Most people never consider Indie filmmakers as a potential market
for their screenwriting. But there are opportunities there and in some
cases, it is a lot easier to establish yourself with an Indie.

As you read this interview with screenwriter Michael Hockney, you will be surprised at the results that can be achieved in the Indie
world. Here's the interview:

HAL: Hi Michael. I know you've had a lot of success getting
assignments with Indie producers, can you give me an overview of
what you've done with them?

MICHAEL: Sure. Since I took your Great Screenwriting Series two
years ago, I've worked with nine producers on two shorts, two features, a feature-length animation, a TV series, two Pilots and an animated TV Series.

I think I've done just about everything a screenwriter could do for an
Indie producer - taken a producer's idea and developed it into a
feature length script, I've rewritten a few scripts optioned by
producers, worked as a story editor on one producer's project, major
rewrite on another and I've been given concepts and free range to
write the best script possible.

HAL: Wow! That's amazing. How did you locate these Indie
producers?

MICHAEL: I met some at the local film society, through websites
like Hollywoodlitsales, film festivals, and through word-of-mouth.
producers I worked with talking to other producers.

HAL: Okay, so then you somehow hooked up with them to get
a writing assignment. How did you do that?

MICHAEL: The first two were members of the film society here in
the Okanagan. Although I wasn't paid, the experience was valuable
and I had two credits to put on my resume. With that small resume,
I went to websites like hollywoodlitsales.com and emailed producers
looking for writers. My first "LA" job came that way.

Then the local producer had her short screened at the National
Screen Institute in Canada, which helped launch her career -- I was
fortunate enough that she remembered me and she recommended
me to the next two producers. After an email introduction, I sent my
resume and a very short writing sample. They emailed back within
the hour asking me what my rates were! That was a weird moment.
Usually they tell me their terms!

HAL: I understand you were involved in some in-depth story
meetings on some of these projects. What was that like and what
did you learn from the process?

MICHAEL: I've been in a few table meetings with producers and
directors, going through the script page-by-page focusing on plot -
studying the scenes and saying, "Okay, how can we make this
better? or this is tired, let's think of something fresh."

I've been in the character focus script meetings - going through
the script focusing on one character, looking at dialogue,
motivations etc. and rewriting their dialogue. We did this for every
character in the script - it shows you which characters need work,
which ones are redundant or could be taken out and the
lines/actions given to the main character.

I was fortunate enough to sit in a reading session with the actors
which was really eye opening and embarrassing at the same time -
hearing your words outside your head is exciting, but when your
dialogue stinks, not even a great actor can make it work. At home
on the computer I thought "Wow, that's a great line!" and then to
hear an actor say it and it just stinks up the whole room... ya, pretty
embarrassing and a great motivator to get it right the next time.

While you get buried under a mountain of notes and you rewrite the
same scene half a dozen times to try and satisfy everyone (which
never happens!) you really get to see how producers look at a script,
what they're looking for, what they like and don't like, how the director
looks at the script, his likes and dislikes, and how w the DP looks at it.

They're all looking for the same things - high concept, interesting
characters, strong story, good writing. The actors really only care
about their role and memorable lines to say.

HAL: You've also worked on a TV series with a producer who is
raising financing. Tell us how that process went.

MICHAEL: The pilot episode had already been written, but everyone
knew it needed to be cranked up a few levels. I'd just finished
rewriting a feature for the same producer and she mentioned the TV
series pilot was missing something. I offered to read it and tell her
what I thought and declined the reading fee they offered, hoping if I
could help them out, they'd consider me as a writer when it gets
picked up.

So I read it and made a few notes, quick little fixes - it impressed
them enough to ask me to go through it and make those changes
and any others I felt would make it better. So I accepted - and they
told me they needed it in 3 days. So, I started reworking it, sending
in 10 pages at a time, just to make sure I wasn't getting too far
away from what they wanted. After the second set of pages, they
called me and offered full partnership to develop the rest of the series,
plus 50-50 on the pilot, credit as well.

The pilot went to the other producer who was very impressed with the
changes - he took it to MIP-TV in Cannes - but before he even pitched
it, a distributor who'd only read the one page and the pilot wanted to
sign on. I'm still not 100% sure how they found out about this project.
Anyway, it went to MIP-TV and a fairly big production company liked
the concept, wanted to read the pilot. The next day they asked to
see the first season outline, so we went nuts and gave them the first
and second season outlines... and that's where we are now, waiting
to hear back.

HAL: Anything else you'd like to tell us about writing for Indie
producers?

MICHAEL: My mentor told me once, be nice to everyone on the way
up because you never know where you'll be in a year - that small
indie producer today could be the next A-list producer tomorrow.
Like this local producer who made a short, was selected for NSI and
last summer she produced a feature that was one of three Canadian
Features short listed for Cannes this year. Now she's getting phone
calls and meetings from big producers and studios across the
country.

The indie producers have incredible passion and they are willing to
work with writers who may not have a resume, but have a well written
script. And I've learned that the indie producers are in constant
network mode -- they help each other out. One producer
recommended me to another which turned into another assignment.
-----------------------

Before any of you go off sending your first script to a bunch of
Indie producers, remember that Michael is an excellent screenwriter
who has been through all of my classes. He can write and rewrite
on demand and understands the business.

That being said, I think there's a simple structure here that can be
followed:

1. Complete a high quality writing sample.

You need to show them something so they know you can produce a high quality screenplay for them.

2. Be willing to work on spec to prove yourself.

3. Meet/approach/email Indie producers and present yourself
as someone who can assist them to write THEIR projects.

4. Be flexible and willing to write the script to fit their needs.

This one is important. Don't come into it looking to push your own point-of-view. This is their film. You are building a career by helping them to build their careers. Put their needs on the project first and you'll have producers who will never want to work with anyone else.

5. Remember that Indie producers network with each other. Do a
great job for one and you just may become a writer for their friends,
also.

My thanks to Michael Hockney for sharing his experience with us.

See the classes Michael Hockney took.