Media Development International
Writers` Management & Services



1. Managing writers

We manage writers to help them find production companies to realize their projects. When a project is ready to take to market by mutual consent of our company and the originator, we can enter into a shop-around agreement for submission to production companies to solicit interest.

2. Researching/writing

We develop and write documentaries, features, short films for theatrical, television, DVD and Internet distribution.


3. Researching/writing for hire

We help writers, organizations and companies by:

o   doing research for their films,

o   writing complete scripts on a desired topic, or

o   helping to re-write and polish existing scripts.


4. Script advising

On our staff are professional story analysts with major studio experience to evaluate scripts.

o   We advise writers how to tailor their documentary, feature or short film script for the appropriate market.   

o   We offer script-doctoring services by individual consultation.


5. Staged screenplay readings

As a creative tool or as an industry showcase, staged readings can be arranged in a reputable New York venue (such as the Dramatists Guild) performed by professional actors. These events serve the writer to fine-tune his/her screenplay, and to create a buzz about the project in the appropriate circle of producers and critics.


First, work with the director on streamlining and shaping your script for the reading.  Preparing it for the reading will get it in better shape for readers at film companies or agencies.  This creates a tighter script that’s closer to one that will get read and bought.

- Cut unnecessary screen directions --  make sure they are specific, relevant and concise.

- Eliminate overly talky dialogue, unnecessary exposition, etc.  Once an actor embodies the role, much can be said with behavior, a look or gesture.  Is the dialogue sharp enough?

- Does every scene have a purpose?  Does it move the story forward?  If you delete it, will it be missed?

- Is there enough dramatic tension overall?  Are there reversals and complications in the plot?


Second, prepare the director with character descriptions so they can be cast in your script accurately.  Explore your principle characters once again.  What makes them who they are?  Are their motivations clear?  Does the dialogue match who they are, and are their voices different?


Sit in on a first read-through with the cast.  (Learn the ropes of a writer’s role when a director and actors are present, which for better or worse is often to keep quiet and write notes for the director to give to the actors.  All directors are different but most have rules not to allow the writer to give directorial feedback or notes.)


Answer the actors’ questions, via the director; involving: character arc, time line, motivation/objective.


Sit in the audience and hear the actors breathe life into your characters (and whether or not actors in the reading would be cast in the film itself).  Experience your screenplay from the audience, feeling what works or what doesn’t, hearing when people laugh, are moved or seem to become uninterested --  and if and when they’re on the edge of their seat wondering what’s going to happen next.


Get objective, constructive feedback via a Q&A, question-forms within the venue that reading date, or email.


“Workshopping” your script in this way is a potentially invaluable step in creating the best screenplay possible.  This can also be used as a presentation for industry guests and/or investors, if writer and director feel it is polished enough.  A reception can be provided.