Over the semester, my use of social media has become more focused on creating an image reflective of my business.
I had been complaining for years about how I felt like I was stagnating at pop up art shows and comic book conventions. Yet, I still showed up to them every year.
My posts were still pandering to geek culture and the "weird kids" (who are now in their 40s).
It was the place I had let people convince me I belonged.
I listened to people who said things like, "You and me, we're not 'fine artists' we don't belong in galleries! The convention scene is what it's all about for us!"
Eve though, deep down I knew these people were wrong, and that I was unhappy, my actions didn't align with my words.
No wonder no one took me seriously when I would talk about art as a business. I was still behaving like someone who thought of art as a "cool hobby" and conventions as a social event.
Reevaluation
This class forced me to refine my focus. It took some time for me to reevaluate what it was I actually wanted from my life.
I want to be an artist, but not drawing comic book characters for sex crazed, slathering fanboys at conventions.
I don't want to pump out pictures based on retro movies and pop culture references to beg for the attention of disinterested coffee shop patrons at pop up art shows.
I want to submit to juried art shows and be shown in galleries.
This is the first year that I actually accomplished this. I'll be showing at Baton Rouge Galleries Surreal Salon 14, sponsered by Juxtapose magazine.
I've been posting about the upcoming show, and will continue to do so.
I've gained followers who are also participating in this show, and am connecting with other career artists. I'm finally starting to use social media as a means of connection to people, rather than being obligated to reciprocate likes and comments to people I met at a convention once.
I know that for me, gallery shows aren't so much a social event, but a networking opportunity.
While I'm sure that gallery events still have people who just show up to booze and cruise, I'm starting to be invited to shows with other, more seriously minded artists.
I'm beginning to appreciate the power of social media when used correctly.
I'm also noticing a distinct downturn in attention from my former "friends" because I'm no longer behaving like part of their clique.
Developing My Business
This class has also made me come to the realization that while I do want to produce an animated version of my podcast and audiodrama, I don't want to do this as a one woman studio.
I gave up a huge portion of my life, sitting in front of a computer, devoting 8 hours a day to getting very stilted animatics up each week.
Since going on hiatus in March of this year, I've rediscovered my interest in nature, travel, food, health and fitness.
These are things that inspire me and in turn inspire my work.
I always just said to myself, "I'll start the podcast up again, just later" now I'm thinking much, much later.
Later as in after I have had time to secure relationships with local businesses that might come in as investors, or offer sponsorships in exchange for a commercial slot.
With that in mind, I make sure to post pictures and videos about different restaurants, hotels and venues we visit-to showcase what we're capable of providing potential sponsors.
These investors will allow me to pay all my guest musicians, score composers and voice actors, and allow for me to outsource my storyboards to an animation team.
Paying people what you can, or rates that are well below what they might make on another project puts out the distinct statement that "I just want this project done, this is about ME, and this is as much as your work is worth to me."
Having a secure financial backing brings up the all round production value of my shows. It's not enough for me to put out something that looks like a cute, personal hobby, I want to put out something that actual holds its own against other animated shows.
The goal is to actually submit to networks, and have a viable product, not create a vanity piece for the internet.
Lessons Learned
One of the big lessons I've learned came from working with collaborators.
Most of my collaborators came in the way people do for community theatre. They donate their time for fun and a very slight bit of exposure- we're not going to be the show that launches anybody into the big time I'm afraid.
Most of our collaborators were lots of fun to work with. Scheduling was always difficult, and since we can't expect to be priority, we just rolled with the punches and shifted our deadlines to adjust.
I think providing payment might help people to view the project as more of a commitment.
Likewise, I think that writing up contracture to communicate our expectations, what we require from them and what they expect from us would better solidify the relationship as a business one, rather than a favor.
A big component that I'd put in there would be a intellectual property agreement, stating that after working on the show, the collaborator isn't going to go replicate our formula or re-appropriate plot points, concept art, storyboards or characters for their own projects.
I've had to sign such things when I was working as a vidographer for home and garden type shows, giving San Diego Haunted History Tours or working as a living history teacher at The San Diego Maritime Museum.
This prevented me from just running of with footage I filmed to make my own show, or starting a company that lead its own historic tours, using the outlines and lesson plans I'd been given with a few tweaked elements.
It's pretty common in the entertainment industry.
Fortunately social media helps curate storylines and art, creating a definitive timeline for our company and its intellectual property. We also have everything we published copyrighted to us before release.
Contracts would resolve the other related issue that arose, that being when a contract has been fulfilled, and our obligations to one another are at an end.
I did have one collaborator who kept trying to prolong their involvement, trying to become more intimately involved in the workings of our project and insert themselves into our production team.
A contract would have made it very clear where their commitments and our begin and end. Our refusal to draft a new contract would have been a less disputable.
Without a contract, or a collaborator who will respect your wishes, you are forced to simply cut communication. This is decidedly unprofessional, but frequently its the only viable option.
Discovering Services
While I would say the biggest take away for me was a new focus and commitment to my social media, I have discovered new services.
I do think that my Facebook Business page will be an asset, once I start procuring enough footage and art to make it unique from my other Facebook pages (I have several).
I want to stop posting repeat content on my pages and start posting unique material relating to each project under the umbrella of Lucid Nap Productions.
I've been posting short videos of my commissions for my Etsy store "The Green Carousel"
I'm working on art and illustrations for both Creeping Wave and The U Mind respectively.
My art and travels will feature on my personal page, Lucid Nap
and on my business page, I'd like to start posting updates about what we're doing to put the show together, who we're reaching out to, how the scripting process is going, even potentially doing short readings with other actors when available.
I just need to commit myself to it.
I have a much more developed understanding of how to use social media for business. In addition, I've learned abut products and services that when I become more financially stable, I can employ to further my goals.
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