I’m currently preparing a crowdfunding campaign for Deadly Dutch High™, a gothic supernatural academy series that is expanding beyond early access and into full publication.
I’ve also shared a broader project milestone update in My Stage here on Stage32, outlining the transition into this next phase.
The upcoming campaign will support:
• The completed full novel (The Freshmen Years)
• A companion novella expanding the universe
• Continued screenplay adaptation groundwork
• Professional visual and promotional development
Rather than approaching this as a single book raise, I’m structuring it as the foundation phase of a long-term property.
I’d love insight from creators who have successfully funded narrative-driven projects.
Specifically:
Positioning
Have you found it more effective to market a campaign as:
- A standalone creative work?
- Or the first step in a larger IP ecosystem?
Tier Structuring
For story-based campaigns, what has driven the strongest engagement?
- Collector-style editions?
- Character-focused exclusives?
- Behind-the-scenes process access?
- Early adaptation materials (concept art, screenplay pages)?
Conversion Strategy
- Did you build audience primarily:
- On-platform (Kickstarter ecosystem)?
- Or off-platform before launch (email list, serialized releases, community hubs)?
I’ve already begun building visibility through:
• Serialized chapter releases
• Character dossiers
• A dedicated project subdomain
• Industry-facing development posts
But I’m now refining the campaign structure before launch.
I’m particularly interested in lessons learned — both what worked and what you’d never repeat.
Appreciate any insights from those who’ve navigated this phase successfully.
— B.A. Sins
Creator, SinsAuthors Universe™
Author, Deadly Dutch High™
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B.A, What you’re building isn’t the issue — the container you’re putting it in is.
Crowdfunding doesn’t collapse because of tiers, platforms, or audience strategy.
It collapses when the asset identity isn’t singular.
Right now you’re trying to fund:
- a novel
- a novella
- a screenplay adaptation
- and visual development
Those are four different identities with four different entitlements.
When they’re placed in one campaign, the narrative container drifts.
Backers don’t fund “multi‑format ecosystems.”
They fund a single, stable promise they can emotionally attach to.
If you lock the identity and entitlement of the first asset — the one that governs the rest — the campaign becomes inevitable.
If you try to fund all formats at once, the container will keep collapsing no matter how strong the tiers are.
If you want, I can help you identify which asset should be the governing identity so the rest of the campaign sits inside a stable container.
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I think it'd be better to focus on crowdfunding one thing right now, B.A Sins. People might think "this is so big, it might not get funded" if you crowdfund different things at once.
I haven't done a campaign before, but I've seen some that had a lot of information, and I still couldn't figure out what the stories were about, so I suggest putting a logline near the top of your campaign page so people will know right away what the story is about.
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B.A Sins If you're looking for solid advice on crowdsourcing and crowdfunding for indie films, you should definitely check out Stage 32 CEO RB's book- Crowdsourcing For Filmmakers: Indie Film & the Power of the Crowd. RB interviewed hundreds of filmmakers to break down how to effectively engage your audience, build community, and leverage the power of the crowd to get your project made.
It's packed with insights and real-world strategies that are invaluable for indie filmmakers. Highly recommend!
Check it out here: https://www.amazon.com/Crowdsourcing-Filmmakers-American-Market-Presents...
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Maurice Vaughan, I appreciate this — especially the perception angle.
You’re absolutely right that if something feels too large or unfocused, it can unintentionally signal risk to backers. That’s something I’m actively refining before launch.
The campaign itself will anchor around one clear promise — Book One: The Freshmen Years. The broader world exists, but it unfolds sequentially rather than as simultaneous funding asks.
And your note about the logline placement is spot on. If the emotional hook isn’t immediately clear at the top, nothing else on the page matters. Clarity first. Scope second.
Thanks for grounding that so directly.
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@Ashley Renee Smith, thank you for this recommendation — I appreciate it.
Even though this campaign centers on launching the novel, the long-term architecture includes adaptation groundwork. So understanding how filmmakers build community and momentum before production is definitely relevant.
Crowdfunding is as much about audience alignment as it is about funding, and learning from real case studies is smart preparation.
I’ll check out RB’s book. Thanks again for pointing me in that direction.
thank you for this recommendation — I appreciate it.
Even though this campaign centers on launching the novel, the long-term architecture includes adaptation groundwork. So understanding how filmmakers build community and momentum before production is definitely relevant.
Crowdfunding is as much about audience alignment as it is about funding, and learning from real case studies is smart preparation.
I’ll check out RB’s book. Thanks again for pointing me in that direction.
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You're welcome, B.A Sins. Okay, I see. I hope your campaign gets fully funded!
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B.A., once the governing asset is locked, the campaign stops drifting.
Backers fund a single emotional promise — not a multi‑format ecosystem.
Book One as the spine gives the container stability.
Everything else becomes optional architecture instead of competing identities.
If you want to pressure‑test the entitlement for Book One, I can help you tighten it.
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Awesome poster! :)