Screen Printing Business-How To Start A Small Home Business Printing T-Shirts

Have you thought about starting a screen printing business? It costs almost nothing to start a t-shirt printing business at home. I read about one guy who started a screen printing business with almost nothing. He made the frames with used lumber, and used fabric from an old wedding dress for the screens. He printed and sold signs. He also printed magnets (like what you see on car doors advertising a company), shirts, and baseball caps. He actually designed and built his own 4 color screen printing press. I bought the plans for his 4 color screen printing press on eBay. The plans were hard to follow, but I managed to build my own modified version of his press.

At one point I seriously looked at starting my own screen printing business. I ultimately decided that there were other things I would rather do. So I mainly screen print t-shirts for fun. But it wouldn't be that hard, or expensive to get into the screen printing business. It would cost under 0 to buy the stuff to screen print t-shirts. The absolute minimum stuff you would need would be a frame, photo emulsion, a cheap light, ink, a squeegee, masking tape, and t-shirts. For another hundred, you could buy a single shirt screen printing press. Or if you want to build your own press.

And you can upgrade your equipment as your business grows. Screen printing a t-shirt only uses pennies worth of ink for each shirt. You can get blank shirts on sale at Michaels for -4 each. Or you can buy them in quantity for less. You can buy box lots of t-shirts on eBay. You can run a screen printing business out of your garage, or the basement of your home. If you run a small shop, you will probably be okay. If you start to get bigger, then you might need to check with your local government on zoning laws.
What I have seen many people do is design and print shirts, and then sell them on eBay. If that is what you are interested in doing, look on eBay and find what kind of shirts people are buying. Are they buying dog shirts, cat shirts, karate shirts, etc. Find which shirts are selling. Develop your own original artwork, print a few shirts, and try listing them on eBay. So you might spend a few bucks per shirt, it only costs pennies to print them, and then you might be able to sell them on eBay for - on eBay.

Screen Printing Business-How To Start A Small Home Business Printing T-Shirts

Some other screen printing business opportunities would be local rock bands, baseball teams, family reunions, etc. If you know someone who needs t-shirts, offer your services and make a small profit. It is important that you do a good quality job. After you have done some jobs, you will likely get referred business by word of mouth. You can always get some business cards printed up, and post them on bulletin boards in your area advertising custom printed t-shirts.

Screen Printing Business-How To Start A Small Home Business Printing T-Shirts
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Rob Jacob has years of screen printing experience. For articles and information about screen printing t-shirts, visit: http://www.screen-printing-t-shirts.com

Script Analysis - Where the Wild Things Are - Archetypes and Emotional-Symbolic Screenplay Structure

Script Analysis: WHERE THE WILD THINGS ARE

SPOILER ALERT: If you haven't yet seen "Where The Wild Things Are," you may want to check it out before you read this article. Let's set aside the question right now of whether or not Where The Wild Things Are is a good movie. Let's set aside the question of whether you liked it or not (or were a little bit embarrassed for liking it as much as you did).

And if you feel like you wasted your twelve bucks on a movie in which essentially nothing happens, let's set that aside too. Love it or hate it, Wild Things is a movie worth studying, because of the bold and unique ways it is structured to reflect its authors' premise, both in its most wonderful, and its most problematic elements.

Script Analysis - Where the Wild Things Are - Archetypes and Emotional-Symbolic Screenplay Structure

PREMISE? WHAT PREMISE?

Wild things is governed by a simple idea-- or at least a strong suggestion-- that we are seeing the whole world through the perspective of a young boy-- as he works out his rage over his isolated life (and more importantly, his parents divorce) by playing with a bunch of stuffed animals in his room.

The writer-director team of Jonze and Eggers make a very strong (and very risky) decision that nothing in the world of the Wild Things is going to exist outside what a boy Max's age could reasonably imagine. This is embodied in every element of the film:

In the dialogue and actions of the Wild Things (who reason and dream and play and rage and even accept the impossible just like children). In a plot limited to events that a moderately intelligent child could be expected to dream up--more interested in reflecting the way children play (with exaggerated simplicity, loose ends, and non-linear and non-sensical elements) than it is with telling a linear narrative story.

In the production design-- which looks a lot more like what a child like Max might think was "cool and magical" than what we've come to expect from the grown up Hollywood minds that bring us movies like Harry Potter or Pan's Labyrinth. In Where the Wild Things Are, boats to magic lands show up out of nowhere, Wild Things instantly accept little boys as Kings, and torn off arms drip sand and not blood. We are in a little boys world of stuffed animals, and if things seem cheesy, overly simple, or just plain goofy, it's because they're supposed to.

Because of these choices, the experience of Where The Wild Things Are completely violates almost everything we've come to expect in a Hollywood movie. We come expecting magic and spectacle, and are given only the simplest special effects. We come expecting a smooth ride, that's safe for kids, and fun for adults, and instead are taken on a chaotic journey that floats along the impetuous currents of Max's joy and rage. We come expecting a "well-made" film, and instead experience the inner world of a child at play.

STRUCTURE? WHAT STRUCTURE?

Most Hollywood movies are built around simple structural rules. If a character shows up at the beginning of the movie pretending to be King, the movie isn't over until he's learned what it is to be a real King. If a character shows up at the beginning of the movie in a land where a bunch of otherwise lovely creatures are filled with rage and misery, the movie isn't over until he's healed their pain (and his own) and found a way to bring them peace.

As you probably noticed, Wild Things doesn't play by these rules. Max doesn't heal the Wild Things. Max doesn't learn how to be a good King. Max doesn't even "finish" the story. Rather, he leaves abruptly (if reluctantly) abdicating his crown like a child called inside for dinner.

For the most part, nothing happens in Wild Things. And yet, from a character perspective, so much happens. The difference is that unlike almost every other Hollywood film of its genre, Wild Things builds its structure not linearly and logically, but emotionally and symbolically, through the use of archetypes.

WHAT THE HECK IS AN ARCHETYPE?

Archetypes are an idea derived from the work of psychologist Carl Jung, and later seized upon by Joseph Campbell and a slew of his disciples as they sought to better understand story. You could spend years studying the different ways different critics, professors, and authors of screenwriting books have described and categorized archetypes.

Fortunately, you don't have to.

Your job as a writer is not to categorize or memorize archetypes, but to understand them. And understanding them begins with this simple concept:

An archetype is a character who embodies some repressed element of your main character's psyche, and exists structurally in your movie to force your character to deal with that repressed element. All movies have archetypes. Big Hollywood movies. Tiny independent movies. Broad Comedies. Serious Dramas.

Even big dumb action movies. They all have archetypes. They have to. Otherwise, your main character would never have to deal with the repressed elements in his or her psyche, and wouldn't have to go through the story. The difference is that within Wild Things, instead of existing in a traditional linear plot, these archetypes exist within an emotional and symbolic one.

THE NORMAL WORLD

One of the truly remarkable things about Where The Wild Things Are is how quickly screenwriters Jonze & Eggers establish all of the real world emotional and symbolic elements that will comprise the structure of Max's mythical journey. His isolation and loneliness. His emotional and physical pain. His feelings of betrayal by his sister and his mother. HIs feelings of being left behind as his mother and sister build relationships with new people that he doesn't like or understand. His shame at being out of control. And most importantly, his violent and destructive reactions to those feelings.

These emotional elements have symbolic counterparts: The Snowball Fight That Ends In Tears. The Destroyed Fort. The Heart He Made For His Sister (which he destroys when he trashes her room). And the moment in which he Bites His Mother after seeing her with her new boyfriend.

THE EMOTIONAL/SYMBOLIC WORLD OF THE WILD THINGS

On a metaphorical level, Max's journey in the world of the Wild Things is quite simply an attempt of a child's mind to make sense of his own destructive rage. Each emotional and symbolic element of the normal world has its Wild Things World equivalent, creating a system of metaphorical mirrors through which Max ultimately can see himself and his world more clearly (as he self soothes his way through the guilt and trauma).

The Wild Things bite, just as Max bit his mother. The Wild Things destroy their homes, Just as Max destroyed his sister's room. Max attempts connect with the Wild Things by building a fort and throwing dirt clods, just as he once built a snow fort and threw snow balls at his sister's friends. The connections are simple, giving the movie the clarity and through line it needs to take the audience along for the journey. But also complex, honoring the complexity of Max's pyschology, as he navigates the complexities of his parents divorce and his feelings about it, by navigating his relationships with one archetypal Wild Thing after another.

CAROL: The loving, but violent father, with whom Max's mother no longer wants to live despite Max's love for him, and whose behavior Max is emulating in his own.

KW: The perfect mother figure, who "inexplicably" no longer wants to live with Carol, and is instead enamored with "boyfriends" Bob and Terry, the owls that neither Max nor KW can understand.

JUDITH: The embodiment of his jealousy and discontentment-- who feels like it's Max's job to make her feel better, just as Max wants his mother to do for him.

Even Max himself is an archetype: the quintessential Jungian "Hero". The developing Ego that wishes to be King of his own world.

Over the course of the story, by interacting with his archetypes and attempting to do for them what he wishes to do for himself, Max develops empathy and understanding that prepares him to return to his new world. He is forced to confront who his father really is, who his mother really is, and even who he really is. He is forced to confront the consequences of his choices, and the terrifying idea that he may not be in control, that he may not be King, that he may, in fact, just be a "boy, pretending to be a wolf, pretending to be a king" and that in fact Kings may not exist at all.

It ends with the gift of a heart that Max has made. Not coincidentally, it looks a lot like the one he once made for his sister, and destroyed at the beginning of the movie. Linearly, not a darn thing happens. But metaphorically, emotionally, and symbolically, Max undergoes a profound change. He must, otherwise he wouldn't need to go through the story.

THE WRITER'S JOURNEY

On an archetypal level, Max's journey echoes the journey of every writer. We must reduce ourselves to children, allow ourselves to play, breathe life into our own archetypes through the words and actions of our characters, create metaphorical and symbolic equivalents for the confusing and contradictory events of our own lives, and ultimately create a structure that forces us to unearth our own repressed emotions, and takes us, and our main characters, on a journey that changes us both forever.

Though your own work may not be as structurally radical as that of Where The Wild Things Are, if a movie in which so little happens can create such a profound journey for its main character, imagine what exploring these emotional, archetypal, and symbolic elements could do for your own work.

Script Analysis - Where the Wild Things Are - Archetypes and Emotional-Symbolic Screenplay Structure
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Have a question about screenwriting?
Ask award-winning screenwriter Jacob Krueger, and your question could be featured in an article like this one. You can email Jacob at jake@screenwritersmind.com. For more information about screenwriting, or to find out more about Jacob's screenwriting classes in the New York City Area, please visit his website: http://www.screenwritersmind.com.

Copyright (C) Jacob Krueger 2009

Screenwriting - Why Turning a Book Into a Movie Is Tougher Than Turning a Movie Into a Book

One of my screenwriting Twitter followers asked me the question: Which is harder-turning a book into a screenplay or turning a screenplay into a book? Without any hesitation, I responded that it' s much more difficult to turn a book into a movie.

For one thing, you have much less room to tell the story when screenwriting. A novel can be 80,000 - 100,000 words and more, and take up hundreds of pages. A screenplay must, with very few exceptions, run 90 - 120 pages, with lots of white space on the pages. Average word count is somewhere around 20,000 - 25,000 words.

The reason there is a strict page count when screenwriting is that the rule of thumb when shooting a movie is that one screenplay page equals one minute of time on the screen. It doesn't always work out that way but you still need to be very careful with your page count.

Screenwriting - Why Turning a Book Into a Movie Is Tougher Than Turning a Movie Into a Book

So you can see the problem from the outset. Books have much more room to develop their stories and themes. They can spend a lot of time describing a scene or a character, and delve deeply into their backstory. Although it is important to keep an eye on page count because of production costs and marketing, novels have less exacting word counts.

Novels can be more flexible. They allow the writer to spend time on what interests them most. Novels also allow authors to have fun with the language, to show off their poetic flair, if they want to. For many people, including me, part of the joy of reading a great novel is the writing style of some of my favorite authors.

Novels can reveal what a character is thinking. In a screenplay, you can only write what can be seen and heard on the screen. Sure, there can be voice overs, but most producers and directors prefer not to use them unless they feel it is absolutely necessary for the story.

Screenwriting must be minimalist. Character descriptions tend to be very general, in order to allow for more casting options. Also, movie dialogue must be much shorter. Every sentence and every word must move the story forward in some way.

Novels have room for several subplots. The majority of movies only have one or two, if any. There's simply not enough time for them to develop in about 90 minutes.

Another reason that the screenwriting process is so demanding is that the audience only has a quick moment to get all they can form each scene. When people read a book, they can go back a few pages if something is not clear. People can't do that in a movie theater.

In novels, words tell us the story. In movies, images, along with dialogue, tell the story, but images are preeminent.

On the other hand, for the reasons already mentioned, turning a screenplay into a book is a much easier process. The writer can use all those ideas, characters and subplots he or she had to discard because of limited space and time constraints. They can have more fun with the language and more easily reveal the thoughts, emotions and motivations of their characters. If your novel is a few thousand words more than your editor asked for, you can probably get away with it. But if a screenplay is too short or long, it gets thrown away without even being read.

One challenge that a screenwriter may encounter when turning a screenplay into a book is that they now have to be more specific with details of locations and the visual appearance of their characters. So, although writing a novel is not easy, it is easier that writing a screenplay.

Screenwriting - Why Turning a Book Into a Movie Is Tougher Than Turning a Movie Into a Book
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Danek S. Kaus is a produced screenwriter of an award-winning feature film. He has two movies in development and three more of his screenplays have been optioned. Check out his his screenwriting site for more article on screenwriting. You can also ask for his Free Ebook screenwriting for authors

Using Examples of Myth Stories in Speaking

There are many things that you can use to enhance your words and create a more powerful impact when speaking in public. Examples of myth stories can be used in a speech or address that will invoke emotions and reactions in your audience, drawing them in and giving them an strong example to illustrate your key points. Even with the most serious of topics, fictional characters or elaborate tales can be powerful tools to help drive home a point.

The usual mythology examples are not the only ones that are effective. If you have ever received a forwarded email with a frightening tale about someone's fate from their use of a product or their actions in a certain situation, you have seen the power that an urban myth can have on society as a whole. These imagined tales can be enough to change the way that millions of people react when faced with a certain decision or issue in their lives. Keep this in mind when writing speeches and other materials that will be shared with the public.

The key to integrating a myth into a speech or seminar is to find something that illustrates the key points of your lecture. Look for tales that have characters with the type of personality traits, morals, and actions that you wish to invoke in your audience. Show them the effects of the actions you want to see or those that you want then to avoid, and use the example as a "real life" tale of what could happen if these changes or effects are seen.

Using Examples of Myth Stories in Speaking

Some of the most powerful public speakers have learned to successfully integrate examples of myth stories into their speeches and that may be a big part of why they are so inspiring and successful at what they do. Whether you use a classic myth, an urban legend, or invent your own tale that helps to communicate the moral of your story, drawing on the tendency of people's imaginations to affect their motivation and inspiration can help you to unlock the minds of your audience and effectively communicate the point you wish to get across to them.

Using Examples of Myth Stories in Speaking
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Two recommendations:

If you're interested in examples of myth stories, Profitable Storytelling is a fantastic site!

And for an incredible source of motivation, you really need to look at BlindMentor.com [http://blindmentor.com]! You'll be really glad you did!

Turn Your Book Into a Movie

Whether it's a true story or a novel, most authors dream of having their book become a Hollywood movie.

In fact, a high percentage of movies started out as books, comic books or graphic novels. According to Internet Movie Data Base, over 22,000 movies have been made from books. So far.

If this is your dream, read on. One way to increase your chances of having your book turned into a movie is to write the screenplay version of the book. Producers prefer reading script to reading books because they take less time to read. Most scripts are 90 - 120 pages, with a lot of white space.

Turn Your Book Into a Movie

If you're thinking about writing your own screenplay, here are some things to keep in mind:

1. You must write the proper length (see above). Scripts that are too long or too short are immediately thrown away.

2. You must learn screenplay format. There are books that teach this. If your script does not follow proper format, it will be tossed without further consideration.

3. You must get the Hollywood reader's attention in less than 10 pages. This may mean adapting the beginning of your story. If you don't get their attention and interest soon, they move on to the next script.

4. A screenplay can only contain what can be shown on the screen -- action and dialogue. Unlike a novel, you can't write about what the character is thinking. But you can reveal their emotions and thoughts through action and dialogue.

5. Every scene must move the story forward in some way.

6. Don't "direct" the script. Don't put in camera angles or suggest particular songs to play in the background. That is the director's prerogative.

7. Consider eliminating subplots and combining two or more characters into one, that is, create composite characters, if there a lot of people in your book.

8. Keep the dialogue short. Novels have more freedom in that regard.

9. Watch lots of movies with the intent of noticing what works and what doesn't. It will help you become a better screenwriter.

10. Realize that a book is not a movie and a movie is not a book. They have different needs and different rules. Keep this in mind and you will be more successful at adapting your book into a movie.

Turn Your Book Into a Movie
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Danek S. Kaus is a produced screenwriter of an award-winning film called "The Ante," which will be out later this year. He was recently hired by a movie company to adapt a book for the big screen. Learn how you can turn your book into a movie at http://yourbookintoamovie.com/ Read his blog http://yourbookintoamovie.blogspot.com/

How to Write a Budget - The Best Way

Are you trying to set yourself up on a budget so that your financial life is easier for you to manage? Do you want to know where your money needs to go each month so that you can plan correctly and take care of all your expenses? There are a few different theories when it comes to how to write a budget, but there is only one way to make sure you are not surprised by expenses you do not think about. Here is the correct way to write your budget.

You need to start with all of your expenses. This means you need to get a list of everything from your utility bills, mortgage or rent, car payment, insurance, to your license fees, car registration, oil changes, Christmas spending, birthday spending, and everything else in between. Anything that you spend money on in a years time needs to be included in your budget. If you forget about the quarterly or annual expenses you will be surprised by them and it will throw your budget off.

Next, you need to weigh your expenses against your income. Break any expenses that are not monthly down into monthly expenses to make it easier to work with. Then, you need to add them all up and subtract them from your income. The amount you have left is what you are allowed for savings, entertainment, and other things that are not necessities for your survival.

How to Write a Budget - The Best Way

If you are not happy with the amount that is left over, then it is time to look at your expenses closely and figure out what you can live without. You might have cable television just so you can watch one show a week. Maybe that show is offered on the internet for free. Maybe you barely ever watch your television and that is an expense you can throw out. There are many other needless expenses that are usually in our budgets. Take a close look and eliminate anything that is not necessary for you.

Last, you need to figure out how much you are willing to waste on entertainment each month. This is your nights out, your movie rentals, and other things we do for enjoyment. There are many ways to make cuts here and still have a great time. You also need to figure out how much to save for general savings, vacations, emergencies, and other things you might be saving money for. This is how to write a budget the correct way and make sure you do not leave anything out.

How to Write a Budget - The Best Way
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Discover more about How To Budget Money by visiting the follow website:

How To Write A Budget

How to Write a Movie Script - Screenwriting Tips to Get You Started

So you want to be a screenwriter, but where do you start? What tools and resources are necessary to learn to be a screenwriter? Do I have to spend a lot of money to get started? These are all common questions, which I will answer in this article.

Easy tips on how to write a movie script:

1) Read as many screenplays as you can. Learn the format and language of how screenplays are constructed. For instance, screenplays are always written in the present tense and often use minimal description to set scenes and create atmosphere. The rule of thumb is: never write more detail than you need.

How to Write a Movie Script - Screenwriting Tips to Get You Started

2) Use computer software to format your scripts. To succeed in Hollywood, you have to use proper screenplay formatting. People who work in the industry are used to screenplays following an accepted format and layout. If yours does not, you are out of the ball game before it has even started. If you've got the money to spend (0-200), I suggest Movie Magic Screenwriter as the software of choice. In my opinion, it FAR SURPASSES the competition. If your budget is tight, there are also many low-cost software options available (under 0), as well as free templates that plug into MS Word.

3) Learn to outline your stories. You can do this on a computer, or you can use the "traditional" method of breaking down your screen story through the use of index (3x5) cards. Either method will allow you to move your scenes about and find the proper flow of your story. During this process, you may discover "miracles" that will take your story to the next level... or you may find out that that "precious" scene you've been thinking about is not even needed!

4) Purchase some screenwriting books to help you learn the process of storytelling and how to structure your story. William Goldman, screenwriter extraordinaire, is famous for saying that screenplays are, "Structure, structure, structure." Movies don't have time to meander like novels. They need to be tightly constructed, with no flab. There are some great books on the market. Hit your local bookstore to familiarize yourself with a few. One of my favorites on how to write a commercial screenplay is Blake Snyder's SAVE THE CAT!

How to Write a Movie Script - Screenwriting Tips to Get You Started
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For more killer FREE tips on scriptwriting, go to Screenwriting Tips. Sign up to receive FREE SCREENPLAYS that you can use to learn how to Write a Movie Script and become a successful screenwriter.

Screenwriting - The Lone Wolf Story Structure Template

Story Structure Templates are the fastest way to write screenplays. One of the most well known and often used templates, which goes beyond three and four act structure, is the Hero's Journey. Arguably, all stories are a variation of this template and the Lone Wolf is one of the most successful of those variations.

The Lone Wolf template is best explained with a combination of Arthurian Legend archetypes as well as Hero's Journey archetypes. A hero journeys to another land to discover the cause behind the death of blood relatives. A battle with Demon Kings, Enemy Knights, betrayal of an Oracle, Mentors, Shape Shifters and a growing set of revelations result in a Final Conflict and eventual catharsis. This hero can also be considered an anti-hero and this template allows for his final death with the inclusion of a Dark Knight.

The Lone Wolf story structure template consists of 56 sequences, which translates to approximately 2 pages per sequence to complete a full length screenplay. The first eleven sequences include:

Screenwriting - The Lone Wolf Story Structure Template

1) The (developed) Hero interacts with a Demon King (1) and his Queen. There is a deep, forbidden relationship (maybe sexual) between the Hero and Queen, however, the Demon King is unaware of it and would disapprove if he knew. The Queen is uncomfortable with this situation but the Hero must keep it secret or similar, due to his dependent relationship with the Demon King, the Demon King's strength or that the Hero is in fact a Knight in the service of the Demon King.

2) The Hero feels the need to embark on an adventure, to discover the cause of a recent tragic event, where a family member died - he suspects that the relative was murdered. The Demon King warns the Hero not to embark on the adventure; references to the dangerous nature of the adventure and the land therein; references to the dangerous nature of antagonists he will encounter there; references to the dangerous nature of the hero himself; references to the hero's status. Reasons may be given as to why the Hero must embark on the adventure. The Demon King may forbid the Hero to travel to the adventure; he may not desire relations with that Kingdom jeopardised.

3) Hero journeys to the land of the adventure. En route, we learn more of his character through his behaviour.

4) Hero arrives at the land of the adventure and makes his way to a social arena, usually an inn, which is full of strange and unfamiliar creatures. The (high) status of the Hero in this place is established. The Hero has arranged a meeting with a Mentor, who was familiar with the deceased and the events surrounding the death. However, the Mentor does not appear. The Hero (may communicate with the Mentor) is suspicious and learns somehow that the Mentor is not interested in this interaction.

5) The Hero enters the home or territory of the deceased relative, with special knowledge gained through some past experience. It is a dark and unwelcoming place. The Hero feels he is being watched. He finds a Magical Aid there. There are reminders of the blood relative's death, perhaps even the body of the relative waiting to undergo a death ceremony. The Hero demonstrates empathy and a closeness with the deceased.

6) The Hero finds a Safe Haven, where he meets an Ally (1). The Hero explains the rules and may have to buy the Ally's allegiance.

7) We learn more of the Hero's character through his behaviour.

8) The Hero investigates the death, by asking specialists, to see if it was caused by some foul play. There is no indication of foul play.

9) The Hero meets the close relatives of the deceased - who are also related to him. The Hero queries them of the circumstances of the death. Indications as to how he died are given.

10) The Hero and the burial ceremony are being watched.

11) The Hero empathises with the relatives of the deceased and offers to provide support. He mentions his plans to marry the Queen, who is of course the property of Demon King (1) -this also implies a coming conflict between Hero and Demon King (1).

The Hero's Journey and Lone Wolf story structure templates can be found at http://www.managing-creativity.com.

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made and the author's name and site URL are retained.

Screenwriting - The Lone Wolf Story Structure Template
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Kal Bishop is a management consultant based in London, UK. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached on http://www.managing-creativity.com.