Did you just finish your first draft or your third? Congratulations! You may have a fantastic idea, but screenwriting is all about the execution. Hollywood is a town where you get one shot to make the right impression and where readers will stop reading after the first typo or format issue. Your talent is as important as your attitude and work ethic, and it takes all three to standout in a very competitive marketplace.
Approximately 50,000 scripts/treatments/pitches/loglines and books are registered with the Writers Guild yearly while only 6,057 of the 13,000 WGA members reported any income last year in all mediums. When you also consider that only 32 specs sold in Hollywood in 2019, you have to be writing at a professional level to beat the incredible odds. The only real competition should be with yourself to become a better screenwriter, but if you have any doubts about your screenplay, now is the perfect time to receive professional consultation before you unleash your magnum opus upon Hollywood.
I'm a working screenwriter/script consultant, and author with over twenty years of professional experience and fifteen produced credits in television movies and independent features. I've been blessed to work and collaborate with Academy Award® winning producers, veteran directors, and Academy Award®, Emmy® and Golden Globe® nominated actors on my fifteen produced films and twenty-three screenwriting assignments. Many of these Hollywood veterans have become my friends and mentors and in this spirit of giving back, I offer professional analysis of your feature screenplay or TV pilot to help push it to the next level.
What I don't offer are promises to know what the studios are buying today (nobody truly knows). My screenwriting consultation services have been featured in Script Magazine (my blog was Website pick of the Week), and I've been a contributor to websites The Script Lab, ScreenCrafting, The London Screenwriter's Festival blog, Movie Outline, Screenwriters Utopia, and The Buzz on Virtual Pitch Fest. I was recently interviewed by FILM COURAGE for their YouTube series about screenwriting and also named by Screencraft as one of the "Top 25 Screenwriters to Follow on Twitter." I also have written a popular screenwriting book "A Screenwriter's Journey to Success" now available on Amazon.
If your feature script, TV pilot, outline, or short script needs help, my real-world experience and insights can help you bring your project to the next level. Your screenwriting career is not some Dali-esque delusion, but the result of work, talent, focus, sacrifice, patience and luck—when a prepared screenwriter meets an opportunity and delivers the goods.
PRICING FOR MY CONSULTATION PACKAGES:
THE SCREENPLAY ANALYSIS / EDITING / PROOFREADING PACKAGE: $ 275
(Screenplays over 110 pages—$2.00 extra per page)
The package above includes:
PROOFREADING & FORMAT CHECK ONLY FOR FEATURE SCRIPT (Page limits apply) $125
THE TV PILOT PACKAGE: Hour or half-hour formats: $175
It's the same consultation services as the screenplay package, but for TV pilots. (maximum 70 pages)
PROOFREADING & FORMAT CHECK ONLY FOR TV PILOT (Page limits apply)
THE FEATURE FILM OUTLINE / TREATMENT PACKAGE:
1 - 5 pages: $50
5 - 10 pages: $75
10 - 25 pages $125
25 - 40 pages: $175
In-depth analysis of story, structure, characters, and concept. (40 pages maximum).
SHORT FILM SCREENPLAY PACKAGE:
Script length up to 20 pages. Same notes as feature package but for short scripts.
SKYPE VIDEO CALL - CAREER CONSULTATION: $50 per hour (one hour minimum).
PRIVATE ONE-ON-ONE SINGLE DAY INTENSIVE SCREENWRITING MENTORING SESSION:
Available in person in Los Angeles only or on Skype/Face Time. $400 for one day consultation notes with a 2 hour in person or on Skype. Additional hours at $50 per hour. I can create a package suited to your specific needs.
ONE MONTH MENTORING -
$475 (feature script)
$375 (TV pilot script)
ONE SCRIPT - TWO READS PACKAGE
All payments for consultation services or mentoring sessions are made upfront to PayPal. Contact me and I will instruct you how to send payment to my Pay Pal account. You don't need a PayPal account to send money from your credit card.
*** NO REFUNDS ON CONSULTATION OR MENTORING SERVICES.
***Before you submit your project, please read the Terms and Conditions Submission Agreement listed in the next section.
*** I have no interest in developing your project. It should be understood that the submission of your screenplay, pilot, treatment/outline, short screenplay, or mentor services is for paid consultation purposes only, and the criticism, notes, or suggestions you receive are yours to keep and develop if you wish.
Use the CONTACT FORM on the home page with any questions and to schedule your consultation. I look forward to helping you with your screenplay.
Please read carefully: by hiring Mark Sanderson (Editor) for his screenplay or treatment/outline consultation/editing services, You (Writer) and Mark Sanderson (Editor) automatically agree to the terms and conditions set forth below when you purchase the screenplay or outline/treatment consultation or edit.
It is understood that you (“Writer”) have read this agreement and you (“Writer”) hereby acknowledge and agree to all of the terms of the agreement as stated below.
Payment for Editor’s consultation or edit on Writer’s screenplay is payable upfront before the consultation/edit begins. The consultation or edit requires one week to complete after the full payment is received by Editor unless Editor notifies Writer via-email that consultation or edit will take longer. There is no refund for the Editor’s consultation or editing services on a screenplay or outline/treatment.
You (“Writer”) have written a screenplay or treatment/outline for a possible future theatrical motion picture production, television motion picture, TV series pilot, TV half hour or hour series, web series, video game, or short film.
(“Writer”) submits to Mark Sanderson (“Editor”) the Screenplay or Outline/Treatment in the form of an electronic data file via e-mail, for Editor’s evaluation (consultation) and or proofing and editing. The Screenplay or Outline/Treatment is being submitted under the terms and conditions stated herein (this “Terms and Conditions/Submission Agreement”).
Writer represents and warrants that he/she is at least eighteen (18) years of age, the sole owner and author of the Screenplay or Outline/Treatment; that Writer has full right to submit it to Editor upon the terms and conditions stated herein; that the consent of no other person or entity is required to fully exploit the Screenplay or Outline/Treatment and none of the rights granted herein will libel or defame any third party or otherwise violate the rights of any third party, whether under copyright or otherwise. Writer will abide by all applicable copyright and other laws applicable to the Editor’s consultation, including without limitation any notices or restrictions contained in this Terms and Conditions/Submission agreement.
Writer has no obligations to Editor except as set forth in this Agreement, and no other obligations exist or shall exist, or shall be deemed to exist between Writer and Editor.
Editor acknowledges that Writer and or his/her heirs represent and warrant full ownership of the Screenplay or Outline/Treatment and all rights to the material.
It is Writer’s sole responsibility to protect the Screenplay or Outline/Treatment, including filing or registering the Screenplay or Outline/Treatment with the Writers Guild of America or the United States Copyright Office. Editor strongly recommends that Writer register the Screenplay or Outline/Treatment with one or both of the aforementioned parties.
If the Screenplay or Outline/Treatment is submitted by more than one person, all instances of the word “Writer” herein shall be deemed changed to “Writers” with both writer’s names listed and this Agreement will be binding jointly and severally upon all such persons (“Writers”).
NOW, THEREAFTER, in consideration of the premises and mutual covenants herein contained, the parties (Editor and Writer) agree as follows:
1. All information disclosed by Writer to Editor, in writing, whether or not such information is also disclosed orally, that relates or refers, directly or indirectly, to the Screenplay or Outline/Treatment, including the Screenplay or Outline/Treatment itself, shall be deemed confidential and shall constitute Confidential Information, and shall include:
(i) all documents generated by Editor which contain, comment upon, or relate in any way to any Confidential Information received from Writer,
(ii) any written samples of the Submission (“Screenplay”) or ("Outline") or (“Treatment”) received from Writer together with any information derived by Editor there from.
2. Confidential Information shall not include any information:
(i) That Editor can show by documentary evidence was known to Editor or prior to the date of its disclosure to Editor by Writer or
(ii) That becomes publicly known, by publication or otherwise, not due to any unauthorized act or omission of Editor or any other party having an obligation of confidentiality to Writer; or,
(iii) That is subsequently disclosed by Writer to any person, firm or corporation on a non-confidential basis; or
(iv) That Editor can conclusively show by documentary evidence that such information was developed independent of any access to the Confidential Information.
3. Writer will disclose the Confidential Information to Editor solely for the purpose of allowing Editor to evaluate and edit the Screenplay or Outline/Treatment submission.
4. Editor agrees to accept disclosure of the Confidential Information and to exercise the same degree of care to maintain the Confidential Information secret and confidential as is employed by the Editor to preserve and safeguard his own materials and confidential information.
5. The Confidential Information shall remain the property of the Writer and shall not be disclosed or revealed by Editor.
6. Editor shall notify Writer of any determination it may arrive at with respect to the further development of the submission, provided, however, that, in doing so, Editor shall not directly or indirectly disclose any Confidential Information to any third party, without the consent of Writer.
7. Nothing in this agreement shall be deemed a sale or offer for sale or option of the Screenplay or Outline/Treatment, and nothing contained herein shall in any way obligate Writer to grant to Editor a license or any other rights, directly or by implication. The Editor’s creative ideas, notes and suggestions about the Writer’s Screenplay or Outline/Treatment, are given to the Writer as part of the consultation service, and Writer is free to use or not to use the suggestions as desired. Editor holds no claim over creative suggestions offered as part of the consultation service.
8. Because of Editor’s position in the entertainment industry, his own ideas, his social media, creative collaborations, screenplays, screenplay assignments, outlines, treatments, pitches, loglines, TV pilots, video games, web series, short films, books, screenwriting services, screenplay and outline/treatment consultation and editing services, screenplay editing, workshops, webinars, blog articles, lectures, and teaching, he is continuously exposed to screenplays, teleplays, novels, short stories, blog articles, newspaper articles, social media, formats, treatments, outlines, pitches, loglines, presentations, stories, films, web series, video games, and the like, which may be similar to those already developed by Writer or related parties, or to those otherwise related to Writer (and which may be based on underlying material owned or controlled by Writer), and often many similar ideas or stories relate to one or more common underlying themes in different projects that may already exist. Writer shall indemnify and hold harmless Editor from and against any and all liability, judgments, claims, costs, damages, losses and expenses (including without limitation costs and attorneys’ fees whether or not in connection with litigation) arising out of or in connection with similar creative ideas.
9. No Professional Advice Guarantee or Promise: The information contained in or made available by Editor in the consultation or edit of your screenplay or outline/treatment for your theatrical movie, TV movie, TV half hour or hour series, web series, video game, or short movie, will not place Editor liable for any direct, indirect, consequential, special, exemplary or other damages, including economic loss, that may result from the use of, or the inability to use, the materials, information or strategies communicated through the consultation or edit, or any products or services provided before or after the consultation, even if advised of the possibility of such damages. Under no circumstances, including but not limited to negligence, will Editor be liable for any special or consequential damages that result from Writer’s participation in the screenplay or outline/treatment consultation or edit.
To be clear: You, the Writer, alone are responsible and accountable for your decisions, actions and results in life, and by your participation in the screenplay or outline/treatment consultation or edit, you agree not to attempt to hold Editor liable for any decisions, actions, or results that you make or experience in business or in life due to your participation in this screenplay or outline/treatment consultation or edit at any time, now, or in the future, under any circumstance.
10. The screenplay or outline/treatment consultation or editing services (notes) delivered to Writer by Editor in the form of an electronic data file via e-mail, may not be used or distributed or referred to in any public or private arena. Use or reference to Editor’s screenplay or outline/treatment consultation or editing services (consultation notes) or the use of Mark Sanderson’s name to endorse or promote any of the Writer’s screenplays, outlines, treatments, or loglines in any way is prohibited.
11. This agreement sets forth the entire agreement between the parties and may not be amended or modified except in writing signed by all of the parties.
12. This Agreement may not be changed, modified, terminated or discharged except in writing signed by both Writer and Editor. This Agreement, regardless of where executed or performed, shall be governed by, construed and enforced in accordance with the laws of the State of California without regard to the conflict of law’s provisions thereof.