Distribution

I want to build an audience in horror, especially as a female screenwriter. There have been a lot of creative and original horror stories that have inspired me to write my own. I'm hoping to make connections with other screenwriters, producers, and directors and hopefully help turn one of my scripts into a feature film.

My films are based on my long running Halloween haunt in Phoenix, AZ. I am hoping that the audience that we built organically in person and on TikTok can transfer to an audience for the short films. Horror fans and Halloween lovers have a bit of a crossover, but can it be enough to build an actual audience?

The audience I want to build isn't just for one film... it's for everything I create.

My brand revolves around original storytelling rooted in punk rock attitude, horror, comics, and independent filmmaking. Whether it's a screenplay, comic book, short film, or behind-the-scenes post, I want people to know they're experiencing something that comes from the same creative voice.

Over the next year, I plan to grow that audience by posting consistently on YouTube and LinkedIn, sharing my creative process, celebrating small milestones, and giving people a look behind the curtain as I develop projects like Kids of the Black Hole, Dieboy, Mariposa and the Bullet, and the Johnny Veins universe.

My goal isn't to go viral overnight. It's to build a community that genuinely enjoys the work, follows the journey, and is excited to see what comes next. I believe that's the strongest foundation an independent filmmaker can have.

I think at this point everyone knows I'm all about the strange and wonderful. I'm hoping my works reach every one in that group regardless of age.

For my all-ages offerings there's Marisol and Mezzaluna, my love letter to everyone who mistakingly thought suppressing their real self was the answer.

For all us adults who felt like the world doesn't give a damn about them, there's Finding Elpis, telling you that you're way better than you realise and you can even ascend higher.

For everyone who loves an escape and knows how quickly time passes, there's The Letter Man, who reminds you that a lot of growth happens when you're not looking.

For everyone who's ever been afraid to really love someone, there's Lunar Window, telling you to be honest with yourself and quit making excuses.

For everyone who loves once and for all, there's Glass Waltz, reminding you that you're not alone even though everyone thinks you are.

And hopefully soon to join them (screenplay-wise) are Glass Waltz's feature version and Niveous Reverie (for everyone who still believes in fate/The Red String).

It's going to be a difficult road but the important thing is that I'll keep writing...

Over the next year, I want to build an audience of readers and viewers who connect with imaginative stories that still have a strong emotional heart. My projects may move through fantasy, mystery, comedy, and psychological drama, but they all explore people searching for answers, connection, and a sense of where they belong.

I don’t want to build an audience through constant promotion alone. I want to earn their interest by sharing my creative journey, participating in meaningful conversations, supporting other storytellers, and giving people a genuine reason to care about the worlds and characters I create

The audience I want to build is made up of people who enjoy intelligent dark comedy—stories that make you laugh while revealing uncomfortable truths about power, manipulation, obsession, and human behavior. Over the next year, I want to consistently share my projects, participate in conversations with other filmmakers, and learn more about international distribution. My goal is not only to write scripts but also to build a recognizable creative voice that audiences and industry professionals can identify over time.

My Brand - I feel like whether it's my documentary or 1/2 hour comedy or features - it's always about people and connections and seeing that is what makes the world go round. That would be my audience - those who appreciate those connections.

As I continue writing and developing The Girl They Didn't See, I've spent a lot of time thinking about the audience I hope to build around this project and everything that comes after it.

More than anything, I want to reach people who believe stories can make a difference. Survivors who want to know they're not alone. People who care about accountability, transparency, and giving a voice to those who have been ignored or silenced. I also hope to connect with audiences who simply appreciate honest, character-driven storytelling, even when the subject matter is difficult.

This film isn't about staying trapped in trauma. It's about finding your voice, refusing to disappear, and showing that the truth matters, even when it's uncomfortable.

Over the next year, I plan to keep building that audience by sharing more of my creative journey. I'll continue writing and refining the screenplay, producing YouTube videos and podcast episodes that explore the themes behind the story, connecting with other filmmakers and advocates, and documenting what it's really like to take a deeply personal project from the page toward production.

My hope is that by the time this film reaches the screen, it won't just have an audience. It'll have a community of people who believe that stories can create conversations, challenge institutions, and remind survivors that their voices deserve to be heard.

That's the kind of audience I want to build, and I'm excited to see where this journey leads.

One of the most memorable film marketing campaigns I’ve experienced was Avengers: Infinity War. What made it so effective wasn’t just the trailer, it was years of thoughtful storytelling leading up to the film. Marvel built anticipation across multiple movies, making Infinity War feel like a true cinematic event rather than just another release. Every teaser, poster, interview, and trailer revealed enough to spark curiosity while keeping the biggest surprises hidden. When I watched the first official trailer, I knew I had to see it in theaters. The emotional weight, the scale, the music, and the promise of seeing so many beloved characters together created an unforgettable sense of excitement. As someone developing The Himalayan Gate, this campaign reminded me that great marketing doesn’t simply sell a movie, it builds an emotional connection long before audiences buy a ticket. When a story creates anticipation, mystery, and genuine curiosity, the audience wants to become part of the journey. For me, Avengers: Infinity War remains one of the best examples of how strategic marketing can transform a film into a global cultural event.

https://youtu.be/uELbCb4_AIs

Emma's Week 5 blog pushed me to think seriously about this in a way I have been avoiding, so here is my honest answer.

Right now my audience is essentially nonexistent in a built, intentional sense. My work exists on IMDB and in a reel, but I have not been building a community around it. That is the gap.

The project I most want to build an audience around is Groove, my feature -- a character-driven story set in the world of 1998 grassroots drag racing in North Carolina. I have just completed the draft and am now in read-throughs and additional edits. The world is specific, visual, and has a real community already attached to it: racing culture, Piedmont North Carolina history, period car enthusiasts, and people who respond to grief-driven character drama done without sentimentality.

Over the next year, I plan to start building around the world of the film rather than the film itself -- sharing the research, the period detail, the visual references, the story of making it. By the time Groove is ready to pitch, I want there to already be people who care about Buckhorn, North Carolina in 1998 before they ever see a frame.

The short film festival run for The Shape of Kindness is the more immediate step -- building visibility as a filmmaker while the feature develops.

Still figuring out the platform strategy, but the intention is set.