Kay Tuxford: Screenwriter in Los Angeles, California.

It is begging, but rather than think of that negative word I think enabling is better. Many people do not know what a crowdfund is and I think I've said before my firends and family have a negative view of it, thinking I'm asking for funds when I surely can earn or get the money myself.

Then a girlfriend who will not contribute to the crowdfund will come round with a bunch of flowers if I ask her to lunch. I'd rather have a contribution to the crowdfund than money spent on flowers. Many people just don't get it. I usually say it's like gofund me, like giving to a cause, not to me. From this I can employ xxx actors, xxx crew and make a film you and others will want to watch.

It's not investment it's giving for a bigger cause. Perhaps one with a subject that excites, fascinates or you feel will entertain or inform.

I made a quick video because it annoyed me a lot last crowdfund when people said I don't know what a crowd fund is...or said I don't invest in films. It's not investment! It's not a lot of money. The perks can be fabulous. This video not polished just a quick info video. https://youtu.be/M0BqjPOEFKU

The truth is, whatever it might have been in the past, crowdfunding is now mainstream and a legitimate form of fundraising, recognized and legitimized by the Securities Exchange Commission no less (google Regulation CF and see the SEC website). The fact is, it's "begging" if you only use a platform to beg. If you use it as a way to raise production funds and give supporters what they bargain for, it's not only fine, but a growing and important source of finances. Truth is, it's work and you have to see it as work - your success will be related to your legitimate effort.

Yeah @shadow I couldn’t agree more. I also think you have a cool name.

Check out Greeninbox, was super helpful during my seed & spark fundraiser

Good luck!

Sorry I don't but hearing from the group is education at best plus a right direction for 2021

There is no set formula, and for every "can't" there exists a "did." However, in winning at the Industry percentile game--where writing a spec is concerned for the purposes of getting it looked at or made, especially when you are unproduced and unproven--Dan's idea is very sensible in moving that winning percentile from 50-50% chance of having it ever looked at by an executive, to a 75-25% chance. If this is the case, wouldn't you want to increase your odds by entering the field under the banner of a reputable studio or even a produced co-writer?

I think trying to spec mini-series will decrease your chance because it's an enormous commitment and not tons of them being made. Better to pitch a pilot.

I have the first ep of a mini-series in my portfolio and it does OK. It works better as a reading sample because there is less demand for mini-series.

Truby offers his own "structure" which is just a rehash of the classic Hero's Journey. And while it's true that in other creative realms there are "those who can't, teach," it's really prevalent in the film biz. In novel writing, for example, while there are some who prey on newbies, there are many high quality people and groups (Donald Maas, Clarion, Odyssey et. al.) that offer classes, workshops, etc. that are of solid value. The film biz just seems to attract predators more than other industries.

Part of what makes this observation true (and it really is more of an observation than a question), is that there is a much bigger market in being a teacher than a screenwriter. There are really only a limited number of films and shows made each year that pay decently to the writer. Thousands upon thousands of scripts are written, a few hundred maybe get produced. However there are lots of hungry writers to sell classes and books to, so it only follows that you can make more money teaching than trying to sell scripts unless you're amazingly good and in the right place at the right time.

This isn't a criticism, but just a fact of what's real out there. In the end I guess the lesson is that if you are truly a writer, then write and maybe if you're fortunate you'll be professionally produced. But if you're only in it for the money, there are much safer ways to make a living.

It was the guys selling the pans, picks & shovels to the 49er crowd who survived over the long haul. It's always been thus so.

That's fantastic, Valerie! Great news! I hope it all works out. ;) Question... so I looked at your trailer for "Wiccan" and wondered if that is "Thorn Trees?" And then pondered... Why the name change?

Doug Nelson - Hey Doug! Thanks for your comment after viewing the trailer. Wish I were still teaching. I'd set this up as a class competition project for senior graphic design students (like I've done in the past for indie directors and producers. Some great design solutions came out of those competitions, and those films were entered into festivals and won awards, and received distribution). If I can find the time, I'll try to work in a similar fashion with a senior class at my undergrad or grad school. That would result in some fresh ideas and approaches. And, I could have Stage 32 members choose the winning poster design. Here's a link to some of the best from the past: https://www.slideshare.net/ValOliver/biz-educproposal.

Beth Fox Heisinger - Hello Beth! Thanks for the well wishes concerning the producer. The original name was THORN TREES. Later, we changed it to WICCAN and made the trailer, thinking the term is easily and instantly recognizable as having to do with witchcraft practitioners. However, after having the trailer reviewed by Wiccans, we were advised that the term wasn't used until the 1960s, and would really turn them off from supporting the series. We want the community to support this project, so we are respecting the feedback.

I think the black and white of Film Deal or No Film deal kind of ignores the relationship building this industry really requires. At least, that's been the experience of every working writer I know. Every time you get more reads and more people excited about your work, the closer you get to being in the mind of the right person at the right time. That can be through connections to actors, producers, contest wins, etc. I wouldn't rule any avenue out because all of them can work. After my last contest win, I went to several meetings where folks said, "I'm a fan, I want to read everything you write from now on. Also, we're looking for XYZ specifically -- XYZ is something I know I can get my boss excited about." They're showing their hand to me and what will get them to say yes BECAUSE of that networking and rapport. I can't get better info than that.

Lastly, I've felt the vibe myself in meeting people in LA that there is an element besides the quality of the material that is required. Every general I've gone to has been a test of "are you a writer who seems like a team player that can work in a collaborative environment and can get along with our team members?" And I've had many of them tell me of scripts they loved to pieces, but the writer was extremely difficult to the point that it wasn't worth pursuing. Networking helps this. I've been recommend MANY times to others just because they found me to be a pleasure to work with as well as a strong writer. So in short, deals are great, but they're the tip of the iceberg to the work that is required to get there. Break a leg, everyone!

Dan G:

Good point insuring a producer has legitimate credits. Also, the credits need to be fairly recent. If a guy hasn't made a movie in 10 years, that's also a good indicator you may be wasting your time. The director I'm currently working with had a movie released two weeks ago.

Yep, choose your producer wisely. A right-click on their name or prodco will google search everything about them on the net. Check the dates of their last correspondence and current sked. As bad as one might need a manager/agent or producer. You don't need one that you may have to drag around by the hand.

Congrats!

Hi and welcome!

Howdy! I'm new too.

Hi Ray Archie and Brittany B.Monét Fennell - glad to have you in the community :)

Thank you for sharing your insight, Phil (are you a new uncle?). And that makes sense, it’s only natural that you would reflect that. It’s what you know best, being you grew up around it. Just like the actor that played Santino in The Godfather wasn’t Italian at all, but he grew up with Italians to the extent to him portraying an authentic Italian. And I definitely agree with the paraphrased quote. It’s sad that we lived in a world where that reality is not an absolute anywhere.Thank you for sharing your insight, Phil (are you a new uncle?). And that makes sense, it’s only natural that you would reflect that. It’s what you know best, being you grew up around it. Just like the actor that played Santino in The Godfather wasn’t Italian at all, but he grew up with Italians to the extent to him portraying an authentic Italian.

And I definitely agree with the paraphrased quote. It’s sad that we lived in a world where that reality is not an absolute anywhere.

I think that we don't learn as Screenwriters enough how to protect our scripts and how to fight for them. I know many writers that were able to come back and say, I tried your note, but it didn't work for these reasons, and the note or request is lifted. Since these people aren't writers, they don't know the chaos they can be causing, but if you explain it, I have found them to be reasonable - or at least a compromise where we are both satisfied.

I did have to walk away from one assignment because a producer was trying to add something new each week based on whatever she binged on Netflix that weekend. It was her story that she was trying to develop, so I couldn't do anything but bow out gracefully from the project and wish her well. A younger me would have stayed around and kept trying. Older me didn't have time for that. The project is still in development to this day and I've done so much for my own work in that time :)

Hi, Phillip. The article to me seems rather pessimistic, to say the least... That quote?—rather jaded. And perhaps the article is skewed by personal opinion/experience, which is fine, it's always interesting to read various accounts and opinions and assessments. Thanks for sharing! ;)

But... once again this topic has such a wide range of considerations because it truly depends on specific context. And I'm going to grossly generalize by saying that filmmaking is a team or group endeavor. And often whether certain roles are "respected" or not depends on the individuals on that team— their personalities/egos, their work ethic/collaboration, their relationships with one another, and their individual contracts and allocated jobs for a specific project. There are many moving parts.

Respectfully, and generalizing again, I think for most of us aspiring creatives the more practical and realistic arena where we will most likely get a start is in Independent Film. And with Independent Film there's more possibility of either partnering with a director or producer, or producing a film oneself—thus having more creative control, which it seems many screenwriters would much prefer. ;)

Anyway, I think it would be beneficial for an aspiring screenwriter to produce their own work, perhaps a short, just to gain further experience and to gain a better sense of perspective/understanding of other aspects of filmmaking. Could help when opportunity comes a knockin' on larger projects. That said... I too found more interesting and inspiring reading in the other articles on that link, specifically the one on Taylor Sheridan, and Diablo Cody—her list of 7 lessons made me chuckle. ;) Thanks again, Phillip!

Great news! Very pleased for you.

One question: If you used a purchased email list where did you purchase that from? Was the list a major issue in your success?

Again, good luck for another 45%-50%

congrats!

Hi Jack, I did not purchase an e-mail list. I did make one from my own e-mail contacts which was about 2000+ people. Years of networking helped make that net a bit wider and more personal. Very few of our donations are from random people. The rest of my team did the same, so it's our combined brain power and contact lists that's helping us get there. We just hit 96%, so it's looking pretty hopeful. https://www.seedandspark.com/fund/the-miseducation-of-bindu#story