part of our past, which can still make newcomers feel unwelcome. We have to demonstrate this is a safe and welcoming space for them.

What is your application process?

“Artists and companies applying to TFF lottery do so through Eventotron. The lottery tools in Eventotron mean we can manage to whole process within the system.”

We’ve split the application form, so artists either apply to be in the main venue category lottery, or for a slot in the unconventional venue category, which is processed on a first-come, first-served basis. This was formerly known as our Site Specific Category. The ‘display if’ logic in Eventotron allows us to send artists on different routes through the application process.

How do you work with venues?

TFF manages the main performance venues, and companies/artists perform in rep. We do all the venue allocation, coordinate the rental agreements and our production team act as liaison between artists and venues. In the site specific category companies apply with a venue, it is our version of BYOV (bring your own venue) – the show has to be tied to the site and have been created just for the space. We’ve found this opens up new parts of the city and creates a whole different aspect to the Fringe experience.

At the moment we don’t take applications in Eventotron for venues to become part of the festival. Our negotiations with our venue partners happen directly. If an artist doesn’t get in on the CAFF tour lottery or our own lottery, the final option to be part of the festival is to pitch a site specific BYOV piece. We have made a commitment to offer a level of accessibility to patrons, which we uphold across all participating venues, so there is a thorough application form to demonstrate accessibility at BYOVs.

We’re constantly examining the size and fit of the main venues with the festival, and asking if they are serving the artists’ needs, as well as being accessible to the audiences we want to reach. And they are our partners; the Festival has been held in some of our venues for over 30 years, so we want to be thoughtful and considerate when determining the stages we bring the Fringe artists to.

What are your most useful marketing tools?

Toronto Fringe is fighting for the dedicated Toronto theatre audience – people don’t flock to our city for our Fringe in the way they do in Edinburgh or Edmonton. Social media is key but really the best form of marketing is word of mouth. Print media is falling lower and lower on the priority list. We also find through analysing audience data that a lot of it is artists supporting other artists and seeing their work.

In terms of artists finding out about the opportunity to be part of TFF, the call-out goes to CAFF lists and our own networks.

“We definitely see new applicants finding us via the Eventotron Festival Finder. During our digital festival call-out in 2021 we were receiving applications from Trinidad, Denmark – all around the world.”

How do you communicate with artists?

We collect all the data in Eventotron and then use the database platform Mailchimp to send festival-wide e-blasts with key information. We use Eventotron as a resource library for artists so all the documents we share are posted there.

Top Tip

We use the event welcome page in Eventotron like a bulletin board. We keep that updated so every time artists are back looking at their forms, they’re getting info, links to resources, and reminders.

Advice for a new Fringe Festival manager

Keep perspective – who are you serving? Remember why you are here, and that you are just making a festival. We’re not trying to send anyone to the moon – it’s theatre. Ultimately the goal is to have a great time doing theatre, and create a positive experience for artists and patrons. It’s developing new exciting work, it’s for the artists, and it’s for the audience to enjoy experiencing it. Perspective.

The post Toronto Fringe Festival Case Study appeared first on Eventotron.

Brighton Fringe is England’s largest arts festival, in 2022 Brighton Fringe consisted of over 750 events in more than 120 venues across Brighton, Hove, and beyond, and attracted over 370,000 attendees. We also run a year-round programme of artist support and development via our Fringe Academy workshops and work closely with local and national organisations to deliver bursaries and financial support to those who need it most.

What does being an open-access festival mean?

We are an open-access festival meaning anyone and everyone can put on an event, there are no criteria events must meet and no selection process, participants must just find a venue to host their event and pay the registration fee to take part.

How do you ensure participants and venues uphold BF’s ethos and values?

All participants must agree to our terms and conditions before registering their event with Brighton Fringe, we are a diverse and open festival and ask our participants to adhere to our values. Venues must also agree to our venue’s agreement, outlining similar requirements of the venues.

How do you run your artist call-out process?

Brighton Fringe visits other Fringe festivals around the world to network with other organisations and participants, this year we have visited Edinburgh Festival Fringe, Amsterdam Fringe and Abuja Fringe. We run online campaigns notifying our databases that registration is open, including emails, social media and advertising as well as working closely with partners to access their network of artists.

How do venues become part of the festival?

“Venues can register via Eventotron for free at any time during the season. They can then begin to receive enquiries from participants who are interested in performing at their venue.”

Do artists apply to venues directly as part of the registration process or do BF match events to venues?

Artists apply directly to venues through Eventotron to discuss hire arrangements and confirm contracts. If participants are struggling to find an appropriate venue for their event our participant services team are always on hand to advise and support.

What is your most useful tool when marketing your festival to audiences?

Word of mouth! Anything you can do to generate positive word of mouth about your event is the best way to sell tickets at Brighton Fringe. This means sharing audience reviews online, asking your audience to tell their friends, opting into ticket deals to get more bums on seats (such as our participant discount or Friends of Fringe 2-for1’s), flyering and talking to people, the list goes on and on.

Top Tip

We created a great guide for artists to help them sell their fringe show, it’s available on our website and in the documents section in Eventotron: How to Market Your Event at Brighton Fringe.

What is your box office setup?

“We are currently in the process of transitioning to Eventotron’s Super Simple Box Office. We made this decision because we felt SSBO would improve the experience of not only participants and venues taking part in Brighton Fringe, but also improve things for our team internally and ticket buyers.”

What does a successful Brighton Fringe look like?

For the team at Brighton Fringe, a successful Brighton Fringe means improving the results from our participant and venue manager surveys year after year and consistently delivering a better service for those who take part.

How do you communicate with your artists in the lead-up, during and after the festival?

“We send direct messages via Eventotron with key information and dates”

We also add participants to our participants’ mailing list through which we send more in-depth information about what’s going on at the festival. We host regular meetings for our venue managers and participants via our Fringe Academy programme such as ‘The Future of Fringe’ and ‘Brighton Fringe: Have Your Say’ where we can communicate with participants about their hopes for the future.

If you could share just one piece of advice about running a fringe festival what would it be?

A Fringe needs to be useful, so everything that we do should serve that core premise. A Fringe is a platform to help people put on and showcase creative work. Therefore is it is crucial from the outset to put the arts community front and centre of the process. We as organisers are not the Fringe, they are.

The post Brighton Fringe Case Study appeared first on Eventotron.

Log in at https://eventotron.com/login.php in the Existing Users box with the same email address and password you signed up with (or received via email if someone else signed you up). If you cannot find your password, click on the Forgotten or missing password link at the bottom of the box and you’ll receive a reset password email:

Once logged in, click on VENUES in the top menu:

You will see your venue under My Venues. Click on your venue and you will be in the Venue Details tab:

General

Work your way down the the General section completing all red questions and giving as much detail as possible

Extra Photos

This isn’t a required section so can be left but it gives you the chance to upload more images of your space for artists and programmers to refer to.

Type of Space

Really helpful to tick all the ones that apply to your space as YES. It’s fine to leave the ones that don’t apply blank, you don’t have to click NO.

Facilities

Really helpful to tick all the ones that apply to your space as YES. It’s fine to leave the ones that don’t apply blank, you don’t have to click NO.

Technical

Fill in the questions as applicable – leave any that don’t apply to you. It’s very helpful for artists and programmers to get as much information about your venue’s technical set up as possible.

Access

Fill in the questions as applicable. It’s very helpful for artists and programmers to get as much information about your venue’s accessibility as possible. This information is very often shared on websites and via the box office.

People

Here you can add other people in your team who need to be able to manage your venue.

Festival / Season tab

This is where you will find all the information related to the festival or season your venue is part of:

In the intro section you’ll see information about the festival or season plus there may be useful documents here and contracts for signature.

The Updates button will have all the emails sent between you and the festival / season (these are also sent direct to your email inbox)

Settings

Here you or the festival/season manager can set up how your venue will receive applications and permissions for artists (some venues are digital spaces or allow for in real life audiences and those watching a live stream)

Events At Your Venue

This is where confirmed events at your venue will appear. You can click on the events to see information about them.

Timeline

This is a timeline for your venue – you can use it when scheduling in events or as a guide to what has been scheduled and when.

Events in Conversation

This is where you will see events that have contacted you to discuss a performing slot at your space. This feature applies only to festivals and seasons that have artists applying directly to venues.

The festival or season may have added their own sections which will also be visible here.

If you have any questions about your venue set up in Eventotron please contact the festival or season you are working with. We are also happy to help if you get stuck – please use the HELP button or email: help@eventotron.com

That’s It!

The post How to find your venue in Eventotron appeared first on Eventotron.

If you are new to Eventotron, create an account. If you already have an account, sign in.

Click on Festivals & Seasons in the top menu.

You will see a list of all festivals and seasons currently accepting applications. Scroll through the list to find the festival / season you want to be part of and click the Apply button.

There will be information about the festival / season followed by this:

If you are applying with an event that is already in Eventotron (ie: an event you have applied to a previous festival / season with) click My event is already in Eventotron, find it in the dropdown list and click next.

If you are creating a new event, click I am creating a new event, enter the name of the event and click next.

Now fill in the festival / season application / registration questionnaires. Your answers will be saved automatically so you can return to complete them later.

How to find your event in Eventotron

So, you have completed part of your application and have logged out. Now you want to log back in and finish what you started. Log in (using the same email address and password as before) and click on Events in the top menu.

Under My Events you will see all your events in Eventotron. Under each event there are icons to show which festival / season you are applying or have applied to.

Click on the event you are in the process of applying to a festival / season with.

You will see the festival / season as a tab, click on the tab and continue the application / registration process.

If you have questions about the application / registration for a specific festival or season, it’s best to contact them directly – however, we will always try to help if we can so click on the Help button if you get stuck.

That’s it!

The post Applying to a Festival or Season appeared first on Eventotron.

First things first, you need to create an account

Register / Log in

Go to https://www.eventotron.com/ and click Events in the top menu

Enter your email address in the ‘New Users’ box then click ‘Register’. You will receive a password by email very quickly. If you haven’t received a password within five minutes, please check your spam / junk email. If it’s not there, please email help@eventotron.com  and we’ll get you sorted out ASAP.

Account already exists? If you get a message saying your account already exists, put your email address into the ‘Existing Users’ box and you can then follow the process for getting a new password.

Need a new password? If you have forgotten your password or can’t find your welcome email, you can click the link at the bottom of the ‘Existing Users’ box to get a new one.

If you’ve already set up an account just fill in the left hand ‘Existing Users’ box with your email address and the password you were sent in your welcome email.

Once you are logged in, you’ll be looking at the events section (if you are not, just click ‘Events’ in the top menu). If you already have events in the system, they will appear under My Events and the festivals/seasons they are part of will appear as icons underneath.

Add a New Event

To add a new event, click +create a new event

This pop up will appear.

Event Title – this is the title of your show / exhibition / workshop / talk / demo

Add an editor (optional) – you can put in an email address of another person who you’d like to be able to edit your event here

Hit Create Event

That’s it – your event now exists in Eventotron. The next steps are to complete the Touring & Promotion section and apply to a festival / season.

Touring & Promotion

This section gives you the opportunity to share as much information about your event as possible and to keep adding to it over time. It is what festival managers / season managers / programmers will see when they search Eventotron.

Fill out your profile

About your event

Main Admin contact – this will automatically show you as the main contact – you can click on your name and add a new contact if you want to assign the event to someone else to manage.

Author – the individual or group that has written the script for your event – if applicable.

Event Description – Describe your event to help with applications to Festivals and Venues. Please note this is not the marketing text you will use for brochures and websites.

Brochure Image – Upload the main image for your event. You can edit it within Eventotron using the pencil icon.

Genre – Choose the main genre of your event – this will help programmers/festival managers/season managers find your event in specific searches.

Subgenre – Choose a subgenre for your event

The rest of About your event is self-explanatory – let’s move on to:

Content and Access

Audience Age Range – Choose an appropriate age range for your event. Published age ranges are for guidance only. If for licensing reasons proof of age would be needed, make this clear in your listing copy. Check with your venue first about their licensing before confirming an age range for your event.

Children’s Age Range (lower) – If your event is for children, what is the lowest age that it would be suitable for? Leave blank if not applicable.

Children’s Age Range (upper) – If your event is for children, what is the upper age that it would be suitable for? Leave blank if not applicable.

Language – Must the audience have good comprehension of the event’s primary language to understand and enjoy it? Choose Yes/No

Content

Strobe Lighting – flip to Yes or No

Nudity – flip to Yes or No

Swearing – flip to Yes or No

Content Warning Details – Please detail anything the Box Office may need to be aware of including nudity, adult content, strong language, walking involved, strobe lighting etc. Do not include age limits.

Access

Relaxed Performances – Relaxed performances are designed to welcome people who will benefit from a more relaxed environment, including people with an Autism Spectrum Condition, sensory and communication disorders, or a learning disability. There is a relaxed attitude towards noise and movement. Flip to Yes or No.

Audio Description – Are you about the offer audio description for audience members? Flip to Yes or No

Touch Tour – Are you able to offer a guided touch tour of your event before it begins? This is beneficial to blind and visually impaired audience members. Flip to Yes or No.

Technical Requirements

Set description – describe your set if you have one

Set photo – upload a photo of your set

Set plan – upload a set plan if you have one

Naked flame – flip to Yes or No

Pyrotechnics – flip to Yes or No

Special Lighting – Include any information about your lighting requirements

Lighting Plan – upload your lighting plan if you have one

Company technical equipment – detail any technical equipment that you will be bringing with you

Scrapbook

This section gives you the opportunity to share reviews, videos, images, awards and press releases on your profile – keep coming back to it to add accolades!

Click +Add an Item

You will see this pop-up

Type – choose what type of information you are sharing – then complete the questions.

Click save.

You can choose whether or not to share the item to your event profile (if you untick this, festival/season managers and programmers will not be able to see the item)

Promote your event

Put your event directly in front of venue managers and promoters locally and around the world by advertising in Eventotron. You can also help boost your audience – did you know, for example, that nearly 30% of ticket buyers at the Edinburgh Fringe are also involved in an event?

Just upload your image (you can edit it to size using the pencil icon) and insert some short, attention-grabbing copy. Preview your ad and your profile and when you are sure you are happy with it, simply click: Submit for approval.

Messages & Invitations

Here you will see messages, invitations and offers from festivals, seasons and venues which this event is not yet part of. You can send responses from here too. Once this event joins a festival, season or venue, the conversation will move to the relevant festival or season tab.

Go Public

Once you are happy with the information you have provided and are ready to go public, just flip the Private button to Public and your event will be searchable by festivals, seasons, venues and promoters!

To apply to a festival / season

Click on the + ADD A FESTIVAL tab

Scroll through the list of festivals and seasons currently accepting applications and hit APPLY on the festival/season you wish to be part of. Complete the questions. Those in red are required and you will not be able to move onto the next section until you’ve completed them.

If you are having difficulties completing a festival / season application or registration then contact the festival / season directly or use the Eventotron help button

That’s it!

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