How Two Independent Projects Are Navigating Development in Search of a Green Light
Indie creators Taylor Patterson and Temilola Adebayo discuss the projects they’re currently pushing toward the finish line, and give emerging producers advice about how to hone their visions and make their ideas irresistible to funders and audiences
For independent television creators, getting a project from development to green light has always been an uphill battle. The process, once merely difficult, has become even more challenging in today’s media landscape. With increasing financial constraints on networks and streamers, many productions are left in limbo, struggling to secure the funding and partnerships needed to move forward.
However, as most entrepreneurs know, in chaos there is opportunity.
Despite the barriers, emerging producers are finding new ways to break through. Whether via inventive grassroots marketing, leveraging digital media or securing non-traditional funding, indie creators are reshaping the path to success.
Two such creators share their experiences navigating the increasingly complex world of independent development and the sometimes torturous road to getting the green light. Taylor Patterson is the writer-producer behind ICONS, a comedy series set in the offices of the fictional tabloid The Buzz Room. Temilola Adebayo is the producer of the four-part miniseries The Engagement Ultimatums about four best friends who make a marriage pact. Both shows are working through the stages of production, chasing the all-important green light.
Shaping the Vision
Before any project can be greenlit it has to go through a rigorous development process. At this stage, the focus is on refining the concept, packaging the project for potential buyers, and proving it is viable, especially in today's tough market.
A great idea isn’t enough, and is rarely sellable — producers must also clarify what makes their project marketable. For Patterson, ICONS evolved significantly during development. When he started thinking about the project in 2018 it was focused on celebrity culture and toxic paparazzi, but it later transformed into an exploration of Black culture’s influence on viral media.
"My perspective shifted,” Patterson says. “I started seeing patterns in how Black culture drives so much of what goes viral. The longer I worked on the show, the more it grew with me. I didn’t have the same level of understanding or experience when I first had the idea but over time it matured — just like I did.
“This evolution gave the show depth,” he continues. “It’s not just funny and timely, it’s layered and thought-provoking. A lot of the humour comes from real-life events, and I think that connection makes ICONS relatable while also making people think about the world in a new way."
For Adebayo, the journey was more about fleshing out her original concepts with the right creative team. While the initial idea for The Engagement Ultimatums was hers, she says collaborating with writers and story consultants made the material “more layered while staying true to their original vision."
There’s another reason emerging producers should focus on assembling the right team — to make their project more attractive to funders and networks.
“Packaging is crucial, so I make sure to present a strong key creative team behind the project and also highlight any marquee talent that is attached,” says Adebayo. “If the project is based on existing IP [intellectual property], I ensure that the necessary rights are secured, as it’s very unlikely that a funder or network will take a pitch without this in place. Funders and networks want to know your team has the experience and capacity to execute the project."
Development Challenges
Funding remains a major roadblock for most producers. However, Patterson credits the Toronto Arts Council for giving ICONS its first major boost, which in turn led to securing provincial funding from Ontario Creates. He says he has encountered very few roadblocks while getting the project off the ground and acknowledges that is “rare and a blessing.”
“ICONS has been smooth sailing because it started with a strong concept,” he says. “Sure, there’s been rejection here and there but, as a whole, the momentum has been steady. I’ve had amazing opportunities with funding, working with talented industry pros, and getting the story out there. That said, I’m just now entering a new phase, which I’m sure will come with its own hurdles. But the key has been not rushing the process. I’ve let each stage of development breathe, which has only made the project stronger.”
Those early rejections came at the hands of the Independent Production Fund [IPF], says Patterson. "But that first municipal funding validated my idea and made it easier to secure additional support."
Adebayo’s project received funding from the Bell Fund Slate Development Program, which she says enabled her team to create a pilot script and series bible.
She notes that the loss of even one funding source can derail an entire finance plan and says many networks are more cautious with acquisitions due to economic uncertainty, making it even harder for indie projects to break through.
“It’s not just about having a great story, the onus is on you to prove why it needs to be told right now,” she says. “Having a great script is the bare minimum, you have to position the project in a way that resonates with potential buyers and audiences alike.”
Moving Toward the Green Light
There has been a lot of industry chatter about alternative funding sources and networks, like YouTube, brand-led funding collaborations such as Mattel and Barbie, and the takeover of the creator economy. All are viewed with equal parts dread and excitement.
Netflix commissioned a show with YouTube creators The Sidemen, Prime Video has the much-maligned Beast Games, and Crave has led the charge in Canada with The Office Movers, featuring podcast duo/brothers Jermaine and Trevaunn Richards, and Made for TV with TikTok star Boman Martinez-Reid.
With funding challenges and industry gatekeeping, independent producers have to get creative to keep their projects moving forward. What does this mean for emerging producers who don’t have the track record of a more established producer or the built-in audience of a YouTube creator?
It certainly calls for some scrappiness.
Traditional funding through grants and pre-sales has become increasingly competitive. Adebayo acknowledges the need to diversify funding sources including private equity, brand funding and international co-production deals.
“As a filmmaker and producer of Nigerian descent who is successfully navigating the Canadian screen industry, I’ve had individuals from my community show interest in investing in my projects,” says Adebayo.
“As a result, I’m actively exploring independent private equity, especially for the smaller-scale projects,” she continues. “We’re also seeing interest from companies looking to partner on projects that align with their values. This diversified approach significantly increases our chances of getting these projects off the ground.”
Patterson, who has not yet sought out external funding, is open to it, joking, "If you’re reading this and interested…call me!"
Adebayo says she’s also focusing on smaller-scale but commercially viable projects to keep operations running while still applying for traditional funding.
For many indie creators, a lack of access to decision-makers is a significant hurdle to getting the green light. ICONS has been trying to overcome this by building grassroots support before approaching networks.
"A good friend and mentor, Justin Wu, always reminds me that you can’t skip steps — unless you’re a nepo baby," Patterson says with a laugh. "Doing the work matters."
Similarly, Adebayo stresses the importance of networking early in one’s career. "Network sideways, too,” she stresses. “Your peers today might be the decision-makers tomorrow."
Rather than reshaping a project to fit a network’s mold, both Adebayo and Patterson are looking for the right partner. Patterson is open but cautious. “I have a few dream networks but, honestly, I just want to work with people who are excited about the project,” he says. “The right fit is everything. I wouldn’t want to build something so meaningful in a space where the process isn’t supported.
Adebayo focuses on refining the core idea first and then finding the right platform. "We identify networks where the project aligns with their programming and audience demographics rather than tailoring our content to fit them," she explains. "The greenlight process has evolved — while traditional networks still hold power, streamers and alternative platforms have opened new doors for indie creators willing to think outside the box."
Building Momentum through Marketing
In today’s landscape, independent producers can’t rely on the same pathways as their predecessors to gain momentum. They must also take an active role in marketing their projects and building audiences.
Both Patterson and Adebayo use social media and digital tools like Instagram to build an audience early in development. Whether it’s releasing concept art, teasers or behind-the-scenes content, engaging potential viewers can generate pre-sale interest and attract partners.
For Patterson an early win was the proof of concept teaser they created for ICONS. “It’s tough to sell a TV show these days with just an idea. Everyone thinks they have a great concept, but as creators, it’s on us to prove we can bring that idea to life. A proof of concept is essential — it shows people how your idea feels, looks, and plays out…. That said, timing and strategy matter. You need to think carefully about when and where you release it, and what you choose to include. There’s a big difference between giving people just enough to be intrigued and laying all your cards on the table too soon.”
Patterson says his ICONS teaser not only helped him pitch the project but also built a dedicated following. "For me, the teaser isn’t just for networks; it also helped build buzz and community around the show. I’d definitely recommend creating one — it helps you see what works and what doesn’t."
The Road Ahead
The terrain for indie TV projects remains challenging, but as Patterson and Adebayo’s journeys show there are ways to push forward. Whether it’s securing municipal grants, leveraging digital platforms or forming strategic partnerships, producers who remain persistent and adaptable can break through.
With ICONS steadily gaining traction and The Engagement Ultimatums working to find a co-production partner, these projects serve as case studies for how independent producers can navigate development in the hopes of securing that coveted green light.
