The economy is horrible. Well tell me something I don't know. I have been effected by it as much as the next person. So how do you get funding for your company in this climate?
Realization: There is no funding.
Realization: There is no spoon.
Just like in the Matrix - when you realize that there is no spoon you can bend it anyway you would like. Recently, I realized that since there is no funding - I need to utilize the resources that are available to me and get this company started on knowing that there is no funding for someone like me. Small, limited resources, limited time. This gives me tremendous freedom to bend the spoon anyway I like.
So here is the plan. Gather my very eager students into small teams of 4 or 5. Provide the tools needed to build a game. Have the team present concept documents, vote on what to build. Since I don't have money to pay them, give them equity in the game they build. Basically, they work for a percentage if the game makes money.
Let's see if this works. If the games don't make money then at least my students get shipped games on their resume. I expect that some of them will hit and some will miss. Just like life.
Tuesday, October 27, 2009
Friday, July 3, 2009
If The Shoe Fits
Sometimes it doesn't and you need to move on. Let me explain.
Recently I had a funding opportunity presented to me. The deal was to work with a preset team of people (with research, marketing and sales skills; note here that there are no programmers but myself on the team) to launch an online business. Each team member would own an even cut of 49% and the funding source would own 51%. My cut would end up being about 8% of my own idea. It seemed a bit lopsided to me but, funding is hard to come by so I presented the companion website to my book, Calculated Leap. What I discovered was - as soon as I presented the idea, it was liked but everyone on the team wanted creative control of the idea and immediately wanted to change it.
I thought to myself, I guess I can give up some creative control and I continued down the path. As the team worked on it the idea it started to become something else and I began to see that I was not going to be able to recognize it soon. I started to realize that I wasn't just giving up some creative control, I would ultimately have to give it all up. At that point the 49-51 split (which to me was really a 8-92 split) started to feel too steep of a compromise and I pulled out of the proposal.
What I learned was, not every funding shoe fits and you need to find the right one for your project.
Recently I had a funding opportunity presented to me. The deal was to work with a preset team of people (with research, marketing and sales skills; note here that there are no programmers but myself on the team) to launch an online business. Each team member would own an even cut of 49% and the funding source would own 51%. My cut would end up being about 8% of my own idea. It seemed a bit lopsided to me but, funding is hard to come by so I presented the companion website to my book, Calculated Leap. What I discovered was - as soon as I presented the idea, it was liked but everyone on the team wanted creative control of the idea and immediately wanted to change it.
I thought to myself, I guess I can give up some creative control and I continued down the path. As the team worked on it the idea it started to become something else and I began to see that I was not going to be able to recognize it soon. I started to realize that I wasn't just giving up some creative control, I would ultimately have to give it all up. At that point the 49-51 split (which to me was really a 8-92 split) started to feel too steep of a compromise and I pulled out of the proposal.
What I learned was, not every funding shoe fits and you need to find the right one for your project.
Monday, February 16, 2009
Get To Market
Get to market. It is a mantra in my head. It has Bill's voice.
Ok Bill - this is what I have done this month. I published my book, launched a Valentine's Day special for the Unspokens, worked on the Calculated Leap website, talked with Columbia College about building a community game for the XBox this fall, hired my student (who is an awesome game designer btw) to work on the community game for the fall and worked with my three students to flesh out more of the design for the Toxic games. It has been a busy month. Lots of sweat equity.
Just getting to market takes an effort but the market also needs to know you are there. So what can I do to make my presence known in the market?
1. Calculated Leap book: buy distribution package, get the first phase of the companion website done. When I have more to talk about (the website), I can start contacting schools and trying to get speaking gigs.
2. The Unspokens need a viral campaign. What that would be is still eluding me.
That is it for now, I need to get my slides ready for Pecha-Kucha night. It has a good turnout, it will be fun and it is a chance to let my presence be known in the market.
Focus. Always Focus.
Ok Bill - this is what I have done this month. I published my book, launched a Valentine's Day special for the Unspokens, worked on the Calculated Leap website, talked with Columbia College about building a community game for the XBox this fall, hired my student (who is an awesome game designer btw) to work on the community game for the fall and worked with my three students to flesh out more of the design for the Toxic games. It has been a busy month. Lots of sweat equity.
Just getting to market takes an effort but the market also needs to know you are there. So what can I do to make my presence known in the market?
1. Calculated Leap book: buy distribution package, get the first phase of the companion website done. When I have more to talk about (the website), I can start contacting schools and trying to get speaking gigs.
2. The Unspokens need a viral campaign. What that would be is still eluding me.
That is it for now, I need to get my slides ready for Pecha-Kucha night. It has a good turnout, it will be fun and it is a chance to let my presence be known in the market.
Focus. Always Focus.
Friday, January 23, 2009
Welcome Back
I haven't blogged in a while because I have been working on my book. It is in the hands of the graphic designer now and I am gearing up for the semester. Now that the book is pretty much done I have been thinking about what I would like to do with this blog.
I have decided that it would be most helpful to others if I chronicle my efforts to get my business funded and the other start up issues I am facing. It is a bit scary because it is like letting everyone see what is in my underwear drawer but the issues and problems I am facing will be typical of everyone trying to get a business started and this might be helpful to someone else.
ok - So what have I done so far?
So how do I get to market? Where is the low hanging fruit? It is important to note here that I am self made and my resources are the same as anyone in the middle class. My choices and resources will be similar to just about everyone embarking on this journey.
My resources:
The first choice I need to make is whether I am going to go for the sweat equity projects or funding. I am inclined to say both but I need to be smart about that so that I don't spin.
Here is a possible list of activities that will help me get to market:
I have decided that it would be most helpful to others if I chronicle my efforts to get my business funded and the other start up issues I am facing. It is a bit scary because it is like letting everyone see what is in my underwear drawer but the issues and problems I am facing will be typical of everyone trying to get a business started and this might be helpful to someone else.
ok - So what have I done so far?
- I have an LLC - it is registered in the state of Illinois as Toxic Interactive, LLC.
- I have a vision and a mission statement that are solid and that I can stand behind. http://www.thetoxicinteractive.com/about.html
- I have an entertainment lawyer that I found through Lawyers for the Creative Arts. http://law-arts.org/
- I have an accountant that I found through a graphic designer friend of mine who specializes in creative professionals.
- We filed the trademark for Toxic for games. http://tess2.uspto.gov/bin/showfield?f=doc&state=6ovm2s.6.42 - Looks cool huh? The strategy was to have one trademark and then use it for all the games. For a start up this is a common and very practical strategy.
- The trademark has been rejected because of Toxic Software - they make hardware and the government thinks it will cause confusion in the market.
- I have hired 3 of my students to help put together game design documents for my first 3 games. We meet approximately once a month to touch base and determine the next milestone.
So how do I get to market? Where is the low hanging fruit? It is important to note here that I am self made and my resources are the same as anyone in the middle class. My choices and resources will be similar to just about everyone embarking on this journey.
My resources:
- My technical skills
- My unemployed daughter who has technical skills
- My students who want to work on games
- Columbia College
- My network
- Calculated Leap website
- Community Game
- Shopping cart on Toxic Interactive website
- Unspokens marketing
- Game company (that is all I am willing to reveal for now)
The first choice I need to make is whether I am going to go for the sweat equity projects or funding. I am inclined to say both but I need to be smart about that so that I don't spin.
Here is a possible list of activities that will help me get to market:
- Calculated Leap website, I can use my daughter to help me build it.
- Propose a class for the summer to put together a design document for the community game.
- Propose a class for the fall to build the community game.
- Continue an online marketing campaign for the unspokens (here is one for Valentines day: http://unspoken.theresadevine.com/valentine)
- Keep working on Toxic Interactive funding pitch.
- Work on Calculated Leap funding pitch - this might be attractive enough to get funding for it all by itself.
- Send new trademark idea to my lawyer
- Get ready for the classes that I am teaching
- Get Calculated Leap website (partially done) set up in VSS so that it can be worked on by more than one person.
- Call designer to see what the progress is on the book
- Go the Open-node meeting tonight.
Saturday, November 17, 2007
On Value
Recently, I tried to show a video at an alternative space run by the city of Evanston. A video requires a device in order to view the work. I bought a television with a built in DVD and installed it. I filled out the form for the gallery to insure the piece and the print hanging next to it and went home feeling satisfied about the upcoming show. The next day I was contacted by the curator. She was informed by the Director of Cultural Affairs that the piece would not be covered by the city. I was told to remove the piece or show it at my own risk. This piece was not valued more than the other pieces in the show; in fact in some cases it was actually valued less. In a very short conversation I asked if the video inside the device was insured and I was told that it was not on the basis that it was digital and easily reproduced. It is important to note here that there is a digital print of mine hanging next to the video. It is covered by the city’s insurance policy.
The troubling observations brought about by this situation are:
1. It is perceived that a television is valued more by the audience than the artwork it makes visible.
2. Digital work runs the risk of not being insured because it is easily reproducible.
3. Digital work is not valued in the same way as other mediums that are easily reproduced such as printmaking and photography.
4. Traditionally produced and presented artwork is considered low risk in terms of theft.
5. The city supports the only the art that is low risk.
6. My role as a professional artist was not valued enough to negotiate with me as to the terms and conditions of showing the work.
7. A unilateral decision was made and I was informed. My professional status was ignored.
8. The continued infantilization of artists is in full force.
9. The city wanted a release in writing from legal responsibility immediately and I was given no time to seek legal advice.
Having said all of this, I do want to underscore that the key issue was that the space simply does not have the security in the building to satisfy the insurance company and that I recognize the representative of the city was just doing his job.
But the “unspoken” of this situation is that artists have given the powers stated above to the system. Artists are in part responsible for the situation because we have said nothing. I am saying something. The outcome I am hoping for is that other artists will think about the issues raised by these circumstances and be moved to break their own silence when this happens in their own career. I also hope that cultural/art representatives will also spend some time examining their own perception of the professional status of artists. I also hope that these representatives will begin to enter into equal business relationships with artists and allow for negotiations when the need arises.
The troubling observations brought about by this situation are:
1. It is perceived that a television is valued more by the audience than the artwork it makes visible.
2. Digital work runs the risk of not being insured because it is easily reproducible.
3. Digital work is not valued in the same way as other mediums that are easily reproduced such as printmaking and photography.
4. Traditionally produced and presented artwork is considered low risk in terms of theft.
5. The city supports the only the art that is low risk.
6. My role as a professional artist was not valued enough to negotiate with me as to the terms and conditions of showing the work.
7. A unilateral decision was made and I was informed. My professional status was ignored.
8. The continued infantilization of artists is in full force.
9. The city wanted a release in writing from legal responsibility immediately and I was given no time to seek legal advice.
Having said all of this, I do want to underscore that the key issue was that the space simply does not have the security in the building to satisfy the insurance company and that I recognize the representative of the city was just doing his job.
But the “unspoken” of this situation is that artists have given the powers stated above to the system. Artists are in part responsible for the situation because we have said nothing. I am saying something. The outcome I am hoping for is that other artists will think about the issues raised by these circumstances and be moved to break their own silence when this happens in their own career. I also hope that cultural/art representatives will also spend some time examining their own perception of the professional status of artists. I also hope that these representatives will begin to enter into equal business relationships with artists and allow for negotiations when the need arises.
Sunday, October 28, 2007
On Ambition
No one is more ambitious than me. But why am I ambitious and who am I ambitious for? What good does ambition do?
Specifically, the question “Why do we hurt each other?” provides navigation to the development of my artwork. This started as a result of a personal violent experience and has been strengthened by my increasing awareness of other hurtful experiences in the local, national and global communities. For example, 9-11, the war with IRAQ and the relationship those two events have with each other. It is my personal thought that these things occur because the persons involved believe they have a right to act as they did. If everyone feels this way and does not acknowledge the validity of the other point of view then the world will never be a peaceful place. My work will help individuals discover how to create a world where tolerance, cultural awareness and diversity are valued.
The significance of my work is to increase people’s self awareness of the role that malleable belief systems play in forming our world. Unseen, Unspoken and Reveals are an effort to effect change in how people interact with each other not only intimately but also in a local and global community. I hope this work will change how people perceive themselves and their importance in the world. I hope that they will vote more thoughtfully and deconstruct the media more critically. I hope they will be more cognizant of their effect on others and be more respectful of diverse lifestyles and belief systems.
It is my responsibility to manifest this work in the world. The ambition is not for me it is for the message to be heard. Additionally, I wish to pave the way for other artists. Other artists also have important contributions to make and any gains in understanding or creating opportunities for venues will be passed on. So I am not only ambitious for my own message to be heard, I am ambitious for the messages of every artist to be heard. I hope to benefit everyone with my ambition. In a world where most of the artists believe that they have no significance and at best their work will only affect a few people and that their own personal ambition is a negative trait I am lending my ambition to them. Hopefully this will create a world where artists will believe in themselves again and believe that the work they do truly does change the world and this collective work does change the course of history.
In this blog I am identifying problems with distribution channels for art and proposed solutions. These ideas are not the only possibilities available to these problems but they are the ones I invented. Hopefully, this will start a dialogue among artists about other solutions and other proposals will be inserted into the discourse.
Specifically, the question “Why do we hurt each other?” provides navigation to the development of my artwork. This started as a result of a personal violent experience and has been strengthened by my increasing awareness of other hurtful experiences in the local, national and global communities. For example, 9-11, the war with IRAQ and the relationship those two events have with each other. It is my personal thought that these things occur because the persons involved believe they have a right to act as they did. If everyone feels this way and does not acknowledge the validity of the other point of view then the world will never be a peaceful place. My work will help individuals discover how to create a world where tolerance, cultural awareness and diversity are valued.
The significance of my work is to increase people’s self awareness of the role that malleable belief systems play in forming our world. Unseen, Unspoken and Reveals are an effort to effect change in how people interact with each other not only intimately but also in a local and global community. I hope this work will change how people perceive themselves and their importance in the world. I hope that they will vote more thoughtfully and deconstruct the media more critically. I hope they will be more cognizant of their effect on others and be more respectful of diverse lifestyles and belief systems.
It is my responsibility to manifest this work in the world. The ambition is not for me it is for the message to be heard. Additionally, I wish to pave the way for other artists. Other artists also have important contributions to make and any gains in understanding or creating opportunities for venues will be passed on. So I am not only ambitious for my own message to be heard, I am ambitious for the messages of every artist to be heard. I hope to benefit everyone with my ambition. In a world where most of the artists believe that they have no significance and at best their work will only affect a few people and that their own personal ambition is a negative trait I am lending my ambition to them. Hopefully this will create a world where artists will believe in themselves again and believe that the work they do truly does change the world and this collective work does change the course of history.
In this blog I am identifying problems with distribution channels for art and proposed solutions. These ideas are not the only possibilities available to these problems but they are the ones I invented. Hopefully, this will start a dialogue among artists about other solutions and other proposals will be inserted into the discourse.
Overstepping the Bounds: Intellectual Property and Mooching
I have noticed a conceptual mooching practice among insecure art risers who make “art.” These people are not artists but they think they are. They might even have been an artist at one point. But something happened to turn them into a gold digger instead of the creative force they might have been. I am not looking to lay blame but I am looking for a reason why this happens. So here is my theory. In part it is not their fault, in some cases it is perpetuated by some art school. The ambition of the school supersedes any commitment to their student’s true path. They sell the “art career” and the exploration that is involved in the creation of art is ignored. So sometimes a person who would have been an artist is transformed into an “artist” making “art.” It is a very sad thing to see. These people become extremely insecure and loose any focus on any honest life derivative as an impetus for the work.
Now why is it important for me to point this out? Because the net worth of an artist (yes money net worth) is directly informed by the quality of the intellectual property and the marketing of that intellectual property. When an “artist” pursuing an “art career” makes “art” by mooching conceptually it hurts that artist’s ability to make a living. It is just wrong. It hurts. The object of your mooch is a fellow artist who has responsibilities to contribute to their family’s income or support a family, pay taxes, pay debt, invest in stock and plan for retirement. You are kicking a fellow artist in the groin when you mooch. Don’t do it.
I would like to make a point here that mooching is different than influence. I am not grousing about influence. Influence is what happens when you understand or misunderstand some one else’s work and it helps you understand your own work more fully. We don’t live in a vacuum and no one wants to stick their head in a hole in the back yard or go live in a cave on top of a mountain so we will all be influenced. But if you cannot trace the work you are doing back to your own childhood or your own life story without any kind of artificial mind-bending acrobatic convincing you are mooching. Your work should organically grow from your life story. Period.
One more comment to all my fellow artists - When you have made something tangible it becomes valuable. Do not devalue it. It is your bread and butter, shoes on your children and a comfortable retirement. If you give it away or allow someone to mooch by dismissing their actions you are hurting yourself and the larger perception of the value of art in our society. Protect yourself. Be careful out there.
Now why is it important for me to point this out? Because the net worth of an artist (yes money net worth) is directly informed by the quality of the intellectual property and the marketing of that intellectual property. When an “artist” pursuing an “art career” makes “art” by mooching conceptually it hurts that artist’s ability to make a living. It is just wrong. It hurts. The object of your mooch is a fellow artist who has responsibilities to contribute to their family’s income or support a family, pay taxes, pay debt, invest in stock and plan for retirement. You are kicking a fellow artist in the groin when you mooch. Don’t do it.
I would like to make a point here that mooching is different than influence. I am not grousing about influence. Influence is what happens when you understand or misunderstand some one else’s work and it helps you understand your own work more fully. We don’t live in a vacuum and no one wants to stick their head in a hole in the back yard or go live in a cave on top of a mountain so we will all be influenced. But if you cannot trace the work you are doing back to your own childhood or your own life story without any kind of artificial mind-bending acrobatic convincing you are mooching. Your work should organically grow from your life story. Period.
One more comment to all my fellow artists - When you have made something tangible it becomes valuable. Do not devalue it. It is your bread and butter, shoes on your children and a comfortable retirement. If you give it away or allow someone to mooch by dismissing their actions you are hurting yourself and the larger perception of the value of art in our society. Protect yourself. Be careful out there.
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