Contacting People About Your Film Via E-Mail? Avoid These Mistakes!

Email Mistakes

When it comes to connecting your audience to your film or webseries, social media is fantastic. But combine that with pitching to media and doing outreach to interest groups and influencers via e-mail, and you’ve got a winning combination. There are, however, some things to avoid when pitching; common mistakes I see happening every day, especially when they land in my inbox!

Have I made these mistakes before? Oh yes, absolutely. When I first started out I made many of these mistakes. I’ve always vowed to be honest on the blog!

Here are some mistakes to avoid so your e-mail isn’t instantly relegated to the trash folder, as well as some handy tips to get the most out of your e-mail exchanges:

Not Doing Your Research

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I cannot tell you how many times my inbox is full of people who haven’t done their research about Sprites, and what we do. Their emails contain references to the possibility of me writing a review and ‘sharing with [my] readers’. I’ve seen frustrated journalists on Twitter talking about people who e-mail them with an inappropriate request, like asking them to write about a beauty product when they’re a tech journalist, and so on. I cannot stress how important it is to do your research before contacting someone.

Whether it’s pitching your film for a potential story in a newspaper or contacting a reviewer, check out whether your film is a good ‘fit’ for that particular avenue. For instance, if you’re looking to receive coverage in a regional newspaper, what connections does your film have to that area? What’s ‘newsworthy’ for that particular newspaper that would encourage them to do a feature or interview?

Research also avoids embarrassing faux pas, like contacting someone who is a vegan and animal rights advocate when your film has hunting in it, or reaching out to an organisation without vetting them first and then finding out that they have ideals that don’t align with the message of your film. The advantage of doing thorough research instead of just firing out e-mails haphazardly is that you get to know who is interested in covering what, and who you may potentially be able to contact again for a future project if it aligns with their interests and the interests of their audiences.

Copy and Pasting Messages

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I can always tell when someone has copied and pasted their information, because it will contain things that raise red flags. Sometimes, they’ll mention that they love something I’ve done…but I haven’t done it. Or it’s so generic that there’s not even a greeting at the start!

Personalising your emails takes time- and that doesn’t mean just changing the name of the person you’re sending it to, and the name of their blog/publication/website, etcetera- but it’s worth doing. Make sure you tailor your e-mails to each person, including the tone of your message. If you’re corresponding with a hip influencer, you can afford to be a bit more informal. If you’re reaching out to a journalist, your tone might be a bit more formal. The personal touch really means a lot, but also people can definitely tell if you’re sending out generic copy and paste e-mails. That often says to people that you actually don’t care about their specific publication or organisation, you’re just flinging e-mails out there and hoping something sticks. And speaking of copy and paste, this next no-no is the one that is the most infuriating of all…

Sending Unsolicited Links Without Explanation

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I’ve previously written about the one thing we have to stop doing on social media, and it ties in with this. There are countless times I have opened an email to see a copy and pasted synopsis of a film, with a link. No salutation, not even an ‘ask’ to share or for any other assistance. This habit ties in with the two above to make for an infuriating e-mail experience! People can’t tell from this interaction what you’re looking for. Are you wanting them to share the information via social media? If so, that’s not the right way to go about it. Again, it’s better to personalise your e-mail, and ask for what you want to happen with regards to that link. It doesn’t guarantee that person will comply, but it makes for a much nicer experience (and your e-mail won’t end up in the trash folder).

E-mail is a tool that has been a part of our existence for so long now that I think people have forgotten the art of conversation. E-mail is a conversation, so make sure it’s a good one. And I’m going to play Devil’s advocate here: you might be thinking; “I don’t have time to do that.” It may mean that you spend a bit longer with your e-mail communications, or, if you can’t hire a publicist, allocate the task to someone on your team. The benefits of being mindful about your e-mail communications are numerous, including forging positive ongoing relationships with journalists, having the support of influencers and organisations you can potentially call on again in future, and having your creative endeavours viewed in a tremendously positive light.

When’s The Best Time to Grow Your Film’s Audience?

when to grow your film's audience

A few weeks ago I was up in Auckland to catch up with clients and film industry acquaintances. One afternoon, I was chatting with an acquaintance who has been in the film industry here in NZ for many years. We were discussing the best time to grow your audience for your film via publicity and social media. The consensus? Pre-production.

Yes, really! Pre-production is the best time to start to grow your audience. Mainstream releases and tentpole films generally have the benefit of being able to secure coverage and have a built-in audience due to things like the cast, a known director, being part of a franchise, and more. It can be a lot harder for indie films and filmmakers to receive that sort of coverage…but it’s not impossible. It just takes a bit of strategic planning early on in production.

So why start building your audience in pre-production?:

  • You will cultivate a following that wants to support you every step of the way: this can be particularly beneficial if you’re looking to crowdfund during production or in post.
  • Your intended audience will have more awareness of your film on release: imagine having a dedicated following and fan base ready and waiting to see your film and media outlets who are more likely to provide coverage and/or review your film because they’re aware of your film prior to release. That’s powerful stuff!

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So, how do you go about building your audience in pre-production?

Make sure you have your social media accounts and website established: if you have a production company website and social media accounts already set up and with a large following, you may want to retain that instead of setting up separate accounts, especially if you are building your audience for a short film or have a slate of films in the works. Check out our post on the most frequently asked questions about social media for filmmakers for more hints and tips.

Crowdfunded in pre-production? Capitalize on campaign updates: the great thing about crowdfunding platforms is that they provide you with the opportunity to raise funds for your project, but also help you to build an audience at the same time. The campaign updates function on your campaign page should not be forgotten after your campaign! You can find out about maintaining contributor connection after a crowdfunding campaign here.

Establish a mailing list: invite people to subscribe to your mailing list via your website or a call to action on social media. Provide content like production updates, competitions, and cut-and-paste sample tweets or Facebook posts that can be used by fans when you’re getting ready to launch!

Reward your fans: some of the most passionate, dedicated fans are the ones who follow your entire journey, so why not reward them? Think about having a ‘Fan of the Week’ post on social media, share fan art, have competitions for signed merch, and more. Your imagination is the limit here!

Start building relationships with journalists and media outlets: get to know the journalists and media outlets that you would like to secure coverage from when you’re ready to release your film. Follow them on Twitter and like them on Facebook, interact with them and share content from them that is relevant to your audience. Never underestimate the power of a great connection with media and journalists.

Building your audience in pre-production may sound daunting. After all, you’ve got so much else to juggle! But think of it as an investment in your film that will return to you right when you want it.

Things I Wish I’d Done Differently When I Began My Film PR Career

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I turn 37 on Friday.

I’m completely fine with ageing- in fact, I relish it. I think my life has opened up in exciting new ways from the time I turned 30 and I can’t wait to see what my life will look and feel like by the time I reach 40.

Of course, with the dawning of a new natal year comes a time of reflection, and recently I’ve been thinking about when I started my film PR career in 2013 (with Film Sprites PR being born in 2014). There’s definitely a few things I wish I’d done differently. I don’t regret pursuing my career in a different manner, but there are some ‘tweaks’ I would have made earlier on that I believe might have made a difference.

So, why am I talking about this, and what are the implications for you, dear reader?

Perhaps you’ll gain some insight into your own goal-setting and career path. If you want a little bit more information about pathways to a job in publicity and digital marketing that are a bit more pain-free than the way I started, you can read about them in a recent guest post I did for We Make Movies on Weekends.

I’m also talking about this because so often on the Internet and on social media we see a very sanitized, edited version of people’s lives. We’ve seen an influx of beauty products touted to help you achieve a perfect selfie (including colour correcting concealer and tooth whitening pens)! I always talk about authenticity in social media, and here I am, pondering the past and bringing to light the messier, muckier aspects. It’s a crash course in not doing what I did! So what do I wish I’d done differently?

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I regret not having a business plan: when I started in publicity, I was working as a freelancer under my own name. I didn’t have a goal to start a PR consultancy…I just wanted to be head-hunted. But fate had different ideas, and when I popped on Twitter on April 17th of 2014 to ask if filmmakers were looking for publicity and digital marketing assistance, the influx of requests took me aback. I literally had to work backwards! I didn’t have any seed money, my branding was very quickly knocked out on Canva in about 5 minutes, and I definitely did not have a business plan.

By the time I met with a business mentor in 2016 to ask about drawing up a business plan, however, he looked at my website and branding (which by now were up to standard) and went; “you need a business plan…why?”

I still wish I’d had it. Back in 2014 I was flying by the seat of my pants which only worked for a small amount of time before I had to go back to the drawing board again.

And again.

And again.

Even if you’re not going to be setting up your own business, I thoroughly recommend sketching out your long, medium and short-term goals. I knew what I wanted, I also knew what I wanted to provide in my role as a publicist, but I couldn’t articulate it- never a good thing when you work in an industry which requires clear communication!

I regret not attending networking events sooner: the beauty of working at home is that, well, you work from home. If you’re an introvert, you have the ease of not having to stick your neck out. But that can also be detrimental. Although I had spent from July of 2013 right up to the day I asked if people wanted my services constantly networking online, doing online networking still can’t fully replace networking with your colleagues and peers face-to-face. Thankfully now I enjoy networking events and the chance to meet people in various industry roles. If, like me, you’re an introvert you might want to check out a recent post I did about self-promotion and networking. These are strategies I’ve found that work very well.

I would have learned how to set up my website earlier than I did: initially, I started with a WordPress blog. Although it was rudimentary,  it did the job…at least for the first few months. Eventually the blog morphed into this website, with a blog attached. But that would happen a year and a half into working at Sprites. That’s a long time when you consider that a website is one of the places people come to to ascertain whether you’re a suitable fit for their services or not.

There are times when I didn’t listen to my gut…and I definitely learned the hard way: your intuition is an incredible tool. It’s that voice and feeling inside that tells you when things are going well…and when they’re not. My intuition tends to be very highly tuned now. If something is amiss, I have an internal GPS that feels like a guitar string snapping. When things are going well or I get an intuitive nudge in the right direction, it’s all tickety boo. But there have been times when I haven’t listened to my intuition to my detriment.

I definitely find that meditation and mindfulness practices really help to fine-tune your intuition.

What advice would I give to my younger self, and to anyone chasing their dreams? Believe in yourself. First and foremost, you have to have the grit and determination to see things through. Sometimes a goal can be a very lonely thing- people may not understand what you’re doing, you may have to go it alone for a very long time. So it’s imperative that when all the doors seem closed and you feel like you’re in an echo chamber you truly believe in yourself and your capabilities. The more you believe in yourself, the more willing you are to prove yourself to the world. The more willing you are to prove yourself to the world, the more people will see what you can do. It’s a snowball effect. Never give up, never give in.

 

The Art of the Pitch (and Why It’s Not Just For Publicists)

The Art of the Pitch

 

What’s your inbox like? How about your DM inboxes on social media? If they’re anything like mine, you’re inundated with unsolicited requests. If you’re a director, a producer (or a film publicist like me), you see them coming a mile off: links to videos, unsolicited requests from crowdfunding campaigns, showreels and more…things that clog up your inbox, take up your time and also distract you from the messages that matter.

Sadly, I cannot tell you the best way to avoid this (other than the nuclear option of blocking), but I can tell you how not to be THAT person, especially when you want to connect with someone for something and want to not only make an impression, but make things happen. Whether you want to collaborate with someone, network or pitch an idea, you can learn a lot from the way publicists pitch their clients to media.

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The art of the pitch is something that can be used successfully in many different arenas in your life, and I’m going to let you in on some of the techniques I use every single day that have assisted me in securing results for my clients. So, whether you’re making contact with someone for networking purposes to help further your filmmaking career or pitching your story idea to potential producers, these techniques are tried and tested:

Introductions are vital: remember the restaurant scene in The Disaster Artist where Tommy unsuccessfully ‘pitches’ his script? Don’t be Tommy! When I was building relationships with bloggers, websites and journalists at the beginning of my career, I would send an e-mail introducing myself and my business. The reason? I didn’t want to send an unsolicited pitch and have it be ignored. In fact, if I was particularly keen on having a film client interviewed by the media outlet I was getting in contact with, I would ask if they would like to be added to our media list for when we had films and filmmakers that their audience would be interested in. It worked so well that with some media outlets would prioritize my clients in terms of reviews/interviews/features. Whether you’re getting in touch with someone for networking purposes or discuss an up-coming project or script, a great introduction is vital.

Do your research: one of the things I hear frequently from journalists is the amount of times publicists get in contact with them wanting to secure a story for their client without actually doing their research. This means they get pitches for beauty products when they are a site that has nothing to do with beauty and/or doesn’t have an audience that would care about beauty products (let alone purchase them). It happens more than you’d like to think.

The same goes for pitching ideas, networking and getting in touch with people you really want to work with. Don’t just do a cursory skim of their website. I had a rambling, incoherent pitch arrive in my inbox the other day from a writer who was looking for a female filmmaker to shoot his script. When I told him that I wasn’t a filmmaker, I was a film publicist, he was extremely red-faced and horrified. The problem? He’d been given a list of female filmmakers to contact…but whoever compiled that list hadn’t done their homework…and he hadn’t either.

Craft your communications: here is the absolute best piece of advice I can give you when it comes to contacting anyone for any reason. Keep this phrase in your head as you write: what’s in it for them? Don’t think about what you want to get out of this communication- hone your writing so you highlight any benefits or advantages for them.

Here’s an example from my world: when I have a client and I’m pitching to journalists, I’ll highlight what’s newsworthy in bullet points, bearing in mind what’s newsworthy about my client and/or their film. For instance if I’m pitching to a film-related website that has a strong commitment to championing women in film, perhaps I’ll mention that the film passes the Bechdel Test, or something similar if it is applicable.

the art of the pitch women in workroom

Take the virtual into the real: communications over e-mail and Skype are great, but if you have the possibility of meeting up, it’s worth suggesting having a coffee meet…and yes, you will be buying. Including a suggestion of a coffee meet is a great way to take the working relationship a step beyond an email. I quite often schedule time in the year where I will go to Auckland or Wellington to meet up with film industry contacts and acquaintances over coffee in order to talk about potential new collaborations, opportunities, and to see what’s happening up north in the industry.

Hopefully these tips will help you hone your communications to connect with the people you want to work with…and make a positive impact. Happy filmmaking!

 

Strategies For Reluctant Self-Promoters

strategies for reluctant self-promoters

I can honestly say that I owe about 99% of the opportunities I’ve had in my career to being a smartarse.

And I don’t mean being a smartarse in a disrespectful way, but some of the biggest and most exciting opportunities in my life have arisen because I’ve been cheeky enough to ask for them in a playful way that doesn’t come off as pushy. This isn’t something that would work for everyone, but that’s my schtick. I pretty much live my life on the verge of telling a joke anyway, so using my sense of humour (and my cheekiness!) have become second nature.

It’s something I’ve had to develop over many years, because to be completely honest I’m very much a reluctant self-promoter. Part of it stems from the fact that here in New Zealand we’re not big on tooting our own horn. Part of it is because I’m very much an introvert, and while I can bring the energy for presenting a workshop or networking events, I need at least a day to recover afterwards. Introversion isn’t a hindrance to things like networking and self-promotion, but it needs careful consideration when it comes to utilising your energy resources and being at your best (I’m sure many of you can relate).

In the work that I do, I get to talk to a lot of filmmakers about their work, and I often hear them express the difficulty they have in self-promoting their work. Sometimes there is a reluctance in reaching out to people for donations to their crowdfunding campaigns,  promoting on social media or reaching out to media outlets to secure coverage or a review. It’s something I understand- sometimes it’s not easy! But your work deserves to be seen and appreciated.

Better yet, the information age provides filmmakers with a variety of opportunities to connect with their audiences in ways that were not previously available prior to the Internet going mainstream and the development of social media. The world is literally at your fingertips.

So, how can you grow your audience and promote yourself and your work if you’re really reluctant? I have some strategies that may help- they’re the same ones I have used over the years successfully:

camera strategies for reluctant self promoters

Work out what’s stopping you: chances are, when you think about promoting your work, you’ll have thoughts and/or feelings that arise over it. It’s a good idea to really drill down and find out why you’re reluctant to promote your work. Find 5-10 minutes in your day to sit undisturbed with a pen and paper or your laptop with a word processing document open and ready. Take a few deep breaths, focusing on each breath and clearing your mind. When you’re ready, think about self-promotion of yourself or your work and identify any thoughts or feelings that come up around it. Write them down.

Now that you’ve got your list, look at what you wrote. Here’s where it gets interesting! Step outside of yourself for a minute and imagine that it’s your best friend thinking and feeling these things. For each thought or feeling, write a statement that refutes that thought or feeling. For instance, if this thought came up:

“Nobody gives a damn about independent filmmakers and their films”

You might write:

“Who is this ‘nobody’? There are plenty of people who are passionate about independent filmmakers and their films. You will find those people when you connect with your audience.”

Do this for each thought or feeling. It sounds silly, but it really does work!

Take approaches that you’re comfortable with: perhaps you’re not comfortable with social media, but have someone on your team that is and can provide social media assistance. If you’re more comfortable reaching out to media outlets via e-mail, then that’s completely fine! The same applies when you’re crowdfunding your project: if you’re not comfortable with social media, you may want to approach people individually or via your mailing list.

Authenticity is key: you don’t have to be anyone else. You don’t have to try and put on airs and graces with people. Being yourself and sharing your passion for your filmmaking well and truly resonates with your audience. People are passionate about filmmaking, so let them into your world and your process.

You don’t have to do it all at once: while it’s a good idea to have your social media presence established and also tap into resources for publicity of your filmmaking, you don’t have to do it all at once! If it’s easier for you to start with one thing and then add other strategies later, then do so. After all, good things take time!

Strategies for Reluctant Self-Promoters film sprites pr

Remember your WHY: I say this so often with different scenarios because it’s applicable across the board. If you start to feel really reluctant about promoting your work yourself, remember WHY you started filmmaking in the first place. This helps to not only bring you back to your centre, but it also provides a boost of inspiration to propel you forward through your reluctance.

Happy filmmaking!

What Part Should Publicity Play In Your Crowdfunding Campaign?

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This month on the blog, we’ve focused on crowdfunding for filmmakers, covering subjects like aspects you need to consider prior to running a crowdfunding campaign for your webseries or film, common mistakes to avoid in your crowdfunding campaign, and the benefits of crowdfunding beyond the financial. In this post, I want to discuss a subject that is very close to my heart, which is publicity. Specifically, I want to discuss the role that publicity tends to play in crowdfunding campaigns.

Now, if you’ve worked with Film Sprites PR before, or have followed the blog, you’ll know that I’m a straight-shooter who believes in transparency. I’m not going to suggest you take on one of our PR or digital marketing services if I don’t think it’s going to be beneficial in the long-term, and I’m incredibly honest on the blog because I believe that people can learn from the pitfalls and mistakes I have gone through in the almost 4 years that Film Sprites PR has been operating. One pitfall for me was in regards to the role that publicity plays in a crowdfunding campaign.

Being that I was passionate about being a publicist in the film industry, I thought that when it came to crowdfunding campaigns, publicity was the be-all end-all. Get a feature about the campaign in front of indie film-loving fans and watch the dollars roll in!

*record scratch*

Errrr….not quite.

Don’t get me wrong, publicity for your crowdfunding campaign is fantastic- not only does it create awareness around the campaign, it also helps to bring your film/webseries to the attention of your potential audience. Both of these are very good things. But do they translate into dollars for your crowdfunding campaign? Not always. Bear in mind the fact that statistically 90% of contributions to your crowdfunding campaign will come from your existing networks. You might experience a higher percentage of contributions from film fans and your potential audience if you have well-known actors, but again that’s no guarantee.

Am I trying to pee in your cornflakes and tell you not to pursue publicity for your crowdfunding campaign? Heavens, no! But if (like Publicist Me of 2013) you are placing more weight and expectation on securing funds as the result of media placements, you might have to re-think that.

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You might recall the Who’s In Your Network? infographic I shared in a previous post. Publicity falls into the ‘other’ category on that infographic, right at the tip of the triangle and with the least amount of weight compared to your personal network and your film’s network. Depending on whether your film or webseries has an actor or actors who have considerable followings, publicity can sit between ‘other’ and ‘film’s network’, but that’s an instance when you can put more more importance on media outreach.

A rule of thumb? Focus on your personal and film’s networks and how you can connect with and secure contributions from them first and foremost. Publicity is a useful tool in your arsenal, but it shouldn’t be the only thing you rely on. Crowdfunding campaign strategy is less a straight line and more a web of interconnected parts that function as a whole.

So if you’re keen to source publicity during your crowdfunding campaign, here’s some hints and tips to help you:

  • If you’re approaching bloggers and film websites, be sure to read their ‘about’ and ‘contact’ pages to make sure they’re a good fit. Some bloggers and websites have a strict policy whereby they don’t accept press release submissions from films in crowdfunding campaign mode because they get inundated with them. Respect their wishes and don’t send them an unsolicited press release because you think your campaign may be the one that changes their mind. After all, you can always come back to them when your film or webseries has been released and/or requires reviews.
  • Don’t just copy and paste the same pitch to every outlet. An editor wants to know why your crowdfunding campaign is newsworthy, and why their audience would be interested in it. Of course you may want to outsource this particular task to someone who does publicity for a living, as they know exactly how to pitch and which media outlets would be most suitable to pitch to.
  • You’re going to be exceptionally busy with your campaign, so if you have pitched to media it’s worth setting up a Google alert (or two) for your phone and inbox, that way you can keep track of any published features. It’s incredibly useful post-campaign as well because you can continue to track not just features from outlets you’ve pitched to, but any organic earned media that comes up. This happened a few weeks ago with a client of mine. We had sent out review requests in November 2017 and an outlet discovered the film in 2018 and reviewed it, and that outlet was not part of our media list for that film at the time.
  • There are varying schools of thought as to whether you should attach a PDF of your press release, copy and paste it to the e-mail, etc. I tend to favour creating a Dropbox folder which includes the PDF of your press release, any video clips you’d like an outlet to potentially use, as well as high-resolution images that are clearly named (no random numbers!). That way you can pitch to media and give them the Dropbox link without potentially getting caught in their spam folder because you’ve sent an attachment.

Publicity is a useful tool to have in your crowdfunding toolkit, but it should be used in conjunction with other methods of connecting with contributors to assist with your success.

Crowdfunding and The Benefits For Indie Filmmakers

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Chances are, if you hop onto Facebook, Twitter or Instagram and check out the pages of indie filmmakers and their films, you may encounter posts about crowdfunding campaigns. Since the “early adopters” phase of crowdfunding in the early 2010s, filmmakers are looking at crowdfunding and various crowdfunding platforms to help assist them in funding their projects. In fact, Film Sprites PR started primarily by promoting and supporting crowdfunding campaigns for filmmaking. In the almost 4 years of operation, we’ve assisted with various successful campaigns (which you can read more about here if you’re so inclined), and the creation of Sprites came about after being inspired by Amanda Palmer’s TED talk, The Art of Asking. We’ve seen what’s worked, what hasn’t worked, and everything in between. There’s nothing more fantastic than seeing a filmmaker not just cross the 100% mark, but exceed it and be able to celebrate with their donors, fans, friends and family!

There are a now variety of crowdfunding platform choices available to filmmakers; from film and TV-based Seed & Spark, through to all-or-nothing crowdfunding platforms like Kickstarter and flexible funding like IndieGoGo. And while this array of platforms gives filmmakers various options for their crowdfunding campaigns, there are many benefits of crowdfunding campaigns which go above and beyond providing funds for filmmaking and webseries creation. Here’s just some of the benefits:

Crowdfunding is a good chance to grow your audience (and stay connected with them): you’ve planned and prepared your campaign, you’ve launched it, and the contributions start rolling in. You finish the campaign…but what happens next? If you’re really savvy, you’ll use the campaign updates function on your crowdfunding page (and/or update people via your website mailing list), and keep people updated. Your audience gets to see how production is progressing, and it’s also a great chance to have your fans be a part of the process, especially if you get them to share content (like the perks they received via your campaign) with specific hashtags. Don’t think of a crowdfunding campaign solely as a way to secure funds- it’s a way to connect with the core of your audience, the people who passionately believe in your work and want to support you 100% (if you’re interested in more info about maintaining contributor connection after your crowdfunding campaign, you can read about it here.)

Your campaign can provide useful financial information when approaching other investors: let’s face it- funding any film or webseries, big or small can be tough. When it comes to the financials, sometimes funding will come from various sources, making up the finished funding puzzle. But having the ability to approach a private investor or production company and be able to provide proof of the viability of your project? That can be particularly useful.

Crowdfunding is another opportunity to grow awareness of your films: when people come to your crowdfunding campaign page, you have a fabulous opportunity to think of it as a window into your filmmaking world. It’s not only a campaign to secure the funds you require, but it’s also like having free PR! It’s a moment in time to capture the hearts and minds of your audience, and hopefully have them contribute joyfully to your campaign. It’s a win-win.

It can provide valuable skills: as an indie filmmaker you will know that sometimes you don’t have the luxury of having people taking care of aspects of the filmmaking process (like publicity or producing) so that you can solely focus on directing. When you go through the process of planning and implementing a crowdfunding campaign, you pick up skills that are not just useful in the short-term, but will have benefits long after the campaign has ended. These skills include investor relations, pitching to media, audience building just to name a few.

Your crowdfunding campaign can be a unique experience, not just for you but also for your audience and contributors. If you’re thinking of running a crowdfunding campaign, good news: we’re dedicating the month of March on our blog to providing hints, tips, insights and advice on crowdfunding, so keep your eyes peeled for further posts.

*this statistic takes into account the amount of dollars pledged for both successful and unsuccessful projects. For more stats, click HERE.