top of page

Justice for Her Documentary

An Independent Production

Justice for Her Portrait.png

Justice for Her

Order Online!



For further assistance Email

A documentary by Aginah Carter-Shabazz

"She did not consider her destiny.  Therefore her collapse was awesome." Lamentations 1:9

The impact of an arrest is hard and instant. In the brief time it takes to respond to a doorbell, you can lose your freedom, your family and any hope for a future. Justice For Her answers the questions and raises even deeper concerns about the ethics of our criminal justice system.  Is guilt by association truth in America?  Have we made mistakes by the company we keep?  Is it a crime to long for the wrong things from the wrong people?  Justice For Her reveals how poor choices can bring consequences never imagined in your wildest dreams. 

An A SULERMAR Production... 
PRODUCER Bianca M. White  
MUSIC COMPOSER Rodney Whittenberg 

  We appreciate your support!  


The Making of a Documentary


The Idea

Someone said, In the beginning was the word," but when it comes to the film industry in the beginning is the idea.  This idea can be in many forms, and can come from any person, anywhere, anytime.  The idea might start with a writer, family or friend or an aquaintence of these people.


An idea may burst into someone's consciousness while relaxing, exercising, reading a novel or jogging.  It may be something that happened to you or you heard it on the news. 




A written treatment is the sequence and order of the film {title,scenes, narration sequence of interviews, still photo's etc} it's merely putting on paper where everything is going to go, so you start to give form and structure to the film.  It is a blueprint to follow when you or your editor sit down in front of an editing computer. 


Communicate your passion and explain how you envision translating your story from page to screen-taking into account structure, theme, style, format, voice and point of view.  What do these words mean?  Visit the library and find books on writing a treatment, find a friend, a student or hire a script writer. 


When writing the treatment don't be afraid to infuse your words with passion.


How do you write a winning proposal? 


Most filmmakers who have scoured the Internet and bookstores, searching for a guide on how to write the perfect film proposal. Sound familiar? If it does, you know their search is in vain. While there are myriads of books and manuals on how to write business proposals, most of these resources do not apply to the film industry. So, what gives?


 I hope you're sitting down, because, in case you haven't heard, there is no such thing as the perfect film proposal. Film proposals are written for a specific reader, and each reader is looking for something different. Think about it; if you are going to get your film made and distributed, you are going to deliver your proposal to anyone and everyone. From studio executives, to private donors, to corporate partners, to nonprofit foundations-each person who picks up your proposal will be looking for something that matches his or her specific agenda.


So does this mean you have to create a different film proposal each time you send it out? That's exactly what it means.


Most filmmakers think the film proposal is all about their film. It's not. It's about how their film will meet the needs of the potential funder. That's why it's called a proposal, because you are proposing something. If you expect total strangers to give you money to go out and make a film, your proposal must answer their need, their mission, their passion. Get this and you will be miles ahead of your competition.


Customizing your proposal for each reader does not mean you have to redesign the wheel every time you send it out. When I work with clients, we create a "proposal template," using the information most funders look for. Once you have completed your proposal template it's easy to customize it for each individual reader.


First, you need to get to know your reader. You've researched foundations, and found one that is a good fit. Visit their website and learn everything you can about who they are and why they are passionate about funding their particular cause. Take a look at their mission statement. Note the words used to describe their cause then see if you can incorporate some of these same words into your proposal.


Call the operations officer at the foundation and pitch your film, then sit back and listen. Jot down key phrases, then use them subliminally by rewording them and inserting them into your proposal. This shouldn't be a stretch, since you've already determined the foundation is a good fit.


Follow your potential funder's submission guidelines to the letter, and keep it simple. Your readers do not have time for ambiguity. There are dozens of proposals sitting on their desks, waiting to be read. If they have to wade through pages of jargon to hunt for information, they will simply pass and move on to the next proposal.


I can always tell a first time filmmaker, because their proposal is full of confusing industry jargon and complex scenes. Remember (with the exception of a few studio executives and distributors), most of the people who read your proposal are out there supporting causes that have nothing to do with Hollywood.


As you write, keep a mental picture in your head of your reader. Adopt the mantra: My reader is the person who has the power to fund my film. You get one shot. As my grandmother use to say, "No one gets a second chance to make a first impression."


Blessings to all of you.    

bottom of page