For those of you who haven’t heard, unfortunately the 4Talent Networks team won’t be around in 2009.

What’s 4Talent ‘Networks’, you may cry? Well, we’re the bods who run 4Talent magazine, the 4Talent Awards and the splendid 4Talent editorial hubs in London, Birmingham, Glasgow and Belfast. Not to mention much of the on-the-ground activity you may have taken part in over the years - like Pilot, Raw Cuts, Radio HaHa and the Mobile Game Pitch.

Sad news indeed of course, but fear not: under the management of Jo Taylor and her team channel4.com/4talent will continue as your access point to all C4’s new talent commissioning strands - like 3 Minute Wonder, First Cut, Comedy Lab and Coming Up - not to mention work-related-learning schemes like Generation Next and the Work Experience Scheme.

Channel 4’s regional presence will continue through 4iP, a joint-funded initiative to encourage innovative public-service projects online.

And the outgoing team behind 4Talent Networks are busy hatching various plans to carry on the legacy with an innovative new resource, packed with insider knowledge and opportunities to get all you fiercely creative people with proven talent firmly on the radar of clients, employers and commissioners.

We’ll be knocking on your doors early in 2009. In the meantime we wish you all very Merry Christmas.

With the second annual 4Talent Mobile Games Pitch due to kick off this morning, here’s a quick run-down of the 9 contenders, who we whittled down from several hundred entries.

For those not familiar, in a nutshell this is a pitching competition in partnership with EA Mobile, Nokia and the Golden Joystick Awards, as part of the London Games Festival.

We asked 4Talent readers to throw us ideas for innovative, experimental games for mobile phones - and based on judges’ scores for originality, innovation, commercial appeal and technical feasibility, and in no particular order, here are the finalists:

Miles Boylan (22, from Preston)
Miles’ idea Snapshot pinpoints a player’s location with GPS, and then sets area-specific photographic tasks that can then be uploaded and rated by other users online.

Tobias Rowe (22, from Colchester)
In Tobias’ idea Finders Keepers, you’re an elusive cat burglar who must steal antiques from local museums and other players’ vaults via Bluetooth, while defending your own using bespoke puzzles and mini-games.

Nicola Depuis (28, from London)
Nicola’s idea I-Queu allows players to compare their IQ against an international playing community by setting each other questions, and working together to jump the virtual queue.

Steven Fraser (from Edinburgh)
Steven’s idea Street Art sees graffiti turf wars springing up across the world, with players manipulating photos into works of art on their phones, rating them online and challenging each other to claim the streets one by one.

Trevor Conway (49, from Belfast)
Trevor’s concept Alter-Ego places the player in a parallel existence affected by genuine real-world events and breaking news stories, making choices from the perspectives of those involved.

Matt Watkins (37, from Nottingham)
Matt’s idea Running Rings is a game of physical exertion using GPS, in which players literally run circles around each other to score points, annex space and reach a new level of networked global domination.

Dominic Brancaleone (25, from Bournemouth)
Dominic’s idea Treasure Hunt allows players to hunt for genuine loot by responding to text, photo and video clues, and can be personalised to create your own trail.

Robin Clarke (28, from London)
Robin’s idea Way of the Dodo is an adventure/puzzle game designed to encourage thinking about the natural world, in which players guide the last known colony of helpless birds to safety whilst sharing real-world info about conservation.

Hamad Hussain (27, from London)
In Hamad’s idea The Contract, players choose to be either a government agent or a sleeper, are given a unique key code and must then locate, identify, recruit or entrap the opposition, obtaining their code by whatever means possible.

Good luck to all the finalists: we’ll announce the winner on the blog soon!

It’s taken us 2 solid weeks, but we can now proudly announce the shortlists for the 4Talent Awards 2008 - 5 in each of the 20 categories.

We’ve quite simply been blown away by the quality across the board, and it’s been a real struggle getting down to that fortunate 100, who will be sent off to our illustrious judging panels over the next few weeks to select our final 20.

So here they are: massive congratulations if you’re amongst them, and please, don’t be disheartened if you’re not - stay across future opportunities with 4Talent and there’s always next year! Winners will be notified by 31 October.

Short Documentary
Pinny Grylls, 29, London
David O’Hara, 25, Scunthorpe
Poppie Skold, 26, London
Maria Andrade, 26, London
Laura Martin-Robinson, 28, London

Long Documentary
Fred Burns, 24, Sussex
Katja Roberts, 29 & Magnus Dennison, Newcastle
Tom Evans, 28, Oxford
Lorne Kramer, 25, Bristol
Stuart Kershaw, 28, Liverpool

Dramatic Writing
Ali Muriel, 28, London
Cosmo Wallace, 29, Glasgow
Carla Grauls, 29, London
Tim Price, 28, London
Stella Papamichael, 30, London

Dramatic Performance
Sarah Kempton, 22, London
Elizabeth Rainbow, 28, London
Emma Rigby, 19, Liverpool
Sagar Radia, 22, Middlesex
Helen Clapp, 25, London

Directing
Tom Marshall, 22, Middlesbrough
Adam Randall, 28, London
Dominic Leclerc, 29, Bradford
Robert Glassford, 29 & Timo Langer, West Lothian
Rob Sorrenti, 28, London

Comedy Writing
Felicity Carpenter, 27, London
Chris Grady, 29, Glasgow
Rose Heiney, 24, London
Christopher Wallace, 29, & Philip Hodgson,Tyne & Wear
Daniel Flay, 24 & Alastair Craig, Huntingdon

Comedy Performance
Anna Whelan, 23 & David Tynan, Wigan / Sheffield
Greg McHugh, 28, Glasgow
Vikki Stone, 25, London
Napoleon Ryan, 30, Kent
Eddie Kadi, 25, London

Presenting
Carly Lindon-Forrester, 23, Liverpool
Laura Marks, 22, Glasgow
Amelia Gildea, 23, Wiltshire
Ben Chancellor, 30, London
James Sherwood, 25, Kent

On-Air Radio
Alex Baker, 25, Birmingham
Adam Edworthy, 22, Coventry
Alex James Atkinson, 27, Manchester
Veena Virahsammy, 21, Barking
Steve Folland, 29, Hertfordshire

Off-Air Radio
Andy Ward, 23, Sussex
Simon Buschenfeld, 30, Bristol
Philip Dyer, 29, London
Matt Horne, 26 & Colin Greaves, Gateshead
Ann Scantlebury, 23, London

Music
Toby Trueman, 26 - The Icarus, Edinburgh
Oliver Harrison, 21 - Fossil Club, Bristol
Camille Davila, 29, Cambridgeshire
Louis Standard, 19 - Pinstripe, Avon
Iain Woods, 22, Brighton

Production Music
Ella Spira, 20, London
Blair Mowat, 22, Edinburgh
Chris Hanson, 26, London
Richard Mead, 29, Maidstone
Richard Bradley, 28, Sheffield

Music Video
Ian Smith, 26, Oxford
James Cook, 22, Durham
James Knott & James Curran, 26, Derby
Steven Quinn, 27, Belfast
James Willis, 23, Humberside

Innovation
Becki Burrows, 27, London
Jack Lenox, 21, Surrey
Kay Vasey, 29 & Jonny Emmanuel, London
Mike Young, 23, Hertfordshire
Phil Mundy, 27, Huddersfield

Multi-platform
Chi-chi Ekweozor, 29, Manchester
Dan Hon, 29, London
Steve Ellis, 26, Birmingham
Mike Cunsolo, 28, Sheffield
Claire-Frances Lennon, 25, Glasgow

Animation
Ian Wharton, 23 & Edward Shires, Preston
Mark Nute, 29, Gateshead
Jessica Cope, 24, North Yorkshire
Karen Penman, 28 & Liam Brazier, Essex
Cassiano Prado, 30, London

Journalism
Rob Sharp, 28, London
Hassan Ghani, 23, Slough
Natalie Whelan, 22, London
Lauren Carter, 23, Hertfordshire
Lee Coan, 29, Hertfordshire

Photography
Lucinda Chua, 23, Nottingham
Ellie Harvey, 22, London
Hal Sear, 24, Watford
Eleanor Hardwick, 15, Reading
Loubie-Lou photography, 30, Leicester

Multi-talented
Rob Madin, 22, Chesterfield
Oliver Lansley, 27, Surrey
James Roberts, 23, London
Allyn Lawson, 22, Warwickshire
Jamie Stone, 23, Edinburgh

Wildcard
Chris O’Shea, 27, London
Johanna Basford, 25, Dundee
David Procter, 25, London
Amy Winters, 24 & Kseniya Zagorodnyuk, London
Tanya Richam-Odoi, 27, Leeds

As you may have noticed, over the last few months we’ve been calling for up-and-coming comics to fling their funny bits in our direction for a unique competition with E4 Radio, called Radio HaHa. The response was incredible: we had literally thousands of audio clips and scripts snippets piling into our inbox.

It took us a little while, but we have our 9 finalists. They’ll be wending their wily ways to the Edinburgh Comedy Festival next week for a day of intensive workshops, followed by a nerve-racking pitch to a panel of E4 Radio commissioners, who have pledged to match at least one of them with an independent production company to take the idea to broadcast.

So here they are:

Daniel Jamieson for his shrewd spoof of US police drama
Jenni Armstrong for her delightfully surreal Gok Wan adventures
Lauren O’Reilly for her sticky sperm sketch The Race
Nicola Depuis for teen-public-transport-com Tubescent
Madeleine Brettingham for Goth Town’s dark humour
Richard Kelly for his off-the-wall take on the superhero genre
Stephen Yorke for some witty on-air banter
Andy Ward for his dryly hilarious Spooky Times
Richard Cray for taking off local radio cliches with tongue firmly in cheek

You can also read more detailed biogs of all of the above.

More to come from the finalists: watch this space. We’ll be following the ideas through the development process in the next issue of 4Talent magazine, and they’ll even be featuring in a special episode of The Fix podcast, which launched with the first episode yesterday.

We’ve taken our sweet time, but we can now proudly announce our top-level judges for this year’s 4Talent Awards - our showcase of the UK’s hottest young creative talent.

Our latest scoop is legendary trance DJ Paul Oakenfold, co-creator of that notoriously infectious Big Brother theme, for the Production Music category.

Victoria Pile, creator of Green Wing and Smack the Pony, is on hand to judge your Comedy Writing skills.

Charlie Pattinson, who exec-produces multi-award-winning hit series Skins and Shameless at Company Pictures, will be casting his eye over the hotly-contested Dramatic Performance category.

Double Bafta-winning This is England producer Mark Herbert at Warp Films will rate the Directing entries, while T4’s exec producer Richard Cook at Eyeworks is hungry for new Presenting talent.

Exciting animators: get your painstakingly-crafted work on the desk of Helen Brunsdon at Aardman. And for innovative cross-platform producers: who better to see if you have what it takes than digital marketing guru James Kirkham at Holler, the agency behind the groundbreaking Skins campaign.

Not to mention senior Channel 4 commissioners across the board: Comedy, Documentary, Drama, Film4, Radio, T4, Music, New Media, 4Creative and Current Affairs.

For those in the know, these include Shane Allen, Caroline Leddy, Sarah Mulvey, Kate Vogel, Liza Marshall, Peter Carlton, Sam Steele, Debbie David, Cath Lovesey, Neil McCallum, Matt Locke, Adam Gee, Alice Tonge and Dorothy Byrne. Oh yes: we’ve been busy.

So if you’re under 30 and hungry to get your finest work under the noses of some of the best in the business, you have until 5pm on 29th August 2008.

Six young directing talents journeyed up to the Edinburgh International Film Festival as part of 4Talent and Film4’s Directors’ Lab. We asked a couple of them to give us a potted glimpse at what they’re up to.

“We started off the day with Mia Bays, the independent producer and Microwave head don,” begins Charles-Henri Belleville. “Mia talked passionately and insightfully for 90 minutes on exactly how the food chain in the film industry works. Very revealing.”

“We then had an interactive session with JJ Lousberg (UKFC), Danny Perkins from Optimum Releasing and Sam Horley, a sales agent. This was superb - we split into teams, each were given a distribution company and their budgets. We had to purchase two films from Sam that made the most money, with Danny supporting us. Sam is tough and Danny is a great negotiator. Very educational, but also had everyone in the room in stitches as us directors pitched our hearts out!”

“Amy and I rocked,” adds Hope Dickson Leach [Day 1]. “We got This Is England and Ratcatcher - I like to think it was because of the photo-shoots we had planned for Shane Meadows in ID magazine…”

“We had an amazing meal at Howies - great fun meeting producers over the best soup I have ever had. Honey and parsnip: sensational,” Charlie continues. “Our fireside chat was with Caroline Cooper-Charles from Warp X and Donkey Punch director Olly Blackburn. It’s clear Warp X has something very special going on, and Olly is destined for great things - he really inspired us all with his humility. If you ever meet him, ask to hear his story about Wild Turkey at sunset…”

Charles-Henri has directed promos for Ashley Walters, MTV and Pathé. His first micro budget feature The Inheritance (2007) was nominated for Best British Feature at Raindance Film Festival 2007 and subsequently won the inaugural Raindance Award at the British Independent Film Awards 2007. Charles-Henri was nominated for Best New Director at the BAFTA Scotland New Talent Awards 2008 and for the 4Talent Awards 2007. He is currently in post-production on his next feature Midnight Madness, a basketball documentary.

Six young directing talents journeyed up to the Edinburgh International Film Festival as part of 4Talent and Film4’s Directors’ Lab. We asked a couple of them to give us a potted glimpse at what they’re up to.

“Day one and we’re off with a bang,” begins Hope Dickson Leach. “We began the day meeting all those people it would take months to see you in their office, and it was great to hear them talk. I’m not going to tell you what they said, as that’s classified and I’d have to find you and kill you all, but believe me, I wasn’t the only one taking notes and raising my hand to ask the questions.”

“We’re all here with a mission, and that mission is to make movies. Despite the fact everyone is doing their best to convince us that making a first feature is impossible, we all know it happens, so why can’t it be us?”

“All six of us are writer-directors and we were lucky enough to meet talented and busy screenwriter David Nicholls (Starter for Ten, And When Did You Last See Your Father?) who filled us with inspiration about how receptive the industry is becoming to involving writers in more than just the opening stages of the film-making process.”

“And then off to the beautiful castle-side apartment for a ‘fireside chat’ with Isabelle Coixet (Elegy) who told us, like your favourite pair of trainers that just keeps on giving, to just do it. With that in mind we were off to the premiere of the Warp X produced (debut film) Donkey Punch, and then their kick-ass party. Which leaves me feeling quite warped myself as I dash off to today’s fantastic lineup. More from us tomorrow.”

Hope made her short film The Dawn Chorus (2006) as part of her MFA program at Columbia University. Her film was selected for Sundance Film Festival 2007, Edinburgh International Film Festival 2006, London International Film Festival 2006, and won Best Narrative Student Short at Austin Film Festival 2006. In 2007 Hope was named as a Star of Tomorrow by Screen International and as one of the 25 New Faces of Independent Film by Filmmaker magazine. She is currently developing her first feature film English Rose, about a teenage girl who hates Princess Diana, which was featured in the Berlinale Project Talent Market 2008.

Update: 9 finalists revealed

We’ve just launched our fantastic new competition with E4 Radio: Radio HaHa. Submit short audio clips or comic scribblings: the best 9 will go through intensive workshops at the Edinburgh Comedy Festival, then pitch to get their idea developed into a fully-fledged radio show on the new station when it launches.

But what’s E4 Radio actually about? No doubt any radio producers among you will be drooling with anticipation at the thought of a new door being chiselled in the rock-face of British radio, so we asked the team to pitch it to us in 300 words. So from the horse’s mouth:

“E4 Radio will be a new kind of station. One that’s up for a bit of fun and mischief and for doing things differently. Like the TV channel and its website, E4 Radio will provide mainstream entertainment targeted at 16-34s. The schedule will focus on the E4 staples of great music, comedy and entertainment and will pride itself on being the first to bring its audience new stuff and new talent from these worlds.

We’re going to give the audience more access to the airwaves than ever before, providing new levels of interactivity and an active role in shaping the sound of the station, from music to the news agenda. We’re making a radio station for an audience that likes to listen to radio content when they want to, on-demand as well as live, and we’ll be commissioning different programmes tailored to these listening modes.

In terms of comedy, our door is open to every kind of comedy there is - we want our schedule to be flexible enough to accommodate to accommodate bite-sized short programmes, more traditional built blocks, and we hope to pioneer new comedy formats that don’t even exist yet. We think there’s tonnes of scope to innovate with format and we want to trial lots of things. As with all our output we want to create programming from a much more diverse set of voices, stimulate new areas of independent production and create new cross platform collaborations.”

This post is the last in a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

Okay, I’ve rambled and covered a hell of a lot of ground. To be honest it’s hard to give a proper masterclass or How To for blogging because the beauty of the form is there are no rules. I know what works for me but it’s unlikely to work for you and some of the best blogs I’ve seen have been approaching the medium in ways I hadn’t ever considered before. You should use blogging (and other similar web services like Flickr and Last.FM) in the same way you use other forms of communication like the telephone or your local pub - in ways that work for you and the community you’re part of.

And while this might be scary be assured that underlying it all is the magic that makes the internet work, the reason that you can find stuff on Google, how an American became a fan of you band on MySpace or how you got that commission because someone blogged a photo of your work with a link to your site.

Blogging might be as easy as writing an email but its the structured metadata that takes your message and makes available to the right people across the world. And the beauty of it all is you don’t have to think about it, unless you want to (and it’s not that hard really - hell, I can’t write programming code and I get it). You just need to go to wordpress.com (4talentmagazine.com is built with Wordpress), blogger.com, typepad.com or some other blogging service and get posting and linking. The internet looks after the rest.

< Week 7: plugging into the system

< Read the series from the start

“We are thrilled by the success of our two very British films currently in the cinemas – Mike Leigh’s charming Happy-Go-Lucky and Martin McDonagh’s irreverent In Bruges. Martin, famous for his playwriting, initially made a short film with Film4 so we were delighted to work with him on his first feature. Each year we strive for a mix of first-timers and experienced film-makers returning to Film4.

I am desperate to find a brilliant, ambitious and yet low-budget British sci-fi. It’s also really hard to find incredibly taut British thrillers that are not just aping US films – we would love to find one not set in the usual environs: perhaps an NHS hospital, or a boarding school?

Film4 is all about innovation, supporting the film-maker’s voice, coming at British stories from new perspectives, finding stories that resonate strongly with our contemporary British audience. We’ll continue to be driven by these principles, building on our already strong focus on new talent and film-makers from diverse and regional backgrounds.

We offer many of the best opportunities for new talent in the country, in terms of the films we produce – both short films (through the Cinema Extreme scheme), low-budget first features (via Warp X), and other first-time film-makers we support outside these schemes. We also run projects with new theatre writers via Paines Plough and the Traverse theatre; have a new writers’ lab for writers from diverse backgrounds with B3 Media, and back one or two projects in development from film-makers at the NFTS every year. We’ll continue to concentrate on our new talent initiatives for both directors and writers to secure our position as the home of new film talent in the UK.

There’s already an increasing awareness that British films telling contemporary British stories can work for British audiences in the cinema – look at This Is England – and it would be great to see more contemporary-set films taking risks coming from the industry as a whole. Certainly the US is more than aware of the huge talent pool in the UK film industry right now, so our job is to keep supporting new voices whilst trying to entice our successful British film-makers home now and again!”

Katherine Butler: Head of Development, Film4

“I’ve commissioned something called The Great Sperm Race, which demonstrates the science of conception using thousands of extras shot from helicopters.

C4 science is distinctive in that it’s a breeding ground for completely new forms of television. For years the science output has been groundbreaking and controversial, from Jump London to Autopsy, The Human Footprint to Animal Farm. C4 science rarely feels like a school science lesson.

The environment is very hard – it often feels too worthy – but it’s something we should tackle more than we do, and I’d love to find a C4 way of doing it. I’d also like to find a way of doing medicine.”

David Glover: Commissioning Editor, Science, Channel 4

“We’ve produced a week of programmes on Islam, including a two-hour documentary exploring the Quran and its impact on the world, and a lavish series called The Seven Wonders of the Muslim World – which takes in incredible places such as Jerusalem, Mali, Istanbul and Mecca and explores the basic beliefs of a faith we know so little about.

Our latest challenge is to get multicultural commissions that are not religious, and that can work at 9 and 10pm. The bar will be high, and the projects will have to compete with what’s already in the schedule. Look at the schedule, think about how you can compete story-wise and casting-wise and we can talk.

Channel 4 Religion is more inquisitive, more diverse, and we keep religion at the core of our output rather than try to hide it. We don’t wallow in historical nostalgia nor do we shy away from tough areas. Priest Idol, Cult of the Suicide Bomber and Make Me a Muslim sound obvious commissions when they’re a success, but were all major risks. The output has to stay in primetime or it will die in the long run: we have to market it and make it accessible. This is real risk: it’s not just the subject matter; it’s also about sending out the signal that we care enough to get behind the output.

Being in primetime makes working with new talent more difficult, but it doesn’t stop me trying. We have to be prepared to fail. We’ve given young directors a break, and Robert Beckford and Tazeen Ahmed are two on-screen successes I’ve broken on the channel – but they had to be given a chance to flourish. To anyone who thinks they’re the next talent, on or off-screen, get in touch: my door is open to any suggestions.”

Aaquil Ahmed: Commissioning Editor, Religion, Channel 4

“I have an upcoming project, codename Sam I Am [update 27/06/08]. I’m busting to tell you about it but I can’t yet; it’s necessarily under wraps. It’s a very entertaining concept and interactive experience which still manages to convey a substantial meaning – in this case about the diversity of Islamic culture, and the narrowness of most of our experience and understanding of it.

The commission I’m most proud of: The Big Art Mob. It applies new technology and media behaviours to a worthwhile public task: mapping the best of Public Art (from bronze geezers on horses to Banksys) across the UK. Interested people from all around the country and beyond (we’re big in Brazil) are photographing artworks on their mobiles and uploading them to the map, having a good online natter about arty stuff along the way. You can interact wherever you are – I’m particularly proud of the WAP (mobile) site at bigartmob.com/mobile. It’s been nominated for 3 Baftas alongside the likes of the iPlayer and Dr Who, so it’s punching above its weight in true C4 stylee.

In the way that Big Art Mob finds a worthwhile purpose for moblogging (mobile blogging) I want to find missions and purposes for other emerging interactive tools and technologies like, say, Twitter – in itself geek masturbation and possibly the end of civilisation as we know it, with a creatively conceived context perhaps something exceedingly good.

I’ve spent the last 5 years at Channel 4 exploring what public service means in a digital world – from Big Dig to Big Art Project, and one or two projects that don’t even have ‘Big’ in the title like Picture This and Empire’s Children. But Big is important: ambition, scale and impact are all vital.

Cross-platform and interactive media is what’s pumping the nads of the telly industry right now, and it’s vital to its future. All the creative and entrepreneurial energy is welling up in these areas and Channel 4 is ready for action.”

Adam Gee: Commissioning Editor, New Media Factual, Channel 4

“I’m looking for a commission for older children: drama that genuinely appeals to 11-16-year olds. This is a completely unserved audience.

Drama on C4 should continue to help define the channel as provocative, original and genre-busting. Our successful long running series – Shameless, Skins and Hollyoaks – are the perfect training ground and springboard for new talent, on and off-screen.”

Camilla Campbell: Commissioning Editor, Drama, Channel 4

“China’s Stolen Children just won a Bafta, but Undercover Mosque runs it close because of the way it fended off so many attacks on its journalism to come through as the stand-out investigation of last year.

We dare to say difficult and sometimes unfashionable things. Channel 4 is fearless in its support of investigative journalism: we’ve led on multicultural issues, for one example – Iraq is another – and have produced a body of work that has confronted some of the key issues affecting the country over the past five years.

I’m always on the look-out for stories and new areas to investigate – the bigger the subject the better – and always looking to meet new producers and journalists. Good producer-directors with a hard journalism background are hard to come by.”

Kevin Sutcliffe: Deputy Head, News & Current Affairs, Channel 4

“Channel 4 has a rich heritage in representing on-screen those voices rarely heard before on mainstream television. Spooling forward to 2008 we are renewing our commitment to reflecting the diversity and richness of modern Britain, both on and off-screen.

So what does this mean for our programming? A £2m budget will be ring-fenced for multicultural programmes at 9 and 10pm, and a dedicated Commissioning Editor will be appointed. We’ll be looking for programmes that inform, excite, surprise and examine what contemporary British society looks like. But in the same way that Coronation Street appeals beyond a working class audience from Manchester, these programmes will have universal themes that appeal to a wider audience.

Off-screen we will be expanding our existing schemes, including the Researcher Trainee Programme and Deputy Commissioning Editor attachments, and introducing exciting new initiatives to better reflect all kinds of social diversity including ethnicity, disability, nationality, regionality, age, gender and beyond.”

Ade Rawcliffe: Diversity & Talent Manager, Channel 4

“I want more disabled people on screen across all genres and channels, from Vanity Lair to Hollyoaks, Grand Designs to Shipwrecked. And more disabled talent behind the camera – via new talent strands (3MW, Comedy Lab, Coming Up) and targeted series like New Shoots (2007) which gave 12 disabled directors their first half-hour documentary credit. This year The Shooting Party brought together a group of nine disabled directors to make short films, and follows their progress as they carve out a place in the demanding world of film-making. What’s next year’s challenge?”

Alison Walsh: Editorial Manager, Disability, Channel 4

“Routes is our first ARG, or Alternate Reality Game. It’s ambitious, and we’re going to make something wonderful that captures the imagination of our audience, taking them on a huge treasure hunt via themes like medical ethics, junk science and genetics.

Our educational messages are often covert, and exist within wonderfully entertaining products that engage our audience in their spaces – social networks, games, on the web and on phones. What the British public think of education programming in relation to our public service responsibility is important, but the benefit that young people gain from our commissions is much more valuable. That should be how we measure our successes.”

Jo Roach: Commissioning Editor, Education, Channel 4

“I’m excited about everything – we’re trying so many experiments this year. But to pick a few, The Insiders is an online comedy about the world of work; YearDot is a huge, innovative experiment to follow a group of teens for a year across various media; Phantasmagoria is a collection of widgets for social networks and Slabovia.tv just makes me laugh out loud.

The key topic for me is transitions. We’re focused on the transitions that 14 to 19-year-olds go through, how they find the information and the people who help them through this critical time in their lives. When you start talking to teens, you realise how many really huge decisions there are to make – about work, university, your identity, your relationship with your family – when you’ve had very little real experience of life.

Making the right decisions is really down to the networks you have around you: family, friends, teachers and work colleagues. I’m very interested in how teens are using new media platforms to build these networks, and how these networks influence the decisions they make about their lives.

At C4 we’re all about getting you to ask questions about your life, whereas the BBC is more about giving you the ‘answers’. The BBC is homogeneous – it tries to talk with the same ‘voice’ in all its programming. C4 is really just a collection of voices, a lot of which can be very contradictory at times, and this isn’t a problem. We show people different ways of looking at the world around them, and challenge their assumptions and prejudices. I’m interested in getting people to ask questions and participate, rather than just presenting ‘knowledge’ in a didactic way.

The barriers for new creative talent to get their projects out there aren’t the same as they were in 1982, but there are still some big problems to sort out. If anything, its a more level playing field in cross-platform commissioning, as it’s much newer – you’re not pitching against a grizzled industry veteran as you would be in, say, docs or features. If you understand what people are doing online, and think you’ve got an idea that can be a real success, then you’ve got as much chance of getting commissioned as anyone.”

Matt Locke: Commissioning Editor, Education, Channel 4

“Many of the most familiar faces on TV got their break on Channel 4. I’m really looking forward to the return of The Charlotte Church Show this summer: Charlotte has proved herself to be a TV natural, with the rare talent of being able to turn her hand to comedy, presenting, interviewing and, of course, music.

I commission all types of entertainment, from star-studded studio shows to high-concept reality shows. Nothing is ruled in or out: it’s about the originality of the idea and the talent (on and off-screen) behind it. Other channels would certainly regard many of our shows as too risky from a commercial point of view – new sitcom in particular is very expensive and rarely pays its way in terms of viewing figures.

But we’re also after shows that might be considered too risky because of their irreverent, edgy and occasionally shocking content. Overall we’re aiming to make television that feels distinctive, young and talked-about.”

Andy Auerbach: Commissioning Editor, Entertainment, Channel 4

“We’ve started filming on a new thriller written by Charlie Brooker, which is unlike anything that’s been done before. Can’t say too much, but it’s really original with an amazing cast.

We need a healthy varied mix of ideas all the time, so are open to anything that’s different to what we’ve already got. Besides sitcom, most other ideas are usually quite talent dependent – if someone discovers an amazing new talent we can always work with them on the vehicle.

We take risks and try to find fresh new ways of making shows. Chris Morris embodies the kind of pioneering spirit of doing challenging work that other broadcasters might shy away from. Something like Fonejacker has a dynamic inventiveness that makes it feel perfect for us.

We still run Comedy Lab (6 x 30’) on C4, and now have Funny Cuts (10 x 10’) on E4 as entry-level shows for people to cut their teeth. The more opportunities we have to create stars and production talent of the future, the healthier our TV industry will be. Bring it on.”

Shane Allen: Commissioning Editor, Comedy, Channel 4

“We’ve always taken huge risks in arts, and will continue to do so with series and one-offs, commissioning new work that will last beyond the screen. I’m most excited about The Big Art Project. It’s the craziest and most ambitious project we’ve ever done, and has with it an amazing website – Big Art Mob – C4’s first real arts community online.

Over the next two years we’re going for more volume in programming, focusing on single docs: 60-minute and 90-minute. Because we’ll have more volume, I hope this will also create more opportunities to bring on new talent.”

Jan Younghusband: Commissioning Editor, Arts & Performance, C4

“I’m very excited about ideas that exploit both broadcast and online opportunities. I’m working with multiplatform company Somethin’ Else to create a really new and exciting raft of programmes for August in 3MW – a bit too secret to talk about yet. There’s also a week of films around Domestic Violence from the very talented director Ruth Carslaw.

It really tickles me when 3MW spills into the real world. I was delighted with our collaboration with the Saatchi Gallery last year: a competition called New Sensations, which launched the careers of four young graduate artists.

Part of 3MW’s charm (I hope!) is its eclecticism. It should feel diverse and ever-changing, socially relevant to a broad audience but attuned to subcultures and movements outside the mainstream. 3MWs should be provocative, filmic – and the trajectory and narrative should feel absolutely unique to those three minutes. It’s about short-cutting the 40-minute preamble and getting to the heart of a subject.

The connection between 3MW and FourDocs will continue to get stronger, and I’m continuing my commitment to commission films directly from there. In June we’ll transmit the best four films that have been uploaded in response to the theme My Family and Other Animals – and there will be another theme posted up during the summer which I hope will inspire and encourage people to make shorts.”

Kate Vogel: Editor, 3 Minute Wonder, Channel 4

“I’m very interested in a film coming from Joe Bullman. He made last year’s film The Seven Sins of England, and this time he’s going to use his innovative technique of connecting history with present tense documentary to look at the Muslims in Britain. He’s found out that over a hundred years ago there was a plot to blow up the London Underground by foreign radicals, and that obviously throws up interesting parallels.

It’s always a challenge to find new territories – or re-invent old ones – but I do feel that our documentary output should be political and angry at times. I think we should be looking at the wealth divide in Britain; we should be looking at the way in which our public institutions are now overwhelmed by demand; the way in which we’ve been seduced into becoming a nation of debtors.

I feel that while good films can be made about extraordinary individuals, the greatest power that television has is to make us think again about how ordinary lives are lived. I think the public has a hunger for real world, uncomplicated stories having been served up so much constructed television. Meet the Natives, The Seven Sins of England, The Secret Millionaire and The Doctor Who Hears Voices are all strong powerful films about the real world that use simple but exciting devices to bring life to their subject.

Channel 4 is on the way to being the place where film-makers know they’ll get encouraged to be bold and ambitious; where they might get backing for their most innovative work. I’m desperate to find more young and new voices to make our films. I’m going out of my way to use young directors on Cutting Edge, and to make sure we spot the best people making First Cuts and 3 Minute Wonders. We have a talent ladder and it’s vital it works – and the rungs reach to the top.

Meredith Chambers: Commissioning Editor, Documentaries, Channel 4

“I’m most excited about The Family – it’s big, it’s original, and it’s absolutely what Channel 4 is all about. Our docs are confident; authored; unafraid. They seldom look like your dad dancing. Will they continue to develop? They had better: or I will be in trouble.

I’m very comfortable with the idea of my department being recognised as the ‘home’ of British documentary. If we continue to come up with the best ideas, and attract the best up-and-coming talent, I see no reason why we can’t continue to punch above our weight, creatively and in terms of audience ratings.

Will we take more risks? Yes, where the subject requires it. The audience is less shockable than ever before. We need to surprise them by making programmes that inform and inspire. In an age of dull, predictable ‘me-too’ factual television, that really would be controversial.”

Simon Dickson: Deputy Head, Documentaries, Channel 4

“I have a one-off film coming up called Working Britney, where young up-and-coming comedian Buddy Dolphin (I suspect that’s not his real name) will live as a paparazzi photographer, working to get a photo of Britney Spears. As Britney faces custody battles and a drink-driving hearing, Buddy will experience the crazy LA scene that‘s worth millions. Hopefully this film will provide an intelligent and honest account of an infamous subject and her even more infamous press entourage.

I’m most proud of I’m Spasticus. Wittily entitled after an Ian Drury song (he had polio, you know), this was a little half-hour Comedy Lab – a hidden-camera stunts show starring disabled comedy actors, poking fun at the able community. Like an amputee running out of the Brighton seafront screaming ‘Shark!’ or a blind man asking a delivery woman to read out an embarrassingly pornographic letter. It was silly and fun, but more importantly it created a bit of a ripple in the comedy world, and a huge splash in the world of disability.

Non-derivative formats are a must; presenters who have opinion (and the authority to possess valid opinion); a sense of social purpose; and a dash of attitude. It’s hard to find suitable slots, but I’m committed to trying out new people in all areas. I’m always interested in presenters that don’t necessarily come from the perfectly-preened presenter’s mould, or are famous for being famous.”

Ruby Kuraishe: Editor, Factual Entertainment / E4, Channel 4

“My first two big 10pm series since I joined the channel are both exciting projects with big-name talent. One sees presenter Mark Dolan searching for extraordinary individuals like the smallest man in the world and the tallest woman in the world, in order to find out the truth behind the images of oddity. The other follows Neil Morrissey and his chef friend Richard Fox as they try to set up their own brewery. They should set a great new benchmark for the kind of tone we’re looking for in that slot.

I really need another series of 3 or 4 x 60 for 10pm for this autumn. It could be an authored journey, but I’m also interested in looking at forms we haven’t tried there for a while – perhaps a docu-soap, or even a multi-item show.

Everything we do in factual entertainment has to connect with a broad audience. It has to be wide-ranging in its appeal, but also rich in content and purpose. It has to be about something.”

Alistair Pegg: Editor, Factual Entertainment, Channel 4

“I have a series coming up called (w/t) Boys and Girls Alone. Ten boys and ten girls aged between 8 and 11 live in their own separate, adult-free villages. With increasing concerns about Cotton Wool Kids, the series creates a safe environment for them to rediscover their freedom.

Ambition and scale mark the work of this department. If I hear an idea and think, ‘I can’t imagine how we’ll be able to pull that off!’ then I immediately want to know more. I was immensely proud of Jamie’s Fowl Dinners; it was an innovative combination of entertaining event television and hard-hitting journalism.

My most pressing need right now is for another popular 9pm series. I’m interested in building formats around stories that are a marker of the current time. Grand Designs tapped into a genuinely new trend of self-build – where else are the middle classes exploring their dreams?

Over the next year we also want to launch a new generation of on-screen authors. Who are the new faces we should be considering to take on provocative stunts, immerse themselves in a world or tackle subjects with subversive wit? And what are the entertaining journeys they can follow to reveal real content and purpose?”

Dominique Walker: Commissioning Editor, Factual Entertainment, Channel 4

“I can’t discuss details, but we have a series coming up using immersive factual journeys as the backdrop for a primetime studio chat show. We’re never looking for ‘the next’ anything: ideas and approaches should be genuinely fresh.

Talent is the core of everything we do, and we’re constantly on the lookout for exciting, passionate individuals. A distinctively C4 features programme – like Embarrassing Illnesses or Supersize vs. Superskinny – isn’t afraid to tackle complex or difficult issues, generate debate and challenge viewers to re-assess their take on modern life.”

Walter Iuzzolino: Deputy Head, Features, Channel 4

“Big Chef Saves Little Chef is a new doc series in which Heston Blumenthal aims to turn around a much-loved but somewhat derided national institution. It’s a great experiment, a brilliant clash of cultures, and it’s real.

I like ideas that have purpose, but are also provocative, entertaining, audacious and subversive. I’m always on the look out for new off-camera talent, and there’s also a great need for new on-screen talent at 9pm.”

Liam Humphreys: Commissioning Editor, Features, Channel 4

Next on 4 is Channel 4’s vision for the future. Fresh talent, fresh perspectives, youth, diversity and innovation in all its forms will lead and shape the channel’s content in the years to come. So with our readers in mind, we asked those at the commissioning coalface what’s pushing their buttons in 2008.

Who we spoke to:

Liam Humphreys, Commissioning Editor, Features | Walter Iuzzolino, Deputy Head, Features | Dominique Walker, Commissioning Editor, Factual Entertainment | Alistair Pegg, Editor, Factual Entertainment | Ruby Kuraishe, Editor, Factual Entertainment, E4 | Simon Dickson, Deputy Head, Documentaries | Meredith Chambers, Commissioning Editor, Documentaries | Kate Vogel, Editor, 3 Minute Wonder | Jan Younghusband, Commissioning Editor, Arts & Performance | Shane Allen, Commissioning Editor, Comedy | Andy Auerbach, Commissioning Editor, Entertainment | Matt Locke, Commissioning Editor, Education | Jo Roach, Commissioning Editor, Education | Kevin Sutcliffe, Deputy Head, News & Current Affairs | Camilla Campbell, Commissioning Editor, Drama | Adam Gee, Commissioning Editor, New Media Factual | Aaquil Ahmed, Commissioning Editor, Religion | David Glover, Commissioning Editor, Science | Katherine Butler, Head of Development, Film4 | Ade Rawcliffe, Diversity & Talent Manager | Alison Walsh, Editorial Manager, Disability.

Browse all the responses >

Image by Tom Gaul

This post forms part of a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

Now let’s say that you’re actually really boring. There’s a market for what you do but to be honest the mechanisms of how you do it aren’t really of interest to anyone. Or let’s say you just don’t want to communicate all this fluffy personal nonsense. Blogging as I’ve described it here just doesn’t interest you in the slightest. Allowing for the fact that you probably haven’t read this far (which, if you’ll forgive me, demonstrates a limitation of the magazine form - online this “post” would stand alone and those for whom it might be relevant would find it through Google regardless of what came before or after it on the blog itself) the blogging form still has value to you.

You’ve probably heard the term Web 2.0. If you’ve investigated it a bit you might think it has to do with something called User Generated Content and heralds a revolution whereby professionals are overthrown in favour of the amateur masses, or somesuch nonsense. While this is a side-effect of the blogging revolution it’s not what’s really important about it. What’s really interesting is that the internet is starting to be populated by data that is structured and interchangeable according to established standards.

To illustrate what this means think of a library full of books. Every book is different with unique content but there are aspects of the books that fit into categories. The title, author, publisher, Dewy Decimal categories, dimensions, ISBN, and so on. This information can be indexed by the library to not only identify what shelf the book is held on but how it relates to other books in the collection, very handy for books that cover a number of different subjects.

Most blogging services, along with services like Flickr and YouTube, structure the information you put into them in a similar way. So a blog post has at the very least a title, date, category, and the content itself. And because this is based on accepted standards all this information is interchangeable. Which means anyone can take your content and stick it into a giant database automatically. And then people can ask this database questions and find relevant and accurate information which may well include your content.

You might hear people talking about arcane and mysterious arts like Search Engine Optimisation but this is pretty much all there is to it. Put your stuff online in a manner in which Google can understand it and you’ll appear in the relevant search results. If you have photos on Flickr that are accurately tagged in relation to their subject then they’ll appear in the searches for those subjects.

You don’t have to run a “blog” in the accepted sense of the word in order to get into this game. It’s just that blogs automatically structure themselves in this way and since they’re very easy to use it makes sense to take advantage of this. This YouTube video called Web 2.0 Machine explains this rather well. And when you’re doing this, have a think about how that little search query works for a piece of video. It’s all about the metadata, a piece of jargon which simply means “data about data”. Give you stuff metadata and people will find it. If you don’t have properly structured metadata your website will just sit there with nobody finding it, no matter how lovely it looks.

< Week 6: first impressions

Next in the series: in conclusion >

This post forms part of a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

So here you are, trying to turn your creative skills into a business that pays your bills and here I am telling you not to worry about the polish of what you’re putting on the internet. Isn’t that a bit like meeting your bank manager dressed in torn jeans, and chewing gum? Sure, it might be you but is it wise? That’s ultimately a decision you’re going to have to make for yourself, but be aware that blogging doesn’t dictate a particular style. You can be as formal and polished as you want.

In fact, taking a bit of care over your words and presentation can be rather refreshing and make you stand out from the crowd. And you don’t have to completely be yourself. This is the Internet so feel free to invent aspects of your character and play with them. You could even pretend your business is a corporation with offices around the world rather than based in your kitchen and push this spoof to absurd limits. Maybe your ‘factory’ is staffed by sentient robots or something. The possibilities are endless, really.

But above all remember that the blog doesn’t replace other more traditional forms of marketing. You’re probably still going to need some kind of brochure that looks all slick and some kind of formal business statement stuff. An analogy I like to use is a high street shop.

The window display is slick and probably dictated by the bods in head office. People glance at it and know immediately what they’re getting. It’s beautifully designed and communicates the message well. So the potential customer comes into the shop and starts chatting to the guy behind the counter. He’s a little hungover and stressed but very passionate about the products on sale and has the sort of knowledge that comes from being immersed in an industry. As it happens they don’t have what the customer wants so he sends them to a similar shop down the road but the customer is impressed with the service and likes this guy on a personal level so they make a point of coming back.

Assuming you’re a sole trader your best marketing tool is yourself. If you’re running a stall at a craft market or pitching your film to funders your personality is going to go a long way to clinching the deal. The same goes for online. You need to complement the lovely photos of your work with a bit about yourself. And, in my experience, the simplest way to do that is to tell your story in a blog.

< Week 5: what about me?

Next in the series: plugging into the system >

Across 20 categories the 4Talent Awards tip exciting individuals with the potential to make a difference, as judged both by commissioners and the producers who supply them.

All the info on how to apply for the 4Talent Awards is here.

We now have over half of the 40 (yes, 40) judges on side:

Kate Vogel, Editor, 3 Minute Wonder (C4)
Sarah Mulvey, Commissioning Editor, Documentaries (C4)
Robert Wulff-Cochrane, Senior Development Editor, Drama (C4)
Caroline Leddy, Commissioning Editor, Comedy (C4)
Victoria Pile, Writer, Green Wing, Smack the Pony
Shane Allen, Commissioning Editor, Comedy (C4)
Ben Caudell, Creative Director @ Zeppotron
Liza Marshall, Head of Drama (C4)
Charlie Pattinson, Exec Producer @ Company (Shameless)
Cath Lovesey, Editor, Music (C4)
Lana Webb, Head of Music @ Remedy
Debbie David, Commissioning Editor, T4 (C4)
Richard Cook, Exec Producer @ Eyeworks (T4, Popworld)
Matt Locke, Commissioning Editor, Education (C4)
James Kirkham, Manager Director @ Holler
Dorothy Byrne, Head of News & Current Affairs (C4)
Alice Tonge, Art Director, 4Creative (C4)
Ewen Spencer, Freelance photographer (shot for Skins)
Ruth Fielding, Managing Director @ Lupus Films
Adam Gee, Commissioning Editor, New Media Factual (C4)
James Estill, Senior Producer, 4Talent (C4)

Further updates on the way soon.

This post forms part of a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

Now, reading all this you might be saying, “This is all well and good but, frankly, I can’t write,” and that’s a fair comment. After all, you’ve chosen the medium of film or clay or needlepoint rather than wordsmithing for a reason. How do you join this global conversation if you sort of write like a 10-year-old? Here’s a few ideas for a few sorts of creatives:

Cartoonist: Diary comics are a no brainer really. Don’t worry if your life is boring, just think of it as a daily drawing exercise.
Pottery: Video the creation of your pots, especially if you use a wheel.
Animator: As you’re working on a piece post up stills and trial clips.
Photographer: Go play on Flickr for a while and feed your work (and others’) into your blog.
Textiles: Photos of works in progress. Model clothes yourself.

You can probably adapt those ideas to all manner of things and no doubt think of many better ones.

But the big thing here is not to worry about creating something worthy of a Pulitzer on your blog. Use it to record what you’re up to. If you’re selling at a market take photos. If you’re giving a talk, record it and make the audio / video available. If you’ve been thinking about issues related to your craft, jot down some notes and ideas. Treat it as a scrapbook for your journey as a whatever-you-are.

And here’s the thing. No matter how mundane it might seem to you it’ll be fascinating to those who can’t do what you do, especially if they’re interested in the stuff you do, and they’re the sort of people you want to be interested in you.

< Week 4: getting personal

Next in the series: first impressions >

This post forms part of a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

Blimey, I went off on one there. Sorry about that. You just want to know how you can use a blog to increase the audience and customer base for your creative endeavor and here I am wittering on about causality and intertwingularity and stuff. So let’s bring this down to earth with some real world examples.

Say you’re a photographer looking to develop your business in the area of portraiture and wedding photography. You’ve got a lovely website that shows off your best work and maybe even a section where clients and their friends and family can order prints online. Now, part of your appeal is your skill with the camera but another important part is your personality. You’re not just selling your art, you’re selling yourself.

Now you could have a page on your site with a biography but that’ll probably come all all contrived. What you want to do is talk to the potential clients in your own voice, telling them your story. A good example would be stevegerrarddiary.com where the titular photographer Steve Gerrard writes about the work he’s been doing. The hook is his jobs tend to veer between beautiful wedding shoots and dirty rock photography so each post will usually have a selection of shots from a couple’s happiest day juxtaposed with some hairy monster screaming on stage.

But that’s not why it works. What really comes home to me is how Steve’s character is brought out through the blog as he talks about his strange life. You feel like you know him and his family. Not too much, mind. He’s careful to keep the private private. But just enough that you’d feel comfortable asking him to record your wedding. At least I know I would.

Another great example is theblackapple.typepad.com, brought to my attention by Antonio Gould in is fifth New Media 4Cast for 4Talent. Here Emily Martin blogs about the stuff she sells on her etsy.com site. Etsy is sort of like eBay without the auctions and only for handmade items but while it’s great that you’re in a curated space (rather like, say, Camden market) it can be hard to rise above the crowds. You need to add more that just the details the site will let you enter. You need to add yourself. Emily does this brilliantly with her blog talking about the new products in her store, the motivations for creating them, and dropping in little nuggets about her own life. Again, nothing too detailed but enough that her readers can identify with her as an individual. And judging by the number of comments each post gets she’s developed a pretty dedicated community.

But there’s one very important thing that both Steve and Emily do that I haven’t mentioned. They both link to “the competition”, in Steve’s case other photographers he knows and likes, in Emily’s case other Etsy shops she buys stuff from. In a small way they’re setting themselves up as resources for their communities, partly because it makes sense to support your peers to build a sustainable environment but also because they’re human and that’s what humans do. And as other bloggers in their communities do the same the effect is quite dramatic as a network emerges that is structured and easily navigable yet always changing and evolving as people come and go. Nobody ever has a complete handle on what’s going on and no-one is in charge but it works.

< Week 3: everything is intertwingled

Next in the series: what about me? >

This post forms part of a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

When you stick something on the Internet it becomes part of the network. If your something is a fancy looking website that has pictures of the stuff you do and not much else then sure, it’ll be on the grid but only in the sense that the Isle of Feltar is part of the United Kingdom. It’s there but it’s not exactly engaging with the bustling hubs of the country. Which is fine, if that’s what you want, but you might want a little more from your something on the Internet. You might want it to actually engage.

If you want to connect with the rest of the Internet a blog is probably the best way to do it. Part of this is the conversational tone I mentioned before but a huge chunk of it comes down to the humble link.

You’re no doubt familiar with Wikipedia - the online encyclopedia that might not be accurate but by God it’s useful. And you’ve probably had that experience where you look up something, say the Island of Fetlar (and, by the way, doesn’t that sound just a little rude to you?), and within four clicks find yourself reading about Genoa Cathedral. Or hermit crabs. Or melodic death metal. Or kittens. And it might seem incredibly random and at times absurd that these things are somehow connected. But they are.

Just as the multiplex nature of causality gives the illusion of free will so the complexity of the inter-linked Internet gives the illusion of random chaos to such a degree that it can be hard to see how you might engage with this. But it can be done. Once you understand, in the words of Ted Nelson, that everything is deeply intertwingled, then you’re on the road to getting it right.

< Week 2: the social internet

Next in the series: getting personal >

This post forms part of a series. Read the first installment.

Words: Pete Ashton
Illustration: Raymond Weekes

Last week I alluded to how writing for blogs is different to writing for print, but don’t think that means it’s inferior. Professional writers who trade on the value of their words often find it incredibly hard to adapt to the medium. They’re locked into a particular style that serves their purpose, be it journalism’s Inverted Pyramid and short paragraphs or the structure of an academic essay.

What I think defines a typical blog post is how conversational it is. The tone will be closer to a letter and quite often it won’t be reporting all the facts or making a coherent argument, but raising a topic or continuing a discussion. In itself a blog post can seem lightweight and frivolous, obsessed with some minutiae and addressing a niche audience, which is possibly why professional writers can sometimes be a little dismissive. And rightly so. Blogging, as I’m defining it, is quite terrible at the sort of things academics and journalists do. But it’s also quite wonderful at things they don’t do.

Blogging is part of what’s become known as The Social Internet, which essentially boils down to people talking about stuff. Stuff is a very powerful currency online and takes all sorts of shapes. Facebook is a good model of how this works. A blogger once described Facebook as a really fancy bookshelf where you put things – books you’ve read, movies you like, photos you’ve taken, diary entries you’ve written, events you’re attending and links to cool stuff so you can show them off to visitors.

And then magic happens as Facebook takes your stuff and throws it into your network of friends. Suddenly these things are no longer dumb objects, but the foundations on which social interaction can take place. More critically this stuff generates more stuff. A photo from a party will spawn a conversation about the party, which in turn encourages others to post photos of the party. During these conversations the next party is planned, which spawns more photos and more conversations.

And that’s just a simple linear example. If you’re using Facebook have a look at how you use it. Look at how it maps the connections between people based on the things they do on there. Now apply this to the whole Internet and you’ll start to get an idea of where I’m coming from.

< Week 1: blogging vs. print

Next in the series: everything is intertwingled >

We have a date lined up with the enigmatic Holy Moly as part of our new radio series… and are looking for opinionated bloggers, tabloid journos with a thirst for gossip, or anyone with the style and attitude to get the conversation flowing with one of the media’s most elusive figures.

More info on the Head to Head page.

Words: Pete Ashton
Illustration: Raymond Weekes

Hi, I’m Pete Ashton and I’ve been messing about with weblogs for years now. After The Guardian went and gave one of my blogs a fancy media award Nick at 4Talent magazine asked if I’d write this masterclass on running a weblog. Since the blog in question was Created in Birmingham (now run by Chris Unitt), linking up Birmingham’s creative and cultural communities, and that I do a fair bit of consulting and evangelising about the wonderful world of blogging, it seemed like a no-brainer really. So here goes.

The thing is I write for blogs, not those strange magazine things. How do you link to other stuff in a magazine? Where do the comments go? I’m sure it’s a perfectly valid form of communication but I’m really not at home there. I’m more comfortable on a blog: you wouldn’t ask a filmmaker to communicate through the medium of interpretive dance, would you?

Next in the series: the social internet >

How creative people can use blogging, podcasting and online video to build an international profile.

Last year we ran a competition to design us a sting.

The winner is Conor Breen, a 3D animator with a day job in commercial effects, and a surreal sense of dark humour in his personal work. His original entry depicted a vinyl Klu Klux Klan toy wobbling across a kitchen workshop towards what appears to be a flaming cross - later revealed to be a neon 4Talent logo, shimmering in the light of the gas hob. Tails of its robes flashing red as if on fire, it trundles against a coffee cup and meekly tips over.

Working with 4Talent and 4Creative to develop a fresh idea, in line with our new marketing campaign - in the kingdom of the blind, the one-eyed man is king - he came up with this.

Enjoy.

Most of the 50 entrants hailed from the UK, but others from as far afield as Finland, Portugal and the US. It was a rich and broad range of experience levels and approaches, from hand-drawn animation to fully-rendered 3D; from students to small design agencies, freelance animators and individuals working within larger effects or animation companies.

A panel from 4Talent, 4Creative, MPC and 3D World and Computer Arts whittled a shortlist down to 5… the other four runners up comprised:

YIW Design: A glowing 4-shaped meteor crashes to earth and bursts into life as a vibrant illustrated tree, which then sprouts mini-TVs that smash into people’s living rooms

Dariusz Sebastian Burdon: Stamped with the 4Talent logo, the tube becomes a rollercoaster that rides around London’s landmarks

Rosa Maria Tell Velez: A young designer works on a project, and drops of dye fall from his hand to the paper. He examines his palm in surprise and creative ‘life lines’ burst forth, inking out the 4Talent logo

Richard DeDominici: A man walks down the street dressed as a ‘4′ made from cardboard boxes

Pretty eclectic, I’m sure you’ll agree.

If you think it’s just about getting a MySpace fanbase, think again. Musicians Craig Hamilton of Friends of the Stars, Chris from electro outfit Deluka, and Andrew Dubber of NewMusicStrategies.com share their insights into the changing world of distribution and promotion.

How new technology is changing the way films are made, sold and distributed - and how you can make the most of it. Includes interviews with Google’s Patrick Walker and the team behind MySpace’s FutureShorts competition, plus how to make the most of broadband channels FourDocs and Current TV.

The ins and outs of creating a pro-quality website for your business - how to brief an agency, hazards to avoid and how much it’s all going to cost.

We chat to award-winning animator online retailer Paul Tranter, enterprising eBayers Lee and Debbie and new media legal specialist Andrew Sparrow about the perks and pitfalls of flogging your wares on the web.

Simon Harper is a freelance journalist, copywriter and editor, specialising in writing about music and the creative industries in the West Midlands. He has written for the Birmingham Post, Bearded, Arena, the BBC and the Coventry Telegraph. Previous projects include Channel 4’s Directory of Disabled Contributors and the 4Homes website.

srharper@gmail.com

Production Editor

Helen is Production Editor of 4Talent magazine, and Assistant Web Editor for 4Talent Central England. As well as co-ordinating the day-to-day running of things, she is regularly scouring the country for the best creative talent - and finding an appropriate pedestal to put them on.

helen@4talentmagazine.com

Deputy Editor

When she’s not deputising for the lovely Nick, Catherine is commissioning editor for 4Talent Central England. She has also written for GQ online, The Observer and was senior staff writer on Hotdog film magazine for two years.

catherine@4talentmagazine.com

Sarah is a recent graphic design graduate from Edinburgh. She has a particular interest in typography and has contributed to Skinny magazine in Edinburgh, as well as creating a typographic magazine about mechanical cranes.

sarah.chanter@gmail.com

Welcome to the 4Talent blog. We’ll be using this to keep you up-to-date on the latest news about our projects, plus the inside track on Channel 4. Anything you’d like to see here, just let us know. www.channel4.com/4talent