How do I create a strong STORYHIVE application?
You’re all signed up and ready to apply—but how do you create the strongest application possible? In this article, we’ll walk you through some tips and tricks for the key portions of your application to ensure that your submission shines.
Let’s get started!
One of the best things you can do to strengthen your application is to read (and then reread) the program’s Submission Guidelines, FAQs and these guides. These resources will give you a clear idea of what we’re looking for when it comes to eligibility and content. Becoming familiar with the program will help you shape your pitch and speak directly to the program’s themes and requirements.
In the next sections, we’ll tackle some of the submission sections individually, but we always recommend referring back to these resources—and your own artistic voice and passion—when you put together your STORYHIVE application.
Logline
A short summary of your idea in 220 characters or less, your logline helps set the tone for the rest of your application. A strong logline entices us to read more. Dive into the heart of your project, whether that’s a teaser of what makes your story unique, the question your project will ask or a juicy hook.
Here are some examples of great loglines. Get creative and make it your own.
NON-FICTION:
The O Show: Vancouver resident profiles the extraordinary life of Orene Askew, a local Black, Indigenous, two spirited leader.
Angels on Call: In Vancouver, two local street nurses forego retirement to help battle the Downtown Eastside's opioid crisis.
Her Love of Sports: Professional soccer coach and sports reporter Katie Hamilton digs deep into the stories and success of women in sports.
FICTIONAL (SCRIPTED):
The Victoria I Know: A Black photographer living in Victoria has a chance meeting with a mysterious figure who delivers a powerful message.
Synopsis
You’ve got us hooked with the logline, now expand it out and tell us more! A strong synopsis balances giving a broad overview and sharing specific, compelling details. By definition, a synopsis is brief, so it’s those precise details that will help us quickly understand your project—and why it stands out. When drafting your synopsis, think about the roots of your story, the aspects that ground it. We also recommend incorporating how your story is locally reflective. Let us know where this story takes place!
For documentaries, the program must be fair and balanced. Try and use this space to give us insight into how you'll represent all the stakeholders in the documentary.
Remember! STORYHIVE projects must stay under a PG rating. Make sure your synopsis stays G or PG-friendly, too.
Here are some examples:
NON-FICTION:
The O Show: This documentary will look at the work and life of Orene Askew as a motivational speaker, DJ and inspiration to youth and her many peers in Vancouver. Through interviews and footage we will see her work in the communities Orene is a part of. Orene will reflect on her life as an Afro / indigenous two spirited leader. She will share her involvement in the Indigenous community and her work with the Squamish Nation Council by bringing opportunities to her community.
Angels on Call: In 2016, nurses Evanna Brennan and Susan Giles came out of retirement in response to the opioid crisis in Vancouver’s Downtown Eastside (DTES). Today, at age 73 and 67 respectively, they provide full time care to a myriad of desperately sick, addicted and mentally ill people living in decrepit hotels or on the street. Angels on Call not only highlights the worsening opioid crisis, told through the eyes of Brennan and Giles, but also the love and emotional support they give their patients.
Her Love of Sports: Female sports are expanding across the world. With social media growing, females in the sports industry have become more noticeable and we need to continue that growth! Whether the guests are athletes, coaches, or females working in the sports industry, there is a story to be told! Katie Hamilton interviews women in the sports industry, highlighting their stories, achievements, and digging deep into some top sports headlines around the world. Girls and females drop out of athletics for many reasons and the percentage of drop out continues to increase. Katie and guests create a place where young girls can listen and feel inspired or understand that others have faced challenges that they have too!
FICTIONAL (SCRIPTED):
The Victoria I Know: Photographer Amber Ryley struggles to connect with her latest project which is a profile on "what Victoria means to her as an artist" and how she feels represented by the west coast city. Living as a minority in a predominantly white city makes her overall connection to it on a cultural level hard to represent in her award-winning work. In the days leading up to her project deadline she has a number of eerie encounters with a ghostly figure appearing in her photos and even her apartment. When Amber finally connects with the spirit she realizes that though Victoria is known for haunted locations, her visitor holds a special connection to a cultural past not often spoken of.
Inclusion statement
Inclusion happens both in front of and behind the camera. When drafting your inclusion statement, be attentive to both spaces and tell us how you’re committing to inclusion across your production. Inclusion statements don’t have to be long or fancy. What’s more important is to be direct, honest and specific. Check out this great article from Seed&Spark for eight examples of effective inclusion statements.
Pitch video
A pitch video might sound intimidating, but it’s nothing to be afraid of. Anyone can make an amazing pitch video. Your pitch video should answer three questions: Why this story? Why Now? Why you? We want to support stories that haven’t been heard before, by communities that know how to tell them best. Highlight why you’re the best person to tell this story. Share your personal connection to the story and community, what your team offers and why this idea is new, fresh and relevant. We want to know why this story needs to be told now, and why we should be so excited to be on board.
It’s really all about the basics. Ensure your pitch video is no longer than 60 seconds and has clear audio. If you’re using your phone to film your pitch video, remember to hold it horizontally. Prepare, practice and then let your passion come through!
*For video podcasts, the hosts must appear on-camera in the pitch video. If the host does not appear on camera in the pitch video, your application will be considered ineligible.
Here are two examples of pitch videos we loved:
For great advice on pitching your pitches, check out these resources:
Why you?
Let’s get personal. Show us how you fit into this story. Why is this story important to you? Why are you the best person to tell this story? What is your connection to the community involved? For example, if the story is culturally specific, what is your connection to the culture your project seeks to represent?
For projects involving Indigenous communities, cultures, concepts and stories, we encourage applicants to consult the Indigenous Screen Office’s On Screen Protocols & Pathways before answering this question.
Draft Treatment (Documentary)
Most things that are included in a traditional treatment are already part of the rest of your STORYHIVE application. The draft treatment for your application is a chance for you to tell us more about your project. The treatment should be no more than 3 pages, keep it simple. You can use visuals if you wish to.
Here are some suggestions for what to include in your draft treatmentfor a documentary project:
Story
What’s the main question you’re seeking to answer in your documentary?
How do you plan to tell the story visually?
What do you hope the audience learns or understands from watching the Documentary?
Are there any specific events that you want to cover during the film? (Keep your rough cut delivery date in mind).
Interview subjects:
Who do you plan to interview? Are they confirmed?
Why do you want to include them in the film?
What do you plan to ask them?
Do they transform during the film?
What do we learn from them?
Draft Treatment (Scripted)
For Editions that require a Draft Treatment for scripted (narrative) projects.
NOTE - The Scripted Edition requires a Draft Script. Please see below for more info on Draft Scripts.
Most things that are included in a traditional treatment are already part of the rest of your STORYHIVE application. The draft treatment for your application is a chance for you to tell us more about your project. The treatment should be no more than 3 pages, keep it simple. You can use visuals if you wish to.
Here are some suggestions for what to include in your draft treatment for a scripted project:
Story
How does your story begin? How are you introducing the story and characters to your audience?
What is the conflict? What problem are the characters trying to solve?
How does it get resolved?
How do you plan to tell the story visually?
Characters
Who are the characters? Give us a brief description of each main character.
Draft Treatment (Episodic Series)
For Voices and Video Podcast projects
Your treatment should include a story outline for your entire series/video podcast and brief 1-2 sentence descriptions of each episode of your series. We want to know what the structure of your episodes will include. Please consider the who, what, where, when, why and how in each episode.
You will have the opportunity to further develop your episode treatments. Your treatment will NOT be made public. The treatment should be no more than 3 pages, keep it simple. You can use visuals if you wish to.
See Example Below:
Project Title: Jane's Cooking Party
Outline: Jane's Cooking Party is a cooking show for every occasion. Come with Jane as she makes her way through the Okanagan and tastes the beautiful bounty of local ingredients located in Vernon.
Episode Outline:
Episode 01 - "Tea Party with Jane"
After visiting Jerry's Berry farm, Jane heads back to the kitchen and makes jams and berry tarts. Jane and Jerry sit down over a cup of tea and share stories of the Vernon community.
Episode 02 - "Charcuterie Party with Jane"
Wine and dine with Jane as she visits a local Vernon cornerstone deli - "Cheese & Meat BC." Jane interviews Charmaine, a connoisseur where they discuss their favourite wine pairings with their local wineries.
Episode 03 - "Brunch Party with Jane"
Jane makes a visit Vernon's "The Milky Way Farm" and picks up some free range organic eggs for brunch. Learn how to make a quiche and sit down with Jane and her friends to discuss their favourite recipes.
*For Voices you must include a minimum of 6 episode breakdowns (up to 10) in your treatment for your application. If you do not include a breakdown for each episode, your application will be deemed ineligible.
*For Visual Podcast you must include a minimum of 8 episode breakdowns (up to 12) in your treatment for your application. If you do not include a breakdown for each episode, your application will be deemed ineligible.
Draft Script
For Scripted Edition projects
For programs that ask for a draft script in the application, please submit a full draft script. It does not need to be a final draft. A rough draft is fine. You will have the opportunity to further develop and refine your script with the help of your mentor who is an experienced filmmaker.
NOTE: Your script will NOT be made public.
Please keep the following in mind when writing your script:
STORY & SETTING: All projects must be locally reflective. This means the story must be set in the applicant’s community of residence (Note - It does not have to be set in the present day. It could be set in the past or even the future.) and it must be about characters, topics or events that are relevant to and reflective of that community.
RATING: The program that you deliver to TELUS must be rated G or PG and have no coarse language. However, you are free to create alternate cuts of your program for other uses such as festivals if you wish.
SCRIPT LENGTH: 1 page of script in standard format translates on average to 1 minute of screen time so, for example, if you wish to make a 20 minute film, you should write an approximately 20 page script.
SCRIPT FORMAT: You can find many script templates online - as well as "How to" videos. Also, most word processing programs like Microsoft Word offer a script or screenplay template.
Here are the basics:
FONT: 12-point Courier, single spaced
MARGINS: Left: 1.5 inch Right: 1 inch Top: 1 inch Bottom: 1 inch
SCENE HEADINGS: ALL CAPS (optional: may also be in BOLD)
ACTION or SCENE DESCRIPTION: always in present tense. First time you introduce a character, their name should be in ALL CAPS.
DIALOGUE: Character names must be in ALL CAPS and be positioned starting 3.7 inches from the left side of the page. The dialogue block starts 2.5 inches from the left side of the page
PAGE NUMBERS: in the top right corner with a 0.5 inch margin from the top of the page. The first page (title page) should not be numbered.
Script Sample:
That's it!
Anyone can put together an amazing application, and we hope these tips, tricks and examples have helped you hone in on how you want to share your story. So get pitching! We can’t wait to hear all about your project.