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Honestly, Distributors & Publisher's Really Don' t Know Your Audience / Sign Up for Facebook Workshop Wednesday


If you want to attend next Wednesday's workshop on how to time Facebook Ads so they show at specific times of day to specify types of people sign up for $20/Month or less at

Remember, you get access to all the videos and workbooks in our video library as well as all the live online events we do every month. A comprehensive and cost-effective solution to help you learn how to earn more doing what you do.

You can also email me questions about anything covered, or ask for help climbing over stumbling blocks that have tumbled into your way. I provide training and support this way because I understand most creative pros do multiple things (write, produce, craft) and they need the right training at the right time to move forward.

Honestly, Distributors & Publisher's Really Don' t Know Your Audience . . .

New writers and filmmakers often believe that Publishers and Distributors just naturally know who a given book or film will sell to. This is entirely and utterly untrue. This is so completely untrue that it should be written in 70-point type on the cover of every how-to book on filmmaking and writing printed. A corollary should appear on the front of every screenwriting book: Filmmakers don't know who wants to see a movie based on your screenplay.

I know it sounds stupid. This is because crazy people define "audiences" as 18-25 year old female, or 5-7 year old boy. People who define audiences that way have never had to sell anything to survive.

Because an audience description for a given book looks like 50+ women, in the UK, US, and Canada, who search for cosy-mysteries, and buy Agatha Christie novels, and books by Kate Carlise, Marion, and Chesney, Dean James, and who like cartoon-posters with no violence. Also, they like dogs and ghosts.

An audience description for a given film looks like 18-35 year old women who like 18th century up-beat society dramas like Bridgerton, Jane Austen's Pride and Prejudice, and loveTimothée Chalamet.

What publishers know (kind of, maybe) is what audience they can reach. And that might be "small art-house bookstores that order through Ingram, folks on Amazon (where they compete with very effective self-published writers for every sale), Walmart, Target, and Grocery Stores (who may give us a lot of returns). Distributors know Amazon, Itunes, and whatever channels they've sold to (broadcast, dvd, etc). And they know those people say they want "more stuff like Bridgerton" and "no more costume dramas" and "movies with female leads" and "nothing urban".

If you're a screenwriter walking into a filmmaker with a script, he knows who he sold his last projects to, and he had some idea of other folks who are looking for some kind of content.

My point is, you have to know your audience, and you have to know how to bring them to your work, if you want to be 100% certain you'll have a career creating what you love for a living.

You figure out who your audience is by advertising.

It's a trial-and-error kind of thing, but it's also kind of fun. It's easiest if you have something to give away free (a novella with a pretty cover, a short film or film clip that dazzles folks, a fiction podcast that surprises and delights). You start running free ads, targeting people based on your guesses, and one day something "hits" just a little.

You figure out that if you just create an ad that shows your book cover, and you target it at people who like Betsy Reavley, Hannah Hendy, and Avery Aames books, $1 turns into ten clicks, and that turns into five people signing up to your email list to get your story. A $1000 dollars later, you have 5000 people to tell about your new book, and half of them buy it, giving you $10,000. You spend some of the money you earned on advertising, write another book, and off you go. Whether you are writing or filmmaking, the magic spell is pretty much the same. If you are a screenwriter, you can find your market via books and podcasts using the same strategy. You can even do it with plays, but that's a mite more expensive.

When YOU know who your market is, and you can reach them reliably, and your name becomes something people know and search for, Publishers and Distributors know who your audience is, and you become someone they very much want to work with. After all, your work sells, and it is easy to advertise.

What's My Point?

You want permission to write what you want to write and to make the kind of movies (short films, videos, video clips) you care about.

We become creatives professionals because we want to earn a very good living doing what we know we do best. In November, I just read, there will be 8 Billion people on the planet. There are likely hundreds of thousands or millions who will like your best work.

You can reach billions through advertising, and it's cheap, fast, and relatively easy (well, Facebook does change it's ad setup pages every month or so, but you get used to it).

You can find your audience, you can figure out how to sell your work, and you can make money. You can even work with leading publishers, studios, distributors, etc.

You just have to find your market . . . which is something no one will do for you. There's too much risk to do it for you.

If I'm a publisher, and you've got one book, and I try to find a market for it . . . what happens if you never write another book? If I take the white-elephant film you produce and figure out how to market it, what if you never make another? So I'll just buy books (or films) that fit into the markets I know how to advertise already. That means YOU have to make your work fit that pigeonhole. Which is fine, if that's easy and fun for you.

If being pigeonholed doesn't work for you, then you get to do the other fun thing . . . which is create a bunch of cool little things to give away and spend a little money advertising that work so you can find your audience (your tribe as they say).

In Wednesday's workshop ,you'll master facebook advertising skills. We'll talk about targeting by age, gender, similar products, and time of day, etc. We'll talk about what to spend, and the easiest/cheapest tools you can use for giving your work away (and selling it). You can sign up for this workshop by becoming a VIP/PRO at

If you hate memberships, you can buy videos I've done on social media marketing for $5 or so each at but you'll spend less money and get a lot more if you just become a VIP/PRO for $20/month or less here. If you spend $92, you'll get a whole year of training and support.

Best Wishes,

Nancy Fulton


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Zoom Link for Tomorrow's Workshop on Secret Identities (Aliases, Pen Names, Pseudonyms, etc).

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