How to Write a Script for an Independent Film

The hallmarks of the independent film industry are creativity and risk-taking. As a screenwriter, you've got to create a world with words that can be translated into the visual medium of a motion picture. The history of the independent producer actually started roughly around 1958, when many of the producers grew tried of dealing with the established studios. This change opened the door for young writers eager to learn the craft of screenwriting and who, luckily for the producers, were willing to work cheap to establish a name for themselves. Most of the films produced then were geared toward the, "teen market," which up until this point hadn't even existed. Today independent filmmakers actually work hand in glove with the studios and many even have offices on studio property. But what's important is the freedom to create and to take risks, although nowadays it's to a measured degree and dependent on studio approval.

But you're a screenwriter, who wants to write for independent filmmakers, so where do you start. The only place you can start is inside your own head. Write about what you're passionate about, the things that you feel need to be said and say it in a new way. The best thing you can do to jump start your career as a screenwriter is to read as many published film scripts in the genre that interests you as possible. Screenwriting is more than just a job or hobby, screenwriting is a craft which has to be learned. Ask any professional screenwriter and they will tell you that to be a successful screenwriter you have to first learn the craft of screenwriting.

Start with the logline and the synopsis. The logline is a very brief and to the point statement about your screenplay. It's best to keep this down of only a few sentences. The purpose of the logline is to interest a producer in your script without giving away a lot of detail. The producer will in turn use your logline to secure financing for the film.

Next comes the synopsis, this is a more detailed summary of your script. You'll still want to keep this short. It's basically a guide to help keep you on track with where you're going with your story. It is also an important marketing tool, which is used to, "pitch," your screenplay. A pitch is what is used to sell your script to producers, agents and studio executives. Some screenwriters say it's harder for them to write the synopsis then it is to write the actual screenplay.

Once you've got your logline and synopsis ready, it's a good idea to outline your script. This helps you to establish a timeline for your screenplay. You'll refer to the outline to manage the details of your script as you develop it. After all you don't want to have your main character talking to a person toward the end of your film, if you killed that person off in the second scene, unless that's what's suppose to happen. For a feature film you're looking at roughly 90 to 120 pages of script. The simplest way to judge how long your screenplay needs to be is to estimate one minute of footage per one page of script.

Don't try to write according to trends because by the time you've written your screenplay it's likely that the trend has passed and you're stuck with a screenplay that would have sold six months ago, but that you can't give away now.

Follow industry format and try to stay away from using a lot of camera directions in your screenplay. The director will more than likely change them anyway. In writing a screenplay you'll create your own world and fill it with your own characters, but you need to understand that screenwriting is unique in that although you're creating all these things they are subject to change. Finished films aren't the creation of a single person; instead they are the creation of a collection of creative persons. With independent films you may have more control of the process, but in the end your baby that you've worked so hard on, will become the adopted child of many creative parents.

Open your screenplay with a hook that draws your viewers into the story. Use your outline to keep your facts straight, but don't think that you can't redefine it. The outline is a tool to help you; it's not craved in stone or set in concrete. You're the writer, you have to write what you think will tell your story in the best possible way. Let your muse guide you, and if their not doing their job, give them a bus ticket and consult another muse.

Develop your plot and pacing. Screenplays are meant to be seen in a visual medium and you need to visualize your scenes so that they will relate your story smoothly. You pacing is how you present the story. You don't want all of the action to occur at the beginning and then follow with an hour and a half of nothing but disembodied dialogue. If it doesn't move the story forward then it doesn't belong in the story. Your screenplay has to flow and move like a river if you have too many dams stopping or interrupting the flow it's going to dry up.

Develop strong characters that have many facets to their personality. They have to be believable and your viewers have to be involved in what is happening to them. Screenplays are based on arcs which have peaks and dips that carry your viewer into the heart of the story.

Pay attention to detail and make certain you tie up any loose ends; you don't want your audience to walk out of your film feeling that they have been cheated. The craft of screenwriting is the craft of telling a story which your audience can enjoy watching. Being a story means it needs a beginning, middle and an end, how you arrange them elements is part of your craft.

Develop your story, outline it, flesh it out and mind the details. It doesn't hurt to listen to your characters as well, especially if your muse is on vacation or being tortured because they're unwilling to help you write your best.