Table readings: We will hire a director and actor(s) and secure a location for your play to be read. Many writers do not have the connections to get this done. We can help. Also, be sure to read "audience development" below.

Public/staged readings: A more advanced level, this allows actors to express themselves and your play on a physical level. The learning curve for a writer accelerates tremendously.

Workshop productions: Imagine having actors, directors and theatrical artists focused on developing your piece over an extended time, culminating in public performances. We're not talking about "World Premiere," we're talking about a process that gives the writer a true sense of what their show will look like and how the audience responds. We may work with theatrical groups to find the right match for your piece.

Full productions: We are more than capable of fully producing a show, if any writer sees fit and has the financial resources to do so. It's been done, and it will be done more and more in the future. Our hope is that we can help you by steering you toward artistic and commercial success. The artistic aspect of developing your piece is easier than the commercial. But neither are easy. In fact, they are both very difficult. But that is why we are here. It can be done with planning and judicious budgeting.

Audience development: When products are tested, focus groups are formed based on the specific product being tested. Why have people who don't like cola test market your brand new Pepa-Cola? What type of audience do you need to hear your reading or see your workshop? Of course, most of the time, the audiences for these developmental pieces is made up of other writers, theatre artists, friends and family. That does not provide a true gauge for you to be able to evaluate the audience's reactions. If you write a whimsical farce and your audience is made up of serious dramaturgically-based writers, the response is not going to be as much help to you as if you had a cross-section of people who just want to be entertained. If you see the need, we will help you find and design your audience to get the reactions and feedback that is true to your piece.

Post reading/production feedback: There are two prevalent forms, practiced here locally, that are available and a third that we suggest might be of benefit to the writer. The first is a moderated talk back directly following the event. Second is the questionnaire version, with the audience asked to give their opinions via pen and paper. The third is to get several one-to-two page critiques from qualified commentators—who would be paid a very modest sum—for their well-thought out comments. Why should they be paid at all for their thoughts? Because they are qualified. That's why. And they will be reviewed themselves. WeGoCentric (and in some cases, the actors will also be responsible for either a face-to-face or written comments). But the most important feedback you will get is live audience reaction. We will help you interpret their reaction and point the way to what is working and what needs work.

Play formatting: Some playwrights need help converting their work into the standard play or musical format that is "industry" accepted. Will this make their play better? The easy answer is no. But in some very intangible ways, it can. And proper formatting will at least ensure your play is not thrown into the "no" pile before anyone has even read a word of it.

Musical notation: Some composers do not notate their own music. It doesn't mean they don't write great songs. This is true not just for novice composers, but all the way to Broadway and off-Broadway composers. We have musicians and the necessary software/hardware to format songs into sheet music, or even orchestrate your piece if necessary.

Play consultation: Honest feedback to help you determine the audience and scope of the play's future production possibilities.

Synopsis composition: This is a real challenge for most playwrights. How do they summarize their play in one page? We can help.

Cover letter composition: Again, hours are spent trying to find the right words, when in reality, a well-written business letter is what is needed. Sometimes writers get wrapped up in their needs and wants, and they fail to see the needs of the organization they are addressing.

Submission consultation, advice and follow through: It is a big pain in our creative lives. Which theatres are realistic targets for my play? What do they require? Which are my best ten pages? Do they require a professional recommendation and how do I get one? And how do I keep track of submission and know when to "follow up?" And what about contests? And festivals? And . . . the list goes on and on. We can help you manage this daunting task.

Play publishing: Due to the electronic world we live in, times are a changing. We are exploring forming an electronic publishing company that will give exposure of your plays to companies likely to produce them. We are also exploring connecting with a traditional publishing company.

Website development for your plays: A relatively easy way to market your plays is to create a website for your work. The hard part is getting people to visit your website. We feel this could be a writer's tool in the very near future.

Marketing support and promotional materials: We can help you write, design and print any promotional materials (such as flyers, postcards, programs, etc.) you might need to move your play forward.

Video and audio recordings: These can be used for many reasons, including evaluating your show as well as promoting it further, especially in this day and age of YouTube and Facebook and other social networking sites. We can also arrange studio recordings of musicals.