I’m the Director of World Wide Development for longstanding international script company WriteMovies – where my job is to run international script contests and promote and develop the winning writers, and pitch them to industry. Previously, I’ve written over 100 script reports for WriteMovies and their clients, and many more for other clients. I’m an accomplished script reader and had already conducted dozens of professional Readings over the years, including nearly two years providing readings for new writers submitting to writing organisation SCRIPT for a fee. I’ve had acclaim from many clients. Book your reading now by emailing firstname.lastname@example.org, telling me how long your script is and what format it is intended for, and I’ll respond with a custom quote.
My WriteMovies role has been a fascinating insight into the methods and decisionmaking of major studios and gives me the skills to help professional writers to achieve their aims. I also founded and run the monthly Screenwriters Forum Script Development Group, providing Mini-Masterclasses and insights and feedback for aspiring and professional screenwriters (click here for more). I’ve also run 17 entry-level Creative Writing courses including one in Getting Your Writing Published and Produced – so whatever your level and expectations, I can help you achieve your goals. Click here to see WriteMovies’ website: http://www.writemovies.com/
I can make your writing better and make you feel better about your writing at the same time. In fact, I think my Readings are often the best-written things I’ve done. I’m confident that even scripts that have already undergone lengthy professional development will still benefit from my input and find new ways forward, and I’m happy to waive my fee if a client doesn’t think I’ve succeeded in that. Some example quotes from readings I’ve done are below. I can provide detailed and constructive Readings full of useful, positive advice for any of these areas:
- Film and TV screenwriting – I’ve developed lots of projects in these fields with many clients and partners – see other articles on this site.
- Radio Drama – I’ve had 135 episodes of my scripts broadcast on the BBC.
- Theatre - I’m an accomplished playwright and dramaturg with several Fringe shows under my belt (two examples here and here) and have also produced many promotional videos for theatres.
- Prose and Copywriting - many examples here.
Here is some of the praise that my readings have garnered over the years:
I’ve had (script) readings done by a lot of people down the years including the Script Factory and Industrial Scripts, but yours was the most intelligent, detailed and inspiring. It had my heart racing just reading it! I think you’re really underselling yourself. I’d like us to start a professional relationship, and if you’d like a reference for this just let me know.
- Nathan Handley, film producer. Nathan has used me as a reader on 3 projects.
Ian did a great job imparting his experiences as a screen-writer. I’d highly recommend him again. Top qualities: Personable, High Integrity, Creative.
- Marverine Cole, Journalist, TV Presenter and Award-winning Beer Writer. Hired Ian as a Writer/Editor in 2008.
Ian is a diligent and reliable script reader whose reports provided valuable feedback for new and emerging playwrights. Top qualities: Expert, Good Value, On Time.
- Catherine Edwards, Founder, Capital Theatre Festival; former manager, SCRIPT; also Freelance Project Manager and Dramaturg. October 17, 2012. Catherine was Ian’s client.
Please could you pass on to the reader my heartfelt thanks for such excellent analysis and comprehensive advice…
- Response email from the writer, following my first Script Reading for SCRIPT.
Example quotes from readings I’ve done in the past:
“Little things do make a difference to people’s perceptions [of your script], especially when they are tired, overworked and overwhelmed by the number of scripts they are supposed to be reading and passing judgment on – it is often easiest to just find excuses to reject them out of hand, so you need to give them as few excuses to do so as possible.”
“You might not believe me when I tell you this, but the [radio drama] listener really can hear (or should I say feel, as it is highly subliminal) the difference between an actor who is smiling or frowning, sitting or standing, fidgeting or static, busy or unoccupied, indoors or outdoors, etc… the advice I was regularly given – and pass on wherever I can – is to Action Match: try to always match any line of dialogue to a physical action.”
“A radio drama development producer told me in 2004 that the BBC receives about 10,000 radio drama scripts a year, of which only 1,000 have a realistic chance of commissioning, and then there are only slots for a few hundred of those anyway; so, regardless of the quality and relevance of your script, you could always be unlucky (eg: Sorry, we did a piece about fishing in Scotland last year…), which means it’s vital not to have unrealistic expectations or to take any disappointments personally.”
“It is common among nervous new writers to see a producer or commissioner as the person who simply says Yes” or No to their script, but you will get a lot further by being friendly, approachable and fun to work with. In any scriptwriting, the produced and finished piece must necessarily be a collaboration… earn your place as an equal among talented established professionals who will be pleased to do you a favour and work with you again.”
Book your reading now by emailing email@example.com, telling me how long your script is and what format it is intended for, and I’ll respond with a custom quote.