Your story needs an audience plan suited to its stage and purpose. IME Publishing Group™ helps you assess reader-to-viewer opportunities, relevant offers, and appropriate release routes. Your project conversation defines the work, responsibilities, and investment.
Give your story a clear route to its audience.
Prepare the audience while the film takes shape. Connect the story with a relevant offer, a consistent communication plan, and a route from first interest to a screening, purchase, or approved campaign.
Where a release loses momentum
- The film is complete, but potential viewers have never heard about the project.
- A fundraising campaign launches without an engaged audience.
- A single licensing payment becomes the entire revenue plan.
- The title enters a catalog without a supporting discovery campaign.
- Views accumulate without covering production, release, and marketing costs.
What we plan from the beginning
- Audience development before the final edit.
- Permission-based updates connecting interested viewers with an approved campaign.
- Direct screening and buyer communication alongside eligible distribution routes.
- Relevant books, courses, journals, merchandise, memberships, and group licenses.
- A continuing release calendar with costs and results measured against the plan.
Your book introduces the story. Your campaign invites the audience.
Start with the connection between your book and the people who care about the subject or story. Plan a relevant purchase, screening, or subscription opportunity and a clear follow-up invitation.
Illustrative assumptions. Stage widths show sequence, rather than proportional audience size.
Buy now. An estimated 50 visitors purchase the entry offer. Relevant bumps and upgrades add to front-end revenue.
Build the relationship. An estimated 950 visitors have not bought. Invite interested visitors to opt in, watch a preview, and hear more about the film.
- Front-end revenue$1,604.50
- Traffic cost$1,000.00
- Fulfillment and fees$300.00
- Balance$304.50
At the entered 10% voluntary opt-in assumption, approximately 95 non-buyers join the follow-up audience. Other visitors stay anonymous unless they identify themselves. These figures model a scenario, not actual sales, contacts, ad recovery, or film funding.
Adjust the sample funnel numbers
Use your own prices, costs, and conversion assumptions. This is a planning model, not a live advertising or checkout connection.
Attract readers and viewers.
Use a book, preview, trailer, or screening offer to introduce the film to a defined audience.
Deliver and follow up.
Deliver purchases. Invite voluntary subscribers into email updates, creator content, interviews, and screening announcements.
Connect to the campaign.
Invite the appropriate audience to your approved reward campaign, premiere, community screening, or independently arranged financing route.
Already building a campaign? Give the audience a clear next step.
Choose a route to see how the book-and-film audience plan connects with the campaign. Studio review, rewards, and investment offerings follow different requirements.
Angel Studios
Prepare a prototype or screening material for the studio’s project-review route. Acceptance and an agreement come before any studio-supported release.
Review the platform’s route ↗Platform names identify potential routes, not IME affiliations or acceptance. IME provides agreed audience and campaign services. Any securities offering is handled separately by the film owner’s legal and qualified financing professionals.
One production. A considered content campaign.
Plan how interviews, scenes, behind-the-scenes material, and approved excerpts support a continuing campaign. The production becomes a source library for platform-specific content, rather than a single release-day announcement.
The content calendar defines the asset count, release schedule, clearances, paid placements, and campaign budget. Larger clip libraries and year-long management are scoped separately from a package’s included launch assets.
Give your audience more than one way to participate.
A book buyer, screening guest, newsletter reader, merchandise customer, or community member enters the project through a different door. Build a useful next step for each, then invite interested supporters to share, attend, purchase, or explore an approved campaign.
The community size is an example, not an acquisition commitment. Buying a book does not make someone a film investor, and audience interest does not establish a funding result.
Audience-backed productions have taken different routes.
These independently reported productions show how a community has participated in a film or series. They are external examples, not IME Publishing Group™ projects or representative client outcomes.
The Chosen
The production’s published investor overview reports approximately $10 million raised for its first season from more than 19,000 people. This is a historical first-season example, rather than a budget or result promised for another series.
Production’s investor overview ↗The Wingfeather Saga
Angel Studios reported a $5 million, 20-day campaign for season one of the animated series adapted from Andrew Peterson’s books. The announcement illustrates a book-to-screen community campaign.
Angel Studios announcement ↗Daniel Film LLC
The Wefunder campaign page reported approximately $1.67 million raised when reviewed on November 1, 2026. The project states principal photography was funded by a previous round. A campaign’s target and actual funding are different figures.
Project’s campaign page ↗Campaign structures, costs, timing, audience size, and outcomes differ. These examples do not imply the IME SLO funnel caused another production’s fundraising results.
Match your release to the way your audience watches.
Choose the channels appropriate to your genre, rights, audience, and budget. Direct channels, licensed distribution, publicity, and discovery each have a different role.
Channels you manage
- YouTube
- Your screening website
- Red Carpet Events
- Substack paid tiers
- Uscreen branded platform
- Vimeo OTT
- Permission-based email & SMS
Sales & licensing routes
- Filmhub
- Binge Networks
- Prime Video routes
- Apple TV transactional routes
- YouTube Movies & Google TV
- Your own Roku channel
- Tubi · Pluto TV · Plex
- Gaia
Publicity & community
- Instagram & TikTok
- Facebook groups
- Podcast interviews
- National press outreach
- TV & radio outreach
- Billboard campaigns
Search & discovery
- Google search visibility
- YouTube search visibility
- IMDb presence
- AI search visibility
- Tracked advertising
- Group screenings
Filmhub and other distributors offer access to their own buyer networks, with title acceptance and licensing handled through their processes. Platform names identify potential routes, not existing IME partnerships. A managed account or subscriber list also remains subject to the platform’s rules, data permissions, and audience consent.
Apple TV purchase and rental distribution can involve an aggregator or encoding partner. YouTube Movies and Google TV have their own content-owner review and aggregator routes; uploading to your own YouTube channel is a separate option. Platform availability, rights, delivery requirements, and acceptance are assessed for each project. Apple partner directory ↗ · Google content-owner guidance ↗
Explore Pitching & Global Distribution ➜Research informs where the campaign begins.
Published research helps choose where to test the campaign. The figures below measure different populations and periods, so they should not be added together or treated as the audience your film will reach.
YouTube
84%U.S. adults reporting YouTube use in Pew’s 2025 survey.
Pew Research, 2025 ↗Free streaming TV
46%U.S. internet households regularly using FAST for long-form video, as reported by Parks Associates.
Parks Associates, May 2026 ↗Podcasts
167MU.S. people age 12+ consuming a podcast in the last month in The Infinite Dial 2026.
Edison Research, 2026 ↗Substack
5MPaid subscriptions reported at Substack’s March 2025 milestone. Subscriptions are not unique people.
Substack, March 2025 ↗Prepare the film for the right submission.
Festival and award consideration forms one part of a release strategy. Assess relevance, eligibility, deadlines, premiere restrictions, submission fees, and the current program before committing to a target.
Conscious & transformational
- Illuminate Film Festival
- Sedona International Film Festival
- Awareness Film Festival
- Maui Film Festival
- Global Impact Film Festival
- Conscious Life Film Festival
Documentary & independent
- DOC NYC
- Hot Docs
- IDFA, Amsterdam
- Heartland International Film Festival
- Nashville Film Festival
- International New York Film Festival
Awards & competitions
- Impact DOCS Awards
- Accolade Global Film Competition
- Telly Awards
- Best Shorts Competition
- Christian Film Festival
- Anthem Film Festival
These are potential research targets, not a promise of open submissions, eligibility, acceptance, or an award. Submission work and fees follow the agreed project scope. Only confirmed selections and awards belong on your poster or pitch materials.
Prepare a buyer conversation grounded in your project.
Before the audience work
- A completed film without an established release audience.
- Unmeasured demand and an unclear campaign proposition.
- A licensing pitch carrying most of the commercial expectations.
- Limited data for discussing the next release window.
What the campaign is designed to add
- Documented buyer, subscriber, and screening activity.
- Real conversion, fulfillment, and acquisition-cost information.
- Confirmed reviews, selections, or press coverage where earned.
- A direct-audience release route alongside appropriate buyer outreach.
A prepared audience strategy supports the conversation. Each buyer controls its own decisions. A direct release also needs appropriate rights, delivery assets, and operating resources.
Your book, your film, and the business around them.
Mike Driggers brings his work in publishing, authority positioning, speaking, publicity, and offer development to the audience strategy. Connect the book’s message with a screen experience, a relevant paid offer, and a clear next step for readers and viewers.
Choose the audience and commerce build for an existing film, combine the campaign with an IME production package, or discuss a separately negotiated collaboration. Your agreement sets the scope, ownership, responsibilities, and any approved commercial participation. Detailed implementation methods are discussed privately.
Begin with the audience and the story.
We discuss who the book or film serves, why those people would care, and what you want them to do next. A nonfiction author and a novelist need different reasons for viewers to participate.
Give interested people a useful next step.
A book purchase, a preview, a screening, a companion resource, or a community invitation each serves a different purpose. The offer and follow-up should fit the material and the audience’s level of interest.
Plan the work privately.
Your application starts the discussion. We review the project’s readiness, goals, available assets, and budget before defining the creative, marketing, technical, and distribution-coordination scope. Detailed workflows and implementation methods are discussed privately.
Review performance against the agreed plan.
Campaign reporting should distinguish audience response, sales, advertising costs, fulfillment costs, and any separately managed fundraising activity. We use the agreed measures to decide what needs attention next.
From short episodes to interested readers.
Consider fiction mini dramas or nonfiction short series as part of the audience plan. Invite interested viewers to the book, a screening, or permission-based updates. Measure purchases and advertising costs separately from video views.
Explore Mini Dramas & Short Series ➜The work we coordinate.
- Project and audience assessment
- Offer and campaign direction
- Agreed creative and technical deliverables
- Appropriate release-route planning
- Reporting and review responsibilities
How the engagement works
SLO means self-liquidating offer, an objective in which front-end contribution covers acquisition spend. The name does not establish performance. Advertising, software subscriptions, payment fees, printing, shipping, refunds, and product fulfillment reduce contribution and are budgeted separately. A buyer becomes a contact only through permitted customer-data access and appropriate consent.
Start with the story.
Put a production plan behind the ambition.
Discuss your book, preferred format, budget, rights, and audience with IME Publishing Group™.
Apply for a Film Strategy Review➜