Two teens take the stage and find their voice. . . A girl learns about her heritage and begins to find her community. . . A sister is haunted by the ghosts of loved ones lost. . . There is no universal adoption experience, and no two adoptees have the same story. This anthology for teens edited by Shannon Gibney and Nicole Chung contains a wide range of powerful, poignant, and evocative stories in a variety of genres. These tales from fifteen bestselling, acclaimed, and emerging adoptee authors genuinely and authentically reflect the complexity, breadth, and depth of adoptee experiences. This groundbreaking collection centers what it’s like growing up as an adoptee. These are stories by adoptees, for adoptees, reclaiming their own narratives.  With stories by: Kelley Baker Nicole Chung Shannon Gibney Mark Oshiro MeMe Collier Susan Harness       Meredith Ireland Mariama J. Lockington Lisa Nopachai Stefany Valentine Matthew Salesses Lisa Wool-Rim Sjöblom Eric Smith Jenny Heijun Wills Sun Yung Shin Foreword by Rebecca Carroll Afterword by JaeRan Kim, MSW, PhD

Motion picture audio is one of the least understood parts of filmmaking and is neglected by many film students and filmmakers alike. It's boring, scary, too technical and not considered important by most filmmakers. Until they get into the editing room and realize that by not paying attention to audio earlier they are screwed. Over the years tons of false information has spread through the independent film world, and most students and filmmakers don't want to deal with sound. If they do it is usually done incorrectly through ignorance and at a huge financial expense. This book is intended to shatter the myths and mysteries around film audio and give both students and experienced filmmakers the knowledge and tools so that their films will sound like they have come from the Hollywood studios without huge Hollywood budgets. I have assembled a lineup of some pretty amazing people in all areas of audio production for film and television. This group consists of location recordists, sound designers, picture editors, sound editors, re-recording mixers, and post-production supervisors. This all-star cast has won Oscars and Emmys in addition to awards from various film industries worldwide. In the book's interviews, Gary Rydstrom, Tom Johnson, Jim LeBrecht, Ron Eng, Harry B Miller III, Peter Kurland, Lee Haxall, Ken Karman, David A. Cohen and a host of others discuss their methods and secrets. Sound is an excellent carrier of emotion. And film is about emotion. - Gary Rydstrom, sound designer - Saving Private Ryan, Jurassic Park (winner of 7 Academy Awards) Sound is NOT the enemy - Lee Haxall, editor Crazy Stupid Love I'm capturing a performance, and that performance is only going to happen one time the way they want it, in the environment, with everybody in the mood. - Peter Kurland, location recordist - No Country For Old Men In my mind, dialog is king, if you can't understand what they're saying then the movie is a waste of time. - David A. Cohen, dialog editor - Lost In Translation A good dialog editor can figure out a way to make nearly every line of dialog usable. Milly Iatrou, dialog editor - Walk The Line I would rather see no music than music used improperly. - Ken Karman, music editor - Forrest Gump We're like the ugly evil stepchildren in the basement. - Jana Vance, foley artist - Toy Story When I look at a film or look at a script I think of what I'm gonna need to make that world. Jane Tattersall - sound effects editor - Naked Lunch I like off beat stuff, weird sounding films and subtle sound tracks as compared to bombastic. - Ron Eng, supervising sound editor - Mulholland Drive Sound is kind of invisible, but when it's wrong we know it immediately. - Jim LeBrecht, sound designer - The Singing Detective Good sound goes unnoticed, bad sound ruins a film. - Dan Olmstead, re-recording mixer - Cecil B. Demented The rule of thumb for good sound is: does it tell or promote the emotional content of the scene, does it support and/or reveal the story. - Tom Johnson, re-recording mixer - Alice In Wonderland (winner of 2 Academy Awards) If you want to see what the future of storytelling looks like then check out Kelley Baker. Brian David Johnson, Futurist, filmmaker, author If you read only one book on sound, this is the one, and, after you've read it, you'll never, ever, ever say, "We'll fix it in post." William M. Akers, author of Your Screenplay Sucks

The Angry Filmmaker's Survival Guide Part One: Making the Extreme No Budget Film "When it comes to independent filmmaking Kelley Baker is the real thing. His experience, observations and practical advice reveals the raw truth about an important art form that has been hijacked, over-romanticized and betrayed by everyone from the mainstream media to its very own champions. This book is about real filmmaking. If you are thinking about making an independent film, you must read this book." Brian Johnson, author, screenwriter, and director "Angry or not, Kelley Baker knows his stuff, and he tells it all in this book that's part indie film war story, part instructional manual for true independents, and part furious rant. It's always entertaining, and it might just tick you off, but - most important - the advice contained within these pages will help you get your film made. Anyone reading this book can tell Baker truly wants to help passionate wannabe filmmakers realize their creative visions without going bankrupt or making the kinds of mistakes they can't afford to make." Chris Hansen, Writer/Director The Proper Care and Feeding of an American Messiah. & Endings. Kelley Baker is the Angry Filmmaker. But his independent films are not angry, they're honest. He's angry at the state of independent film. For Baker, it's about telling the story, not what actors are starring in it. From making award winning short films to the trials and tribulations of making three independent features with tiny budgets and no financial backing. Kelley lays it all out. Dealing with the "Independent Film World" and the lies they tell. His films have been seen all over the world and no one has ever guessed his budgets or the struggles of making them look as good as they do. This book takes you step by step through making films on very little money, interspersed with tales of how the business really operates and the frustrations of being a Real Independent Filmmaker. Like any good survivalist, Kelley Baker doesn't beat around the bush - he gets right down to the nitty-gritty heart of the matter right way. His 12 chapter Survival Guide is a compact, no-holds-barred 12-step program to creating what Baker calls "The Extreme No-Budget Film." Baker is on fire about making films. You will be too after reading this brutally honest compilation of personal stories and practical advice from the front lines of independent filmmaking. Morrie Warshawski, Consultant and Author (Shaking the Money Tree: The Art of Getting Grants and Donations for Film and Video - 3rd Edition) Read this book and you will not only SURVIVE but you will SUCCEED. One of the best books on making your way through the independent filmmaking jungle with justifiably-angry filmmaker Kelley Baker as your top-notch guide: Funny, profane and committed to telling the unblemished truth. Don't make your next movie until you've read this terrific book. John Gaspard, Author, Digital Filmmaking 101, Fast, Cheap and Under Control, and Fast, Cheap and Written That Way. This is a killer book. It tells you what your teachers can't, because they haven't done it. It tells you what your friends can't, for the same reason. Jammed with tons of useful advice, Baker's book is an invaluable "think before you shoot" guide for beginning filmmakers, as well as people who've been around the block, but need a refresher course. William M. Akers, author of Your Screenplay Sucks 100 Ways To Make It Great Finally, a film resource that tells it like it is As a film festival director, I watch hundreds (if not thousands) of films a year - some good, many flawed. I wish I could afford to send copies of "Survival Guide: Part 1" to every director I encounter, to help them identify and correct potential issues before they roll the camera. Jon Gann, Director, DC Shorts Film Festival Here, with all his attitude, is the wisdom of an Angry Filmmaker, gained the hard way, through experience.