Screenwriting : Moving From Shorts To Features by Tony Cella

Dan MaxXx Whether you believe in them or not, one taught a screenwriting course I took at a community college in SoCal. He taught college courses to eek out a living while writing for independent films. It's called a day job.

Dan Guardino California costs too much. Thanks for the advice. I'm aware producers can discard screenwriters, but from what the professor told me they usually keep him on board and give notes, in part to avoid the cost of bringing on multiple writers.

Dan MaxXx So...Independent producers have day jobs, but indie screenwriters don't exist? Not sure I understand what you're saying. Will you please clarify?

John Hunter Will do.

I recently read here that Phillip E. Hardy has optioned quite a few scripts. I'd imagine most if not all were to independent producers.

Considering how the Hollywood studios were involved in around 200 film releases in 2016, and that around 1,200-ish non-ULB films were produced domestically last year, I'd say that competent writers with salable stories have opportunities here in the Divided States of America.

Take the Phillip E. Hardy Script-Selling Method as your guiding light: write a Banker's Box full of scripts; implement targeted marketing methods like Phillip does; and hustle, hustle, hustle. Obviously there is a lot of competent competition out there....I'd conservatively estimate that there are 17,000 - 21,000 writers who have marketable scripts and who know how to market themselves and hustle....but it's not impossible if you have what it takes.

Good Luck and Happy Writing/Marketing/Hustling, Tony.....and much continued success to the Independent Film Makers of America and the world!!!

I've sold seven feature screenplays to the independent market. Two have been produced so far and I have 3 others that are in various stages of development or production. I suggest working first with your local community. Most major cities will have several film interests groups. Most states will also have some sort of Film Commission. Get involved with them, make friends and talk about what can be done to help out the community as a whole. From there, start branching out and looking for projects that are in your interest. Also realize that as a writer you will have many, MANY more opportunities to get hired for writing assignments more than selling specs. So if your only interest is in selling your own writing and not working on anyone else's idea, then it's going to be a much harder hill to climb. Build up a reputation as someone who can work well with the production team, make compromise, take criticism, and deliver quality material on time. Hope this helps and good luck.

Bill Costantini Good advice. Thank you.

Allen Johnson Thank you for the good ideas. I'm already part of a few filmmaking groups and often talk to independent stand up comedians about appearing in shorts I film. One has appeared so far. Another was interested, but our schedules didn't mesh. I'll look for ways to engage with the film commission. I'm more interested in working on assignments and directing my own work than selling my scripts. Getting assignments is no easy task either, but you are correct that it is much easier than selling spec scripts.

Dan Guardino Living in California is too expensive. I'm not spending that kind of money for the chance of "being discovered". As Johnson pointed out, there are state, and some city, film commissions. Los Angeles isn't the only place to make movies. Digital technology reduced the cost of filmmaking. It's possible to run a Blumhouse-style mini-studio out of a barn in rural Arkansas if the locals will pony up--no pun intended--enough cash for found footage horror films or single location independent comedies. With the internet, the money doesn't have to be from the surrounding community either. It's possible to find investors in other countries, let alone states.

The professor is a particularly good writer. He's managed to find assignments and have his scripts produced despite not having contest wins--he doesn't believe entering them is worthwhile--or representation--he had a manager for a bit, but they parted ways because most of his material was optioned or otherwise unavailable at the time. That's definitely part of the reason they keep him onboard. If I'm taking assignments, instead of selling my own scripts, I won't mind being let go. I mean, I've got a day job.

Tony - Indie Producers are everywhere - I know lots. I also know that most are church mouse poor which means that getting them from the low/no budget short world into economically viable arena is pretty undoable. They just don't seem to have the business head for it.

I don't see that Hollywood is the center of the filmmaking universe any more, As others noted, it's just to costly to live there anymore which means that it's to costly to have to pay the people who do live there - films cost to much to produce there (that's a whole 'nuther conversation).

Different states have film commissions with different visions. (I don't know much about the East Coast) We up here in the NW are pretty savvy in TV and do occasionally turn out a FL film. I know that New York, Atlanta, Austin, Vancouver and Montréal are pretty strong areas and I'm sure there are others. So the answer to your question is that Producers are everywhere and worthy Producers are very rare anywhere. Good luck in your quest.

I don't mind payin' the freight on an Oscar bait short (The Phone Call, Curfew, Jump...) but it's basically impossible to find scripts of that caliber - believe me, I've looked. I have a group of investors that are capable of putting together a six figure JV for the right FL project, but they can't find the qualified, business savvy, knowledgeable people or a worthy script. If you're outside the SOCAL world, you probably are not going to attach an A-lister (but I've seen it done.) So work with what you got to make the Indie world better. Best wishes on your endeavor.

Tony, have you introduced yourself to all the producers on Stage 32? For example, Doug is a producer who has some investor friends with cash! Technically I saw him first, but given it's your thread... off you go ;-)

Thank you for the information and advice everyone.

Dan Guardino I apologize for the conflicting statements. I'd prefer to direct scripts that I come up on my own, but, if someone else is helming the project, I'd rather take an assignment.

Doug Nelson It's difficult to sign most A-List talent to more than a cameo role in independent films, but in Chicago it's not impossible. Comedy writers and directors are at an advantage. Second City attracts/produces stand-up talent, along with some of the other indie comedy troupes throughout the city. If you're interested in taking a look at some of my work, please let me know.

Dan. I'm actually in the mix to re-write a script on assignment from an actor now. I prefer it because I'm less attached to the story. If the producer and director decide to change everything, I'll look at my bank account and shrug. Seeing my own scripts bastardized would hurt, in particular after the large amount of research and thought I put into the characters making the penis jokes.

Tony - there is some talent everywhere and you are fortunate to have Second City to draw from. Out here on the West Coast I have access (not local) to some pretty good talent. A lot of "A" (and what I call "A-") list talent is available for work on shorts and indie productions (although SAG gets to be a real pita sometimes) because they are not steadily employed. Also talent at that level must be careful not to damage their brand.