Affordable Coverage, Edit & Critique Service

Monday, September 24, 2012

How To Promote Your Film To Producers & The Public

Announcing Top 10 Tips for Networking Success
New Unlimited Video, Unlimited Music, and Additional Mailbox Storage
on the Web's Largest Film and Video Network

It's a fresh season and we've added to the global Film and Video Makers Networking Community additional mailbox storage, unlimited video uploads, and unlimited music uploads, with an increase from 2MB to 8MB per song. You must be friends to send and receive emails from networkers. Part of the "pre-production" footwork in Networkingthrough this site is inviting and accepting friends requests. To help you, we've put together these Top 10 Tips for Networking Success. Build supp ort for your next video, tv, and web-series projects, or for your next film fundraising or kickstarter campaign. Keep your friends list and Network Profile Page updated and fresh, especially if you're looking for crew and productions to be a part of.

New Network Top 10 Tips for better results meeting film/video crew and talent, film financing, selling and support for your next video, tv, and web-series projects.

1. Post your production pictures.

"A picture is worth a thousand words." Whether taken from the B-T-S photographer on your set, or self-portrait taken from your cellphone, show and share with the Network what you do best by posting your behind-the-scenes stills and photos of you and/or your crew at work.

2. If you need votes for a contest.

Invite members of the network to watch and vote for your video contest entry. If you have a video demo reel, post it in the Video Section, so that viewers can see more of your great work beyond your contest video entry. If someone watched your video or demo reel, look for their videos and demo reels posted in the Network also, show your support, and post your encouraging words.

3. Post your kickstarter, indiegogo or rockethub campaigns here in the network and email me the link.

With your projects' clocks ticking and count-down calendar numbers changing quickly, help your projects by posting them here in the Network. Who knows - our editorial staff might pick your project for a special news byte or enewsletter.

4. Sell your used equipment in the Market Place Section.

Tens of thousands of film and video makers here in the Network, plus our Twitter followers, which is approaching 40,000 followers, are looking to buy used equipment and gear. You might have something they've been looking for, and they want it used-not-new to save money, re-sell, or to use-and-swap later. Like a special zoom lens, monitor, DSLR rig, or ProHD camcorder. With different projects and productions requiring different needs for equipment and gear, and with technologies always changing and upgrading, it's common practice and acceptable to buy and sell used equipment and gear. Many independent production companies have added rental divisions to services they offer and seek used or "like new" gear for their rental divisions.

5. Post your film or video Event listing in the Events Section.

Did you ever host a film or video event and wonder why not so many people showed up? Your topic was cutting-edge, your speaker was an industry leader, and your location was a hot spot, but you didn't get as many people as you expected. Why? With so many news and events competing for attention on the internet, posting your event on one or two websites just isn't enough. You need to post your Event, (and post it early) on ourEvents Section. Get your Events and event deadlines in front of the right audience - students, indies, and professionals in the film, video, and motion picture industry.

6. Offer your skills, services, and expertise.

To successfully get work flowing to your desk and hands, use your Network Profile Pageto post your bio, resume, past projects, current projects, and project wish list. For those of you who are composers, or have composer friends in the Network, we have upgraded the Music Section here in the Network. You now have unlimited music uploads, with an increase from 2MB to 8MB per song, and you can have up to 20 songs displaying on yourprofile.

7. Need crew or talent?

There are thousands of active film and video makers, shooters, cinematographers, videographers, editors, composers, directors, lighting crew, producers, VFX specialists, animators, screenwriters, actors and actresses across the United States, as well as in countries and continents outside the U.S. -- plus our Twitter followers, which is approaching 40,000 followers -- who are not only ready, motivated, and excited to be a part of your project or production, but they've surely got the skills and the talent. If you're looking for crew or talent, post your Jobs, Help Wanted, and Calls for Crew on yourNetworking Profile Page, in the Classifieds Section, and in the Network's Front Wall / Activity Feed.

8. Drive Network members to your Film Premieres and Screenings.

Whether your film premiere or screening is at a big festival like Sundance, or you're holding a private screening to get feedback from industry pros, as well as create buzz and get good press from media and publications, post your Film Premiere and Film Screening news bytes and blurbs on your Network Profile Page and Blog Section, in the Events Section, and Front Wall / Activity Feed. Our editorial staff members are in the Network daily looking for film and video makers to feature and spotlight. Who knows - your story might even make the Cover of StudentFilmmakers Magazine. Many members from the Network have been featured in the magazine and even made it to the Front Cover Story. And when you get good media and press in the form of features, articles, and spotlights, always remember to add this goodness to your Resume, CV, your film's official website, your EPK and press packages, and in your Network Profile Page to continue building and growing your network and networking opportunities.

9. Conduct your research beyond the Network.

When you find people that you want to work with in the Network, always remember to do your due diligence and research people, organizations, and companies using more than one resource. This is one of the reasons why the more information you post on yourNetwork Profile Page, the better - such as your bio, resume, CV, links to your films' websites, and other networks, like IMDB, facebook, and twitter, etc... You might have been published in film industry newspapers or magazines, or you might have garnered awards ranging from small festival awards to Emmy awards. Networking 101: While you earned the bragging rights, posting your work and accolades isn't bragging, so don't be shy to share it. People who want to network and work with you are looking for key elements such as experience and credibility. They can't read mi nds, nor can they read a blank Network Profile Page.

10. "Never Stop Networking."

If you're not a tech geek, and if working with social networks and the internet comes quite difficult for you, don't despair. Keep positive. Keep practicing. This is free networking. There's no cost to you. Before the World Wide Web was released to the public, and before the Internet was in the mainstream consciousness, do you remember when so many doors, opportunities, and networks seemed closed, if not completely locked with bullet proof chains? Then don't think of internet and digital Networking as a job or a chore. Have fun with it. Again, watch other networkers videos, listen to their music, and read their blog entries. Connect with real people and use the Network as a great way to learn and keep inspired and reminded about your true passion for moviemaking and storytelling.

All the Best,
Kim E. Welch
Publisher/Editor-in-Chief

StudentFilmmakers.com
1123 Broadway, Suite 307
New York, NY 10010
Phone: 212.255.5454

Join the Largest Online Network of Film and Video Makers Today
http://networking.studentfilmmakers.com/

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Go forward and win!

Logline Service

I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.

Screenplays

Critique: $50.00 Flat Fee,

Includes evaluating the basis elements of a script

Introduction

Development

Climax

Conclusion

Character development

Mid point development

Critiques also provide suggestions for improvements and enhancement.

Payments are made by Paypal or cashier check by mail.

Other services are at regular price.

Query Letters: $25.00 Flat Fee

Editing: $45.00 Flat Fee

Evaluating formatting to industry standards

Spelling, grammar, punctuation, sentence structure, etc.

Turnaround time:

Editing: 2 weeks

Critique: 2 weeks

Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.

Feel to call me at (360) 696-4298. Ask for Frances.

I also critique and edit books. I am currently organizing the service prices for working on books. If you are interested in me critiquing or editing a novel you have written, feel free contact me.

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Friday, September 21, 2012

Meet Literary Agents In Your Area

20 AGENTS AT WD'S WEST COAST CONFERENCE IN L.A., OCT. 19-21
I'm very excited to announce that we are at 20 agents and still growing for our new Writer's Digest West Coast Conference that happens in Hollywood on Oct. 19-21, 2012. Our large Agent Pitch Slams have been a hallmark and highlight of all our conferences, including our January 2012 event when at least two attending writers signed with agents in the month following the event.

If you're looking for an opportunity to meet lots of agents in person and pitch your work, this is a great opportunity!

Learn more about our conference and its sister events here. WD is very excited to bring its conference to the west coast. Join us!

NEW AGENT TO QUERY
Reminder: Newer agents are golden opportunities for new writers because they're likely building their client list; however, always make sure your work is as perfect as it can be before submitting, and only query agencies that are a great fit for your work. Otherwise, you're just wasting time and postage.

1. Thao Le of Sandra Dijkstra Literary

She is seeking: Thao is currently building her list and is specifically interested in middle grade and YA, as well as adult science-fiction and fantasy. She's particularly drawn to smart, strong and sassy characters (whether they be robots, fairies, demons or of the human variety) and twisty plots with a compelling narrative. She's always on the lookout for the type of stories that make you stay curled up in bed, turning page after page even after the sun has come up. Please note that Thao is specifically not interested in: biographies, business books, cookbooks, picture books, poetry, religious/spiritual books, screenplays, self-help, short stories, travel books.

BUILD AN AUTHOR WEBSITE IN 24 HOURS OR LESS
If you want to find success as an author — whether through traditional publishing or self-publishing — you must make an effort to connect with other people. That's the whole point of social media like Twitter and Facebook — to connect with readers and writers. But fundamentally more important than social media is simply having a comprehensive author website. That's why we've enlisted eMedia professor and guru Jane Friedman to teach the webinar "Create an Author Website in 24 Hours or Less" at 1 p.m., EST, Thursday, September 20, 2012. The intensive class lasts two hours.

Speaking from an editor's perspective, I can tell you that having a simple, neat website is absolutely essential. You must have something show up when people Google you or try to connect with you. You must have a website that clearly states who you are, what you write, and has a picture of you. Learn more about Jane's workshop here. All attendees get to ask Jane as many questions as she wants, and no question goes unanswered.

THE 2013 GUIDE TO LITERARY AGENTS IS OUT!
The new and updated 2013 Guide to Literary Agents is now available! I'm very excited about this edition. In the listings of agencies, you will find special "New Agent Spotlights" that help you identify new/newer literary reps are seeking writers now. Plus, we've got the usual array of helpful articles about queries, synopses, platform, craft, and much more. If you're looking for an agent, this book will be a great resource on your journey to publication. It's the biggest database of literary agents, anywhere.

AGENT-CONFERENCE OPPORTUNITIES
There are plenty of opportunities for writers to meet agents face to face at writers' conferences and pitch their work in 2012. Remember: Meeting agents in person is a great way to get past the slush pile. If an agent is interested in your work and requests a sample or book proposal, you can write "Requested Material" on your submission, making sure it gets a fair read and consideration.

Know that there are two types of conferences. There are general writers' conferences, that address a variety of subjects, and then there are specialized conferences, which usually tend to focus on a single genre—such as western, romance, or mystery. You will find both kinds in this list below.

Chicago Writers Conference, Sept. 14-16, Chicago, IL
   Attending agents: Danielle Egan-Miller and Joanna Mackenzie (Browne & Miller); and more to be announced.

Northern Ohio SCBWI Conference (Children's Writers), Sept. 21-22, Cleveland OH
    Attending agents: Tina Wexler (ICM Partners); Quinlan Lee (Adams Literary); as well as a few acquiring editors from houses.

Writer's Digest WEST Conference, Oct. 19-21, Los Angeles, CA
   Attending agents: Mary Kole (Movable Type Management); Sara Sciuto (Full Circle Literary); Ken Sherman (Ken Sherman & Associates); Jamie Weiss Chilton and Jen Rofe (both Andrea Brown Literary); Dana Newman (Newman Literary); Paul S. Levine and Loren Grossman (Paul S. Levine Literary); Thao Le (Sandra Dijkstra Literary); and many more.

Florida Writers Association Conference, Oct. 19-21,
   Attending agents: Amy Boggs (Donald Maass Literary); Judith Engracia (Liza Dawson Agency); Dawn Frederick (Red Sofa Literary); Nicole Resciniti (Seymour Literary); and more.

Pet Writing Conference, Feb. 9, 2013, New York, NY
   Attending agents: Rita Rosenkranz (Rita Rosenkranz Literary); and Gina Panettieri (Talcott Notch Literary).

San Francisco Writers Conference, Feb. 14-17, 2013, San Francisco, CA
   Attending agents: Kimberley Cameron (Kimberley Cameron & Associates); Verna Dreisbach (Dreisbach Literary); Mandy Hubbard (D4EO Literary); Michael Larsen (Larsen/Pomada); Taylor Martindale (Full Circle Literary); Jill Marsal (Marsal-Lyon Literary); Laurie McLean (Larsen/Pomada); Elizabeth Pomada (Larsen/Pomada); Katharine Sands (Sarah Jane Freymann Agency); Ken Sherman (Ken Sherman and Associates); Nephele Tempest (The Knight Agency); Gordon Warnock (Andrea Hurst & Associates); and Ted Weinstein (Weinstein Literary).

PennWriters Conference, May 17-19, 2013, Pittsburgh, PA
    Attending agents: Several always attend. Agent Donald Maass (Maass Literary) is the first to be confirmed.

Pacific Northwest Writers Conference, July 25-28, 2013, Seattle, WA
   Attending agents: Usually 15 or so agents atte

Go forward and win!

Logline Service

Thursday, September 20, 2012

American Cinematographer: Produce & Film Your Own Scrpit

Hello, Everyone.
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VideoBlocks.com is only giving this complimentary access to a limited number of users, sostart downloading now:

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THE DIFFERENCE BETWEEN VOICE AND STYLE IN WRITING

Q: Could you define the difference between a writer’s voice and style in creative writing?—Ralph G.

Here’s the breakdown: Voice is your own. It’s a developed way of writing that sets you apart from other writers (hopefully). It’s your personality coming through on the page, by your language use and word choice. When you read a Dave Barry column, you know it’s his. Why? He’s developed a distinct writing voice.

Style is much broader than voice. Some writers have a writing style that’s very ornate—long, complex and beautiful sentences, packed with metaphors and imagery (think Frank McCourt and John Irving). Others have a more straightforward style—sparse prose, simple sentences, etc. (this is my style)

So when writing establish your own style and voice. Avoid mirroring the style and voice of other writers when writing your novel.

Go forward and win!

Logline Service

THE VALUE OF FREE: WRITING FOR NON-PAYING MARKETS

I’ve come to realize I’m in a unique position to provide perspective on one of the hottest hot-button writing issues of the internet age: namely, the edict that (cue echo effect) The Writer Must Be Paid.

It’s such an obvious rule-of-thumb, only a fool would argue against it. Turns out, I am just that fool. ‘Cause as far as I’m concerned, sometimes (like buskers, ice-cream shops, and Anthony Kiedis) you gotta give it away.

Now, I’m no expert, and I’m not one to prescribe, preach, or proselytize; at best, all I can say is what’s worked for me. Thing is, (judiciously) giving some (short) fiction away has for-seriously worked for me.

Guest column by Chris F. Holm, who was born in Syracuse,
New York, the grandson of a cop who passed along his passion for
crime fiction. His work has appeared in such publications as
Ellery Queen’s Mystery Magazine, Alfred Hitchcock’s Mystery
Magazine, and THE BEST AMERICAN MYSTERY STORIES 2011.
He’s been an Anthony Award nominee, a Derringer Award finalist,
and a Spinetingler Award winner. His first novel, DEAD HARVEST
(Angry Robot Books, February 2012), is a supernatural thriller that
recasts the battle between heaven and hell as Golden Era crime pulp.
Its sequel, THE WRONG GOODBYE, comes out September 25.
You can visit him on the web at www.chrisfholm.com.

Confession: I started writing short stories to pad my query letter (spoiler alert: it worked; agents love reputable short story credits). That meant I had to publish the darn things, or they’d be useless to me.

The first short story I ever gave away was called “Seven Days of Rain.” To Demolition Magazine, this was. Though I was delighted they’d accepted it, I was bummed at first they weren’t a paying market. Then “Seven Days of Rain” wound up winning a Spinetingler Award for Best Short Story on the Web, raising my profile considerably, and I didn’t feel so bummed anymore.

The second story I gave away was “The Toll Collectors,” to Beat to a Pulp. That one (he says bitterly, waving a clenched fist at the cruel, uncaring world) didn’t win a bloody thing. It did, however, kick off a rewarding relationship with editor David Cranmer, which has thus far yielded four additional publishing credits (three paid) and what I suspect will be a lasting friendship.

I’m not sure you can say I gave away my short story “Eight Pounds,” since Thuglit sent me a very cool T-shirt for my trouble, but I didn’t, strictly speaking, get paid a dime. Upon publication of that one, I got a letter from a fancy-pants agent, asking if I was in need of representation. I was not (having at that point already procured an agent of sufficiently fancy pants). But when Stuart Neville got a similar letter, he wasn’t agented, and as he’s written on his blog, the whole thing worked out pretty well for him.

At 11,000 words, “The Hitter” was perhaps my most egregious violation of the pay-the-writer edict. One-seventh of a novel just given away, and before I’d ever even seen an issue of the magazine I gave it to. But I knew the guy who’d asked for it from Twitter, and I believed in the vision he and his cohorts had for Needle. Plus, when he asked for it I’d recently been laid off, so I figured why not write something for them? I had the time.

Not quite a year later, “The Hitter” was selected to appear in THE BEST AMERICAN MYSTERY STORIES 2011 (the check for which was the most I’ve ever gotten paid for one short story) and nominated for an Anthony. Which (and again I’m no expert here) I’m guessing didn’t hurt my writing career.

I’m not saying you should give work away all willy nilly. In fact, careful readers will note I’m not saying you should do anything at all. What I am saying is I’ve had good luck giving stories away. Now, I wouldn’t give a story away to just anybody; in fact, I’m far more likely to submit to a paying market than a non-paying one. But the fact is, if I’d only published at the venues that paid, I would have missed out on some great career-building opportunities – opportunities that have led directly to agents, editors, and fans discovering my book-length work.

Believe me, if you want to stick to paying markets, that’s cool with me. In a perfect world, all markets would be paying markets. But we live in an era in which anybody with access to the internet and a passion for the written word can be a publisher of short fiction, and it’s important to note most of ‘em lose money doing so even withoutpaying for content. That doesn’t make their tastes any less refined, or the role they play as gatekeepers any less valuable. Long as you do your research beforehand to ensure they’re reputable, I say send away. I’m certainly better off for having done so.

Go forward and win!

Logline Service