In internet time it may seem as if indie fundraising efforts have been with us forever, but actually they’re a relatively new means for creators to reach their fan bases directly in order to create the content they and the fans crave. Even properties that were mainstream have seen their fan-life extended through the genius of crowdfunding (see: Veronica Mars). It’s a fascinating frontier for fans and creators, opening doors for innovative, fresh works that might not have received traditional funding to see fruition and thrive. This month we take a look at some projects looking for the most valuable asset any writer/artist/film-maker can ever hope for: You!
Best Always!
Team Narazu
All Indie. All Awesome.
Film
by Leo Faierman
Kickstarter has had an astounding effect on the creative arts since its original launch over a decade ago (yes, it’s really been that long). Since then, the subsequent crowd-funding boom powering production of films and video games (in addition to a diverse array of projects spanning other mediums, including comics, theatrical work, and conceptual art pieces) has presented a worthy combatant to studio support which has not-insignificantly readjusted the playing field. This month, we’re going to introduce three specifically Kickstarted genre films, two of which are currently in active funding mode and a third which succeeded its goal, barely, to make one of my favorite sci-fi shorts ever. These are interesting times to be a filmmaker, especially one with weird aspirations countered by the challenges of financing, and crowd-funding certainly brings the moon closer down to earth.
Pasture is a horror movie, which is luckily completely developed and produced at this point; for those unfamiliar with crowdfunding, it’s a notoriously volatile venture, with many campaigns turning up nothing at the end of a successfully reached goal. In this case, the product is finished, but the filmmakers are looking to send it to market, Kickstarting purely for the distribution. “The film industry is a tough one,” muses producer Gabriel Grant. “But you can rest assured, as this movie is already made!” Pasture looks to be a blend of relationship drama, family horror, and southern gothic genres, featuring an amnesiac recovering from some kind of strange experiment. Watching the trailer makes me consider that indie horror rarely looks this confident and slick, even in comparison to some of the previous films released by Rook Productions, which include the previously Kickstarted Gutboy: A Badtime Story, a dark comedy musical featuring marionettes. I’m not aware of many other Kickstarter projects involving such direct attention to distribution rather than production costs, and the meager $3,000 price tag seems fair and reasonable for what this group is trying to do. I’d really love to see more fiercely independent projects take this route with their finished products, which is also helpfully instructive to the public about a key post-production cost that is rarely brought up in conversation. You can follow and support the Pasture campaign on their Kickstarter page.
The short film Virtuoso, a “deliciously theatrical horror exploring the underside of the classical music world” reached its goal and is on course for a January 2020 release. Featuring an all-female creative team (!), the Virtuoso campaign is well aware of the general dearth of women in the genre, at least behind the camera, and the short’s trailer is tantalizingly subtle in what it gives away. I won’t get in front of the text in the campaign itself, which does a great job of citing the influences and intentions of producer Amy Wells and her team, but those interested in director Stella Scott’s previous work can dig into the lengthy list of clips on her Vimeo page, which offer a diverse blend of short, digestible pieces, often character-focused and gorgeous in detail. This UK production asked for a modest figure for the type of piece they’re looking to create, and you can support the team on their Kickstarter campaign page.
As something of victory lap, I’d like to direct reader attention to one of my all-time favorite successful Kickstarter short film projects: Afronauts. The project made quite a splash about six years ago, and though the film wrapped and released by the end of the same year (honestly, I feel like that’s almost unheard-of when it comes to creator crowdfunding), it’s only been widely distributed online for free viewing earlier in 2019. It’s the perfect time to celebrate Ghanaian filmmaker Nuotama Bodomo astounding achievement, a fact-meets-fiction retelling of the Zambian space program of the 1960s. What some consider as a curious footnote in African history is celebrated and revitalized in Bodomo’s film, which affords the story and its players no small measure of dignity and profundity. The black and white cinematography in Afronauts is dumbfounding in its faultless framing, and the close-up camera seems to just sop up each note-perfect performance, especially Diandra Forrest as the spacefarer herself, Matha Mwambwa. Is it historically accurate? Bodomo is more concerned with the metaphysical truth and purpose of the history, and those creative instincts sing and succeed throughout, producing an Afrofuturist feminist art piece of immeasurable beauty. I simply cannot recommend Afronauts enough, and it’s easier to watch now than ever before. Dim the lights, close the blinds, then watch Afronauts on its Vimeo page, and set aside an entire afternoon to investigate more about Edward Makuka Nkoloso’s Zambian space program, if you’re unfamiliar — this writeup on Bodomo’s film from 2014 is a great place to start.
Books
By Clarence Young aka Zig Zag Claybourne
If there’s one thing I unequivocally love about the new publishing landscapes it’s the twisting, greased lightning, all-in or out, joyously mercenary feel of DIY writ large. Authors may not crowdfund as much as comic creators or filmmakers but they do, perhaps not as glamorously or cool as their other creative brethren, but–like Linus in his pumpkin patch–very sincerely.
What types of projects are you likely to find? This is Narazu; you know it’s going to be cool and cutting edge. Two excellent examples of the graphic novel variety, both currently in active-funding stage: NIOBE: SHE IS DEATH / THE UNTAMED from the juggernaut that is Sebastian A. Jones, and THE SEARCH FOR SADIQAH from the genius of Greg Burnham (both pictured below).
Are you a writer who’d like to join that wave? Get pen and paper ready (and also get your resolve ready; crowdfunding is WORK in all caps; don’t even think about it if you’re really not the type to access your inner Bob Cratchit and huddle lonely and cold over spreadsheets, drafts, graphs, and cost analyses. There are no shortcuts, there are no quick easy tips, there’s just a lot of drive needed on your part, a clear plan, and the follow-through of the gods. Still up for it? Ok. Here are some resources to consider.
The clear favorite for writers, Patreon is less a “fund my project” as it is “fund me”, as most writers work on multiple projects simultaneously (this is known as THE WRITING LIFE). It’s a simple model, not without its negatives (the only thing in life without a negative is sweet potato pie; the sooner you accept that, the higher your clarity level will soar), and certainly no guarantee of floods of supporters. As with anything else, an audience base is needed. If you think you can build one, fine. If you think you already have one, even better. If you’re counting Facebook post likes as an indicator of likely Patreon success… stay just as you are, you unicorn you.
Stay just as you are.
Kickstarter currently has nearly 50,000 projects listed under “Publishing”. A lot of it is non-fiction, but certainly not all. James Patterson has been involved with Kickstarter projects. Rosarium Publishing has produced some exquisite collections and graphic novels (I’m not kidding; check out the Sunspot Jungle 2-volume set for mindblowing short fiction from around the world). Raw Dog Screaming Press has too. Even several high-profile genre magazines have availed themselves of Kickstarter’s wonders. Again, the key consideration: Is Kickstarter for you? You can’t raise funds then sink into a pit of inactivity and decide, nah, don’t wanna write this. Woe will befall you. Kickstarter supporters are not known for readily forgiving non-delivery. A promise kept here is a promise remembered; one broken is viral.
Unbound’s funding model is a bit different from Kickstarter and Patreon. Think of it as, say, a marketer’s idea of Thunderdome. Authors get to pitch projects; those pitches are then meant to battle it out via how much internet support their authors are able to drum up. It’s not necessarily direct competition, but there’s definitely the air of “2 enter, 1 leaves” to the whole affair. It’s also a UK company, primarily focused on UK writers, but they’re open to writers worldwide. If you have a killer elevator pitch and no aversion to duking it out for manuscript attention, this might be for you.
Maybe you’re not trying to fund something per se, as more a “wow, a wee boost would be great today.” Ko-Fi might be up your alley. It’s a way for artists of all stripes to, essentially, busk without the bother of standing in the rain or getting sneered at by executives on their ways to power lunches. Supporters can drop a few bucks your way without necessarily expecting anything from you in return. Except the fact that you’re a kind, awesome artist. They dig what you do. They want you to have enough gas in your tank to make it to a reading; they want you to have a bit of self-care via a couple of scones and some tea. Ko-Fi’s great for the artist who knows everybody’s pretty much as broke as they are, but now and then we’re able to pay our enjoyment of something forward in the tangible form of a little extra monetary attention. Also, please note I did not make a single “Have a cup!” mention in this piece. That’s certainly worthy of support, wouldn’t you say?