The Money You Took From Me

The money you took from me is all that I can think about now that you have disappeared into the darkness and the void of society. The money you took from me was all that I used to have and my entire future was wrapped up in that wad of ten-dollar bills that I had tried to hide from you. The deceit you were capable of was astounding and I curse the night sky that I ever met you and I wish the worst luck in the world upon you. Give back the money you took from me, the money that never existed at all.

eet Vanola Ann and her friends, Diane and Kristen. They have so many choices to make...but will they choose the right ones? Some of her acquaintances have decisions to make also. Perhaps you can help them because the choices they make now will impact their lives later. (and the choices you make now will impact your life later too!)

The must-have guide to traditional, emerging and creative TV funding models that are being developed and exploited by social media-savvy documentary filmmakers. Each chapter covers a different form of funding and combines advice from industry insiders - producers, buyers, specialist media agencies and corporate funding bodies - and entertaining case studies that illustrate the benefits and pitfalls of each method. With practical tips, case studies and advice it reveals what grantors, brands and NGOs are looking for in a pitch (they all have different needs and expectations), and the cultural differences that can trip up the unwary producer. Funding examples range from blue-chip TV documentaries, such as Planet Earth, which was co-funded by the BBC, Discovery NHK and CBC to The TV Book Club (More 4), which is funded by Specsavers opticians; to Lemonade Movie, which harnessed the power of Twitter to source free equipment and post-production resources. Readers will discover: the difference between co-productions, pre-sales and acquisitions; how to develop and pitch advertiser funded programming; the new rules on product placement; where to hunt for foundation and grant funding and how to fill in those fiendish application forms; the power of crowd-funding and how to harness the internet; how to sniff out grants and funds held in non-film focused organisations such as the Wellcome Trust; why corporations are keen to fund your documentary and how to get them to part with their money without giving up your editorial control.

I need a wife. Now. It doesn’t have to do with love and living the good life. This is all about getting the money my billionaire father left to me. And I’m running out of time. But who proposes to a stranger after the first date? Me. That’s who. As if I have another choice. Luck is on my side though, and a beautiful model shows up in my office. Single? Gorgeous? Funny? All of the above. Our first date goes so well that I feel unsure about my decision to do this thing with her—you know, fake it. I put it off and decide to do it later, to ask for her help after we get to know each other better. But I like her more and more each time we meet, and eventually, offering her a ring isn’t for my dad’s money—it’s because I want her more than anything else in the world. Besides, who’s going to know if it’s fake or real? And does it really matter? Yeah. It does. To her… This is book 3 of a trilogy. HEA guaranteed.