Release of the Libretto to the Industry

Release of the Libretto

Well, I've moved forward sufficiently with the e-storybook, the hard copy layout and other ancillary markets, that I feel like it is time to release the Libretto to the Industry.

If we were to move into production with some of the foundational activities, in terms of sets and other design/construction, then that would be a good thing.  It is clear that we will need to secure a self-contained management team, as conversations I have had with a few venues indicate that they would rather see a four-wall, but that limits our run at each venue. Therefore, we need to build a tour scenario to present previews in numerous cities until we can settle into a space that will give us a decent run.  One way to do that is with a reduced design which uses strictly drops and flats, not my favorite way to go, but certainly that design needs to be developed for the smaller venues anyway, as an option.  Ultimately, the smaller show (of that nature) would be a rental, possibly in conjunction with the puppetry version.  The initial thoughts regarding that design for the show, were that it could easily be put up in our current studio space and shot for film/television or as tests to analyze the material, or the way the show looks to an audience as a puppet version, so proceeding in that direction has multiple applications both in house and for touring.

Clearly, in regard to touring, each show needs to pay for the trip to the next venue, so I am also developing a  licensing/option for theaters who want to assure that the show will run in their house. That will provide some of the costs to move the show in. Basically, a prepay on the percentage of the house assuming a certain number of performances.  I will post on that at another time.

After the work on scoring is completed I will be moving onto budget issues. Until then anything I say is purely speculative. Also until then, the options are wide open in terms of production management. Once the budget is developed and the production funds are gathered, then we will be locked into a production management scheme. So if anyone wants to offer a proposal, I would suggest doing it before we become contracted and therefore obliged.

As I have said numerous times before, I am seeking representation, mostly because I am swamped and the work that is required on the core materials is taking the majority of my time.  I would like to have the freedom to concentrate on matters other than management. For those of you who are producers, you know how complex that can become. So I am seeking partnerships in both production and distribution. Since this material is now ready to move forward, I suggest that the opportunity is ripe. My goal is a national campaign, so I need competent & trustworthy persons/organizations who are able to implement that plan in partnership with IMS. This is frankly the objective, which I intend to pursue.

I am not expecting any producing organization to step up to the plate on this (although I would be pleasantly surprised if that did happen), so I am proceeding on the assumption that the production team will be primarily Image of the Mind Studio employees. With that in mind, persons who are interested in this opportunity should make their voices heard. But I also want to make it clear that I am seriously looking at relocating to the Poconos and that may effect our progress. Building or adapting a facility is no small endeavor, but it may be a priority. So keep that in mind.

That being said, I am going to proceed with licensing and/or partnership with television and film companies, so as to free myself up to concentrate on establishing this new facility - The Theatrical Development Centre. I am uncertain as to how much energy I can expend in this direction. I would hope that it would not impair the progress of The Gnomes of New Hope.

Restrictive Covenant Agreement

I've met with legal council regarding the conduit through which this can happen, so we have established that link in the chain. The Libretto will be released, when I feel as though a flash drive is fully prepared with the appropriate materials.  The Score along with recorded versions of some of the music will follow as a separate release, as I am currently reviewing these materials for publishing the score.

There is still quite a bit of work to do on the music (as I have discussed below) but there is enough to give an idea of the entire show,  realizing of course that the actual recordings with a music director/maestro and a full complement of singers/musicians will GREATLY improve the MIDI generated music that we currently have.

A major issue we are facing right now is the failing computer systems that we have been working with. A great deal of important files are now locked on more than one failed hard disks and it will not be inexpensive to recover those files.   Fortunately the bulk of the primary file have been backed up multiple times, but I am finding that some of my primary management documents are inaccessible to me. In particular, a spreadsheet which identifies the five different versions of the show to fit into assorted timeframes. This is quite distressing, but I am hopeful that I can recover this important analysis document.

 Review of the core materials will require a signed Restrictive Covenant Agreement, acquired via an request to review on letterhead to William Dudeck c/o Eastburn and Gray, 60 East Court Street, PO Box 1389, Doylestown, Pennsylvania 18901. Once we receive a request we will send out some preliminary materials and proceed from there.

That's all for now.  AG

Music Production

Recently, I have shown the the studio and some of our materials to a few folks, fellow thespians, musicians and other people interested in the creative process. This has caused me to think about the larger picture again. So I will give a review of where we stand with that.

Equipment

Our work on the music is on hold for a few reasons. First and most importantly, I need to finish the layout for the book production. I talk about that below.  But also the computing systems, which we have been using for music production have failed. The dilemma here is that to replace the processor is not a matter of replacing the one we were using with another of the same type. That machine was a custom built G4 that cannot be replaced without rebuilding it again.  Well that is simply not a good idea, since the cost does not justify that course of action and the functionality would limit us to older technology.

So the new Mac seems like it might be the right course of action. But to those of you who know about these things, we're talking about a chunk of change there. that also involves redesigning and upgrading all the operating systems and programs and adding in a learning curve as well, which makes that course of action rather prohibitive.

So upgrading in increments, the way it has always been done will likely be the approach, unless a surge of resources becomes available.

I am currently using a Quad G5 for the GFX work on the books and it is likely that I will shift that machine over to the music production, once I upgrade the PCI cards to link with our hardware and bring Digital Performer up to a newer version. I am rethinking the voice package we have been using.  I'm considering switching over to Mach V from Reason, but again there is a learning curve involved there.  However, I believe Mach V will interface better with DP, since they are both MOTU products.

So far I have been unable to set up the virtual instruments using Reason, but the rack in Reason is nice and easy to use. Possibly an upgraded version of Reason, but the MIDI functions in Reason don't come close to Digital Performer. The main problem with using Reason for the tone generators is that switching between programs in the middle of mixing creates problems. Mostly, doing so interferes with the process and does not allowing for smooth adjustments to be made, particularly on the fly., but also in the final mix.  I have to say that once you obtain certain settings in Reason, then topping off the mix with the mixing board and meter bridge in DP works fairly well, but that's only good for the final Mastering process, not the sub-mixing.  The problem I have with using two programs with mixing capabilities that is; layering plug-ins between two programs is not a good idea, or so it seems to me. That creates a situation where you loose control of the purity of your signal and it becomes confusing if you have to locate the source of artifacts which might show up. It is hard to determine if the artifacts are in the original signal or somewhere in the insert settings or even in the signal path.

Basically, unless I find out otherwise, I think the simplest approach here is to change voice programs, to one that interfaces better with Digital Performer and will continue to do so through upgrades.

So, all that being said- I feel like the entire methodology needs to be rethought in regard to the studio systems. Making changes in our working systems was a point of contention, so I deferred in that regard, but now there is no choice in the matter.

The Score

All of these facts are some of the primary factors which preventing us from moving forward to record more of the music.  But in addition to these systems issues, there is scoring.

As it stands now, the score is possibly 60% printed and in various stages of being transcribed.  Some of the orchestral scores have been finished, but only on those pieces which have Piano adaptations and Lead Sheets.  Some of the Piano scores are adaptations and some are reductions.

Initially we started to work on Piano Reductions together, but Shawn was frustrated with working with Quickscribe and decided that he did not want to do scoring. We debated this many times to no good end.  So I continued on with it, prefering to do adaptations, mostly because many orchestrations simply cannot be transcribed for piano. I also believe that since a Piano Adaptation is my interpretation of what we were working on, that an adaptation would allow me more latitude to reconstitute a workable vocal version of my melody lines and lyrics without stepping on Shawn's toes in regard to the orchestrations he was working on.

Lead Sheets

We came into disagreement about the importance of Lead Sheets. My belief was and is, that, as the producer, I need Lead Sheets (and scoring) to present the product, not only to our financial & business partners, but for the benefit of helping the singers & musicians to easily lear the material.  It is my contention that I need these materials during the process, not after the entire score is fully written.

 Shawn's belief was that the singers do not need Lead Sheets and should be able to sing against the orchestrations and that no work on piano reductions or scoring should take place until after the entire show is orchestrated.  Sorry, I don't buy that. Every singer I know wants to hear their part on the piano.

The other factor her is that-  there are seventy songs in this show and we already have spent nine years to do that. I can't wait another ten years of meandering along to see this finished and moving forward.  So this was a serious rift, which more or less led us to stop working on the music. There were other issues over the operating systems and techniques of mixing/mastering the music, which put the kabosh on our progress.

Status of the Music

All the lyrics and melody lines are finished for the entire show, with about a dozen songs still needing orchestration. I have decided to stop orchestrating, until I have all the Piano Adaptations and Lead Sheets finished for the primary numbers, which is something I have to do on my own.  I don't need adaptations for the bridges and instrumentals, since the Lead Sheets are only for the singers.  Some of these numbers require divsi, so I'm working on that as part of the adaptation.  I'm assigning instruments to the voices to define that divsi, but for the time being I am not worrying about divisi inside the parts, only between them.  So the Vocal tracks are derived from the Piano Adaptation, which contains the re-constituted melody line, which seems to have been divided by orchestration.  Something I have to say I did not approve of and made repeated appeals to preserve.

 So as it stands, it's up to me to do Orchestral Scoring, Piano Adaptations and Lead Sheets. Needless to say Orchestral Scoring will be last on the list. My approach is to do all the rough drafts first and worry about refining them after I decide who the Maestro will be. I asked Shawn to perform that role but he does not want to do that. So I don't know how that's going to pan out, but first things first - lead sheets for the solos and the duets, trios and quartets. Much of that is done, but entering into the recording process will need to be considered in the light of how far along the other materials are developed. Mainly because once the momentum starts up, we ned to keep up with it.

Other Factors

 Of course, one other major factor is funding. Our performers have to be paid. So that means significant capital influx to make that happen.

When you consider that some choral numbers have more than a dozen performers involved you can imagine the resources we will need. Certainly we will be doing the solos first, followed by duets, trios, quartets and so on.

It may very well be that continued work on the music will have to wait until the books start producing income... and that's still a ways off.

I'll address more of these issues later.  AG

e-Storybook & Hard Copy Storybook

e-Storybook Update

    The production line activities have been put on hold. Prototype assembly has proven methodology and some suppliers have been lined up. There are a few supply and service vendors who are missing from the puzzle, however, other facilities issues are standing in the way of fully setting up the production line. None-the-less, the designs and implementation methods have been confirmed, although there are variations to that theme which may come into play. I am continuing to construct the materials for distribution to industry partners and focusing on those aspects as opposed to entering the marketplace, even though I would certainly like to see an increased cash flow. So for the time being I will need to use investment funds, as much as I would prefer not to.

Hard Copy Storybook

    It has become eminently clear that a presentation in the book stores will require a hard copy edition as well as the e-Storybook version. Some folks are simply not up to date with the e-book scenario, so we need to assure that we are meeting all the demands which might come about in the distribution and marketing effort. Since we are also developing a puppet show presentation to accompany the book release, the cost and effort involved there demands that we do not hinder our sales potential by limiting ourselves to one book product.  With these facts in mind, the production efforts in terms of publishing set-up, has shifted to the hard copy book layout.

History of the Layout

    When the storybook began to develop out of the Libretto (or simultaneous to it) the first effort was for a published edition. The page layout took a number of turns until it settled into the existing format (further down in this blog is a posting showing the page layout). After repeated printings which dealt with alterations and corrections, it became clear that if I were to shift my goal to that of producing an e-Storybook, then I would not have to contend with the expense of wasted printing supplies, but then also - the alignment and page set-up issues would be eliminated for the time being.

   So the idea of a hard copy book was put aside in lieu of the e-Storybook. This greatly simplified things (not to say that made it simple). So as the e-storybook began to grow, mostly by the inclusion of artwork on every page, the project took on the form of a three volume edition.

    An earlier concept which was developed were the "Gnome-Sized Editions" and the prototypes for these editions were produced and abandoned (for the time being). The larger issue with this format was and is the reality that the artwork is not displayed to it's best advantage when the editions are too small. We have over five years and a lot of money tied up in this artwork and we need to present it in it's best light. So the Gnome-Sized Editions will have to wait until we finish with the larger Hard Copy Versions under consideration.

Published Editions

   Numerous published products are in development. An additional item which is expected to advance into production is a coloring book. This is a relatively simple item which will support the marketplace for the younger children.

   In one way it would be most advantageous for these assorted editions to be released simultaneously, not only for the distribution aspect but also for the shared marketing costs. Whether or not this can happen depends largely upon the investment funds available.

   In that regard, the budget materials, production line, personnel, supply & service vendors, and distribution outlets are all under development. I am not taking the position that, as a writer, I am sitting on the sideline waiting for some other organization to come in and fulfill these needs. As the proprietor and Artistic Director of IMS, I am obliged to develop this business and pursue these other arenas. Should other organizations wish to be involved it is on them to step up and make their voice known, otherwise I am continuing on my path to building the studio and access this project as a primary asset (although numerous other of this nature exist). Once these elements are in place and fully functional, these other products can be installed into that system.

I am going to stop here in order to avoid a dissertation. AG

Product Manufacturing/Distribution (updated)

        Attention was focused on bringing the manufacturing aspects of "Gnomes in a Gnutshell" into alignment with the practical realities of assembly, production and inventory. This involved production line methodology, which for the most part has been refined down to the point where assembly procedures have proven to be workable and efficient enough that the product can fall within the anticipated price schedule and still allow for a reasonable margin with some latitude. 

       This assumes the price point is at the maximum* amount the market will allow for a product of this nature and not discounted for the sake of expediency, or some presumed competitive pricing sought by wholesalers who strive to turn more quantity at lower cost.

*Note to suppliers: this maximum pricing cannot be the basis for manufacturing and supply costs because the window for this pricing structure is too small for a sustained position. This introductory price structure provides a surge of influx to open the markets and accommodate for tooling production.  The price structure will inevitably settle down to a lower margin as production/distribution increases and demands for discount markets come into play. Further discussion on this subject will take place.

   Clearly more quantity will aid in gaining a stronger presence in the marketplace, by the visual impact and presentation of the product, but devaluing the product will not serve the greater need to recoup the very large investment in the core product or generate the capital required for implementation in the costly production arenas of the theatre and cinema. So discounting the product will be avoided as long as possible.

       Discussions of Film & Theatre Production Management will continue take place on the IMS Virtual Studio rather than here.


Details of Production Line Logistics

       These thoughts (when written) referred to e-Storybook, but may also be applied to the hard copy book as well.  Releasing the product, involves meeting the inventory needs of both raw materials and finished product - before promoting the ability delivery the product to meet demand.  I am seeking a minimum of 1k units in stock (ready to deliver) with a production line growing toward the capability of producing 5k units per month.  Greater quantities may require subcontracting, but thus far I seek to keep assembly, inspection and packaging in-house, unless another advantageous arrangement can be made. These are issues under consideration.

       So "in a Gnutshell" the actual release of the product and promotion of such, is still under the restrictions of financing, the development of suppliers, production line logistics and inventory requirements.  Facilities are becoming an issue as well, as the dynamics of the studio space are changing, in large part due to cash flow and the large expenditure require for development of this product. I discuss this subject on the IMS Virtual Studio blog.

      Other factors effecting the release of the product are; the simultaneous implementation of the hard copy volumes, assorted registrations with professional organizations, and more importantly - improvement and supplementation of the artwork for Volume Three.

    In addition to Volume Three, there have been appendixes added which refer to The Gnomic Tales, which would be most advantageous to illustrate, but at this point the time and cost of implementing those illustrations are both prohibiting factors.

       It would be safe to say that available resources as well as other logistics are slowing the forward momentum of this project.  So one solution to this; is to accept pending orders, which helps to identify the outlets which seek to distribute this product, as well as the quantities which might be expected for production. I have outlined certain parameters in that regard below and am continuing to develop the components required, not only for our production line, but for the distributors specifications and I am striving to strike a balance in that regard.

       If you are a partner in this project; I recommend backing up any e-mail communications with a hard copy sent to Image of the Mind Studios, 1325 Industrial Boulevard, Southampton, Pennsylvania 18966. I say this because of changing circumstances and possible relocation of the studio.  I do not expect this occur with immediacy, but options in this regard are under serious consideration and may have a bearing on production activities. This is relative to the facilities conversations mentioned above.

A Quick Note

I'm archiving the older posts in this blog because with the approaching release of the e-Storybook renders those facts irrelevant. 

If for some reason you need to examine some of the history of our process by seeing these posts, 

let me know and I can provide those archived items.

AG

IMS Publishing

I posted some thoughts on the IMS Virtual Studio that concern The Gnomes of New Hope. You might check that out.  There is also a Facebook page for Image of the Mind Studios where I discuss some of this

iPad Tests

Well, I have to report that the e-Storybook looks SO INCREDIBLY GOOD that I can't believe it!  The layout looks better on the pad than it does on my computer. I am amazed! And it works great in Kindle's App as a PDF e-book.

I am currently reconfiguring the file structure and the encryption layout, so it won't be long before the entire three-volume set will be available to the industry. There are more illustrations required before I am willing to release it to the public, because I want every page to be as rich as the first two volumes.  As it turned out I have created another volume in the form of an Appendix. The files which are part of the History of Gnomanity, basically the Gnomic Tales, have been separated out of the story which is conveyed in the Libretto to the stage musical. So the number of pages in this three volume set is pretty high.  I am up to Scene Eleven out of Nineteen and my page numbers are approaching 400. So I expect this will be an epic tale in  terms of an Illustrated Storybook.

I am also busy sculpting the puppet heads, integrating the mechanics of the eye movements with the sub-structure of the skull/chassis.  We are getting ready to construct the bodies over the chassis for the puppets, as I have concluded that the mechanical design for the manual puppets will be essentially the same as that of the animatronic chassis.  I have discovered an interesting method of creating the epidermis for the faces, so I am moving forward to finish a few prototypes in that regard.

My thinking in terms of the e-storybook is to look more for a partner who has the marketing and distribution channels already open so that we can achieve deep saturation in the market. If this is an arena you are involved in, I am open to discussing this, but in lieu of hearing from anybody in this regard, I do plan on moving forward with a marketing and distribution plan. My focus of attention, however is on other theatrical support activities, such as the parade float and a staged presentation of the puppetry for marketing in small venues (such as bookstores & libraries).

For the time being I am preserving the distribution of the e-book to work in conjunction with the distribution of the hard copy, so whoever jumps in on the hard copy will benefit from that marketing effort, at least until I move forward without the hard-copy.

The formula for Gnome Gnog is finished and I am moving forward to locate a supplier for the powdered mix. The song "Gnome Gnog" has the lead sheets and the piano adaptation finished, so we could move forward to record and create an animation to market that product if I cut a deal for the distribution of that product line.

Also, I am looking at setting up an injection molding operation to support the prototype runs of the toy lines and the marketing plan for  "Gnomes in a Gnutshell". So there's a lot going on.

That's all for now.  AG

Archive: Older thoughts on various subjects

This Week's Thoughts  (9/1/14)


The work on "Gnomeville" for the past few weeks has moved slowly forward as I have been creating a piano adaptation and lead sheet in four part harmony for one of the larger choral numbers in the show.

My recent thoughts have been toward releasing the e-Storybook as other preparations are being made to create a deliverable PDF of that e-Storybook and on that front - my thinking is that I will withdraw the Front Money Offer once the e-Storybook is released.  The way I see it - once I begin to create the expected cash flow from product sales, I intend to derive all growth from those sources and not so much from investment.  Of course these plans are apt to change depending on the needs, circumstance and actual resources available. Part of the plan is to prepare a Limited Partnership, even if (hopefully) it becomes unnecessary.

So if anyone wants in on the Front Money Investment offer, I suggest you take advantage of it while it is still  on the table. I see no need to pay high rates of return if I don't have to. If you need more details on that offer, I have posted it on this blog, the IMS Virtual Studio blog or send me an email at imagemindag@verizon.net and we can open a dialogue in that regard. Of course, you can also broach the subject with me personally.

My primary goal at this point it to replace/upgrade all my computer/cinema systems and programs which will be required for our rapid advancement of this project.  I am also looking for talented producers who want to be involved with different aspects of this, including Gnome Fest. But I want to be very clear that being a producer means bringing in production funds not simply managing production activity and the invitation is to produce under the banner of IMS.

Other than additional artwork for the e-storybook Volume III, all the creative materials are ready for advancement into production in an assorted number of arenas. My focus of attention is moving to equipment and facilities, so inviting other producers/organizations in for production is now on the table. I want to be clear that at this point, I am inviting association with the game plan I already have laid out and been progressing with, but I am not unreceptive to an outright sale to another larger and more capable organization under the right conditions.

MORE LATER, AG


Last Week's Comments

After having spent the last week or so working on the Piano Adaptations for Act II, I have concluded that this will be the focus of attention until all music for the show has been converted to Lead Sheets and Piano adaptations.

No further recording, composition or scoring will take place, no work on puppetry, illustrations or animation, and no further development of cinema, product design or packaging for ancillary markets.

Hence forth, all activities, in any arena,  will be contingent upon significant investment  with defined goals for those funds.  Any investment must also support the general operating expenses of the studio as well as the specific needs of the production arena, as we are not implementing into the marketplace  to create cash flow until all corners of the production are firmly established and we are able to meet the demand which will occur with release of the product to the public. We will not release the product in bits and pieces. We are seeking a contiguous (preferably international) marketing effort across the board.

In the past I have had investors who have wanted their investment to go for one thing and not something else. This will no longer be the case, as the investment will encompass the overall operation at my discretion which will include specifically defined goals for the production.

All my personal resources and efforts will now be going toward facilities and equipment for IMS as a whole, and not into The Gnomes, other than to improve the production capabilities.  The exception is that of the time required for me to establish and refine internal production management structure as it pertains to the overall operation (and consequently the Gnomes) and complete the refinement of the core product for The Gnomes, which at this point is only the lead sheets and piano adaptations.  Once that is done other marketing activities will take place.

When the entire package is filled in with those items, and the presentation package is completed, my attention will be turned wholly to other unrelated matters, unless I find sufficient investment partners to allow complete attention to both the Gnomes and those other matters. That means that I may shift to other (theatrical/cinematic) projects which were pushed aside  for the sake of the Gnomes.

I have been working virtually full time on The Gnomes of New Hope for more years than I can count and have diverted all my resources and time to the development of this one project. Continuing to do this will create undue burden on other areas of need, which happen to also be required for advancement with the Gnomes.  So it is now time for me to return to those other matters which are in great need of attention.  I loathe risking the decay of the momentum on the Gnomes, but attendance to those other matters requires it because they are getting in the way of advancing as rapidly as I would like.

Hence, the core materials for the Gnomes is almost as complete as it can be at this point and further forward momentum is wholly contingent upon significant further investment, to a degree that is beyond my immediate and relatively insignificant resources.

This also implies that advancement of the Gnomes of New Hope: Zach & Zebby's Grand Adventure  may be more viable in the hands of a Theatrical Agent while I am focusing on other matters.

Until that changes, this may be the last post on this blog for awhile. If you peruse the postings in this blog you will gain all the information you will need to perceive the magnitude of this project, short of the core material, story-line, and contracts, which items are only available to our investors and creative partners.

The most I expect to do on this blog in the near future is to post more artwork along the side panels.

For future updates refer to the IMS Virtual Studio, which will now be receiving my attention.   AG

Gnome Gnog

I was talking to Gnuthead the other day and he said:
I have discovered the formula for Gnome Gnog ! 

 Of course the ingredients are somewhat different than those 

shown on this proposed label, but it's pretty darn good! 

That's Gnuthead kneeling down. He invented Gnome Gnog
and that's Gnomus standing up,
he's Gnuthead's business partner at
The Gnot Hole, Gnomeville's Famous Eatery.

We've tried numerous formulas - but this, the most recent one, is quite good.  There are some variations we need  to try because of the different markets we will be wanting to approach with this beverage, but when we are 100% satisfied that it is right, I will be looking for a company to produce the product in a powder form.

We will be offering Gnome Gnog as a concession item at the shows, as well as marketing it in supermarkets and presenting it to a brewery for a brewed version. So I want to have slightly different versions of the Flavor for the packets sold in the "hot chocolate" market and that sold in the beer market.

In addition to the beverage, we have Gnog Logs for the cookie/candy market  and Gnome Gnuts for the cereal market. There are a few other items in the works too.

If you are a company engaged in these markets and you want to be part of out product line as a licensee, do let me know.

Sortagnomic Furniture

One aspect of our marketing for

 The Gnomes of New Hope is 

The Gnomeville Art & Craft Guild

We have been developing a catalogue of products, 

putting together a showroom and an exhibition area at the studio  

and building the prototypes for a number of our products. 

Here is one of them.

Some story-line elements have changed from what you see here.

The Gnomes refer to humans as Big People.

I like to think the flyer is self explanatory. 

There is an order form below. 

At some point I hope to inventory 25 -50 of these chairs, 

so they will be ready for shipment at any time.  

So far I am still in the prototype stage with this 

and I am trying to work out the shipping box 

as well as some other hardware components.

 This chair will be sold as a kit.

 If you would like to purchase any number of these kits, do let me know.  

I would like to have a distributor buy a couple of hundred

 so I can get the production up to speed. 

I will take order for any quantity. 

Delivery is not fixed as yet

but the manufacturing process is almost refined.

there  is a price listed  on this copy of the order form

but that price will need to be confirmed.

I will proceed with that if you contact me.

AG

A Love Song Duet

Here is a link to the First Love Song we recorded hopefully it works for you.

" Completely "

a love song duet

Zach & Ferny

Sung by
Nathan Odhner & Justine Buss

Here's an Illustration representing the Finale of the show.

A (not so) Quick Note on various points

Regrettably, things are slowing down for me on this project because my computing power is becoming increasingly insufficient for this project.  The e-Storybook is quite large now, even without the videos installed in the layout.  Of course I do not yet have more than the one video (which is posted here) but it is clear that I will need a great deal more computing power than I currently have. I am working around that problem as best I can, but clearly I need to drop some serious bucks into new systems and programs in order to implement this as fully as possible. I am trying to get a grip on DRM and how to best implement that, but it is clear that I will not be able to do that with the current equipment.

So my solution to that will have to be selling some ancillary rights to fund those upgrades. We are working on a number of product lines including the Garden Gnomes (of the characters), refining the formulas for Gnome Gnog (a beverage) Gnome Gnuts (a snack food), and Gnome Gnuggets (a cereal) and an assortment of toys (including figurines & a game board) as well as ephemera.  What this means is that - I will be pursuing this means of financing a bit more aggressively.  Therefore I seek to communicate with organizations I know of, to discuss this and to set up these markets to synchronize with the release of the film, television and theatre projects ( those markets are also open for discussion).

So if anyone is interested in discussing the purchase a license for these (or other) items, or other thoughts on partnership, and wants a leg up on it, please do contact me in this regard.

Understand that I am pursuing development of these markets internally as best as possible, but that I prefer to license manufacturing & distribution in exchange for production funding. We are very close to being able to release this to the public, but it will be necessary to develop that associated industries before we attempt to do that. So, that being the case our first release will be to those industries and I would hope that someone seeing this who likewise sees the potential will be inclined to contact me.

I would rather not impair the any of the markets by attempting distribution of any item in-house, until I am certain that I will need to do so, and so I am also seeking relationship with an Agency who can negotiate for me on numerous fronts. Thus far, nothing is contracted.

Therefore, distribution of the three volume e-storybook, which would be the first and most important product, is available to an organization of substance who can guarantee international distribution of both the e-storybook and the hardcopy editions. I certainly could distribute the e-storybook in-house, but I'd rather offer that advantage to the organization who will take charge of producing and distributing the hardcopy.  Of course the layout is already done, so it is mostly a matter of printing or possibly expanding upon some of the illustrations. To do that would involve further engagement of my Illustrator.

To reiterate: I prefer to focus my attention on the theatrical aspect of this from the Director's standpoint. As far as producing goes, I prefer to stay in the Little theatre environment, because producing for a first class house is more complex than I care to deal with at this point.  After all the creative work is done that may be different, but right now the level of concentration required for development of the core product (story & characters) and creation of the music and the technical design elements is about all the brain power I have.

Because of this, I seek to license out the First Class Stage production to another producer who has significant experience with running a successful Union show in NYC. But just to be clear, the Ancillary Rights do not go with that (unless that market is bought into) Producing in the Union environment is not something I care to get involved with, although if, everything else is done and  I am forced to do it, I will.

We are advancing with our work on puppetry and are developing a prototype animatronic puppet to tie into our computer MIDI systems. My focus of attention is this, as opposed to mounting the live production, as I intend to produce the animated/puppet version of this in my own studio first. This puts less burden on me for travel and logistics and will allow me to stay in the studio to produce the animations and television product. I am building a stage space with a green screen for this. I currently have 10K sq ft to work with.

That's not to say the live version cannot proceed, or that I will not work on that, but that is contingent on additional producers and financing being part of that process. The development of the live production will take place in my studio in Southampton Pennsylvania, unless other more advantageous circumstances arise.

Well that's all for now. AG