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MIND MELD: What Crowd Funding SF/F Novels Means for Authors and Publishers
[Do you have an idea for a future Mind Meld? Let us know!]
Crowd funding sites such as Kickstarter and IndieGoGo are enabling authors and editors to reach out directly to fans and ask for help in producing novels and anthologies. However, with crowd sourcing being a fairly recent phenomena, the authors and editors who have put their works in front of the public are blazing a new trail for others to follow.
We asked our panelists this question:
Here's what they said:
So you want to write a book? Or, you've already written a book and you want to publish it?
For some time now, the e-book publication method has been a source of hope to prospective authors attempting to gain recognition for their writing. The proliferation of e-book readers and the ease of constructing a professional looking copy has brought a new form of democratization to the differing processes of publication.
However, this process doesn't bring a writer a guaranteed audience. Success amidst the e-book revolution is hard. With so many titles to choose from, readers seldom unite behind individual texts. Yet, we do see occasional stratospheric achievements. Although often these are as much to do with capturing the mood of the times as the quality of the writing.
Writing Science Fiction or Fantasy helps a bit. Genre readers have more identifiable interests in what they like from a book, so potentially, carving out an audience for your own work is a clearer objective in that you can write a book that appeals to this market.
Crowd funding remains a mysterious new asset to the would-be writer. Advertising your new book and encouraging people to pledge so they might obtain a copy when you write it is in the first place a slightly baffling concept. What upfront costs does a writer have? Not many if they concentrate on the e-book format. The writing of the book requires time, not necessarily raw materials.
So where should crowd funding be used by a writer?
The role of crowd funding can be in generating an audience for your work. It can be in focusing your efforts, because when you know people have pledged money to your creativity it makes you want to reward them with a work that justifies their faith.
The role of crowd source funding in providing initial capital for a project is a wholly different world to applying for a business loan or academic grant. However, there are definite parallels in the process too. There is a fundamental need in any process when courting potential investors, to convince those investors you are worth investing in. However, the reasons for that investment, across different platforms and by different individuals can be incredibly diverse.
Since Kickstarter's launch in the UK in 2012, we have seen some incredible successes and failures of proposed projects. They aren't alone in the crowd funding arena though. There is an interesting blog post listed here that talks about how the organisation managed in this first month, very well going by the numbers. There are a number of other crowd source funding websites. Some examples are, Indiegogo, Wefund and Crowdfunder, but Kickstarter is the most popular. Right now, crowd funding remains the Wild West, the frontier if you will. Watching from afar, I admired the bravery of the creative people putting themselves on the line. Running my own for Elite: Lave Revolution, I realised I would never have an experience like it every again in my life, those thirty days flashed and crawled by. Running a crowd funding project is an experience in elation and humility. Every pledge is an exciting and incredibly humbling moment. You think constantly about how much faith people are putting in you.
For me, launching a project that complimented a popular computer game franchise and successful Kickstarter like Elite Dangerous gave me an advantage. I knew there was an audience for my work. I don't think I could have achieved the same success with a different book set in a world of my own devising.
In addition to this, I was very meticulous in the construction of my rewards. Pledgers want the project to succeed and want to read the book. So why not give them extras? Another secret chapter, an alternate perspective, a mission dossier, etc… All of these assets serve to enhance the project and reward them with privileged information.
What does this mean for the traditional publishing method or for self published authors? It depends really on how either approaches the concept. There is no reason why a publisher shouldn't support a crowd funded project. The capital raised and proven audience demonstrates a market and helps them. Similarly, a self published writer can fund a new novel, buying the time to write it, or purchasing the rights to work with an existing franchise. This brings their work to a much larger audience.
What happens after the funding period? Well, now I have to sit down and fulfil what I promised I'd do! That said, you can still donate and offer some of the rewards available in the Kickstarter. I have a page up on my website for this using Paypal and I've seen other authors do the same.
So if you are a writer and want to give this a go, I recommend it. But, plan very carefully first and be prepared for surprises on the ride!
I believe crowd funding isn't a fad or a bubble — it's a very powerful new way for the creative types to reach out directly to their fan base, and it is here to stay.
However, now that Kickstarter and other crowd funding sites have been around long enough for the new car smell to wear off, a certain level of fatigue is beginning to set in. Everyone has a game, a book, an album, or a cause they are promoting for themselves or for a friend (I'm super-guilty of this myself). Crowd funding is in the transition period — for most netizens it is no longer a shiny, hip thing to do, but is just another way to order an interesting product or service while simultaneously feeling good about getting in on the ground floor of something cool.
There is still plenty of room for crowd funding to grow — the recent success of the Veronica Mars movie is a herald of the future where enormous studio-level projects are launched through the will of a willing fan base. But this also means that, as crowd funding becomes more and more of a mainstream tool in the arsenal of successful authors and anthologists, it will also become exponentially harder for the little guy to succeed. An author who fails to make much of an impact with a novel he or she self-published on the Kindle will be unlikely to perform any better in the crowd funding arena. It will still be possible for a newcomer to succeed, but they will need to offer a truly unique project or cause that many people could feel passionate about supporting.
Crowd funding will, however, remain a great boon to writers who have already mastered the art of managing a solid online presence, and/or have an established fan base from their traditionally published material; a meritocracy that will richly reward people who worked hard to build large online megaphones.
Well, I may never have gotten around to publishing if it wasn't for my Kickstarter project, so there will be at least one more entry in the fictional universe because of crowdfunding!
But seriously though, crowdfunding is in the process of turning the publishing industry on its head. No matter where you fall on the writing or publishing spectrum, it's important to be ready for big changes.
Effects on Publishing in General
More quality books on the market. Self-publishing is making more books than ever available to the general public, and in the process sparking plenty of debate about whether or not this is a good thing. I haven't spent enough time reviewing books to make a sweeping generalization about the effects of self-publishing on the readability of modern literature, but it stands to reason that the removal of a huge barrier to entry necessarily means some bad comes in with the good.
The introduction of crowdfunding is again upending the landscape, this time creating a natural vetting process; a success on a site like Kickstarter shows that an author is likely to have something other than the ability to type tens of thousands of words going for her. It's never easy to judge how enjoyable a book by a first-time author will be, and crowdfunding provides a great tool to help good reads rise to the top.
More quality readers. Another benefit of crowdfunding projects is that they have the ability to pull people into the genre who otherwise might have spent their time – and money – elsewhere. Every person who successfully Kickstarts a book potentially brings more genre-lovers into the folds – or, at least, activates fans who might otherwise have let their love of fantasy and science fiction languish. There's an excitement about the whole process that gets people more engaged in reading than the comparatively tame act of picking up a title in a bookstore, or pressing a few buttons on a mobile device.
Effects on Self-Published/Mid-List Authors
Motivation to work with professionals. Modern crowdfunding (as separate from the incarnation that helped bring the Statue of Liberty to New York) has only been around for a few short years. In that time, however, the fledgling industry has rapidly become competitive. It's not enough anymore to put up a project with a wish and a dream to your name; potential backers want to know they're going to get something worth throwing their money, participation, and time behind. You've got to step up your game to have a chance at success. I'd strongly recommend that anyone interested in self-publishing bring artistic, editorial, and other professionals onto the project, because it's virtually impossible to be an expert in all of those things simultaneously; but if you're running a crowdfunding project, it's pretty much a necessity.
Better marketing. Self-published authors are on their own as far as marketing is concerned, and mid-list authors don't fare much better. Without a big budget and lots of manpower to throw around, you need to get smart about spreading the word. A huge part of getting people interested in your project is honing the way that you "tell the story of your story." Can you describe your book in a short sentence? A paragraph? A 2-minute video? An image? Each one of these methods of presentation has a purpose, and each one should ideally go through several iterations before you settle on the final message. Crowdfunding is a terrific way to validate your storytelling abilities, as you can get real-time feedback and analyze the numbers to assess the effectiveness of changes to your pitch.
It can take some effort to adjust to this new shift in writing and publishing mindset, but the benefits are definitely worth it.
I just completed my first crowd funding project for Hollow World, a new novel releasing in January 2014. I found it to be an extremely eye-opening experience. I wouldn't suggest it for a debut work, but I think anyone who has at least one book released should seriously consider doing it. For the self-published author, who is used to working on a shoestring budget, Kickstarter provides the means for a more professional product, which helps counteract the impression that all self-published books are poorly edited. But I think it's the mid-list traditional author that has the most to gain. I know quite a few who have "shelved" books because they were either not optioned or the amount offered was just too low. For them, they see no other alternative because they have been ingrained with the mantra that "money flows to the author" and are used to getting advances. For them, the idea of going into debt to put out a book is too foreign a notion, but as others do so successfully, they'll start exploring that as a viable route. My Kickstarter raised almost $31,000 which provided for all the production costs…and a $28,000 advance. Crowd funding has the potential to take yet another role out of the hands of the publisher. Self-publishing started the trend by moving the role of "gatekeeper" to the reader, now Kickstarter has the potential to move the role of "financial backer" as well. Now more than ever, it's being proved that the only two essential people in publishing are the reader and the writer, and I see this as very empowering for both. It helps readers determine what is produced and provides writers a higher profit per sale. Sounds like a win-win to me.
I hate to stand up on a box and proclaim change is at hand and do the Doom of Publishing type routine. In fact, when I successfully crowdfunded two books the last couple years there was a spate of excitement and people asking me to speak up and officially proclaim publishing was dead and then crickets when I explained that well, I felt it depended on who was doing it, the size of their audience and the project in general. In fact, I was disinvited from one speaking gig when it was found out that I had a book coming out from a mainstream publisher despite crowdfunding one myself.
That being said, as a mid-lister I find crowdfunding terrifically exciting. Mid-listers in particular have built up an existing audience. It's not as large as a bestseller's audience, but it's there. And because direct sales allows you to change the gear ratio of profits, a dedicated audience of 200 to 1,000 fans is capable of creating a well funded project.
What this does is give mid-list authors more avenues. This isn't an either/or debate, but a realization that we now have more tools. That's always a good thing. Making more off crowdfunding? Add it to the mix. Or use it as leverage to get more from you publisher (where you find new readers by being on the shelves). Lots of attention from a crowdfunded project could provide you with opportunities to sell the book elsewhere.
The cool thing about crowdfunding is you control the rights, so you can put the book on sale for continuing money. It solves one of the midlist dilemmas: if you sign a contract you get an advance, which can help many of us set aside the time to write a book. Now, most mid-list advances aren't big enough to live on, often, but it does let drop some freelance work or other projects to focus more on the novel. When people tell us to just self-publish a work, that helpful up-front money disappears. Crowdfunding lets one both get an up front chunk of change, and then a steady trickle of royalties. A best of both worlds situation.
I see crowdfunding as extremely complementary to writers who have been building up audiences and relationships online.
What does it take to have a successful one? I often describe it as needing two of three legs. First one: proof that you can deliver the project. Those of us who have written multiple novels and have readership demonstrate that, which calms worried people about being stiffed. Second leg: you have to have an initial pool of excited potential backers (why this is should be obvious, yes?) and the third leg is that you have to have a cool project. My gut feeling is that two of those three gives you a chance, three of three is perfect. I'm seeing people with no track record (proof of delivery) get upset that their Kickstarters didn't fund. Well, maybe your idea wasn't as cool as you though, and since you didn't have a pool of existing followers or proof of delivery, coolness of project is all you're standing on. That's a wobbly leg.
But mid-listers, because they have a readership pool, and proof that they're delivering by nature of being mid-listers with some books under their belt, supply two legs of the successful crowdfunded project. They're tailor-made for it.
So whether finishing a book series that got canceled, or starting a new one up for fans who want to read more by you, or just seeking to diversify your writing portfolio and income streams, crowd-funding is a very interesting tool that gives authors more chances, more income streams, and makes the world more interesting.
Will it continue growing and doing well?
I have no clue. Seems to be doing okay so far though, and I'm a happy backer of several projects over the last 3 years. New channels and ways of doing things do arise, and this looks to be one of them.
Kickstarter fascinates me. I've already backed 20 projects, though the bulk of them are pen and paper RPG manuals, with a few PC videogame RPGs, and some graphic novels. I've backed only three novel projects, and two of them are by Bradley Beaulieu! I think part of this may be that as an editor at a publishing imprint, I know how much work goes into producing a book and I'm more skeptical of the output of self-published novels than I am of the games I'm backing where the projects tend to originate from established companies not individuals. In fact, the first Kickstarter project I backed was a novel and is now a good ten months overdue its estimated delivery date. Grrr.
That being said, overall I'm very positive on Kickstarter and its impact on books/authors and very interested to see where it goes. I'm watching the aforementioned Bradley Beaulieu and also Michael J. Sullivan closely, and encouraged by their success. I think that by harnessing the power of the micro-niche audience, Kickstarter makes it possible for authors to continue series when their publishers aren't able to do so (as Tim/T.A. Pratt has done), as well as allow authors who are achieving commercial success with their more conventional novels to explore less-obviously-marketable projects, as Sullivan is doing with Hollow World. It's also a great marketing tool, in that authors can benefit from the buzz that Kickstarter itself generates.
The important factor is of course going to be in follow-through (see aforementioned comment about late project. Grrr.). Authors who prove that they can produce not just professionally-written work, but professionally packaged work, are going to quickly outdistance those who don't produce at all, or who discover firsthand and the hard way how important all those other jobs inside a publishing company are. But I'm only just now coming up on the stage right now where the many various Kickstarters that I have backed are beginning to deliver – with a wealth of projects coming due between May and July – so perhaps you should ask me again in the fall if I'm still as bullish as I am now.
Welcome to the Publishing Singularity. Many of us may have gently missed the signs all around us over the last five years, but the fact remains—we are already living in a new world of publishing. To quote the late King of Pop, "This is it."
As the production and global distribution technologies have finally caught up with the real-world practicalities of individual artist book production, all the "rules," standards, and caveats of the past few decades have melted like the Wicked Witch of the West under a cold splash of present reality. And most important of all, the stigmas associated with self-publishing have dissolved in the same bullshit bucket.
I am not going to get into the pros and cons, "indie" vs. "trad," or how everyone and their grandma and Charles Dickens and J. K. Rowling had at one point, and are now, self-publishing books like happy pancakes (good and abysmally bad, granted, but it's been the way of the world for ages, in the music industry and every artistic endeavor, in which unbridled creativity was up to self-starters, and the happy result was 10% brilliant future classics and 90% proverbial crap). What I am going to talk about is the publishing toolbox.
The toolbox of the modern writer is a happy and well-diversified hybrid, regardless of literary genre. Open that toolbox, and you'll see Big Five trade publishing contracts vetted by your personal IP attorney, an agent or two (domestic and international) who works for you a la carte, to handle only one project at a time, and under well-delineated terms favorable to you, the author. Dig around, and you will see POD self-publishing and all ebook rights retained by you, and a healthy self-reissued OOP backlist. And right there, in a solid prominent place, you will see crowdfunding.
I think SF/fantasy and comics and gaming really lends itself to crowdfunding because of the power of pre-existing fandoms, but really, romance, thrillers, mystery and other genre writers can do just as well. The process itself is genre-blind.
Crowdfunding, whether through Kickstarter, or Indiegogo, or directly with a simple "donate" button at your personal website, is not a mere tool but a power tool that allows us, authors and editors, to procure funds up-front for a project, independent of any single institutional third party (publisher). Instead, the "third party" becomes the whole world, broken up into small manageable chunks, and made up of ordinary people—you and me—the direct consumers, who chip in with as little as a single dollar or a few cents, or as big as thousands of dollars. In most cases, they are getting your finished book product as a pre-order, plus other special rewards for their contribution.
But isn't it the same thing as glorified panhandling, some people ask in hushed voices, gushing with embarrassed disdain. Well, no, not if you take the healthy attitude of Amanda Palmer who puts forth her argument most eloquently in this short video presentation on "The Art of Asking." In a nutshell, when you need something, you simply need to cultivate the inner freedom mindset to reach out to the world and ask.
As many of you know, last October, I've run a successful Kickstarter of my own, to raise funds for a publishing project—my first major new fantasy novel in a decade, Cobweb Bride, a sophisticated and intricate epic fantasy retelling of the Persephone and Hades in the Underworld myth, the first book of a trilogy (Cobweb Bride, book one, Cobweb Empire, book two, Cobweb Forest, book three). The basic premise—what if death stops, and human nature and politics take over; what if you killed someone and then fell in love with them—is on the scale of G.R.R. Martin's Game of Thrones, an epic mix of political, psychological, romantic, and dark fantasy intrigue and alternate Renaissance history. It's almost unclassifiable, and a hard sell for commercial publishers. But it's my unique angle on a brilliant idea in which I believe with all my heart.
I started writing Cobweb Bride before the economy meltdown. But real life intervened in the harshest way possible, including cancer and death in the family, foreclosure, my own major surgery last summer, and a plethora of other unspeakable ills. And now, in an effort to re-start my career and my life, I've decided to plunge forward with this project so close to my heart. In order to release it properly, with the full production values of my high-quality small press Norilana Books, which I could not at present afford on my own, I reached out to the world via Kickstarter.
The Cobweb Bride Kickstarter had a funding goal of $5,000, ran for a month and raised $5,372, with 138 backers. I offered various reward levels including website acknowledgements, ebook editions of the forthcoming Cobweb Bride, and all my other backlist titles, in hardcover and paperback, plus various other swag that you can see pictured on the Kickstarter page.
There is no denying that the fundraising process itself was painful and arduous. After all, power tools are dangerous, so handle with care. But, boy do they perform! The act of asking people for money was an unrelenting roller coaster of what at times felt like uncomfortable nagging and intrusion, primarily via Facebook (where I have a huge presence and following) and Twitter (which I underuse), not to mention Google+, LinkedIn, MySpace, Goodreads, and SFF Net. (And people think self-promotion is bad! This is much worse! Seriously, if you don't have the inner strength or "hubris" to promote your work, then you likely should not bother with crowdfunding, because you will have to put yourself out there, non-stop.) Half the pledges came in early in the first two days, and then things slowed down for most of the month, and picked up at the end when I redoubled my efforts at asking, pleading, begging, and being damn eloquent.
In the end, my big takeaway lesson was, next time, do not let up even for a day, have a smaller initial funding goal, and instead offer more stretch goals, and offer smaller and less tangible rewards that require less postal shipping. That way, you have a better chance of reaching your original finding goal, since Kickstarter is an all-or-nothing funding engine.
The good news is, Cobweb Bride, book one, is completed, and on schedule for official release on July 15, 2013 from my own small press Norilana Books, under the Leda imprint. The book is now in the ARC post-production phase, with physical trade paperback ARCs printed and shipped, and e-ARCs emailed out, to the major trades such as Publishers Weekly, Booklist, Library Journal, Kirkus, and Locus, and offered to a universe of reviewers and bloggers through NetGalley. Meanwhile, I am busy working on book two and three of the trilogy, Cobweb Empire and Cobweb Forest, both of which will be completed by the end of this year, and released in time for the December Holidays.
This is an amazing, liberating place to be, both as a creative artist and business entrepreneur. Because here I am, truly unconstrained by any publisher schedule or funding limitations, and able to offer my books in quick succession, directly to my fans. My readers have waited long enough, and I am not going to torture them with needless years between each release, all because of someone else's publishing schedule.
And it's all because of the crowd, the audience, you. You have given me the control over my act of creation and as a result you gained better control of your own reading material. It's a win-win for everyone.
Readers have been eagerly waiting for Cobweb Bride for half a decade, and crowdfunding has made it possible. Will I do it again for another project? Sure! I'm a Jill-of-All-Trades, I've been through hell and back, and I always use all the nice power tools in my toolbox.
Crowdfunding has been a thing for several years—and more so since Publisherdammerung in 2008, the fall of Borders, and the rise of ebooks and the corresponding fall of the mass-market paperback. Basically, if you're not a bestseller, and/or if you can't submit yourself to a workload that would kill an ordinary mortal, the fate of the midlist writer is approximately as pleasant as that of the sweatshop worker in Asia. The sweatshop worker may even make more per hour. And even if you are a bestseller, your income is eroding and your advances are falling. Scott Turow's recent rant about "The Death of the Author" is a cry out of the depths of that world.
Ebooks and their distribution networks have given authors a degree of power that they haven't had in generations. It's made self-publishing downright respectable in drawing rooms where, just a handful of years ago, the grubby "indies" would be told to go around to the servants' entrance. Now they may still be looked at askance, but they're allowed past the door, provided they make enough money. It helps if they have a pedigree—a backlist from major or traditional publishers.
Unfortunately for authors who are not either independently wealthy or blessed with partners, families, or patrons who will support them while they write and self-publish their work, Yog's Law no longer universally applies. Money no longer flows reliably to the author. Self-publishing can be done cooperatively— Book View Café (soon to be Book View Café Publishing Cooperative, Inc.) is an outstanding example of how that can work. But that still doesn't pay the bills.
Enter crowdfunding. When I first noticed it, it consisted mainly of authors or artists posting on their own blogs or on group sites with Donate buttons. It seemed to be fairly low-key and low-dollar. Put a dollar or a fiver in, get a poem or a story.
Then last year it hit the big time, with Kickstarter and Indiegogo and Peerbackers leading the way. Suddenly it seemed everybody was doing it, including successful upper-midlist names with active print careers. Those that I was aware of mainly seemed to be doing shorter works or auxiliary material, or hopping on board to write novels in gaming franchises.
I got talked into doing a campaign myself, as an experiment, to publish a novel that had gone the rounds in New York and been bounced repeatedly despite editorial enthusiasm because Marketing never knew what to do with it. I knew it might not get anywhere. Over half of all projects at that time did not make funding—and with Kickstarter, it's all or nothing. You make goal or you make nothing.
It was scary. But writers are gamblers at heart. Submitting a book—you gamble that someone will buy it. Someone buys it—you and they gamble that it will sell.
My project made goal, and went a decent bit over, even with the 10% cut Kickstarter and their payment mechanism end up taking. Fair enough to my mind—my agent would have taken 15% if the book had sold conventionally, and I would not have been able to take it afterward and put it up on the various sites and make up to 95% of selling price per book (that's Book View Café—most bring in 70% or less). I'd be lucky to get 10%, and more like 5% or lower, and I might have to sell my soul for life plus 70 years to get it.
So for me, essentially, I got a $6000+ advance for a book, which was about what it might be expected to get from New York by that point. I was responsible to 256 people, up close and personal, for making sure that book got out there, and I heard from quite a few of them about it, too. It's still out there.
This year I did it again. Another one my agent couldn't sell. He didn't even try. Space opera by an older female with a rep in fantasy? Dead. Dead dead.
It seems 300 people disagreed. To the tune of $8500 and change. Which is a very good advance these days. Again I'm directly responsible to those 300
(SPAAARRRTTTAAAAAAAA!). I've got a deadline, a publishing plan, a publishing team, and a set of distribution outlets once The 300 have had their first look. My job, as it's always been, is to get that book written and get it out to the people who want to read it.
To use a severely overused word, this is a game-changer. For writers with established midlist careers and a dedicated fan following, it is possible to bypass the agents and publishers altogether and go direct to the readers. The readers judge, up front and in person, whether they want to throw their money in the pot—and if so, how much.
What's more, it supports itself. People back each other's projects and point each other's backers toward others that might appeal to them. It's a community effort.
It's a lot of work. It's stressful. But so is any form of publishing, and it always has been.
What it does that has not been possible in all the time I've been in this business is let a small group of readers and fans support writers whose work they want to read. It's a godsend for writers whose publishers have let them go for lack of sales; who have written series that were cut before completion; who have written projects that don't fit the larger schematics—too odd or niche or cross-genre— but that do indeed have an audience waiting for just that kind of thing. Like space opera by a Female Fantasy Writer who isn't a twentysomething.
Nor does it exclude "hybrid" writers with still-extant traditional careers or exceptionally high ebook sales. For them, too, crowdfunding can be a way to get out projects that don't fit the usual specs, but which will appeal to enough backers to be feasible.
Last year I worried that everybody would jump on the bandwagon, backers would run out of cash, and the whole thing would collapse under its own weight. This year? It's not a wagon, it's a train to the stars.
Will it eventually run out of fuel and burn into a sun? Probably. Or it might settle to a nice solid pace, steady as she goes, and become as much of an institution as the midlist publishing industry that it's begun to replace.
I can see the business splitting into one or two major publishers with a strict bestseller mentality (q.v. the music industry), masses of smaller presses and indies of all sizes and all levels of funding and reach, and a backbone of crowdfunders, both giving and receiving. Whatever happens, I don't think we've seen all that possible, or that crowdfunding has even begun to max out the number of readers and fans who are willing to come on board.
And if the major crowdfunding machines go the way of Amazon—devouring everything they can get their teeth on and then clamping down—I can see all the little agile mammals taking their groups of fans (cross-pollinating like mad, because in genre, that's what we've always done) and scattering, and carrying right on while the dinosaurs battle it out over their heads.
Crowdfunding has already proven a successful tool for authors to continue publishing series books after parting ways with the original publisher — I've done that, and Tobias Buckell, and Bradley Beaulieu, among others. It's a good way to keep a series with a devoted but relatively small fan base alive when, for creative or economic reasons, a larger publisher is no longer interested in publishing the books.
Of course, such writers could always simply self publish the next volume in a given series, and hope for the best. The advantage of Kickstarter and similar crowdfunding methods over pure self publishing is that you can gauge reader interest before you invest the time and money to put out the book — you can make sure there's an audience. (Plus, you get paid up front, which is nice.)
I've found that for other niche projects (like short story collections, which are seldom huge sellers), crowdfunding is also a viable approach. I could probably have sold my third collection to a small press, as I did with the first two, but I suspected (rightly so) that I could make more money and have more control if I crowdfunded the book and published it myself. Crowfunding can be a great approach for projects like that.
I am not convinced that crowdfunding is a good way to *start* a writing career. I benefit from my existing readers, who were mostly cultivated via my traditional publications — I simply don't have the same reach that, say, Random House does in terms of promotion and distribution. And you can't crowdfund if you don't have a crowd.
It's worth noting that I have a fair bit of experience with layout, design, digital conversion, the business of publishing, etc. — and in the many areas where I lack expertise, I have a solid network of people I can hire to help me. Someone who isn't interested in all the non-writing-stuff that crowdfunding/self publishing requires might find the whole process a lot less appealing. I certainly wouldn't want to do all my books via crowdfunding, because what I enjoy most is writing — but I like the other stuff well enough to do a crowdfunded project once a year or so. It lets me continue playing in fictional worlds I love, and the readers seem to like it too.
Crowdfunding is not the salvation of publishing, and it's not right for ever author or project, but it's a useful approach in some situations, and can give life to books that might otherwise never be written.


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On Thursday came the big news from Spain that Liverpool had thrown the kitchen sink at Marco Asensio by offering Real Madrid €50m for the young forward's services.
Radio Cope were the first to report it, and now AS have also confirmed the move, with Jürgen Klopp following the 21-year-old's progress for a long time.
Bursting onto the La Liga scene via a very successful loan spell at Espanyol last season, Asensio was kept by Zidane for his Real Madrid first-team squad, who has repaid his manager's faith with nine goals and three assists in 29 appearances in all competitions this season.
Already capped twice by his country, the forward is one of the top-rated youngsters in Europe these days and is highly-rated by his club, meaning they aren't prepared to sell.
Real Madrid's answer to Liverpool's very large offer was apparently 'he isn't for sale at any price', and Zidane is looking to get rid of James Rodriguez in the summer in order to offer Marco Asensio more time on the pitch for the 2017/18 campaign.
Unless things change drastically at the Spanish giants in the coming months, it seems Liverpool's efforts to sign him will be futile, and they would be better off looking elsewhere to bolster their attack.
Perhaps go after James instead?

subset: commoncrawl


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*Groups controlled by thermostat: With 50W resistance to maintain constant temperature even in conditions of maximum use.
*Boiler in copper: Provides excellent productivity of steam and hot water; the levels in the boiler are automatically controlled by an electric control unit.
*Heat exchangers: Thanks to a system of heat exchangers feed by a hydraulic circuit separate
from the boiler, the coffee is always brewed by means of a flow of fresh water.
*Safety: Double safety of the boiler guaranteed by an safety thermostat and by an
overpressure hydraulic valve.
*Versatility: The wide working area and the unique trays allow to use cups up to 14cm high, in tradition to the traditional espresso coffee cups.


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A development model for the 21st century: Addressing poverty by tackling climate change
Reducing emissions of methane, black carbon, and other short-lived climate pollutants is critical to poverty alleviation and development, and provides fast-action solutions to address climate change.
Organizations and institutions that work to improve people's lives should take note: efforts to alleviate poverty and support social mobility and livelihoods can be bolstered by actions that mitigate climate change. More specifically, in a new Oxfam America research paper, my co-author and I assess and draw attention to the sustainable development outcomes that can arise from implementing measures that reduce climate pollutants such as methane and black carbon—so-called short-lived climate pollutants (SLCP) or "super pollutants."
Turns out, behind the wonky jargon there is a long list of poverty fighting benefits that can be derived from super pollutant mitigation strategies. These include improved crop yields and enhanced food security; cleaner air; better health and productivity; sustainable livelihood opportunities, particularly for women; and access to cleaner sources of energy. Though by no means an exhaustive list, the paper highlights four strategies, in particular, that can support poverty alleviation imperatives and build resiliency, while reducing super pollutants and mitigating climate change:
- Transitioning households that use biomass cookstoves to other options, such as liquid petroleum gas or electrified cooking, could nearly eliminate household black carbon pollution from cooking and reduce the labor associated with fuelwood gathering—health and well-being benefits that would largely accrue to the women and girls who are typically responsible for these activities.
- Adopting rice production practices that use less water, such as the System of Rice Intensification or alternate wetting and drying methods, can enhance resiliency, lower costs, and reduce methane emissions while yielding comparable amounts of grain.
- Reducing the use of fire in agriculture to burn off crop residues through practices such as agroforestry and conservation agriculture is likely to result in farmer livelihood and soil health benefits, in addition to environmental and climate ones.
- Deploying climate-smart cooling practices such as cool roofs and reflective pavements, and better-insulated housing infrastructure can provide multiple human health benefits while reducing the need for or improving the efficiency of air conditioning, thus lowering emissions of hydrofluorocarbons (HFCs), another potent set of super pollutants.
The collective benefits of global action to rapidly reduce super pollutants could also extend far beyond a single farm or residence in a way that is critical to the fight against poverty. That's because mitigating super pollutants reduces the rate of global warming in the near-term, potentially avoiding climate tipping points that could be calamitous for poor and vulnerable populations—those that have done the least to contribute to the climate crisis. Therefore, scaling these "climate-smart" development strategies along with actions to reduce emissions of carbon dioxide and other greenhouse gases, especially from developed geographies, can combat rising food insecurity and the risk of climate-induced migration and humanitarian disasters. In short, it's not just about the temperature goals of the Paris Agreement on climate change (i.e., limiting global warming to well below 2 degrees C, with best efforts to not exceed 1.5 degrees C by end of century)—the path we take to get there matters (see figure).
In addition, the fact that super pollutant mitigation measures typically result in multiple benefits, provides a focal point that can help break down unhelpful silos. These solutions aren't aimed at only addressing development or climate change, or only climate resilience or mitigation, they do it all; and they potentially help bridge efforts among organizations and institutions focusing on "achieving 2 degrees C" and those that aim to provide socio-economic opportunity, justice, and voice for vulnerable communities. As World Bank President Jim Yong Kim said, "If we don't confront climate change, we won't end poverty." These dual challenges, both rooted in inequality, are two sides of the same coin. Without looking for solutions at the edge of that coin—like super pollutant mitigation—we risk progress on both fronts.
Of course, as with any development intervention, implementation challenges and contextual caveats abound (some of which are spelled out more in our paper). In addition, actions to reduce super pollutants, like those described above, should be implemented with respect for the rights and well-being of the poor and vulnerable communities they can serve. However, with this rights-based perspective and complementary efforts to address technical, financing, and governance constraints (no small task to be sure!), initiatives that focus on super pollutants can offer win-win opportunities for people and their environment, and help make the ideals of the Sustainable Development Goals and the Paris Agreement a reality.


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Whether you're looking at an elaborate dinner or lavish appetizers, Chinese food is the most universal choice there is. With very few people with it on their "No way" list, this makes it desirable at parties and get-togethers. The only downside is that it is often elaborate and consumes way too much time. Well, used to. Here's my quick Chinese chicken- perfect for finger food or side dishes, ideally paired with fried rice or noodles!
Serves 4 (As side dish)
Whole Chicken (cut into small pieces) 2 kgs
Garlic, Ginger and Chilli paste 4 tbsps
Check out my earlier post for this paste at http://wp.me/p6DP4g-z
Dark Soy Sauce 1 tbsp
Light Soy Sauce 2 tbsps
Oyster Sauce 1 tbsp
Rice Vinegar 2 tbsps
Sweet Chilli Sauce 2 tbsps
Hot Pepper Sauce/ Green Chilli Sauce 2 tbsps
Sugar 1 tsp
Cornflour slurry (Which is 2 tbsps mixed with 4 tbsps of water)
Make this just before using it, otherwise the lumps of cornflour settle at the bottom
Oil 4 tbsps
Green Chillies (slit lengthwise) 4-5
Spring Onions (only the green portion) cut into strings
Salt to taste
- Take chicken pieces in a big bowl. Add all the ingredients except the cornflour slurry.
- Let it rest for a minimum of half an hour in the fridge. The longer you keep it under marination, the better the taste
- Take a deep non-stick pan with a lid and set it on high flame. Pour oil and wait for it to get heated.
- Pour the marinated chicken pieces into the pan and stir. Lower the flame and cover the pan for 15 minutes.
- Open the lid and and stir and cover for another 5 minutes.
- Use a slotted spoon to take out one piece and check whether it is cooked or not. To do this, try to break the piece. If it breaks easily, it's cooked
- If not cooked, then cook for 5 more minutes.
- Turn the flame on high and fry till all the water evaporates. Make the cornflour slurry. The next part is tricky and you have to ensure you keep stirring
- Add the cornflour slurry with one hand by pouring it slowly and keep stirring it continuously with the other hand to avoid lumps being formed.
- Keep frying for a minute or so. The cornflour slurry gives a nice glaze to the chicken.
- Garnish with slit green chillies and strips of string onions. Serve hot with rice or noodles.
As always, reviews and comments are appreciated. Drop in a mail to firstname.lastname@example.com
Coming up Next Week
Prawns in Garlic Butter Sauce
See you next week!


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Great Neck, NY- Office Villas | Offices, Coworking & Hot Desks is a leading real estate company that provides luxurious office space services to corporate and individual use in Great Neck and its environs. Based on its organizational goal, the company aims at creating a fun and engaging work environment that is both affordable and very convenient. The organization is a privately owned company within walking distance to LIRR. It is well known for its luxurious facilities with a range of amenities like an executive lounge, internet and wifi, valet parking space, nightly cleaning, and trash pickups, reverse osmosis filtered water, and many more. It offers a range of services, including single and multi-person private offices, as well as co-working style hot desks.
Office Villas | Offices, Coworking & Hot Desks offers startup office space that is very affordable to people or individuals who need to start a business. It becomes quite challenging and even expensive to set up an appropriate startup office space in most cases. However, with the company's startup office rental solutions, any interested individual or party can easily save overheads. This service also enables clients to gain a luxurious office space located in a good and easily accessible location within Great Neck, New York. The office rentals near Great Neck offer quality products in which its startup office space rentals are affordable and fully furnished. The office spaces also do get serviced to ensure they remain in good condition. By considering this product, clients get the opportunity to access a fully equipped office space at a fraction of what they ought to have incurred if they signed a traditional commercial lease.
The company also offers a short-term office space, which is meant to assist young businesses in their growth strategy. Office Villas | Offices, Coworking & Hot Desks have temporary office rental services that provide a good opportunity for business organizations to achieve their goals by giving them access to a good location for their business that is easily accessible. This service gives the business a professional look, and the owners can also save on overheads.
The people of Great Neck and its environs have the opportunity to obtain a well-furnished single office from the company. That is mainly beneficial to people or individuals who lack enough budget for purchasing office equipment and furnishings. These single offices are also located in desirable places that are easily accessible. Like other offices, they are also offered at affordable prices and are also fully furnished. It provides the opportunity for people to operate effectively without much investing in such fixed assets.
The firm also provides private offices in Great Neck for interested parties or individuals whose business requires a professional and private environment to carry out their operations. These offices are very uniquely located to grant the users the utmost privacy and comfort. Apart from the private office space, clients who purchase the product also access high-quality office equipment already furnished in the rooms.
Moreover, the company has got well-furnished commercial office space for rent to give a professional business look. These offices are also fully equipped and most suitable for standard small business organizations. This product is an easy solution for anyone with a new business venture and those planning to expand or grow their business and need more space for their operation.
Office Villas | Offices, Coworking & Hot Desks is located at 185 Great Neck Road, Great Neck, New York, 11021. For general inquiries, contact their team by calling (516) 216-9884. For any additional information concerning the company's services, visit their website.
Media Contact
Company Name
Office Villas | Offices, Coworking & Hot Desks
Contact Name
Jason Levian
(516) 216-9884
185 Great Neck Road
Great Neck
United States
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Daily Pune journalist was involved in the writing and production of this article.


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Arrived in my pile
1. Stephen H. Axilrod, The Federal Reserve: What Everyone Needs to Know. A short introduction to the topic, from OUP.
2. Hugh White, The China Choice: Why We Should Share Power (that link is for Kindle, the US Amazon link for the hardcover version is not yet available it seems). A book about what is possibly the world's #1 issue.
3. Robert Kuttner, Debtors' Prison: The Politics of Austerity versus Possibility.
Each book works at a margin which is not mine, but I am happy to pass along notice of them to you.


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L.A. Mulling Mandatory Background Checks For All Ice Cream Truck Vendors
Because of the unsupervised nature of many ice cream truck transactions, Los Angeles County is considering requiring background checks for those vendors and any others who deal with kids on their own.
The county's Board of Supervisors Tuesday unanimously approved a plan for staffers to look into possible new regulations that would require vendors to subject to a screening process for criminal records before they can interact with children, reports the L.A. Times/a>. The Live-Screen process would check for criminal records that include molestation, sex offenses, pornography or abuse.
Beyond ice cream trucks, the supervisor behind the idea said the policy could also apply to other businesses who deal mainly with solo kids.
"As the ultimate safety net for our most vulnerable residents, we have a responsibility to protect our young children," he said, especially because ice cream trucks and their ilk tend to linger near parks, schools and other places where kids might be unsupervised.
"We could be unknowingly permitting dangerous individuals to come into contact with innocent children," he said.
The L.A. County Treasurer and Tax Collector's offices will report back within 60 days with a list of businesses that fall under that unsupervised children-as-customers category, as well as whether such a screening requirement can be imposed on businesses that engage with kids on a regular basis, before they're allowed to get a business license.
L.A. County considering background checks on ice cream truck vendors [L.A. Times]
Want more consumer news? Visit our parent organization, Consumer Reports, for the latest on scams, recalls, and other consumer issues.


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A 14-year veteran of the Santa Monica Fire Department is being promoted as the next fire marshall.
Assistant Fire Marshall Eric Binder will succeed Fire Marshall Nancy Johnson, who retired in September.
"Each of the candidates for the position were extremely well qualified, however, it was a blend of Eric's vision and attention to detail that earned him the opportunity to lead the Prevention Division into the future," Fire Chief Scott Ferguson said.
Binder was hired as the department's fire inspector and promoted to assistant fire marshall in July 2009.
Binder holds a bachelor and master of science degrees in addition to certifications from the California State Fire Marshall.
The fire marshal is charged with guiding a team responsible for ensuring the highest degree of fire and safety standards.
"The development occurring within the community is certainly exciting; it is occurring at a rate never before experienced by our fire department," Binder said.


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Gordon Bok stands out among the various artists that can be lumped into the "Traditional Folk" category. Born in Pennsylvania, he moved to Camden, Maine and it was there in coastal Maine that Bok was influenced by sea-faring culture and its music. He released his first album in 1965 and in 1970 signed to Folk-Legacy records, where he released a number of solo albums, as well as many collaborations with Ann Mayo Muir and Ed Trickett.
In 1990 he began releasing music on his own label, Timberhead Music. Bok, who plays the guitar as well as several homemade instruments, has a unique style influenced in equal parts by Latin American guitar music, sea-shanties and jazz. His distinctive six and twelve string guitar playing betrays his virtuosity at the instruments and plays a facinating counter-point to he rocky baritone. Many of his recordings, especially early Bok, Muir & Trickett and solo recordings are considered by critics to be some of the finest examples of traditional folk put to tape.


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For this photo, no further caption is needed, and no more ink (pixels?) will be wasted. Instead, I will leave you with Alfred Eisenstaedt's two slightly different remembrances of that iconic day. In Eisenstaedt on Eisenstaedt (1985):
In Times Square on V.J. Day I saw a sailor running along the street grabbing any and every girl in sight. Whether she was a grandmother, stout, thin, old, didn't make a difference. I was running ahead of him with my Leica looking back over my shoulder but none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked the moment the sailor kissed the nurse. If she had been dressed in a dark dress I would never have taken the picture. If the sailor had worn a white uniform, the same. I took exactly four pictures. It was done within a few seconds.
Only one is right, on account of the balance. In the others the emphasis is wrong — the sailor on the left side is either too small or too tall. People tell me that when I am in heaven they will remember this picture.
In The Eye of Eisenstaedt (1969), he recalled differently:
I was walking through the crowds on V-J Day, looking for pictures. I noticed a sailor coming my way. He was grabbing every female he could find and kissing them all — young girls and old ladies alike. Then I noticed the nurse, standing in that enormous crowd. I focused on her, and just as I'd hoped, the sailor came along, grabbed the nurse, and bent down to kiss her. Now if this girl hadn't been a nurse, if she'd been dressed dark clothes, I wouldn't have had a picture. The contrast between her white dress and the sailor's dark uniform gives the photograph its extra impact.


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Perfection is Expected
I know I have been ghost for a minute, but thats only because I'm grinding. For YOU as well as myself.
My last album, Hard+Work, was well received but critics did give me a hard time about the overall mixing and mastering of the album. They felt that some songs sounded better than others and that took away from the experience. This time around, I'm on my job making sure you can bang Megatron Bombs in any system and everything is on point. Here is a secret video taken during a mastering session with Born One. Check it out…listen to how clear the bells in the beat are ringing.
– Anybody who believes in me will be proud. I won't let you down!!!
Art Director MC
I'm working with award winning Art Director, Rich Tu on this bboy project. He called me in as his Cinematographer and Editor for the project. When it's finished I will be sure to share it with you.
I've been in and out of his studio for the last few weeks chopping 5 hours of bboy footage down to this one minute banger…and this is just the rough draft, stay tuned.
– shout out to the Dynamic Rockers and all of Queens, NY.


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These Are the 17 Most Romantic Places to Visit in Italy
For lovers, partners, couples and romantics, Italy is a destination that stirs up passion and emotion. It's the ultimate romantic getaway because this is the country where romanticism was refined and perfected to an art form. There's inspiration everywhere.
Whether you're looking to impress your loved one, find the perfect honeymoon destination, or just idle away on holiday together, then Italy has endless options to offer.
From the serene hills of Tuscany to the sun-drenched climes of the Amalfi Coast, Italy has the ultimate romantic scenery and landscapes.
From the ruins of Rome to the canals of Venice, Italy has landmarks and attractions to make you swoon. And from Bolognese to risotto, Italy has gourmet food and fine dining for the perfect romantic evening. To inspire your heartfelt holiday, these are the 17 most romantic places to visit in Italy.
Rome is a city that has always excited the imagination of travelers. This is one of the most ancient cities in Europe and the birthplace of Western Civilisation, as we know it. Rome is also the quintessential Italian travel destination, and it's a city that's overflowing with romantic opportunities. Enjoy al fresco dining on the cobbled streets of Rome after a day of sightseeing. Visit the Trevi Fountain, known as the meeting point of lovers. Walk the Spanish Steps together, and marvel at the art and history of Vatican City. Then there's the Colosseum, the Roman Forum, and countless other landmarks and attractions to explore. It's classic, but Rome is always a winner because there's so much history and culture waiting to be discovered in the Italian capital.
The northeastern city of Venice is equally as classic a destination as Rome. While often busy and crowded, it's a city that screams out for couples to visit. Head here in low season though, if you want some solitude, because you'll want to take a gondola ride together without having to queue for too long. After exploring the canals and piazzas of what is arguably Italy's most popular city, you can head out to the Venice Lagoon, where you'll find small communities based on the islands and around the lidos that form a natural barrier with the sea. It's another side of Venice and a great opportunity to have a rest from the busier sights in the city itself.
Milan is the largest city in the north and the second largest city in all of Italy, after the capital, Rome. And it's another classic Italian destination that just can't be beaten if you're looking for a romantic getaway. Milan has everything except the beaches. Here, you can explore iconic landmarks, such as the Duomo or the Sforza Castle, as well as plenty of fascinating museums and galleries. More than this, Milan is a city of elegance. It's often regarded as one of the most fashionable cities in Europe – a trendsetter for the continent even – and it's a vibrant and cultural place to visit. It's a city with real atmosphere. Here, you can enjoy excellent Milanese food perfectly paired with exquisite Italian wines, and find luxurious and romantic hotels or apartments for your stay in the city.
Stretching along the rugged coastline of Liguria, it's difficult to find anywhere else that's as dramatic as Cinque Terre. This collection of five small villages on the Italian Riviera is known for its rustic, dated, yet colorful appearance. This is a place where time appears to have stood still. Vibrantly painted houses hug the cliffs, while local fishermen haul in their catch below in the harbors. To add to the mystique, the only real way to reach the villages of Cinque Terre is to walk, as the rocky yet beautiful landscape isn't accessible to cars – or to the modern world. Cinque Terre can be busy in summer, but it's a destination that's guaranteed to impress even the best-traveled couples.
If you're looking for an adventurous place to visit in Italy, rather than a city break or a beach holiday, then one destination that's great for the adventuring romantics is the Dolomites. Located in the north of Italy, the Dolomites are part of the wider Alps that form the natural border with the surrounding European countries. These mountains rise thousands of meters above sea level and are as dramatic as they are mighty. It might not be your average romantic getaway, but it will certainly be unique and definitely special. You can stay in rustic lodges set around alpine lakes and take to the trails in summer for some hiking, while in winter you can hit the ski slopes.
Verona is the setting for the Shakespearean classic, Romeo and Juliet, and it's a city that has inspired romantics and writers for centuries. While the Shakespeare play ends badly, it's still easy to get swept up in the drama and energy of Verona, and it's easy to see how it provided such inspiration. You can visit the House of Juliet and see the infamous balcony, stroll through medieval streets and piazzas and, best of all, you can take your partner for a night out at the opera, hosted in the ruins of a Roman amphitheater.
If big cities aren't for you, then take a romantic trip to Orvieto, where you'll find one of the most picturesque destinations in Umbria. Orvieto is a city, but with a population of just 20,000 it's certainly on the smaller scale. It's a refreshing place to stroll around and to take in the historic sights. The medieval cathedral dates to the late 13th century, and medieval popes would often spend long periods of time in Orvieto – you can even find the architecturally beautiful Papal Well here. There are ancient Etruscan and Roman sights in the region, and plenty of glorious countryside to explore too.
Lovere is a town in Lombardy, in the north of Italy, which makes it onto this list because of its perfectly romantic name. But of course, Lovere is much more than semantics. This charming town has long been idealized by travelers. It's the perfect place for a date, because Lovere is built on the beautiful banks of Lake Iseo. The rustic town is known for its Swiss-style architecture, and its streets and buildings are more alpine in character than Italian. Stay in locally run guesthouses on the edge of the lake, go for romantic strolls, and enjoy fine Italian cuisine in a wonderful setting.
Located in the northern region of Lombardy, Lake Como is a magical place to take your partner on holiday. This is just about as romantic as it gets in Italy because the spectacular lake not only has glistening waters, upmarket hotels and resorts, and plenty of outdoor and adventure opportunities, but it has a backdrop of alpine mountains and snow-capped peaks that stretch endlessly into the distance. It's an impressive place, and one of the most beautiful lakes in Europe.
Florence is where the Renaissance began, and the city is easily one of the most inspiring and emotional in Italy. The streets and the architecture exude history and elegance. Simply walking through the grand piazzas and admiring the majesty of the Pitti Palace is worth the trip in itself – and that's before you throw in the huge Duomo and the masterpieces found within the Uffizi Gallery.
Siena is located close to Florence and is one of the most important medieval cities in Tuscany.
Siena has one of the most pristine old towns in Italy, and much of the architecture has changed little since the Renaissance. The city center is a preserved UNESCO World Heritage Site, known for its piazzas and medieval fortifications. Siena is a wonderfully atmospheric place to visit. If you are both into cultural events, then visit Siena during the annual Palio. This historic tradition is held every year, and sees local horse riders racing their steeds through the medieval streets of the city.
While Tuscany's popular cities, Florence and Siena, are romantic locations on their own accord, the real heart and soul of the region lies in its countryside. It's here that you can find rolling Tuscan hills and sweeping landscapes that are verdant and green. Rent a car or, better yet, rent Vespa scooters and ride out into rural Tuscany. You can call in at wineries to sample the local tipples and visit farms to try local specialties. You'll be gorging on cured meats and hams, cheeses and olives, and seeing a different side of Italian life.
If food is your game, then look no further than Bologna, the capital of the Emilia-Romagna Region. This is foodie heaven, and you can wow any date you bring here with a hunger-quenching array of local specialties. This is the home of Bolognese. You can take your partner on a cooking course to learn how it's really made, or you can just dine out and have the locals cook you the most authentic Bolognese you've ever eaten. There's plenty of history here too. Bologna is as famous for its tall medieval towers, as it is for its Bolognese.
The UNESCO World Heritage listed Amalfi Coast is one of the most enduring destinations in Italy. This is classic Italy, a place where rustic seaside villages are strung out along the coastline, where the warm waters of the Mediterranean welcome in holidaymakers, while ramshackle restaurants and bars serve up home-cooked food. Of course, the romantic notion of the Amalfi Coast also brings resorts and tour groups, but that just means there's something for everyone in this part of Italy. Located in Campania, close to Salerno, the Amalfi Coast has beaches, ancient ruins, medieval castles, and mile after mile of dramatic cliffs and coastline.
The most impressive village along the Amalfi Coast has long been heralded to be Positano, and it makes for a fantastically romantic destination. This is the Amalfi Coast at its finest. Here, you'll find a beach stretching along the bottom of the cliffs, where you can laze away your days. If you're feeling active, there are hiking trails all along the Amalfi Coast from Positano linking the small, coastal villages together.
Turin is one of Italy's most underrated cities. While it doesn't have the same prestige as the giants of Rome, Milan or Venice, it's the place to go if you're looking for more of an off-the-beaten track holiday or if you simply want to take your partner somewhere new. Turin is just as romantic as its more famous rivals, and the city was even good enough to serve as the Italian capital for a few years in the 19th century. You can find royal palaces, perfect piazzas and plenty of hidden gems tucked away in Turin.
Escape the busy mainland and take a boat across the Tyrrhenian Sea to the striking island of Capri. Located off the shores of Naples, Capri is a world away from the busy city, and it's the perfect place for a romantic escape.
The island is not only beautiful and gifted with a dry and sunny Mediterranean climate, but it's stacked full of history. Explore the natural sights, such as the iconic Blue Grotto, an ancient cave system, and the dramatic coastline before venturing into the towns that have stood here since the days of the Romans. For the ultimate romantic getaway though, make sure to stay overnight. That way you have all of Capri to yourselves once the day-trippers from Naples depart.
Italy is the most romantic destination to visit in Europe. Full of stunning cities, divine food and wine, and glorious scenery, few other places in the world can pull at the heartstrings quite as much as Italy can. So what are you waiting for? Start planning your dream, romantic getaway with Italy4Real today!


text: Pictures in this gallery include the sculpted doorway, cells, chapel, wings, landings, open areas and British and later Free State execution yards. Among the museum exhibits photographed here are prison art from Frongoch in Wales (where many 1916 Rebels were deported to after Kilmainham and then Stafford Jail), prison art from Kilmainham, autograph books, Weapons including Thompson sub-machine gun, Irish Independence Medals, 1916 Veteran armbands, paintings of Pádraig Pearse and Sean MacDiarmada, photographs, documents, caricatures, pro and anti treaty propaganda, Irish Civil War period mass/remembrance cards along with 1966 Rising anniversary materials and 'Kilmainham Restoration' campaign paraphernalia. Featured at the end of the Kilmainham section are the executed leader's art exhibit & pictures of Independence era Dublin locations.


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Create an Account - Increase your productivity, customize your experience, and engage in information you care about.
View the amenities you can enjoy in Andover, Kansas.
Visit one of our many parks if you need some fresh air or a change of scenery. We promise you won't be disappointed!
Go here to take the stress out of finding a place to eat - you have more important things to worry about!
Have a family member in the hospital at Kansas Medical Center (KMC)? Need somewhere to stay? Go no further than US-54 and Andover Road.


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Original movies directed by Al Adamson are bad enough, but his hodgepodge flicks, assembled from pieces of films for which Adamson bought the rights, are even worse. Sci-fi/horror embarrassment Horror of the Blood Monsters demonstrates why. To repurpose scenes from a black-and-white Filipino movie about cavemen fighting supernatural monsters, Adamson shot some new material and contrived an incoherent story about Earth sending a space vessel to a distant planet as a means of combating extraterrestrial vampires, or something like that. The picture opens with a lame vampire attack shot in a soundstage, then transitions to ground-control scenes featuring black curtains as backdrops, and eventually to spaceship sequences with the production values (and performance quality) of a high school musical. To mask the monochromatic nature of the Filipino footage, Adamson provides dialogue about mysterious radiation that changes the color spectrum, and the black-and-white stuff appears tinted green or red or whatever. The monsters in the recycled scenes are ridiculous, flying bat-winged little people, real lizards photographed in forced perspective, underwater crab creatures, and vampires whose fangs look like pieces of chalk. Adamson's new scenes aren't any better. John Carradine spews pointless exposition, a buxom blonde looks confused while, thanks to iffy dubbing, another actress' voice emanates from her mouth, and so on. At one point, the technicians at ground control stop supervising the emergency space mission so they can make out and play with a color-spectrum gun, resulting in yet more tinted shots. Alternate titles for this crapfest include Creatures of the Prehistoric Planet, The Flesh Creatures, and Vampire Men of the Lost Planet.
Horror of the Blood Monsters: SQUARE


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Time Tracking with Harvest
Each morning I log in to harvest and get an overview of my world:
This lets me see how the invoicing is going, and also the hours for the day/week/month ... which of course serves to remind me that I didn't fill in my timesheet yesterday :) The timesheet itself is great - super-simple, accessible, and even I've managed to keep it up to date. There is a week view which is simply a grid (client names removed and I'd like everyone to admire my new 40-hours-a-week lifestyle):
It shows totals for activity and day, and the grey hours are the ones I've invoiced for - you can invoice and "lock" the hours so it's easy to keep track of which have been invoiced and which haven't.
The invoicing has been a gift as well, rather than messing about with document templates, Harvest does them really nicely and I can see what's outstanding, overdue, paid, etc.
I got started with Harvest because their free option was enough for me to get started - when I began the business I had absolutely no clients and nothing planned so I didn't have any cash to spend, and importantly Harvest allowed unlimited invoices which was ideal for me as I was doing bits and pieces! Within a few months though I upgraded to a better account which only allows a few users (which is fine, there's one of me) but allows me to have more clients/projects and so on. So far, it's been a great tool and I thank the good folk across at Harvest for making it available :)


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Saturday, March 22, 2014
Linen and calico.
This is a lovely, vintage-inspired dress with a little bib, flat bias piping, and little pleats on the sleeves and center-front. It is so old-fashioned and darling - right up my alley!
My choice of fabrics - mustard yellow linen with a sepia/blue calico for the bib - were strongly inspired by this beautiful linen version and this pretty yellow dress with floral print bib. I used storebought ivory bias tape for the flat piping around the bib. Sewing on that bib is a bit tricky, to be sure (that's how this pattern earns its 3 scissors rating), but I followed Nicole's wonderful tutorial and I have to say, it came together quickly!
Ah, I love sewing with linen. I know the wrinkles bother some people, but I love the rumpled look, and it is incredibly durable stuff. And like chambray and pinwale corduroy - everything just looks wonderful made up in linen. It does require a couple tricks, however. To avoid the loose weave shifting around too much during the construction process, I handle the pieces as little as possible. I staystitched the neckline of this dress pretty much as soon as I cut it out, because I knew it would want to warp and stretch and fray all over the place. And I have to confess, even with serging, the inside of this dress is a bit of a mess. Well, that's linen for you. It looks so beautiful on the outside, we'll forgive its minor faults.
I also crank my iron up to the highest setting and use lots of steam in pressing. But here's the thing - if you iron the linen directly on the right side of the fabric, it has a tendency to get shiny. So I press from the inside, or use a pressing cloth. And by "pressing cloth," I mean "random scrap of quilting cotton grabbed from my scrap box."
I opted to keep the bib simple, and skipped the little ruffles. There was enough going on with this dress without them. I hemmed the bottom and hem by hand to add to the old-fashioned vibe. I wasn't sure I would love the fullness of the sleeves, but oh, I really do! The little pleats are to die for.
Messy pigtails! So cute. And I really can't ever seem to get enough of mustard yellow. Such a luscious, rich shade.
And she's off! Maggie is such a busy girl! This may end up being Maggie's Easter dress, although I realize a lot of people would find the colors more autumnal than vernal ... we'll see if I make anything even more Easter-y between now and then.
I am taking Monday off as a furlough day, and I have big plans for this long weekend. As part of "Operation: Take Control of My Life," a.k.a. "Something's better than nothing," I have plans to revamp our bedroom, which all four of us are currently sleeping in (long story, partly a choice and partly a housemates sleeping in all of our bedrooms thing), upgrade Joe to a "big boy bed" (he's almost five!), move the furniture around to improve function, and generally spruce it up. It's not going to be Better Homes and Gardens, but hey, something is better than nothing, right?
What are your plans for the next week, sewing or otherwise?
20 comments:
Eeeep, I love it. Every thing is perfect. I adore mustard too, such a great colour.ReplyDelete
You did a beautiful job.Replies
Thank you, Nicole! Your instructions were great, as always!Delete
I love this pattern so much, and your version is so sweet! It makes me think a bit of Little House on the Prairie.ReplyDeleteReplies
It's that lovely calico. I think it's actually a repro print from the 19th century, hence the pioneer vibe! Thanks, Masha!Delete
Also a big fan of linen. And mustard. This is such a sweet dress - I so wish my daughter could fit into this pattern.ReplyDeleteReplies
Thank you Suzie! Yes, I can never ever get enough (1) linen; (2) mustard; and especially (3) mustard linen!Delete
Awww, this is one of my favourite things you've ever made: just perfection! I love mustard yellow too!ReplyDeleteReplies
Aw, that is high praise indeed! Thank you!Delete
I love this dress you did an excellant job! She is such a beautiful girl and I think the mustard is a great color on her!ReplyDeleteReplies
Thank you! And yes, I think she looks so good in warm tones. She must be an "autumn." :-)Delete
wow, Inder, i love this. i really, really love it. it's one of my favorite things you've ever made. it's perfect. (i feel like i'm echoing medr1e but it's true!). :) lovely, lovely job, my friend! xxReplyDeleteReplies
Thank you Rachel! That is a major, major compliment!Delete
Lovely! And my trick for neat linen finish -french seems. No fray visible!ReplyDeleteReplies
Yes, indeed! The bib construction on this dress doesn't allow for french seams, unfortunately. I briefly considered binding the edges in bias, but HAHAHAHAHAHAHA, ain't nobody got time for that! (Actually, some people do have time for that, and I greatly respect them - but not me.) So, messy it is!Delete
Oh crikey, this is too cute - and Maggie in pigtails? And those darling little shoes! The 'autumnal' vibe is certainly doing it for me here where the weather is cooling nicely :)ReplyDeleteReplies
Ah, yes, I made this just for my currently autumnal Aussie friends! :-) Yes, I love Maggie in those little shoes. Most of the time she's barefoot or in sneaks, but I break these out for "special occasions."Delete
Look at you banging through all your old Oliver and S patterns! I'm in impressed!ReplyDelete
This is such a sweet little dress! I love the look of the linen! And apparently Maggie loves it too since she's running around in each picture! Such a joyous bundle of energy! Can I have some of it??Replies
Thanks! I'm about ready to call it and start working on the new patterns instead, but it has been fun and I feel a little better about my bulging pattern stash! Maggie was definitely having fun running around for this shoot. I think we all wish we had a little "Maggie energy" in our lives!Delete
So adorable! As is your daughter with those pigtails. I love that mustard color too - I'm making my little one a dress in the same color.ReplyDelete
I love this dress! And thanks for the tips about linen. I've only used linen/cotton blends so far. Nice work sewing up the old patterns- and look forward to seeing the new ones too! :)ReplyDelete
I love comments! I do my very best to respond to comments, by email or here, although I am often running late. I also try to follow and comment on my regular readers' blogs. So please let me know you were here!


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Working for Inclusion….Calling OTs / Access Auditors
January 23rd, 2006
Working for Inclusion….Calling OTs / Access Auditors….
At Inclusion we are always looking for Occupational Therapists with experience in Equipment and Adaptations assessment work, Private Occupational Therapy assessments, Disability Access Auditing, Vocational Rehab or Medico-Legal assessments. We offer a variety of work options from one off pieces of work through to ongoing contract work…
How can working for Inclusion benefit you?
- Flexibile and convenient working arrangements
- Good rates of pay
- Experience of working as an independent OT
- Variety of work across public, private and voluntary sector to expand knowledge and skills
- We will help and support you into private practice as much as possible
What we expect from our assessors
- To work to Inclusion and HCPC standards of practice
- Have their own Insurance cover
- To have at least two to three years post qualifying experience in relevant fields. Currently working in social services, having experience in DDA Access Auditing, private OT practice or other related fields is a big advantage
- To possess an up to date CV, CRB, recent evidence of practice, training etc
- To work to pre-agreed protocols
- To keep us informed of availability, activities and progress on cases at all times
Types of work available
- Clearing Social Services / HA waiting lists
- Disability Access Auditing
- One-off ADL assessments / Equipment and Adaptations Assessments
- Vocational Rehab Work
- Paediatric Casework
Our OTs / Auditors work on a self employed basis and are fully supported and supervised through any work offered. Send us an email to email@example.com with a copy of your CV along with relevant details of type of work you are looking for / Geographical areas you are willing to cover, etc and we will get back in touch to talk about how we might be able to work together….it could be your first steps into private practice and the best career decision you ever make…..
Email: firstname.lastname@example.com – don't forget your CV
Tel: 01892 704065- We'll still need a CV
Request a call back: Contact us here (.....but we'll still need a CV)


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Table of Contents
Please click the wallpaper size below to expand and view the image. You can then save the image and apply it as a wallpaper
Malice (for Desktop) 4:3
Malice (For Desktop) 16:9
Malice (For Mobile) 750
Malice (For Mobile) 1080
Alandra (for Desktop) 4:3
Alandra (For Desktop) 16:9
Alandra (For Mobile) 750
Alandra (For Mobile) 1080
Talasin (for Desktop) 4:3
Talasin (For Desktop) 16:9
Talasin (For Mobile) 750
Talasin (For Mobile) 1080
Sulric (for Desktop) 4:3
Sulric (For Desktop) 16:9
Sulric (For Mobile) 750
Sulric (For Mobile) 1080
Jal (for Desktop) 4:3
Jal (For Desktop) 16:9
Jal (For Mobile) 750
Jal (For Mobile) 1080
Fan Art
We asked for fan art and you all delivered. The Rival Kingdom's community blew us away with their creativity, but there can only be 10 winners. Below are our top 10 picks, randomly ordered.
Click here to see our Week of Wiki Fan Art Winners
Week of Wiki
Starting 16/11/15
- Monday - Get caught up on RK
- Tuesday - Youtuber Wanted Contest
- Wednesday - Get your RK Wallpaper!
- Thursday - Your Fanart!
- Friday - More of your Fanart!
- Saturday/Sunday - Vote for your favourite Ancient
Over the course of the week we will be running competitions, giving out prizes and celebrating our Wiki. Keep tuned into our social media sites (see the bottom of our homepage) for more information on how you can get involved.


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Flying charter planes around the Midwest is no picnic in the best weather but in winter it can be hell. That's the lot of a Big Ten basketball team, though. And sooner or later, everyone has a horror story to tell.
The Penn State Nittany Lions will have one after their trip for Tuesday night's scheduled 9 p.m. EST tip at Illinois. Their Delta charter plane circled over Champaign for about 20 minutes, according to PSU basketball sports information director Brian Siegrist, before the pilot decided a landing at the Univ. of Illinois' airport in a raging ice storm was impossible. So he diverted 200 miles south-southeast to Evansville, Ind., where the plane just landed about 45 minutes ago (8:30 EST).
That's where the Lions will spend the night before hopefully busing up to Champaign on Tuesday morning, said Siegrist. By then, it is hoped a brief lull in the weather will permit the trip. Heavy snow is to follow Tuesday night. The storm has dropped mostly rain on the southern half of that route, about to the Terre Haute, Ind., area. Regions north of that have been assaulted by the ice storm. It's a 3-hour ride under the best conditions.
For a few minutes, the Penn State contingent was considering having its charter bus company drive down from Champaign, pick up them up at the Evansville airport, then turn around and drive back to Champaign. That plan proved unfeasible.


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The Filmmaking Process:
How to create, produce and shoot a successful indie film.
Film is the expression of art and human life's trials and tribulations. "Cinema has become a powerful vehicle for culture, education, leisure and propaganda." Filmmaking plays an important role in society, the way we as humans view society and the world; is controlled by the films we see to a certain degree. Filmmakers share stories, experiences, and analysis of the world around us and it is important to give importance to filmmakers. This includes indie filmmakers and student filmmakers.
If a film is done right, it is as influential as a powerful TED Talk, yet we are entertained as an audience at the same time. If you have a story, an experience, or a lesson you would like to teach or show the world about why not become a filmmaker? This article is about the filmmaking process and how to create a successful short film. We will go in depth regarding specific film roles, what they do, and the pre-production, production, and post-production processes. We will then dip into the world of film marketing (for indie filmmaking, student filmmaking). This article will end with how Novie can assist your student film, or even indie film in becoming notorious and therefore more successful.
Filmmaking Process (Students & Indie)
Table of Contents
- Can you produce a film solo?
- How many crewmembers do you need?
- What are the key crew roles?
- A detailed description of each role.
- What happens in pre-production?
- Is it important?
- What is production?
- Is production hard?
- How to minimise everything going wrong.
- Who is involved in post-production?
- Can anyone edit?
- What to do after the film is complete?
- What if it doesn't get traction?
- How to market the film
- How to get it "Out There"
- What can Novie do for you?
First Things First: Your Crew
Can you produce, direct, write, and film a short film on your own? The short answer is no. The long answer is nope. There are so many different roles you need to delve in as a filmmaker if you go solo. The film will not be as successful as you imagined it being if you do it on your own. You may write the film and then direct it, as many famous directors such as James Cameron and Quentin Tarantino do. Some even produce in addition to writing a film and directing it. Yet they don't do more than that. You need grips, a location manager, a cinematographer and maybe a camera operator, an assistant director, art department, make up artists, an editor, and much more depending on the scale of your film! As a student get your fellow student filmmakers and work on each others student films! If you're an indie filmmaker, get some assistance from student filmmakers, who will be privileged to get on set experience outside the university framework!
We are going to go through the roles, their responsibilities and importance in creating or producing a film. Whether feature or short, no matter what genre or even for documentaries!
This is the list in no order, as every role is vital to the production of a successful film! How many crew-members (not including cast) do you need (at a minimum) when creating a film? At least 8-13. Depending on the length of the film, and what the film requires.
Crew Roles
- Work closely with Producer, Editor and DOP to make the film a success
- Creatively in charge of the film.
- Final say on crew, cast, and locations
- Works with the actors closely ensuring they fit their character well.
"In the making of a film, the director is a type of creative leader and mentor, not only to the actors or crew, but also to the story. He shapes it and directs its creativity." The director is closely involved with the film from its inception until its release, overlooking the roles of all actors, the editor, and other crewmembers. The director is essentially in charge of the film. They work with the screenwriters in order to make the screenplay come to life, and they work with the producer closely to make the film a success.
- Working with every role to ensure the films success
- Budgeting
- Hiring and paying Crewmembers
- Overall control over the film
- The big boss of the film
- Oversees all departments
Producers have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They steer the film from beginning to completion and beyond.
- Screenplay / Script
- Multiple Drafts
- Working in conjucntion with Director and Producer
A screenwriter is a writer of scripts or screenplays. They turn their thoughts, an experience into a story with creativity. A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story.
"It is the common ground" for all crew to work on a film, this is why it is vital to the creation of a film.
It is seen as the blueprint of a film, containing all action and dialogue of the film. The screenplay still sets the way producers will look to schedule the filming procedure and budget.
- Turning the raw footage of the film into a professional sleek film.
- Final touches of the film. Colour correction, colour grading.
- Pace of the film is dictated
Their roles are key to the postproduction process and can determine the overall quality for the final product or film. The film editor has several responsibilities when editing, among them is putting together the different shots of the film in order to ensure that the story flows effortlessly to create the final product, removing flaws and sharpening performances through editing and putting together scenes.
Cinematographer (DOP)
- Work with the director to visualise the story into separate shots and camera movement and framing.
- Collaborate with Camera Operator, Gaffer and Grip to ensure shots go as smoothly as possible.
Directors of Photography (DoPs) are key Heads of Department on film productions and is one of the primary creative roles. They assist in providing a film with its unique visual identity, and style.
DoPs must discover the photographic heart of a screenplay, using a variety of source material.
They create the desired look using lighting, framing, and camera movement.
1st Assistant Director
- Assist the director with crowd control
- Push production forward
- Shooting schedule
First ADs' main duties are assisting the Director, co-ordinating all production activity, and supervising the cast and crew. They are also in charge of a department of other Assistant Directors and Runners.
Overall, they provide the key link between the Director, cast and crew, whilst also liaising with the production office, and providing regular progress reports about the shoot.
Art Director
- In charge of the Art Department: make up, props, costume, setting the location.
- Working across departments.
It is the Art Director's job to realise the Production Designer's creative vision for all the sets and locations that eventually give productions their unique visual identity.
The Art Director starts work when they receive the script and final schedule, detailing the precise shooting order of the scenes. They analyse the script to identify all props or special items that may require longer lead times.
Camera Operator
- Preparing camera and all its equipment
- Assisting the DOP.
Working with the Director and Director of Photography to achieve the visual style of the film. Camera Operators carry out the Director of Photography's (DoP) and Director's instructions for shot composition and development. They are usually the first people to use the camera's eyepiece to assess how all the elements of performance, art direction, lighting, composition and camera movement come together to create the cinematic experience.
Audio / Sound
- On set recording
- Good quality audio files for the editor
Involves the use of a boom pole and microphones. They are key to the film process as without audio or bad audio, there would have to be a re-shoot of the whole scene, or the film would not look as slick and realistic as the director, producer or editor would hope for.
Gaffer & Grip
- Gaffer: Lighting, setting it up, and controlling it
- Grip: Camera movements, setting up dolly's and being th "muscle" on set
Gaffers oversee all practical and technical aspects of the electrics and lighting to get the right effects. They install the lighting equipment and arrange the power supply.
Grips work closely with the Director, Director of Photography (DoP) and the Camera Operator to make sure the position or movement of cameras is achievable.
Location Manager
- Health and safety on set
- choosing locations that fit what the film needs
The Location Managers' primary role is to identify and find ideal locations for a film shoot. They report to the Producer, Director and Production Designer.
The search for exactly the right location
Script Supervisor
- Continuity of the film depends on the Script supervisor
- pay attention to small details
- note down the best take of a scene
It is the Script Supervisor's role to monitor whether it is possible for each filmed scene to be edited into a verbally and visually coherent sequence. Film and TV dramas are usually shot entirely out of script sequence. The Script Supervisor ensures that the finished product makes continuous verbal and visual sense. They work as part of the camera department.
Script Breakdown
Character Breakdown
Storyboard & Moodboard
Shot List
Shooting Schedule
Prop List
Production Budget
Production Schedule
Lighting Plan
Equipment List
Cast List
Costume Design
On-site Audio Recorder
Assistant Director
Make-up Artist
Follow Schedules
Decorate Locations
Script Supervisor
Colour Grade
Colour Correct
Sync Audio
"I've Completed my Film, What Now?"
You've done it.
After more sleepless nights than you care to count, you've completed your film. You've gone through the torment of pre-production, the stress of production, and the frustration of post-production.
Relax… Have fun and Celebrate!
Some say the easy part is creating the film, the hard part is getting it to be seen and watched by an audience. This article will go into detail on marketing a film and how Novie can assist you in getting more views after this section.
Film Festivals? or Uploading the film on YouTube / Vimeo?
PS: Don't trust random people with your films!
Only production / distribution houses should be trusted.
Film Festivals
What are film festivals? Do you drop acid and party hard? Not quiet. Film festivals are platforms for independently made films or "art" films. Films that are not about the money or mainstream appeal.
They are events many film critics love as some of the best films in the modern day are viewed there, and hoping to be sold there. They don't pay you for your film to be screened, they give you the audience you needed and in that audience is an investor. Looking to buy films for distribution. In addition to this, you can win awards, that can make you and your film more famous!
So should you submit into film festivals? Absolutely! You have nothing to lose! The main drawback is that you can't really upload your film online until after the festival has screened it. What you can do is upload a trailer online, then after the festival happens upload the whole thing on YouTube or Vimeo if no investors or distributors are interested in your film for whatever reason.
Submit to as many film festivals as you can! Even the big ones (Toronto, Cannes, Sundance, etc…), you never know what might happen! Go for it, and don't be disappointed if you don't get in! Try again with an even better film the next year!
PS: Make sure to research the rules and regulations of film festivals, and how to act when dealing with them.
Youtube or Vimeo
Surely nobody is going to ask what is YouTube? Some may ask what Vimeo is, it's essentially a more professional YouTube. If you don't get into any film festivals, or for whatever reason don't want to submit them. You should submit your films onto YouTube or Vimeo.
Both are great options with their own advantages. Novie supports the use of both of these platforms.
Feedback and Potential Views: Vimeo has much less users, yet they give more constructive and professional feedback. On YouTube you may not get feedback that is as beneficial, yet you can potentially get more views as it has a huge and growing audience.
Free vs. Paid: YouTube is free to use with Ads, and 10$ a month for no Ads. Vimeo has more options (Plus, Pro or Business) and is more strict on the free accounts, yet there are no advertisements.
Options: Both sites have privacy options, and are against online piracy. Both sites offer analytics.
In the end, it's up to you! Whether you care more about the views or the feedback!
Marketing Your Film & How Novie can Help You!
10 Marketing Tips (Student and Indie)
- Use the internet, become familiar with online blogs such as reddit and others. Make your film known in niche websites with a community that loves film!
- Have your film with short titles and hashtags on social media. Create an organised social media account that will attract people to watch your film! Be personal, give something back (even if its just love).
- Create competitions and contests that will make people go into a frenzy over the film!
- Festival screenings are a good way of building an audience base.
- Personally contacting people to watch the film! Hard work but worth it.
- Having a solid and good trailer that encourages people to share it on social media, like it, and comment! Also excites people for the film.
- Giveaways and investor benefits assist heavily, it makes people feel important and special, they will return the love back to you.
- Create an IMDB page and Wikipedia Page.
- Have your film mean something, a great theme can move a film a long way!
- Street marketing, friends, and family.
Novie's Role for your film
Novie is a film streaming platform that shares your YouTube and Vimeo films or trailers! It doesn't matter whether you're a student or a professional. Indie or not you're free to upload on Novie!
We target more views for our uploaders as we believe that indie and student filmmakers are the future of filmmaking. We give yearly awards as well, for most viewed and top rated films!
We have a section on the site for critical analysis and reviews, which allows you to receive the constructive feedback you deserve!
Novie will market the Novie website (www.noviemovies.com) and our Instagram page Novie. This will create traction for all the films on Novie. We will also post snippets and posters of the films on our Instagram page. Essentially we offer free marketing for films on our site.
Have a film in a film festival? Being paid for a film? No worries. You can upload trailers here on Novie and we will still market the film or trailer for you! Exciting stuff isn't it.