It’s no secret that we’re massive storytelling fans here at Narratively. When we’re not commissioning and editing stories, we’re reading essays, novels, and memoirs, listening to podcasts, and sinking into the couch (ideally with a kitten on our lap and tea in hand) to binge the latest streaming gem. My favorite shows and movies tend to start as the kinds of stories we already love: Slow Horses (originally a gripping spy novel series that, yes, my kitten and I just blew through), Inventing Anna (first a New York mag piece), The Queen’s Gambit (also a novel in its earlier form), and The Dropout (formerly a true-crime podcast).
These aren’t exceptions—they’re the blueprint. Hollywood is hungry for character-driven stories that come with depth, authenticity, and a built-in audience. And many of the best stories start as “literary IP.”
That’s why understanding IP—short for intellectual property, meaning the rights to control how a story is used, shared, and adapted—is more important than ever. Whether it’s a published book or a short memoir in a digital outlet like Narratively.com, great written stories offer more than just inspiration—they give producers fully realized worlds to build from.
It’s the difference between starting with a vibe and starting with a voice.
In my role leading Narratively, I’ve spent the better part of a decade working closely with writers to develop true stories into film and TV, with partners like Warner Bros., Universal, Emma Roberts, and LeBron James. And one thing I’ve learned? There’s no single path to being discovered. But knowing how to position your work as undeniable and get it in front of the right people, at the right time, can make all the difference.
To that end, I’ve lately been digging into how we can create more opportunities for our Narratively Academy storytellers. One conversation that stood out was with Margaret Harrison of Ingram Content Group—the behind-the-scenes distribution giant that quietly powers much of the book industry. She told me about a new platform they’ve launched called MediaScout, which is essentially a rights directory that Hollywood buyers are using to discover compelling IP for adaptation.
MediaScout was originally designed specifically for published books—but when I asked about the potential for other formats, Margaret lit up.
Intrigued, I asked to record a talk with her—and she graciously agreed. Even better, she offered the Narratively community early access to submit not just books, but essays, articles, and even unpublished stories directly to her team. As a longtime fan of what we do—and a firm believer in great storytelling—it didn’t take much convincing.
In the 9-minute video above, Margaret and I cover how MediaScout is helping storytellers get on the radar of producers and studios—at no cost to writers—no matter whether you’re self-published, traditionally published, or sitting on a manuscript in Google Docs.
👉 Use this form to tell Margaret and her team a little about yourself, help them get eyes on your work, and explore listing your IP.
What’s in the Video:
What “literary IP” actually means—and why it matters now more than ever
Why short stories, essays, and even unpublished works are in demand
How MediaScout works—Hollywood buyers pay for access, writers don’t—and how to get your work into the system
Why storytellers should feel hopeful about the future
Whether or not you decide to try MediaScout, I hope this convo leaves you a little more inspired and hopeful—and empowered—to treat your story like the valuable property it is.
This post was produced in paid partnership with MediaScout. We only feature tools we truly believe in—and that we think can genuinely benefit the storytellers in our community. If you’ve built something worth sharing, we’d love to hear from you.
