Tag Archives: indiefilm

Calling All Trigonauts! (‘Cause “Trigonaut” Sounds Cooler Than “Intern”)

The time has come for expansion, and I cannot do it alone!

As many of you probably know, I’ve been putting out crowdfunding advice for filmmakers and various other content creators and storymakers for over five years. Ever since I successfully crowdfunded my short film Cerise, I’ve been mentoring crowdfunding filmmakers and content creators in the fine art of online fundraising through Twitter, via my book Crowdfunding for Filmmakers, and exclusively for Indiegogo. But there’s so much more I want to do, mostly by way of content creation and various new ways of distributing that content and knowledge (Meerkat and Periscope, anyone?), so I’m looking for a Trigonaut –– an fellow explorer –– to work with me, to learn about and explore the chartered and unchartered realms of crowdfunding for independent film, and to help create more top quality content so that we, together, can keep the “indie” in independent film and make sure that creators are crowdfunding using only the best tools, advice and insights available.


So here’s what I’m looking for, specifically:

– Writing and editing (basic grammar and usage skills)
– Strong interest in crowdfunding, particularly for film (or creative projects)
– Graphic design (skills in Adobe Creative Suite, mainly Photoshop and InDesign)
– Editing content for social media that’s on-brand
– Organizational abilities
– Creativity and wit
– Speed (ability to execute tasks quickly)

– Owns a DSLR (or similar camera) and microphone
– Video editing skills (proficiency in either Final Cut Pro or Adobe Premiere)
– A moderate knowledge of digital advertising (Google AdWords, Facebook Ads / “dark posts”, etc.)
– Listens to The #AskGaryVee Show religiously

– Outreach (to film festivals for speaking gigs, blogs / movie websites, etc.)
– Writing content for Medium (will be credited as guest writer under my personal culture / branding
– Content creation (if we go the Gary Vee route; TBD)
– Filming any local events, speaking gigs
– Research on the crowdfunding space in general, but specifically crowdfunding for indie film / web / video content
– Discover and attend events, Meet-Ups, Tweetups, etc. pertaining to film and / or crowdfunding

– 2 -3 hours a day,
– Three days per week (preferably Monday, Tuesday, and Thursday, to start, but I’m totally flexible here

– Crowdfunding (for filmmaking) knowledge and insights from a noted expert and practitioner in the field
– Travel to and from events (subway / Lyft)
– Lunch once a week, during our weekly meetings, preferably on Mondays
– Drinks (at events, and just in general –– there’s always something to celebrate)
– Depending on performance, we can talk…

– What it takes to be a proper crowdfunding consultant and / or manager
– How to utilize various forms of social media (FB / Twitter, plus Instagram & Periscope, perhaps) for crowdfunding
– How to build, broaden, and make “Beliebers” out of your community (really, how to turn your networks into actual relationships)

Now, if by reading this you feel like you’re standing in front of a mirror, then I want to hear from you sooner rather than later, so reach out to me at jtrigonis@gmail.com and let’s get ready to explore the ever-changing landscape of the crowdfunding filmmakers together.

Oh, and a neat hat and soul patch to match are not requirements 🙂

Looking forward to hearing from you all soon!

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TEDx 2014: Living Up to My Middle Name

“Storyteller. Nostalgist. TED talker, too.”

That’s what I changed all of my bios on social media to ever since I had the privilege of speaking at TEDxJerseyCity on Saturday, November 8th, 2014.

Now I think we all know that TED is a big deal, but I didn’t put that into my head until after I got off the stage at PS4 on Bright Street in Downtown Jersey City because I knew I would have panicked. I consider myself so fortunate to have spoken at most of the top film festivals all over the world –– household names like Sundance, SXSW, and TIFF –– but a TEDx talk is a TED talk, and it’s an honor granted to a few people all over the world.

And for the first time in a long time, I had to work for it.

Here's the original outline. Very bare bones.

Here’s the original outline. Very bare bones.

I wanted to dive into what the process of preparing for a TEDx talk was like for me because it was very different than anything else I’ve ever had to prepare for. First of all, I had to audition for the part, and that brought me back to when I used to perform Shakespeare in the parks. I haven’t auditioned for anything since then, and the organizers of TEDxJerseyCity took this part of the process very seriously.

In fact, I almost didn’t make the cut.

When I did my first audition, I was trying not to focus so much on crowdfunding and instead veer that subject I could talk about in my sleep more towards the power of the crowd. My four-minute audition piece was quite honestly a mess. But one of the organizers, Alicia, believed that I had something truly important to say, and so she met up with me at The Warehouse Café and helped me shift the focus of the talk back to what I’m really meant to talk about –– crowdfunding –– and through that, reveal the power of the crowd through personal stories, examples, and a quick lesson on how ordinary people like us have the power to create positive change in the world because money is no longer an obstacle now that we finally have the tools to overcome the problem of lack of funding.

Initial draft of my first audition piece.

Initial draft of my first audition piece.

Freshly armed with that as my focus, and a couple days of hardcore rehearsals, I ended up wowing the judges during the callbacks that I almost didn’t get invited to, and I made it onto the roster along with sixteen other proud Jersey City speakers who would take the stage and talk about a “Brave New World” of their choosing at TEDxJerseyCity 2014.

The other part that was most difficult for me personally was the actual writing of the talk. See, whenever I speak at an event, I never write down what I’m going to say. It’s all very beatnik (I am a poet, after all) –– “straight from the mind to the voice,” as ol’ Jack would say. The only other time I felt I had to write out my talk was during my SXSW Future15 talk about being a face in the crowd of crowdfunding, where I talked about crowdfunding through the lens of the 1957 film A Face in the Crowd, starring Andy Griffith.

The first slide from my SXSW Future15 talk, 2014.

The first slide from my SXSW Future15 talk, 2014.

But I basically did the same thing with the written out version of my TED talk that I did with that SXSW one. I tossed it in the trash and winged it.

The thing about “winging” something is simple: You have to be confident that there’s a wind beneath those wings to hold you up, and that wind is the intention behind what you want to say. How you say it, that’ll always be secondary.

Before we bust into a chorus of Bette Midler’s famous tune, let’s get back to TEDx. Aside from the rough outlines/four-minute audition pieces, I wrote a full outline and a first and second draft of the talk. What I noticed was each time I wrote it, I would add more to it. Always more. Never less. And ultimately when I had a week left and was about to start rehearsing my talk, I let my fiancée Marinell read it.

And she liked it.

Sort of.

“I can’t picture you saying it like this,” Marinell kept on saying, and no matter how many times I reassured her that “the talk that I give on stage will most likely sound nothing like what’s written,” she still wasn’t convinced until I took her to my apartment and performed it for her for the first time. No notes. No cheat sheet. Nothing.

And she loved it.

And this is the last draft, complete with the notes that helped create the final draft.

And this is the last draft, complete with the notes that helped create the final draft.

Did the writing out of the entire talk help me keep the intention behind those words in the forefront of my mind? Sure. But knowing myself the way I do, I should’ve simply sketched out a quick outline onto a couple of napkins and worked off of that. When you know your subject matter, it makes no sense to spend all that time writing it out; just know what you need to say and practice getting it out in the order you need it to be presented, and all will be well.

I spent the next entire week practicing every night after work –– again, something I’m not accustomed to doing. I recorded each rendition of my talk into my iPhone, all the while timing it more old school on an old Breitling stopwatch I permanently borrowed from a high school science class. From my first time of twenty-six minutes to just barely cutting it down to the eighteen-minute TED maximum, the more I practiced, the more I knew what I needed to get across to my audience.

Screen shot 2014-11-15 at 12.24.25 PM

I was so happy when I snapped this photo for Instagram –– got that talk down to just under seventeen minutes.

On the day of the talk itself, I practiced one last time in the morning, and I was pleased to get it down to fifteen minutes. That meant, I now had precious time to infuse into the talk the spontaneity that makes all of my talks all the more memorable. The quick asides and off-the-cuff additions, but most importantly, working with the crowd in the moment to create with them the best talk possible. To give to them the speech they want to hear. And I think I accomplished that with my TED talk.

But man, it was a lot of work!


It’s been a week since my TEDxJerseyCity talk, and I’ve been thinking of my Dad a bit more lately. It always happens during this time –– he passed away eight years ago on December 16th –– but this time feels a little different. I find myself wishing I could take a minute and tell him all about my talk, and to hear him in that silent whisper of a voice he left this world with say that he’s proud of the man I’ve become.

I know he is, of course. But sometimes you just need to hear it.

But it’s funny –– We all know that “TED” stands for “Technology, Entertainment, and Design,” but it’s also short for “Teddy,” a nickname for “Theodore” and what the “T.” in “John T. Trigonis” stands for.

And it was also my father’s name, too.

My TEDx talk marks a huge milestone for me, and I have no idea where it will take me next. Perhaps nowhere. Perhaps it will afford me further opportunities to talk about the power that crowdfunding gives to mild mannered men and women all around the world. Time will tell, and I want to thank you all ahead of time for helping me get here.

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Writing Like a Martlet: Five Months Past, Five Lessons Above

A martlet is an interesting little bird –– one with no feet that spends all its time flying because it can’t ever land. Lately, I’ve felt very much like a martlet when it comes to my own writing.

I mentioned in my blog post “Riding the Writer’s Road: Three Lessons Learned in Three Months of Writing” that I spent a lot of time resisting the writer inside, passing him off as a hack or a sell out. Since shrugging off this false notion, I’ve become more than “just” a poet and an author. While I’ve been hard at work on my book Crowdfunding for Filmmakers: The Way to a Successful Film Campaign for Michael Wiese Productions and my proposal and first eight pages of my comic series Siren’s Calling, I felt the need to soar into some fresher kinds of writing, just to keep myself actively hammering away at my wordsmith’s blade.

Here’s where and some of what I’ve been writing over the last month or so:

Broken Frontier
I’ve been thoroughly enjoying myself as a comics journalist (man, if only that could be a career!), reviewing a few of my favorite titles each month like American Vampire, Batman, Swamp Thing (all three written by my favorite comics writer, Scott Snyder) and Near Death. I’ve also written a review of the first episode of Kevin Smith’s Comic Book Men, as well as a blog about the Robert Kirkman/Terry Moore lawsuit over The Walking Dead franchise and an article about Molly Crabapple’s super successful Kickstarter campaign for her fine art project Shell Game.

Film Slate Magazine
I’ve also written a couple reviews for this top-notch film website and may be reviewing some films from this year’s Tribeca Film Festival, if time permits. You can check out my review for the screenwriting documentary Dreams on Spec and one for an indie film called The Trouble with Bliss, which includes some insightful quotes from an interview I did with actor Michael C. Hall (Dexter) and director Michael Knowles.

Jersey City Independent
So far, I’ve contributed one story for Jersey City’s premiere source for fresh, up-to-the-minute news called “Tachair, Grace Church and Others Help Fill the Bookstore Void in Jersey City” about the lack of a bookstore in my town. Hopefully there will be more articles coming up in the near future once Snooki and JWoww get the hell out of Dodge!

Lamplighter Magazine
A while back, former student and fellow writer Patrick Boyle established Lamplighter, NJ’s alternative art, poetry and culture zine, to which I contributed an article about “How I Joined the Zombie Insistence.” Very soon, my second article, “In Praise of Plastic: The Album’s Last Stand in the 21st Century,” will be featured in the first print issue of Lamplighter Magazine, so I’ll keep you updated on all that. Once I find a bit more time, I hope to add a little more digital ink to the Lamplighter website.

My article "War for the Dead" featured on the Broken Frontier homepage.

Each of these four websites has proven a solid whetstone for me to keep my writing skills sharpened as I undergo the painstaking process of revision and proofreading on Crowdfunding for Filmmakers. As soon as the manuscript gets sent off to MWP on May 1st, I’ll be diving back into one final revision of my feature-length vampire screenplay A Beautiful Unlife and the second rewrite of my hit man screenplay Caput.

It’s been an intense month with all of this diverse writing I’ve been doing, and, as always, I’ve learned a great deal about the craft of writing, the world around me, and the microcosm of myself. That said, here are five new lessons learned that can help keep every writer soar high as a martlet without any care to land.

Deadlines are Important Although the deadlines I get from Film Slate Magazine and Broken Frontier are soft at best, they’re still deadlines, and having them has greatly improved the pace at which I write. If I write a 200-word review today, I should have something to show for it tomorrow. It may not seem like a lot of words, but for someone who wants 200 of only the best words for his or her review, it can prove quite a challenge, and we writers have to be up to that challenge at all hours of the day or night.

(Cut the Sh*t in Parentheses) Much the way parentheticals –– quick bits of direction from a writer to an actor –– are omitted from most contemporary screenplays, I’m learning how to omit them from my writing entirely. I realized I use them too much, and anything fenced in between parentheses are usually nothing more than the writer’s afterthoughts, and an afterthought, by definition, isn’t worth mentioning since you thought of it after the fact. Keep it after the fact and your writing will stay golden.

Of Editors and Writers When you write for magazines and review sites that love everything you write and post it almost immediately, you get a little spoiled and may start to expect every site you write for to accept your work as is, without question or edit. That said, the article that was published by The Jersey City Independent was not the article I originally wrote. It’s funny, because I constantly preach to my students to never be afraid to “kill your babies” –– all those lovely lines that don’t add anything to your story, article or poem but that you love and don’t want to get rid of –– but when someone else does the killing for you, it naturally feels wrong. Even if it’s done in the most humane way possible, as the JCI editor had done to mine:

I edited out a lot of your beautiful turns of phrase, but some parts of your prose felt a little too florid to me for a news piece. Sometimes I just felt like I needed to whack some adjectives and cut to the chase. I also took out the bit of editorializing you included because I didn’t want to come out and state an opinion.

With the exception of the word “whack,” this is a compassionate explanation, and as much as I understand and agree with the editor’s points, it still hurt when I first saw my abridged news piece. It’s sort of like Candy and his dog in John Steinbeck’s novella Of Mice and Men; he’s hurt after Carlson shoots his old dog instead of doing it himself. At the end of the day, however, when you’re writing (1) news (2) for publishers (3) for a paycheck, the writing isn’t about you anymore, and we have to give the editors exactly what they want, and should be able to kill our own babies before they do.

“The Tao is Forever Undefined,” a Writer Defined Forever A Taoist at heart, I go flow with the invisible current of the Universe in everything I do. The other day I met with a young man who reached out to me on Facebook and offered me what I thought was a job as a social media person. Considering that in another year or two the amount of classes I teach per semester may be substantially reduced due to budget cuts, I decided to entertain this notion as an alternative source of income. Long story short, and after listening to a twenty-minute homily from this young man’s senior officer who was nothing more than a textbook for sales pitches and psychology, I realized this “job” was nothing more than a pyramid scheme. A waste of time? Of course not, for it helped me to see that I could never do anything else but what I’m doing now, which is writing and teaching. And if classes become scarce, I’ll simply have no other choice but to put my writing skills, creative and otherwise, to more lucrative uses, and there’s nothing wrong with that.

Balance is Bliss While I like writing my reviews for Swamp Thing and The Trouble with Bliss as a diversion from my red inking of Crowdfunding for Filmmakers, I still have to balance these new kinds of writing with my own projects, both creative and expository, to keep the worlds I’m working on floating soundly in the galaxy of myself. Luckily, many of the publishers I write for allow me to be creative with my words, and for that I’m thankful, since it helps me deal with those who prefer straight news to my strong editorial biases. But it’s that kind of balance that keeps us writers moving in the forward direction with every piece we pen.

These lessons I’ve learned are lessons we all learn as writers committed to the word trade. Until next post, I’ll leave you with something I tweeted as soon as I left that meeting with the pyramid schemer.

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The Tao of Crowdfunding: Three Ps for a Successful Indie Film Campaign

UPDATED: MONDAY, JUNE 1, 2015 –– Not your grandpa’s “Three Ps” anymore!

BEFORE YOU READ THIS POST, in which you’ll certainly learn the basics of running a very successful crowdfunding campaign using my “Three Ps” of crowdfunding, I want to let you know that I have a brand new post over at Medium, with an all-new (similar) set of ways to crowdfund an indie film. It’s called the “Three Ways to Let Your Crowd In,” and those three Ways are the InvitationIncentives, and Interactions.

But whether you use my “Ps” or my “Ins,” you’ll still be on the Path toward a more successful campaign, and another step closer to making that indie film burning in your veins a reality. Happy reading!

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Long before I became Indiegogo‘s head campaign specialist for film, I was given multiple opportunities to step in for the company’s CEO and co-founder Slava Rubin and give a presentation on crowdfunding sponsored by New York Women In Film and Television (NYWIFT). Though the seminar was primarily focused around grant writing and more traditional ways of getting money for films, more of the attendees seemed ready to merge onto the more active freeway of crowdfunding rather than take the passive back roads of grant writing.

Vinegar tasters

If a Buddhist, a Confucian, and a Taoist each tried to crowdfund an indie film, which would be most successful?

Although crowdfunding has been around for years now, it’s still the buzz word amongst the indie film community. The only real issue I find with crowdfunding is that far too many people jump headfirst into a campaign without the proper knowledge of how it all works and without a carefully plotted outline. Specifically, there are things that every filmmaker should be aware of before embarking on a crowdfunding campaign, things that have been proven to work, not only for my short film Cerise, but for many other, more recent projects as well.

That said, there are three aspects of crowdfunding that should be thoroughly sketched out before your campaign goes live: a proper pitch, personalized perks, and plenty of promotion –– what I call the “Three Ps” of crowdfunding.

Your pitch is the single most important part of your campaign because it’s the one and only chance you have to sell yourself and not necessarily your project. Talk to your potential contributors. Tell them about yourself (the introduction), then tell them why you want to make this film and why they should help (the pitch). Keep in mind the “they” –– we may think that crowdfunding is about us, but the word “I” isn’t a part of this neologism; it’s all about the crowd, so make it about them. Finally, show them that you’re not a newb when it comes to filmmaking by displaying some of your prior film work (the showcase).

A mistake that many crowdfunders make is not appearing in their pitch video. The truth is YOU MUST APPEAR IN YOUR PITCH. Not many people will give money to a photograph or a movie trailer. People give to other people. No one likes to ask for money, it’s true, but the least you can do is ask your potential contributors as personally as possible, and in this case, your pitch is as personal as it gets.

Many of you have probably seen my pitch video for Cerise, which got the attention of Indiegogo’s other co-founder Danae Ringelmann, and in turn she gave me the additional, last-minute confidence I needed to actually go live with my campaign. If you haven’t seen it, check it out below:

Back then, crowdfunding was young, and my pitch for Cerise was cited as a model of what a solid pitch video should be. Compared to the ones I’d researched back then, you could say that I went the extra yard with my video, actually shooting short scenes to illustrate my perk levels and such. Today, though, filmmakers need to up their game

Here’s a more recent pitch video for a Canadian indie film called The Etiquette of Sexting, and when I first saw it, I started laughing immediately, not only because it’s a hilarious comedy about a guy’s first tryst with sexting after a bad breakup, but because the video followed the four basic elements of a pitch:

  1. The Introduction: an short intro into who the filmmaker is, starting with her or his name, of course.
  2. The Pitch: a short description of the film (logline) and why the filmmaker’s coming to the crowd (purpose) and what he or she has on offer (perk mention)
  3. The Showcase: proof that the filmmaker is, in fact, a filmmaker
  4. The Call to Action: The moment when the filmmaker tells us what we need to do to help out.

See for yourself how the filmmakers put together this stellar pitch:

Your pitch can be as straight-forward as Jeanie’s, or you can have a bit more fun with it and still be gearing it towards your potential contributors, the way Lauren Mora did in her pitch video for Misdirected, which certainly helped her raise $1,000 over her initial goal of $5,000.

As crowdfunding evolves, the more creative you can get with your pitch video, the better. Just check out this amazing pitch for Kenny Gee’s Singaporean short film The Body, which not only pitches the campaign in a fun and unique way, but also showcases the filmmaker’s talent.


This is really the basis of crowdfunding –– you give me money, you get something in return, and the way I see it, there are three types of perks you can offer up for your indie film’s crowdfunding campaign:

  1. standard definition (sd): what I call “The Mandatories” –– digital download, DVD/Blu-ray copies, social media shout outs,
  2. High Definition (HD or Hi-Def): Experiential perks, such as producer credits, special thanks, dinner with directors, Skypes with actors, Instagram and vine videos, invitations to the premieres, and VHX streaming
  3. Three-Dimensional (3-D!): Personalized perks, which I define as any perk that seeks to bring contributors to the campaign deeper into the world of the film, must the way 3-D movies brings us into the film

Now while there’s nothing wrong with offering sd and HD perks, it’s much more meaningful to funders when campaigners think outside the money box and GET PERSONAL WITH THE PERKS on offer. A strong example of a 3-D! perk is the acrostic poem perk from my campaign for Cerise. Originally, at the $10 perk level, I offered a shout out on Facebook and Twitter. Then my girlfriend at the time (fiancée now) and marketing mage Marinell suggested I write each funder a poem. I’m a poet, yes, and Cerise is a film about words, yes, but like Dudley Randall once wrote, a poet is not a jukebox! My biggest concern was “what if I have to write, like, fifty poems?!” Well, I ended up writing over 100 poems, which Marinell beautifully formatted and posted on our funders’ Facebook walls to their surprise and delight.

My acrostic poem for Cerise funder Giselle Del Oro.

Another example is the short film Sync, which found success on Indiegogo through a masterfully executed campaign spearheaded by filmmaker Brendon Fogle. He started out with one of the typical perks –– stickers (very cool ones at that), but went the extra mile in his perk descriptions (it’s okay to get creative when asking for money, trust me!) Here’s an example:

Kudos for upping the nostalgia factor with “Trapper Keeper”!

Yet another of his perks was titled “33 1/3 RPMazing: $33” and this was where we got a glimpse into Brendon’s world, because at this level he sends you a record from his personal collection! I’m actually a very proud backer of Sync, and I was originally going to contribute at the $12 level so I’d have some money left over to finally join Pearl Jam’s Ten Club. Then I saw the $33 perk in all its coolness, and I just had to click “Contribute Now.” (Sorry, Eddie! Next year, perhaps.)

But Brendon didn’t stop there. Keeping with the theme of vinyl (the story of Sync revolves around a grandfather trying to connect with his MP3ed-in grandson through the gift of records), my favorite of his perks turns a photo of one of his mild-mannered funders into a super hip album cover from the 1960s using a process he calls “The Blue Note Treatment.”

Here’s a photo of me that Brendon gave “The Blue Note Treatment” as a test, and boy do I dig it, daddy-O!

From perks that hearken back to the old days to perk dollar amounts that reflect record RPMs, it’s that fine attention to detail that funders want to see. So go the distance and make every aspect of your perks count for something special.

The Kickstarter campaign for Hybrid Vigor, which raised $57,237 of its $50,000 goal, offered up one of the most personalized perks I’ve ever seen, one that not only ties into the film itself, but ties the contributor almost literally to a piece of the movie: For only $1, your face would become part of the official “photomosaic” movie poster for Hybrid Vigor:

You’d expect to contribute at least $25 for this perk. Nope. Just a buck!

And most recently there was the Indiegogo campaign for HELLO, HARTO!, in  which YouTube star Hannah Hart decided to crowdfund so she could take her hit show “My Drunk Kitchen” on the road. Because Hannah had gotten proposed to numerous times in the comments section of her YouTube channel, she decided to offer e-certificates of polygamous marriage to anyone willing to contribute $25 to her campaign. $223,007 later on her humble $50,000 (which she reached within the first six hours of her launch) and she’ll be coming to a kitchen near you.

Screen Shot 2013-02-18 at 4.01.13 PM

Hannah’s certificate of e-polygamy and some of her other highly personal perks.

The list goes, so I’ll end this section with one of my all time favorite perks that I’ve ever received, which is this ukulele song by Tim Sparks when he was crowdfunding his short film Around Here on Indiegogo. I mean, it really doesn’t get much more personalized that a song about the funder. And for $20?! Easy money!

I’ve said it at the Apple Store in SoHo, I said it again to the packed house of the NYWIFT event, and I’ve written it down in my very first crowdfunding-related post “Read Me Up Before You (Indie)GoGo!” and numerous times in my book Crowdfunding for Filmmakers –– CROWDFUNDING IS A FULL-TIME JOB. Anyone who tells you otherwise must not have had a very successful campaign.

A successful crowdfunding campaign demands around-the-clock promotion. In today’s technocracy, that translates to constant tweets, relentless Facebook status updates, email blasts up the wazoo, sleep strikes, the occasional hunger strike, and any other means by which to keep your project on the minds of your friends, family, and supporters. It also means having some fun with your promotion, keeping your audience engaged with things like contests, giveaways, fun videos, and the like. Brendon sure had fun with his video updates for Sync:

I’m sure many people worry about the rejection that may result from a campaign with a strong social media presence. But really, it all depends on how you tackle your promotion. If that’s all you’re updating your status with and you’re not having any conversations on Twitter other than ones with #MyProject appended to them, then yes, you’ll most likely lose followers and friends very quickly, and rightly so –– there’s a fine line between promotion and spamotion. Don’t cross it.

Or, if you do cross it, do it with tact. For instance, with Cerise, I took a chance that I was sure would end badly. When I wasn’t getting enough “Likes” and “Comments” (and, by extension, not enough contributions) from my friends on Facebook  by simply posting the link to our Indiegogo page on my wall, I started to post the link directly on my friends’ walls with a bit of small talk and a humble request for their support. To my surprise, I received plenty of contributions using this tactic, and only lost one friend and, ironically enough, gained over 300 more by the end of the campaign. It all depends on how you come across in your promotion, like a company or like a person.

Take Steve Anderson’s ingenious (and fun) promotion for his Kickstarter project This Last Lonely Place. In between more standard promotional tweets, Steve infuses famous movie lines with a “Kickstarter” flare:

These “Famous Kickstarter Quotes” keep Steve’s crowdfunding fresh and fun with every tweet.

In fact, it was these “Famous Kickstarter Quotes” that helped Steve attract the attention of one very influential supporter –– The Humphrey Bogart Estate –– which not only contributed a substantial amount of money and support to the campaign for This Last Lonely Place, but also matched every contribution to the campaign itself up to its $75,000 goal.

And this brings me to the final P of crowdfunding (I know, I said there were only three, but only because this last aspect of crowdfunding was woven through each of the others I mentioned) –– Personalization. That’s perhaps the biggest difference between traditional ways of funding a film and crowdfunding; investors invest in projects, while people invest in people. That’s probably the most important thing to walk away from after reading this blog post aside from a few helpful tips that have been proven to work from a handful of victorious projects: PERSONALIZE EVERYTHING IN YOUR CAMPAIGN. The spirit of your pitch, your perks, and your promotion should be YOU as a person; give to your potential contributors a piece of you, and they’ll give you more than just a part of their paycheck. They’ll give you the power you need to really succeed!

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Any crowdfunding stories or tips YOU’d like to share? Write them up in the “Comments” section below and perhaps I’ll be able to work them into future guest posts for the Indiegogo Blog or my “Crowd Reign” blog over at Indie Reign.

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