The Postwoman Movie

Sundance 2013 Video: JD Walker, Writer and Director of The...

Fri, 25 Jan 2013 02:10:14 -0500

Sundance 2013 Video: JD Walker, Writer and Director of The Postwoman speaks abt the Film Fest.

The good news? She won the Sundance pitching contest for her second feature film! Whooo hooo.

Not a Single Story: African American Writers on the Pulse of Morning

Mon, 29 Oct 2012 11:07:00 -0400

Screenplay Semi-Finalists and Finalists at HBFF.

From L to R: Malcolm Rector, Regina Junior, Manny Johnson, JD Walker, Corey Moore, and Eric Richardson.

It’s been an eventful weekend at the Hollywood Black Film Festival (October 24-28, 2012) where writers from around the country convened at the W Hotel to showcase their films, feature length screenplays, or works in progress.

I was glad to be included, as a semi-finalist, for my first feature script “The Postwoman,” a story that deals with the inextricable link between gender, race, class, and sexuality, and shows how one mother’s decision to create her own “alternative” family impacts her entire family.

As part of being accepted into the festival, I was granted a VIP pass to the festival and the opportunity to participate in a four hour workshop with all of the screenplay finalists.

The finalists included a brilliant writer from Arkansas by the name of Regina Junior whose screenplay revolved around the lives of two notable football players who come to grips with their relationship after a tragic car accident (Regina Junior is the winner of the Screenplay competition); a writer and professor based in Texas by the name of Malcolm Rector whose screenplay, “Raped,” explores the first few minutes after such a horrific event; and another gifted writer with rich Southern themes by the name of Corey Moore whose screenplay, full of folklore and its own unique speech idiom, was entitled “Blu’s Country.”

Three semi-finalists were selected to participate in the Storyteller workshop with the finalists: myself, JD Walker, writer and director of The Postwoman; a talented writer by the name of Leslie from New York who possessed numerous story ideas and whose emerging TV pilot is entitled “Lear”; Eric Richardson, whose screenplay was not only selected as a semi-finalist, but whose short film “Bubble Gum” was also selected to be included in the Film Festival; and Manny Johnson, the impressive and extremely resourceful writer of a screenplay called “Underbelly.”

The screenwriting workshop was led by Harrison Reiner, a CBS staffer, who previously was production executive on the Academy Award-winning film, CINEMA PARADISO. For over 11 years, Reiner has been instrumental in nurturing the screenplay development of all of the Storyteller finalists at the Hollywood Black Film Festival. His notes on our feature scripts and, more importantly, his ability to empower us and engage us about the motivation for our ideas and other feature scripts was extremely valuable. I look forward to being mentored by Harrison. He is generous, thoughtful, down to earth, and resourceful.

I am glad that my pitches, which were shared with Harrison, were celebrated and highly praised. That means, I need to get back to those scripts and finish them quickly. :)

Perhaps what is most interesting about being included in this celebrated Storyteller Workshop is that all of the writers who were included were engaged in deconstructing myths about the African American experience. We were tired of seeing the “single story” about African American culture or life on the silver screen; that is, a limited and narrow perspective on African American culture and life that restricts or binds our subjects, flattening their experience in this battlefield called life. We wrote because we wanted to shift the discourse about our incredibly complex characters whose lives or experiences were not stereotypical — not bound by a western worldview or perspective.

By creating complex characters, rich with African history, we celebrate our own culture, dialect, speech rhythms, cadences, and euphemisms.

In “Understanding the New Black Poetry,” Stephen Henderson informs us of the “jazz elements” inherent within African American poetry, elements comprised of signifying, improvisation, and “worrying the line,” to name a few. These unique elements can also be found in the writing of established and emerging Black screenwriters. Gratefully, the Hollywood Black Film Festival celebrates both. To an outsider, who might not find these elements in our stories unique, they are meaningless and to be quickly discarded; largely, because they do not uphold popular myths or stereotypes about our culture which is often perpetuated in the media, in the literary canon, and in Hollywood. To an outsider, who is only in the business of upholding the status quo or one single stereotypical story, our multilayered and complex stories, influenced by our diverse background, journey, or vision, may seem invalid.

Indeed, this is why writers of the African diaspora must continue write — to establish balance in the literary world and on the big screen. We must reject popular myths, resist popular stereotypes about our people, and dig deeper to present to the world a universal “human” story, one that is richly complex and allows for the diversity of our spirit and unique cultural perspective. We must be allowed to write what Langston Hughes in “The Negro Artist and the Racial Mountain” calls “free within ourselves” — unashamed and unabashed about our rich African history and culture.

This, of course, is where the demand for more Black critics, storytellers, film festival judges, and script consultants comes in. It is also where critics and storyteller consultants, who are open to deconstructing such richness and complexity, shine. Alain Locke, a philosopher and scholar from Howard University, my alma mater, called for the need for “mutual understanding between the races” in his text, “The New Negro.” Indeed, all voices and experiences should be represented in the literary playing field and on the big screen. And where our stories are not represented, we, as writers, must create them, beckoning other writers behind us and those who are still not born to pick up the torch … and resist.

With Manny Johnson, writer of “Underbelly”

This morning, I am standing on the shoulders of several literary giants and screenwriters who have gone before me. And I know it. I watch Ava DuVernay trailblazing in the independent film world, setting a path for all of us, creating her own distribution model while lifting as she climbs. Like several Black screenwriters and directors who have gone before her, she resists the popular myth of a single story about our existence. “Middle of Nowhere,” for instance, is richly complex. It’s beautiful and lyrical — not just another prison story about a drug dealer or violent felon. We delve deep into the psychology of her working class heroine who experiences her own “dark night of the soul” after witnessing a loved one within the prison industrial complex. DuVernay places the experiences of women into the forefront in her films. They are no longer marginal, voiceless characters, or objects. Rather, they are multilayered and complex. They have voice, vision, and agency.

Last night, while doing some research on “Half of a Yellow Sun” (2013), an upcoming movie based on the novel by Chimamanda Adichie, I discovered this speech she delivered called “The Danger of a Single Story” and knew I had to share it with a much larger audience.

I think all of us should watch this video below over and over until we have learned the lesson: there is no single story. Our lives are far more complex and, as writers, filmmakers, producers, and critics, we must never forget.

———

ABOUT THE WRITER:

JD Walker is the writer and director of the upcoming romantic drama, “The Postwoman,” which earned a Finalist mention at the LA Femme Film Festival (October 11-14, 2012) and a Semi-Finalist mention at the Hollywood Black Film Festival for the feature script. A Kickstarter campaign for her debut feature launches this Fall. Star the project now on Kickstarter by clicking on the following link:

http://www.kickstarter.com/profile/postwomanmovie

A graduate of San Francisco State and Howard University, JD was a Theater major in undergrad and an English major in Grad School. She has an extensive background in publishing, sales and marketing, having worked for several years in the Marketing and Editorial Department at a University Press and having served as a Trade Book Buyer for the Howard University Bookstore. Walker has not only worked with and served on panels with numerous African American poets and writers, but has also written countless feature stories on poets and writers for leading Black newspapers and magazines. She is currently completing two other screenplays while preparing for pre-production on The Postwoman.

102 Resources for Fiction Writers

Wed, 17 Oct 2012 18:12:38 -0400

102 Resources for Fiction Writers:

ruthlesscalculus:

Are you still stuck for ideas for National Novel Writing Month? Or are you working on a novel at a more leisurely pace? Here are 102 resources on Character, Point of View, Dialogue, Plot, Conflict, Structure, Outlining, Setting, and World Building, plus some links to generate Ideas and Inspiration.

CHARACTER, POINT OF VIEW, DIALOGUE

10 Days of Character Building

Name Generators

Name Playground

The Universal Mary Sue Litmus Test

Priming the idea pump (A character checklist shamlessly lifted from acting)

How to Create a Character

Seven Common Character Types

Handling a Cast of Thousands – Part I: Getting to Know Your Characters

It’s Not What They Say …

Establishing the Right Point of View: How to Avoid “Stepping Out of Character”

How to Start Writing in the Third Person

Web Resources for Developing Characters

What are the Sixteen Master Archetypes?

Character: A compilation of guidance from classical and contemporary experts on creating great dramatic characters

Building Fictional Characters

Fiction Writer’s Character Chart

Character Building Workshop

Tips for Characterization

Fiction Writer’s Character Chart

Villains are People, Too, But …

Top 10 Tips for Writing Dialogue

Speaking of Dialogue

Dialogue Tips

Advantages, Disadvantages and Skills (character traits)

How to Write a Character Bible

Character Development Exercises

All Your Characters Sounds the Same — And They’re Not a Hivemind!

Medieval Names Archive

Sympathy Without Saintliness

Writing the Other: Bridging Cultural Difference for Successful Fiction

Family Echo (family tree website)

Interviewing Characters: Follow the Energy

100 Character Development Questions for Writers

Behind the Name

Lineage Chart Layout Generator

PLOT, CONFLICT, STRUCTURE, OUTLINE

How to Write a Novel: The Snowflake Method

Effectively Outlining Your Plot

Conflict and Character within Story Structure

Outlining Your Plot

Ideas, Plots & Using the Premise Sheets

How to Write a Novel

Creating Conflict and Sustaining Suspense

Plunge Right In … Into Your Story, That Is!

Fiction Writing Tips: Story Grid

Tips for Creating a Compelling Plot

Writer’s “Cheat Sheets”

The Thirty-six (plus one) Dramatic Situations

The Evil Overlord Devises a Plot: Excerpt from Stupid Plotting Tricks

Conflict Test

What is Conflict?

Monomyth

The Hero’s Journey: Summary of the Steps

Outline Your Novel in Thirty Minutes

Plotting Without Fears

Novel Outlining 101

Writing the Perfect Scene

Fight Scenes 101

Basic Plots in Literature

One-Page Plotting

The Great Swampy Middle

SETTING, WORLD BUILDING

Magical World Builder’s Guide

I Love the End of the World

World Building 101

The Art of Description: Eight Tips to Help You Bring Your Settings to Life

Creating the Perfect Setting – Part I

Creating a Believable World

An Impatient Writer’s Approach to Worldbuilding

Fantasy Worldbuilding Questions

Setting

Character and Setting Interactions

Creating Fantasy and Science Fiction Worlds

Creating Fantasy Worlds

Questions About Worldbuilding

Maps Workshop — Developing the Fictional World Through Mapping

World Builder Projects

IDEAS, INSPIRATION

Quick Story Idea Generator

Solve Your Problems Simply by Saying Them Out Loud

Busting Your Writing Rut

Writing Inspiration, or Sex on a Bicycle

Creative Acceleration: 11 Tips to Engineer a Productive Flow

The Seven Major Beginner Mistakes

Complete Your First Book with these 9 Simple Writing Habits

Free Association, Active Imagination, Twilight Imaging

Random Book Title Generator

Finishing Your Novel

Story Starters and Idea Generators

REVISION

How to Rewrite

One-Pass Manuscript Revision: From First Draft to Last in One Cycle

Editing Recipe

Cliche Finder

Revising Your Novel: Read What You’ve Written

Writing 101: So You Want to Write a Novel Part 3: Revising a Novel

TOOLS and SOFTWARE

My Writing Nook (online text editor; free)

Bubbl.us (online mind map application; free)

Freemind (mind map application; free; Windows, Mac, Linux, portable)

XMind (mind map application; free; Windows, Mac, Linux, portable)

Liquid Story Binder (novel organization and writing software; free trial, $45.95; Windows, portable)

Scrivener (novel organization and writing software; free trial, $39.95; Mac)

SuperNotecard (novel organization and writing software; free trial, $29; Windows, Mac, Linux, portable)

yWriter (novel organization and writing software; free; Windows, Linux, portable)

JDarkRoom (minimalist text editor; free; Windows, Mac, Linux, portable)

AutoRealm (map creation software; free; Windows, Linux with Wine)

“The Postwoman” Feature Script Earns Finalist...

Wed, 17 Oct 2012 18:04:59 -0400

“The Postwoman” Feature Script Earns Finalist Mention at LA Femme Film Festival (October 11-14, 2012).

Find out more:

http://www.thepostwomanmovie.com

http://twittercom/PostwomanMovie

Kerry Washington Discusses Olivia's Pope's Wardrobe on Scandal

Sat, 29 Sep 2012 01:08:12 -0400

Kerry Washington Discusses Olivia's Pope's Wardrobe on Scandal :

I love the movement, acting, production design, and dialogue in this show. Here, Kerry Washington discusses more about her the world of her character, Olivia Pope.

"Open Your Hands": New Blog Post

Wed, 26 Sep 2012 06:13:00 -0400

I surmise that many of us could benefit from learning to open our hands. Too many of us walk around this earth with our hands clenched, clutching cell phones, laptops, or other unnecessary baggage. We are more connected to our virtual friends and family members on social network sites like Facebook or Twitter than we are to real, live human beings in our own communities. We praise our deep investment in technology more than we do our deep investment in local and national social justice organizations that are committed to eradicating some of the world’s greatest problems: xenophobia, racism, classism, poverty, hunger, exploitation, sexism, and homophobia (to name a few)

What we need is a revolution of mind, body, and Spirit — the result of which stems from not only taking the time to tap into the God/dess within, but also detaching from that which has been our greatest distraction.

A clenched fist or a closed hand cannot receive. It cannot recognize the power of community or unconditional love. A closed hand does not trust that the Universe will provide, that there are Angels all around us, and help on the way, if we are willing to ask for it. Closed hands often wallow in self-pity and doubt. A closed hand may feel powerless to effect any real change; to understand the power of political efficacy. A closed hand can never attempt to tell a universal human story. A closed hand is thus disconnected from the Spirit and often subjects itself to carpal tunnel.

How can we benefit from opening our hands?

Opening our hands not only allows us to connect with the Spirit — to touch the life breath that fuels the world, but it also allows us to connect with other communities and worlds we may not have ever known existed. When we open our hands, we give ourselves permission to the let the kundalini energy run through our bodies, helping us to become realigned with the Source. When we step away from our computers and cell phones to connect with local communities, to volunteer at local shelters, to experience the joy of experiential learning, we have a greater sense of our purpose and agency. We understand that we all thread cut from the same cloth — striving for peace and justice for all here on earth.

Take a moment. Unclench your hand. Open your third eye, your left and right ear, your left and right hand. Listen to the Spirit and let it guide you, reminding you of your humanity and your connection to all other life. Tap into the power within.

In this video, I sit down to discuss updates on my upcoming...

Wed, 26 Sep 2012 04:53:00 -0400

In this video, I sit down to discuss updates on my upcoming feature film, “The Postwoman,” a romantic drama starring Margaret Kemp (Children of God 2010). I also include an announcement that our feature script is currently a finalist at La Femme Festival in Los Angeles.

Ava DuVernay Interviews Spike Lee for Filmmaker Magazine

Sun, 26 Aug 2012 15:30:52 -0400

Ava DuVernay Interviews Spike Lee for Filmmaker Magazine:

jasmintiggett:

“knock the mother****er out.” indeed spike, indeed.

DuVERNAY: There’s this glaring missing link for all of our filmmakers who have done amazing work and the allowances that they have to make to get films made later in life. Charles Burnett, Julie Dash, etc. It’s just not there. It’s not happening.

LEE: I agree with you. I mean, but this game … you’re playing in Boston.

DuVERNAY: [Laughs] Okay.

LEE: You’re playing in the old Boston Garden with Red Auerbach smoking a cigar, you know? [Laughs] It’s not set up for you to win.

DuVERNAY: Right, right.

LEE: It’s a boxing match and the judges are looking at you funny. You’re not going to get the decision [laughs] unless you knock the motherfucker out. If it comes down to decision, you’re not going to win.

"11 Tips Before Launching Your Crowdfunding Campaign" by @PostwomanMovie

Sat, 25 Aug 2012 14:34:00 -0400

It seems odd that I’m writing a blog post listing 11 essential tips to consider before launching your own crowdfunding campaign, especially since I, a writer and director, don’t launch our own Kickstarter campaign for our feature film, “The Postwoman,” until November 2012. Yes, our launch date is coming this Fall.

Our feature film, “The Postwoman” is a romantic drama that stars Margaret Kemp (Children of God 2010) as a newly divorced mother of two who struggles to come out to her ex-husband and kids after falling in love with a butch graphic designer she meets in an independent women’s bookstore.

You can view a clip of Margaret Kemp’s acting work by clicking the link below:

Enough about our feature film. If you really wanted to stay abreast of when our Kickstarter campaign launches this Fall, you’d star our romantic drama on Kickstarter. Or click on the Kickstarter link below, right?

I’m a bit of a comedienne, if you didn’t know. I’m also the writer and director of “The Postwoman.”

But I digress. :-) I am writing this blog post because, over the past few months, I have become intrigued witnessing very successful crowdfunding campaigns. I have also felt quite disturbed witnessing crowdfunding campaigns that not only never reach their targeted goal, but also lose everything. Do you hear me, people? Everything!!!

Ugh!

It’s every filmmaker’s crowdfunding nightmare to get so close to reaching their targeted funding goal only to lose everything. But we run that risk because we are not afraid, because we are deeply invested in bringing our precious film (our precious dreams) to a theater near you.

Perhaps we could all benefit if we had a few essential tips to consider before launching a crowdfunding campaign. It is for this reason that I write. Who can remember, for instance, the successful crowdfunding campaign of Ryan Koo (Writer and Director of “Man Child”) and also founder of http://nofilmschool.com whose targeted goal on Kickstarter was $115,000, but he surpassed his goal by raising $125,000?

Or Amanda Palmer whose targeted goal was $100,000, but she also broke records on Kickstarter when she raised a whopping $1,192,793? Palmer is an artist and singer who launched her campaign to help raise funds for her new tour.

Do you remember when Aurora Guerrero raised raised $82,469 of her targeted $80,000 goal for “Mosquita y Mari”?

How about when Issa Rae raised $56,259 of her targeted $30,000 goal for “The Adventures of Awkward Black Girl”?

What about when Dee Rees and Nekisa Cooper raised over $11,000 of their $10,000 goal for “Pariah” to help with post-production (e.g., sound, music clearances, etc) before heading off to Sundance? Do you remember that campaign?

Even Whoopi Goldberg ran a successful campaign for her upcoming documentary about Mom’s Mabley entitled “I Got Somethin to Tell You.” Whoopi’s targeted goal was $65,000 but she raised $75,765.” It might seem surprising that a well known actress like Whoopi, who has received a host of notable awards, including an Emmy, Academy Award, and Golden Globe Award, would launch a Kickstarter campaign, but, let’s face it, all of us can use some help. Filmmaking is an expensive business.

I donated to all of these new voices in independent cinema (including Whoopi’s project) because they were opening new doors for indie filmmakers (women of color, especially), pushing new boundaries, telling heartfelt stories that were infused with hope, culture, and meaning. They were essentially, to quote Julie Dash, “recoding and reframing” the image of marginalized subjects in the mainstream. They were refusing to be silent, giving voice to those who had been absent or misrepresented in Hollywood or the media. I believed not only in their product, but especially in their unique individual stories — as writers, creative artists, and directors.

Audience members are often drawn to universal human stories or film projects that they connect with on a deep personal level. So, yes, filmmaking “is” personal. It is as much a business as it is about creating, nurturing, and sustaining relationships with crew members, actors, casting directors, investors, sponsors, and fans.

I hope these 11 Essential Tips written, primarily, to myself, are helpful. Perhaps they will help no one at all. But the good news is that I wrote it and I shared it. It’s up to you whether or not you will take heed.

1. You’re Screwed

You should go into a crowdfunding launch thinking of all of the possible things that can go wrong to help you better assess possible loopholes and pitfalls to avoid. Here are some things to consider:

Will your friends be broke that month? Have they just paid the mortgage or rent, or donated to 29 other projects that were launched in the same week?
Have you forgot to announce your campaign at least one, two, or three months in advance? In fact, was the first time you posted your link to your Indiegogo or Kickstarter campaign the exact same day you launched your campaign?
Did anyone know your campaign was forthcoming? Did they not know that your campaign existed because you only advertised on one social network — at 3am in the morning? How will you ensure that your East Coast, West Coast, or friends abroad in other countries see your crowdfunding post if you are all on different time zones — logging in at different times to catch up? Something to think about.
Is the text on your campaign clear? Does it look thought out? Is everything all jumbled together (e.g., videos, links, texts, and images)? Does it look like a professional did it or an amatuer? Is it proofread?
How far down on your page do we have to scroll to find out where our money is going, what the film is about, or who you really are?
Does your bio show what you have done previously? Awards received, if any? Don’t be shy. These things help build confidence in your audience as well as awareness.
Is there a trailer or tiny clip of your debut feature before launching? I know this is not entirely possible without any funding, but every little bit helps. If there is no trailer, is there a link to another short film you did, a link to a feature film your actors did? A demo reel by your cinematographer?

2. Toot Your Own Horn

My background, while saturated in theater and film, is also in journalism. I have an extensive sales and marketing background — mostly as a trade book buyer for independent bookstores and as a Marketing Consultant for a publishing company. Perhaps this gives me some insight into the importance of tooting your own horn. This process should be carefully calculated. You should proceed consciously. You should also be cautious. In other words, don’t spam people. Coax them gently. Invite them to participate in your film’s “event.” Collect emails for a newsletter.

If you’ve launched your crowdfunding campaign, don’t expect to go on vacation and wish that folks will continue donating while you’re tanning on the beach. You have to stay active throughout its entire duration. One tweet on Twitter and one post on Facebook at 6am PST (probably 8am your time) are not enough. You have to build momentum, reminding investors, supporters, fans, family, and friends that this baby is still kicking and their support would be invaluable. But you have to tread lightly. Posting your Kickstarter website or link on friend’s Facebook pages may be desirable but also may seem invasive. Know your audience.

A good idea is to bring those friends and supporters along through a solid grassroots direct marketing or email campaign; the result of signing folks up for your newletter. That way, when they get the announcement about your campaign, it’s because they’ve already invested in your work and have been awaiting such news. They weren’t bombarded with it. So, toot your own horn but remember, audiences are, most likely, interested in you — the creator. So be yourself. Post at your own risk.

3. Connect with Audiences in Advance

Several filmmakers testify to the need of connecting with one’s film base. As the following PDF article, entitled “From Distribution to Audience Engagement: Social Change Through Film” by the Fledgling Fund assures us, connecting with our audience base can consist of any of the following:

Online social networking tools (Facebook, MySpace, Twitter, YouTube Channel, etc.)
A website dedicated to the film
Radio stories, newspaper articles, magazine or television coverage, blog coverage or other e- communications
Mutually beneficial partnerships with non-profit organizations, corporations, religious bodies or educational institutions
Word of mouth
Speaking engagements
Public stunts or other creative methods that are focused on making a splash that attracts media and public attention

It’s not enough to try to build an audience base at the launch of your crowdfunding campaign. It is essential that you network early, bringing on supporters and engaging them as early as you can.

4. Diversify Your Portfolio

Perhaps you figure that to really produce an exceptional independent feature film, you need at least $3 million dollars. So you tread in pursuit of a crowdfunding platform that will allow you to do such. You note that supporters not only in the U.S. will be able to contribute to your campaign, but also note that your platform allows for money to be invested from other countries as well to help you reach your targeted goal.

But what we must realize is that there are host of notable independent feature films have been produced for far less than $1 million. A lot of wonderful independent film projects that have gained distribution were produced for under $40,000. And here’s the catch here: one wants to keep their production costs as LOW AS POSSIBLE (regardless of how much you can raise) to ensure that you can not only recoup your expenses, but also provide a generous return to investors.

Ask yourself the following questions:

Do I really need to raise $3 million in 14 days on one platform?
Is it logical to have both a Kickstarter campaign and Indiegogo campaign going at at the same time? Audience members tend to get confused. If the filmmaker or producers aren’t solid on the direction of their film, how can they ensure that you will also be as formidable with their cash?
Some folks are blessed to raise $1 million, as is the case of Amanda Palmer, on one crowdfunding campaign. But she has revealed in countless interviews that she had been nurturing her audience base for years. Her work was visible. It was international. If you happen to be a local independent whose just getting started, maybe you only want to raise funds for development or pre-production and spend the rest of the time meeting investors and potential sponsors face to face. Then, you might consider, once you have an actual trailer to lure more investors and funders to your project, launching another campaign for post. This is a “safe” method but if not too many people know about your project, it may be worth it in the long run. Who wants to lose everything???? Again: ugh!

5. The Rewards Don’t Mean Much

Contrary to popular opinion, you don’t need to go broke giving away ipads, the new Iphone 5 (you can’t do this anyway), or expensive t-shirts to lure people to donate to your campaign. The rewards don’t matter. People are drawn to a clear execution of goals and the story. They are equally drawn to the writers, producers, and creators behind the project.

Okay, the jag does look cute doesn’t it? :-) Anyway, the point is this: realize that when someone invests in your project, they are investing in your long-term career. They want your debut drama to be a success, but they also want to ensure your longevity in your field because you have proven to them that you are a valuable voice in the community and are needed.

6. Are Your Friends Broke?

The sad reality is that the economy is unstable. People are struggling. Some are robbing Peter to pay Paul (this is the first time I used that phrase in a sentence). Hopefully, you are robbing no one but rather thinking carefully about how to invest your funds. Imagine if “you” are struggling. If you are struggling then your broke friends might be too. Your rich friends may also be cautious about their investments. Why? It’s too risky.

There’s too many other important projects on the line. For some, investing in your project means supporting your campaign vs. paying the mortgage or rent vs. buying groceries vs. filling up the tank (you know the gas is high, right?) vs. paying off another bill. Who hast time to invest in a luxury item produced by an unknown that may never exist?

I’ve said this before, but maybe you’re launching a campaign at a time when your friends just donated to 29 other crowdfunding campaigns in the past week. We certainly can’t cripple the urban poor or middle class poor either. Maybe the peeps you want to market to just paid for their child’s college tuition. School is starting again soon — after all.

Your friends may simply LOVE what you are doing but can’t afford to support you right now. That’s why you should have options for them to contribute towards your campaign even if they can’t donate now:

Perhaps they can give a sistah a RT.
Can they write a review or blog post about your debut film?
Can they share your film on their social networks?
What if they got aboard your marketing team? Yeah, for free. :-)
Do you have a paypal link? Maybe they can donate when they get paid.

If your friends can’t donate RIGHT NOW — I mean, right at the very last second that your campaign ends (because they JUST found out about it), don’t take it personal. It’s no reason to unfriend a sistah or a brothah. It just means that they really can’t.

But what they can do is be there at your film launch or book signing. What they can do is show up on opening weekend with twenty friends who stood in line to buy a ticket. What they can do is inspire you and give you words of encouragement. What they can do is love you unconditionally — and you should love and appreciate them unconditionally regardless of if they can donate — immediately — at that second when you believe you need them.

Listen up. This campaign is more than just appealing to your closest family members and friends. Think big! Identify local and national social justice organizations committed to your cause. What companies, schools, or organizations support what you’re doing? Tap into those resources. Thinking small gets us nowhere.

7. Set Clear Goals

Be sure your audience knows the direction and course of your crowdfunding project. What should they expect a month from now, three months from now, a year after the film is launched? How will funds be allocated? Be up front. Be clear.

8. Trailer’s Work

This may seem cliche’ but trailers that are embedded within your crowdfunding page really do work. Perhaps the reason why you’re launching the campaign in the first place is because you NEED the expenses to get the contracts signed, music releases cleared, hair and make up department on board, locations in place so that you can shoot the trailer in the first place. Trust me, I know. We all do.

If you can afford to insert a short trailer or even a clip from the crowdfunding project (any sample), you will entice your audience. If you can’t afford it, then consider inserting your DP or Cinematographer’s reel, your lead actor’s video of her most recent production, a previous short film or IMDb link to a feature you did. Filmmaking is a visual medium. Don’t leave audience members who want to invest in your feature film saturated with Gawd awful text. (Quite like this long post. I did say I’m a writer, right?)

If you’re able, weave your trailer or clip into your main crowdfunding video, as Dee Rees and Nekisa Cooper do above for their Kickstarter campaign, produced in advance of their Sundace premiere. Remember, folks are investing in you as much as they are in your project. Just believe.

9. Do You Link Back to your Film’s Website?

It sounds simple doesn’t it, but is there even a link on your crowdfunding page back to your film’s website? Where can folks go to find out more? Are you on IMDb? Did you win an award? Did you screen at another festival? Is there a place where audiences can read a complete list of screenings? All of these things are helpful.

10. How is the Timing of Your Launch?

It takes guts to launch a crowdfunding campaign. I’m getting goosebumps just thinking about it. Plan your launch carefully. Hopefully, you have done this after engaging an audience, after building a solid film base, after carefully calculating your expenses, and separating your wants from needs.

What other campaigns have been launched since yours have? Will you launch simultaneously with the launch of other friend’s projects? Will you launch during a topical event, in the midst of a crisis? I’m not saying do so. I’m saying assess what you have. Then, go forth and brave the new terrain. If you don’t reach your targeted goal, there’s always tomorrow and good reputable producers who are willing to help.

11. Are You Likable?

Whew. We’ve finally reached 11 and I’ve certainly got to get back to our feature script for our upcoming romantic drama “The Postwoman.” One question that new audience members want to know is who are you? Yes. Who are you? Are you a new filmmaker? If you are, what other relevant work have you done? What makes you likeable? Reliable? Credible? How are your social skills? Are you approachable? Friendly? Easy to collaborate with?

JD Walker, Writer/Director, “The Postwoman”

This might seem like something small but everyone knows in Hollywood and in independent filmmaking that if you are terrible to work with, you might not get very far. :-( Ouch. Hurts. Doesn’t it?

Do you have a personality? Do you have any human soul at all? :-) The point is this (and this may seem redundant), your supporters will donate because they LIKE YOU because you have proven to them that YOU are a worthy investment. So, believe in your project, rally people to your cause, and get to filmmaking.

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ABOUT THE WRITER:

JD Walker is the writer and director of the upcoming romantic drama, “The Postwoman.” A Kickstarter campaign for the debut feature launches this Fall. Star the project now on Kickstarter by clicking on the following link:

http://www.kickstarter.com/profile/postwomanmovie

Ellen DeGeneres: Comedian

Thu, 07 Jun 2012 12:08:37 -0400

Ellen DeGeneres: Comedian

50 Reasons a Sistah Should Make a Film

Mon, 23 Jan 2012 20:20:00 -0500

to create new myths
to dispel stereotypes
to resist objectification and marginalization
to create new heroines and heroes for the community
to challenge the status quo
to uplift the grassroots
to get your foot in the door
to open new doors
to trailblaze
to light a path for other filmmakers
to establish a blueprint for those who will come after you
to educate
to entertain
to inform
to inspire
to “talk back” to other narratives, films, voices, or texts
to examine hierarchies
to own the means of distribution
to maintain creative control
to make the “not heard” heard
to uncover hidden truths
to follow your dream
to create a calling card
to reveal a universal, human story
to tell your own story
to resist being mute
to build key relationships and partnerships with others in the industry
to explore new and innovative cinematic techniques
to learn what not to do on the next film
to make a difference
to prove the naysayer’s wrong
to build community
to stand in solidarity with those who are committed to racial, sexual, and social justice
to explore the boundless and unlimited possibilities of love
to define new “moments” in cinema that are infused with meaning
to reveal a piece of your heart
to illustrate that we are all thread cut from the same cloth
to learn which part of the industry you love best
to conquer illusory fears
to hone your craft
to learn to write & film for the eye
to showcase new talent
to gather a credible or reliable production team
to make a return on your investment
to illustrate a character’s complexity
to unveil new characters with depth and soul
to touch another soul
to highlight the community’s accomplishments
because you wouldn’t be happy otherwise
because your audience is waiting on your feature

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JD Walker is the director of the upcoming feature film, “The Postwoman.” The movie centers around the life of Nia, a 30s graphic designer, who falls in love with a newly divorced postwoman struggling to “come out” to her family and kids. A Kickstarter Campaign for her feature launches March 2012. Find out more about The Postwoman by logging on to http://www.thepostwomanmovie.com . Follow us on Twitter @PostwomanMovie.

A Screenwriter's Butterflies . . . .

Sun, 06 Nov 2011 01:55:00 -0400

“Take the first step in faith. You don’t have to see the whole staircase, just take the first step.”

~Dr. Martin Luther King

Talked to a member of the WNBA tonight who is also interested in starring in our feature film and made contact with a well-known R&B artist. We keep getting the thumbs up. Everyone one is saying “Yes” to our film. Happy.

Tonight, I attempted to return to the feature script and, for the first time, I got butterflies. I feel like I’m preparing for a sprint, a great marathon. A screenwriter and director whose preparing to produce a right worthy film must stay healthy; on top of their game. They must remain attuned to the energy and passion of the project. They must reflect the needs, hopes, dreams, and experiences of their characters — on their quest to bring their stories to the big screen. They share their cast and crew’s enthusiasm.

Yes, it feels like a marathon, but I’m well prepared for the journey ahead. I’m enjoying the journey. Somehow, I feel like I must continue exercising, working out, careful to eat three meals a day, and take necessary naps, if I am to continue honing and pushing out this screenplay — on schedule.

I’m returning to the tail end of the script to hone some final scenes; write in a few lines for a new cast member (another guest appearance).

The word is out and the dream has gone up to the ethers.

We’re flying.

Where do the butterflies stem from? The enthusiastic response to our project and concept. The butterflies stem from the fact that the screenplay is larger than myself (much larger than even our cast or crew) and its impact greater than anything I, the cast, or crew could have ever imagined. It’s “The Secret” made manifest; our dreams being actualized and with little effort.

I’m glad its resonating: the themes inherent in the screenplay (following your passion, surrendering to love, the ‘new’ family that grows and triumphs and succeeds — despite all myths and obstacles).

My butterflies are so great I can’t even return to the script. This is a new feeling. Perhaps I’ll pick up a book by Peter Marshall or read excerpts from the Film Collaborative’s “Selling Your Screenplay Without Selling Your Soul” — or, still, excerpts from John Reiss’ “Think Outside the Box.”

Perhaps, we’ll open up the Roku.

Whatever the feeling, it’s a good one. And we’re banking on that.

Here’s Deniece Williams’ song, “Black Butterfly:

http://www.youtube.com/watch?v=I87wCxykxyE

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http://www.thepostwomanmovie.com (Official Site)

http://twitter.com/PostwomanMovie (Twitter)

Margaret Kemp to Star in Title Role of "The Postwoman" Movie

Mon, 31 Oct 2011 12:05:00 -0400

We’re pleased to announce that our lead actress in the title role of “The Postwoman” will be Margaret Laurena Kemp. Kemp, most recently, starred as Lena in the film, “Children of God” (2010), directed by Kareem Mortimer. “Children of God” garnered a host of notable awards on the film festival circuit and screened at numerous theaters around the world.

View a clip from “Children of God” here: http://vimeo.com/24751266

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http://www.thepostwomanmovie.com (Official Site)

http://twitter.com/PostwomanMovie (Twitter)

If You Build It, They Will Come

Mon, 31 Oct 2011 00:55:00 -0400

“If you build it, they will come,” or so says the popular bit of dialogue from that feature film we all know, “Field of Dreams.” You remember the scene. Or bits and pieces of it. A guy stands in a barren baseball field, staring out into the distance. The bases are unloaded. It’s just him, on the field, staring. An occasional breeze kicks up dust, carrying with it his memories, his dreams, his vision for the future.

That’s us, standing on the brink of something great with our feature film. Now more than ever, the dreams are slowly becoming reality. We can see it, and the supporters are stepping up to the plate. They want to hold the ball, throw us a towel, share a cup of gatorade, hand us gloves. They want to be on the team! And they can. If there was anything we learned about the LA Rebellion filmmakers, it was that the community should at all times be involved in the production of your own film. We make community by building it at the same time; in other words, we lift as we climb.

This is so exciting. And even though baseball is the current analogy, I’m a big fan of the WNBA and Golf. I love that our characters love both. I love that they play both. I hope to make each scene look just as amazing, beautiful, and enticing on screen.

I’m writing this because I started storyboarding my first scene tonight. It’s not the very first scene of the film, but it’s a scene that happens early on in the film. I could see the characters standing there in the frame, the close-ups, the long-shots, the extreme wide shots. I saw the outtakes and I saw the cinematographer and crew moving the cameras into a different position, smiling, ready for us all to call “ACTION.”

Today, a filmmaker friend, Matthew Cherry, posted an inspiring quote on Twitter. The quote was from Tyler Perry. The quote went something somewhat to the effect of: “You don’t need to permission to green light your own projects. Go for it.”

Yes! Go for it. Dream big — without inhibitions. Give yourself the green light to begin seeking funding, to begin honing cast and crew, to begin marketing (well in advance), to believe that your base is already solidified.

Stepping out on faith may be a little bit scary, but it’s necessary to lead, to build, to expand, and to grow. People are waiting on our story, and they are waiting on yours too.

So, what are you waiting for? Go for it!

True honest work is always supported in kind. If you understand the meaning behind the Sankofa bird, then you will know where you are going because you are conscious and cognizant of your past — of where you have been before. The journey isn’t easy, says a friend, but it will all be well worth it.

Many blessings.

All Light,

Director, “The Postwoman” (Movie)

http://www.thepostwomanmovie.com

http://twitter.com/PostwomanMovie

Staying Focused

Mon, 24 Oct 2011 13:44:00 -0400

One thing about filmmaking (and screenwriting, in particular) is the need to stay focused. We have so many distractions that keep many of us from staying attuned to our art. Twitter, Facebook, Tumblr, podcasts, news feeds galore — it’s enough to make any sistah just want to sit, surf, and crack up all day at friends’ posts (or respond to other global issues and concerns).

Today, I brought my finished feature script with me. I’m excited to have my first read through with potential cast members soon. I honed a scene or two and made sure that the scene I honed fully functioned. I’m excited about the dialogue as I am about each scene. It will take some time envisioning camera angles and shots for these scenes. I look forward to that pleasant discovery with my DP.

When I was in the process of writing the feature, I took the manuscript everywhere. It slept with me and woke up next to me on my pillow. Some Lover! Wherever it ended up with me — whether in a cafe’, on the plane, or at the beach — it was always a pleasant reminder of the need for completion — the need to see something through to the very end.

I’m determined to see this crowd-funding campaign all the way through to its completion. I am equally determined to see our feature film on the big screen. I envision its future, growth, and mass appeal over a period of time. Seeing the film on the big screen is nice, but I’m also interested in ensuring that the film available through a host of other outlets as well — in smaller theaters, via grassroots organizations, on DVD, Netflix, and, of course, other streaming sources on demand. These are my hopes as I seek to bring more “human” stories (in this case, an LGBT romantic comedy) to my audience.

If you haven’t read my article on Film Courage earlier this summer, maybe you should. The article is entitled, “Hot and Bothered: How LGBT Filmmakers Defy the Odds While Resisting Objectification and Marginalization.” In the article, I mention the importance of not only women of color, but also LGBT women of color (specifically, African American women) gaining “visibility” on screen.

Indeed, we do need balanced stories that reflect “the diverse spectrum of our lives.” We need an alternate judging criteria for validating our own work, one that departs from the traditional Western aesthetic or the mainstream.” The Black Arts Poets of the 1960s (like Askia Toure’, Amiri Baraka, Johari Amini, Sonia Sanchez, Haki Madhubuti, and many others) sought to do this in their poetry. Stephen Henderson outlines their efforts in his phenomenal book, Understanding the New Black Poetry: Black Speech and Music as Poetic Reference.

Similarly, the UCLA filmmakers who comprise what is known as the “L.A. Rebellion” (like Haile Gerima, Julie Dash, Charles Burnett, Larry Clark, Zeinabu Davis, et al) sought to create a new aesthetic on screen, one that revered African American culture and images, and looked East (toward Africa) for inspiration, iconography, and symbols for understanding.

Zeinabu is currently in the process of raising funds for her documentary about the L.A. Rebellion. That documentary is called “Spirits of Rebellion” and you can find info on how to support it here: http://www.indiegogo.com/Spirits-of-Rebellion

I must note that I was in attendance at the opening of UCLA Film & TV Archive’s tribute to these notable filmmakers. This event, which is entitled, “LA Rebellion: Creating a New Black Cinema,” is still ongoing. There, I got the chance to see Julie Davis, Jamaa Fanaka, and several others filmmakers in person. I got the opportunity to view a new print of their films on screen. Watching “Daughters of the Dust,” “Bush Mama,” “Spirits of Rebellion,” and other shorts produced during this historic time period was empowering. It let me know that I had stepped into my divine destiny — to create more empowering films for my people.

We know that for centuries the African American image has been devalued on screen. The early filmmakers of the Harlem Renaissance like Oscar Micheaux sought to rescue our tattered image from the mainstream and headline news. They sought to give voice to our complex issues and experiences; to our quest for a “fuller humanity” in the new world on the big screen. While Micheaux battled such topics like lynching, racism, sexism, classism, and double-consciousness (to quote W.E.B. DuBois in his book, The Souls of Black Folk) in his works, others after him battled such topics like colorism, rape, sexual abuse, and homophobia.

Remembering the rich blueprint that these filmmakers have prepared for younger writers like me keeps me focused. Their work keeps me attuned. Their history and herstory makes my work necessary. And for this, I am so grateful.

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JD Walker is a screenwriter and director of the upcoming feature film, “The Postwoman.” Find more details about the film at http://www.thepostwomanmovie.com

A clip from the short film, “The Postwoman.”

Sat, 22 Oct 2011 15:31:23 -0400

A clip from the short film, “The Postwoman.”

Blogging About Our Feature Film

Sat, 22 Oct 2011 15:24:00 -0400

Well, I decided to create a blog to chronicle our journey towards the feature film, “THE POSTWOMAN.” As you know, our short film, “The Postwoman,” screened at over 21 film festivals around the country. Those film festivals included The Queer Women of Color Film Festival, where the concept was developed, Frameline 34, The Boston LGBT Film Festival, Out in Film Festival, The African American Film Festival in PDX, the Michigan Womyn’s Film Festival, The Reel Sista’s Film Festival in NYC, Black pride festivals around the country, and so much more!

The journey to the feature film is no easy task. It’s not a hard thing to do. It simply requires patience with the process. If you’re passionate about filmmaking, you’re going to love the journey. One thing that I am paying close attention to now is the journey of other filmmakers who have successfully launched Kickstarter and Indiegogo campaigns. These filmmakers are now in production or post-production. This is simply fascinating.

We know that we have an awesome following for our film, which includes members of our own community and other wonderful people around the world who we have not yet met. I remember when I was still in the process of marketing the short film, I was getting requests to screen the film in Russia, Spain, Africa, London, Italy, and Amsterdam. Yow. :) Our supporters include industry professionals and supporters, as well as deeply supportive local and national organizations. Thank you for your ongoing support and for following our journey to the feature! It’s going to be a beautiful process.

I plan to chronicle our journey toward the feature film every step of the way. Since the filmmaking process is rapidly evolving, growing, changing (even over night), I know it is mandatory to chronicle the journey — to remember what happened, to appreciate every step of the journey. The end result — screening the feature before our audience and making many other wonderful feature length films — is a wonderful goal. But the journey is what is most meaningful and worthwhile.

Now that the feature script is complete, I’ve not only begun sending it out to screenplay contests (okay, I only sent it to one contest. That ‘ish’ is expensive!), but I’ve also been sending it to Screenwriting Labs. I value the importance of really working, honing, and deepening a script over time in a community of other like-minded professionals. I’ve been honing and deepening the script (making sure every scene is valuable and necessary and relevant) while contacting dynamic actors to bring our film’s vision into fruition.

Even if we don’t make it into the labs, we have a great story and a fantastic screenplay. We have a dynamic cast and an awesome crew. I am still honing both and will continue over the course of the next few months.

The greatest thing about filmmaking is that you have to be inspired to take risks; to never take the word “no” for an answer. There is always another path, another route, an alternate creative vision that will lead you to the big screen, where your audience will be waiting, happily cheering, popcorn and juice in hand.

And what generous support I have received already. We have solidified a lead for the film and other supporting roles. We are also honing precious crew, which is fantastic. What is even more important is to hear from industry professionals at mega studios who write to say, “I’d love to help you with your feature film in any way that I can. I love working with independent filmmakers.” Wow. :-) That is simply awesome.

So, sit back and enjoy the journey. In the near future, I plan to announce some cast members and crew for our film as well as post short videos of both in our upcoming crowd-funding campaign. Are you as excited as I am?

We’ve got a story to tell, and the story will be profound. :-)

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JD Walker is a screenwriter and director of the upcoming feature film, “The Postwoman.” Find more details about the film at http://www.thepostwomanmovie.com