Experienced Marketing Copywriter

Sirs-

I understand that you're looking for freelancers to handle various forms of marketing collateral, and I'd like to be considered. I've served as a freelance copywriter for several marketing and ad agencies as well as for my own clients, and my other work has appeared in dozens of publications covering a wide range of topics.

Along with my resume, I've provided two recent samples, the first being a sales letter and the second being a brochure. Please take a look at the provided materials and get back to me if you'd like to discuss this further.

My rate for this sort of work is $20/hour.

Thanks,

Barrett Brown

Brooklyn, NY

512-560-2302

Barrett Brown

Copywriter/ Feature Columnist/ Contributing Editor/ Book Author

With focus on political satire, policy analysis and contemporary humor.

Published Work/ Freelance Media Experience:

Texodus Media  Currently serve as copywriter and marketing consultant for Brooklyn-based production firm specializing in marketing and game development. 2008 present.

Studio 2a  Currently serve as marketing consultant for Chicago-based architectural rendering firm, handling all sales letters, marketing copy, and long-term branding strategies. 2007 present.

PoliticalBase.com  Created content and served as paid blogger for online political news start-up founded by CNET. 2007-2008.

Fox Business Channel, Yahoo, Minyanville.com  Writer on freelance creative team for animated humor series Minyanville, which aired on Fox Business Channel's Happy Hour program as well as on Yahoo Finance. 2007

The Onion A/V Club - Freelance copywriting for The Onion's features department. 2006-2008.

Sterling and Ross Publishers  Authored nonfiction book of political humor, Flock of Dodos: Behind Modern Creationism, Intelligent Design, and the Easter Bunny, released in March 2007. Book received praise from Harvard law professor Alan Dershowitz, Rolling Stone, Skeptic, Air America Radio, Huffington Post, others.

Anglesey Interactive, Inc.  Produced online marketing collateral (web text, press releases, blogging, etc.) in support of firm's "Riight.com" integrated search engine from June 2007 to March 2008

Dining Out - Feature writing for national restaurant publication. 2006-2008

National Lampoon - Occasional contributor; past features included "Pick-Up Lines That Don't Seem to Work," "Craig's Conspiracy Corner," "A Guide to Dealing with Housecats," more. 2003 - 2006

Evote.com - Weekly columnist and feature writer for political analysis site from October 2004 to November 2005.

AOL CityGuide - Web content writer from 2000 to 2004 Researched/ created coverage of event and entertainment venues. Served as regional correspondent for Dallas, Austin, New Orleans, Houston and Little Rock markets.

Additional magazine work - Ongoing, have contributed feature articles from serious political commentary to humor pieces to fine dining overviews for outlets including business-to-business publications Pizza Today, 360, Club Systems International, Destination Dallas, D.C.-based public policy journal Toward Freedom, London-based public policy journal Free Life, humor magazine Jest, regional publications The Met, Austin Monthly, Dallas Child, Oui, literary journal Swans, dozens more.

Additional writing projects - Created both print and online marketing collateral for New York tech start-up Organic Motion, Inc. Created online marketing collateral for New York corporate training firm Illuminata Global. Researched and wrote entertainment/dining/venue content for Dallas ad agency Avacata and clients' marketing collateral, including that of luxury resort real estate firm. Have created marketing copy for Verizon via Dallas ad agency Sullivan Perkins, produced website copy for design firm NPCreate.com, provided public relations pieces for Texas energy company EBS and Dallas real estate firm Dunhill Partners.

Education:

1999 - 2003 University of Texas at Austin, College of Communications

It's Labor Day. We're Laboring.

We've never quite understood why it is that anyone would want to celebrate the end of summer, but that's exactly what a good portion of the American public will be up to this Labor Day. We refuse to commemorate the passing of barbecue season with anything other than tears. Besides, we've got a couple of tricks up our collective sleeve.

Virtual Summer Lovin'

While everyone else is running around smelling like bug spray, we'll be at the office, consoling ourselves with ribs and the wonders of 3d rendering. And while others are out on the lake, we'll be creating advanced 3d models of photorealistic lakeside scenes - the sort that aren't subject to mosquitos, isolated thunderstorms, or unwanted in-laws. By the time we're done applying refraction textures and instituting cloud algorithms, you won't be able to tell the difference between your vacation photos and the renderings we built out of nothing last week. Frankly, we'll have a hard time figuring it out ourselves.

The trick is to look for the ones that are perfect. Those are ours.

Our Clients Love 3d. So Will Yours.

But enough about us. What can Studio2a's advanced approach to 3d do for your company? For starters, it can help you to communicate your concepts to clients through pictures of the sort that are worth well over a thousand words. Ultimately, this can help to eliminate change orders, lost time, wasted resources, and other, similarly unsavory things that tend to result from communicational friction. More importantly, our finished product will help to accentuate the merits of your own, making it that much more likely that your next client presentation ends with a green light.

Problems? Solved.

If they ever get around to proclaiming a "Photorealistic 3d Rendering Day," perhaps we'll take the afternoon off. But probably not.

Give us a call today. We'll be here.

(Cover)

Organic Motion

Reinvisioning Vision

"What's not to like here?" - Newsweek

(Page One)

TBA Reinvisioning Motion Capture

After four years of under-the-radar development, Organic Motion Inc. is set to release the product that will not only redefine motion capture as we know it, but will also bring the technology into the day-to-day lives of those who may never have even heard of it.

Organic Motion's newly-released TBA system shatters the barriers inherent to pre-organic motion capture implementation by ditching the assumptions that have limited the field's potential for more than twenty years. TBA is not an incremental advance in established mopac techniques rather, it is a comprehensive, top-down overhaul of the entire process, fueled by scientific breakthroughs in computer optics, AI, and the methodology by which the two are combined, and further augmented with a streamlined workflow implementation that cuts time, cuts costs, and cuts manpower requirements. We haven't improved on the wheel; we've reinvented it.

Fundamental to this reinvention is TBA 's extraordinarily unique optical computer intelligence engine, which allows for computerized visualization of the actual human subject itself by way of a pre-programmed conceptual "map" of what a human body looks like, how a human body moves, and where a human's natural body points are located. Bringing the human into human movement detection is not only a natural progression of mocap tech, but is also one of tremendous benefit to every stage of the process, from initial capture to finished product.

The extent of TBA's strength and accuracy is such that one major Northeastern research hospital has partnered with Organic Motion to obtain a grant from the National Institute of Health to use the technology in a study of the effects of cerebral palsy on human movement; the extent of TBA 's customability and ease of use is such that several diverse firms are already making plans to implement it in ways that would have been previously impossible due to the constraints of earlier mocap. Imagine what it can do for your studio.

(Page Two)

Reinvisioning Entertainment

Whereas pre-organic mocap systems required a human subject to be clad in an expensive, cumbersome bodysuit studded with reflecting markers, TBA requires no suit, nor any prep time at all; subjects may simply walk onto the camera zone dressed in street clothes, and the system will immediately capture their every move. Whereas previous mocap systems recorded the positions of a few dozen attached markers, thus giving only a general impression of the body's movement, TBA tracks the body itself and does so at thousands of natural points recognized by the system's advanced visual mapping AI, from the joints of one's limbs right down to the corners of one's eyes. And whereas previous mocap systems entailed a severe degree of lag between capture and usability, the necessity of technician oversight during use, and weeks of manual data cleanup before an accurate recording could be put into play, TBA eliminates all of these things, delivering clean, usable data in real time, not at some unknown time in the future.

The implications are profound for game developers, 3D animators, university project managers, special effects broadcasters, and anyone else who has already incorporated mocap into their studio output as well as those who haven't. By lowering the financial threshold for mocap implementation, we turn it into a viable option for those entities engaged in lower-budget projects of the sort that might not have justified the advantages of the technology due to cost considerations. And with the hundred-fold increase in capture accuracy, teams of every shape and size will see dramatic benefits in the quality of their finished product and they'll see those benefits immediately, thanks to the clean, real time feedback which allows animators to get a full sense of how the data is playing out during the recording process itself, thus freeing them from the technical concerns inherent to pre-organic mocap (did we mention that TBA's organic approach to point tracking entails absolutely no occlusion whatsoever? Pretty sexy, huh?) and encouraging them to get more closely involved in every stage of the creative process.

Our reinvention of mocap promises to similarly redefine the industry, which is why TBA's unveiling at the 2007 Game Developers Conference in San Francisco and subsequent demonstrations of the technology's revolutionary potential have so far won us some rather unreserved accolades from Newsweek, Macworld, Engadget, Game Daily, Gamasutra, and others. Organic Motion has already received deposits in advance of the initial product release, with the first one hundred units set for delivery in September 2007.

Get on board. We're reinvisioning vision.

Bios for principals of Studio2a:

Stephen Garrett

The Nashville-born Stephen Garrett serves no master, retaining the fierce independence of spirit that has been his life's hallmark with the sole exception of this one time when he accidentally got married. "Firms are for pinks," explains the ardent anti-communist and probable Freemason. Over the years, Garrett has engaged in a wide range of pursuits, including motion graphics, technical illustration, compositing, character modeling, storyboarding of both the animated and traditional varieties, concept work, logo animations, company branding, and web design. He claims that he "has also been known to emit a particle or two," although this is difficult to verify independently due to the staggering number of court-enforced gag orders that cloak a large portion of Garrett's life in secrecy.

Garrett began to make the transition from police informer to honest creative class laborer at some point during the halcyon days of the '90s. "I was out visiting some friends in Los Angeles and I ended up marrying this girl who lived in Hollywood after knowing her for two weeks. At that point, I realized that I was going to be staying in Hollywood for a while, so I got a job at a studio that made music videos. Ta da!" he says. "The tools an artist uses don't matter if, in the end, he or she expresses an idea or an emotion in a way that makes you forget about how a particular piece was made."

Adam Felchner

Having spent the entirety of his undoubtedly corn-fed youth in various Midwestern locales ranging in descending degree of bucolic tranquility from Omaha to Kansas City to Chicago, Studio2a principal Adam Felchner opted to move on to the figuratively greener pastures of the East Coast after finishing school. In New York, he did a stint at Rafael Vinoly Architects, where he found himself engaged in CAD development for the Kimmel Center for the Arts. At the same time, he was entered into a number of competitions in which the ability to solve difficult puzzles at the drop of a hat was not only helpful, but required. Upon taking another job with Kohn Pederson Fox Associates, Felchner was fortunate enough (in hindsight) to have been consistently chosen for "the messiest jobs," thus gaining the opportunity to hone his skills by way of such problematic tasks as the modernization of an Eisenhower-era high rise adjacent to Rockefeller Center and the design of a stadium atop a railroad yard. "When a complex sketch had to be transformed in to a working drawing that somebody could actually build, I was there trying to figure out how to communicate our intent to everybody from the client to the engineers to the guy swinging the hammer in the field." Confronted with such head-scratchers, Felchner came to appreciate the manner in 3d can be used to solve problems in complex environments, as well as to convey these solutions to architects and laymen alike.

Felchner eventually moved on to Boston, where he served with Elkus Manfradi Architects. "My focus was primarily on the schematic phase of a project whereby I would set the rules to follow for the future," he says. "I was constantly looking for the most efficient solutions that would also maintain our design intent. What did I get from this experience? I definitely can speak the language of the architect and now complex problems don't really phase me, because I've probably seen worse."