Script Consultation – Submission Agreement

film courage head shot 2I’m a working screenwriter/script consultant, and script doctor with twenty years of professional experience working in the trenches of Hollywood. My twenty-three assignments, one spec sale, two TV pilots assignments, and fifteen produced films  have opened festivals, premiered on Lifetime, LMN, HBO Canada, Fox, SyFy, HereTV, NBC Universal, The Movie Network, and have been distributed globally. I’ve been blessed to work with Academy Award® winning producers, veteran directors, and Academy Award®, Emmy®, and Golden Globe® acting nominees on my films.

I’ve also consulted on the screenplay as the story editor for the indy film Bitter Harvest for writer/director George Mendeluk, who filmed in Kiev, Ukraine. The film stars Terence Stamp, Barry Pepper, Max Irons, and Samantha Barks and was released theatrically worldwide.

I offer professional screenplay consultation on your feature or TV script to help push it to the next level—not traditional “coverage.” I also don’t offer promises to know what the studios are buying today (nobody truly knows), but if your script needs help, my real-world experience and insights can bring your project to the next level.  The only mantra to follow is: “Write from a place of honesty and truth and always do your best work—every time out.”

Please click on the blue icon below to browse my website for  more information about my consultation services.


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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 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 and 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.

                           CLIENT TESTIMONIALS…                             

“There are many “script consultants” out there.  Many of them are more concerned about enhancing their careers than about you as a writer.  What I look for is one who has the professionalism and experience to see what I can’t see in a script—to be my second set of eyes and give me feedback that I can use to enhance my story.  Mark Sanderson read my script three times in a matter of days and provided an overview and detailed page notes with very practical and thought-out suggestions to enhance the script.  You want someone who will take the time and personal interest to care about your work and about you as a writer.  No matter how experienced one may be, having that supportive feedback means a lot in this journey.  Thank you, Mark!” — Britta Reque-Dragicevic, screenwriter of “Restoration”

Mark provides an enriched and detailed description on how to grow your screenplay and writing. The criticisms force me to think about all aspects of the story and the specific suggestions allow me to jump quickly into a rewrite.”—Moez Solis, screenwriter of “Angel Tendencies.”

“I hired Mark earlier in the year to help me with a comedy screenplay, his advice was valuable and it’s since been requested by three producers and an agent. And later this year, I needed help on structure and plot on a studio spec and yet again, Mark’s notes were incredible, detailed and insightful. He helped me see things that I didn’t notice because I was so close to the project. When I speak to producers, they tell me one of the biggest mistakes writers make is sending out scripts too early. Don’t be that writer.  Get your screenplay read first by hiring Mark Sanderson.”—Niraj Kapur, screenwriter of “For Better or For Worse.”

“I’ve used a few script consultant services now and I can say without hesitation that Mark’s was the most valuable.  While others were helpful in providing useful feedback on a certain component or area of my script, Mark’s notes felt truly comprehensive.  I’ve incorporated his ideas to improve everything from general format/readability to the actual comedic elements.  I look forward to getting my next script to a point where I’m ready to leverage Mark’s insight and guidance once again.”  —Carey Dunn, screenwriter of “Materminated”

“I have hired many script consultants in the past, but Mark has to be one of the finest. His critique of my work, and suggestions on how to improve it, without a doubt, has made the final product much more competitive and ready to market to TV producers. In the future, I will not hesitate to call on Mark’s services again. Thank you Mark for your support and great advice!”—R. Lee Salkind Meliment, screenwriter of “Castleton Divide”

“Mark’s immaculate feedback provided an clear, concise guide as to the strengths and weaknesses of our screenplay, highlighting what was and was not working, what there should be more and less of and – ultimately – inspired the next pass of drafting. His feedback is direct, honest and impeccable. Highly recommended!”—director/screenwriter Mark J. Blackman, screenwriter of “Teardrop”

“Mark was not the only consultant who worked on my script. But he was BY FAR the best. Hands down. I did extensive research before I selected the consultants I availed myself of and the extent to which Mark’s work rises above the rest is shocking. So much so that I literally scrapped the analyses and input from the others and went with Mark’s feedback exclusively. He broke down my screenplay gently and effectively—and one of the most helpful things he did was not just identify weaknesses but make actual suggestions about how to fix them (e.g. “TRY this…” or “HOW ABOUT so and so…”). He also explained why he made a certain recommendation or why he thought something didn’t work. It will make future screenplays much tighter from the get go. He will make your screenplay a thousand times better; he will make you so excited about rewriting/reworking it you will literally run to your computer to implement his feedback; and he will make you a superbly better writer along the way. Another thing: he’s a super nice guy. I wholeheartedly endorse his services. Do yourself a favor: USE HIM.”—David Bassin, screenwriter of “Through the Sweetness and the Smoke”

“If you are serious about your career as a writer, one of the best resources you’ll ever find is Mark Sanderson. Mark doesn’t give cookie-cutter,  thoughtless advice but he offers thorough, detailed and personalized service that is both refreshing and reliable. He is professional, courteous and genuinely interested in your success. You won’t regret the investment. You owe yourself the advantage of having Mark Sanderson on your side.”—KV James, screenwriter of “The Wren”

“I have used different script consultants, but I found Mark’s notes were so thorough, clear and brutally honest, I was able to go through them point-by-point, and came out with a markedly stronger and more marketable screenplay.”—Ron Thomson, screenwriter of “Tour de Francine”

“Mark’s in-depth and thoughtful read inspired more confidence in pointing out strengths, weaknesses and suggestions for improvement. His notes were invaluable in making this a stronger and more marketable script.”—Cyn Brocar, screenwriter of “Kingfisher”

Mercy just made the Page quarterfinals and I wanted to thank you. It would have never made it that far without your editing help. So thank you very much!”—Carrie Wachob, screenwriter of “Mercy”

“Blunt and insightful.  Mark is like a hawk and could see the common, often repetitive, mistakes I made that I was oblivious to.  His suggestions helped reveal gaps in the story that my mind instantly started to fill.  In revision mode, he brings the format up to professional levels with pinpoint accuracy.  There’s so much advice that you will want to implement as you read through his notes, that you’ll keep returning to them as you go along. There’s no way this won’t take your screenplay to a higher level. Best money I’ve ever spent so far in the quest to become a screenwriter.”
Jordan Serson, screenwriter of “Day Dream”

“I’ve wanted to have my script read by a consultant, but shopping around in Hollywood online everyone was asking $1500 or more. I found Mark when I Googled him and he offered proofreading plus consultation. For the price, I did not expect such thorough high-quality feedback and he didn’t pull any punches. The great thing was his grasp of the story and characters, and then knowing (seeing) a proper structuring of the events. I could go on and on about his suggestions and educating me, but to my knowledge, this is the best deal in Hollywood. So, you better take advantage of it while Mark is content to sell it at this price.”—James Featherston, screenwriter of
“Abattage Angels”

“I’ve been writing for many years in fiction and non-fiction. But screenwriting is an entirely different planet. When I decided to take a shot at writing a screenplay, I was overwhelmed by all the resources out there. I decided to dive in, buy software and do my best. And then, when I was done, I found Mark. And “that’s” when I learned what to do and what not to do. Mark’s critique was detailed but easy to understand, firm but encouraging and I can tell he’s a perfectionist. And he’s making me one too! I can honestly say that my work with Mark was the equivalent of a screenwriting boot camp. I loved every minute of it. And I’ll be back, for certain.”—Aliya S. King, screenwriter of pilot “Platinum”

“Mark was not the only evaluation I sought after finishing my first spec, but after receiving his notes and working with him, he will be in the future. Other services seemed to put me on the bottom of their list, pushing me out then delivering sub-par recommendations. With Mark’s help, I was able to focus in on the core of my story and develop it from there.  He dives deeper than the surface and seeks out where your screenplay might be flawed. His notes were specific, in-depth and extremely useful. He unearthed a gem in what have otherwise been a pile of dirt. I can’t thank him enough.”
—Michael Brenckle, screenwriter of “Jackpot”

“Mark’s gift lies in the fact that he’s not only able to supply you with remarkably on-target insight and suggestions, but he’s also able to inspire you to find a deeper and better version of your script. He understands your script, its strengths and weaknesses, and emboldens you to find the hidden genius within your own vision.”—Paul Schattel, writer/director “Your Ass Is Grass”

“I was hesitant about getting a screenplay consultation, because you hear a lot of mixed reviews. I’m so glad I did. Mark was the best thing to happen to my script. He gives really comprehensive and detailed advice.  He found issues that I didn’t even know existed, and really helped me get to the essence of my story. I’m pretty certain I couldn’t have gotten to that point without him. The dude knows his stuff.  I look forward to working with him on my next project.”—Rayna White, screenwriter of “It’s Who You Know”

“Mark really worked for me. In my case I got script notes, general notes, the whole nine yards. Easy to say I got my money’s worth. If you want a successful screenwriter to take your screenplay seriously, meticulously comb over it giving you constructive contributions, work with your ideas to help you fill out your vision, Mark Sanderson is your man.”—D.R. Bradt, screenwriter of “Born to Kill 2015”

“Mark’s notes were right on the money. He sees a movie in a script, no matter how good or bad it is and brings out the best it can be. I am fortunate my screenplay passed through his surgical mind. Thanks, Mark for making me happy with my words, my screenplay, my baby.”—Njedeh Anthony Ebinum, screenwriter of “Mind Crawlers”

“When I came to Mark for help, I had a 136-page Sci-Fi screenplay that a Hollywood agent and director had criticized for being overwritten. With Mark’s help, the script was not only pruned to 107 pages, but many subtle formatting and pacing issues were addressed.  To receive his extensive and detailed notes for such a reasonable fee was a real blessing, as was the kind and positive tone in which they were given.  Two other pluses I should mention about Mark’s services are: (1) he is a working Hollywood screenwriter and (2) he takes a real personal interest in one’s progress.”—Ray Chesin, screenwriter of “Blue Planet”

“I couldn’t be more pleased with Mark’s critique of my script. He’s thorough, smart, knowledgeable, detailed, passionate, experienced, encouraging, talented, and affordable. What else could you possibly want in a script consultant?”—Jeff Thomas, screenwriter of “Cuda”

“After reading through Mark’s notes, it felt like I had participated in an intensive screenwriting workshop. He gave me so much insight into the process and provided helpful suggestions on how to improve my script. I have incorporated many of his ideas and am pleased with the final draft. Thank you Mark for helping me take “Between Land and Sea” to the next level.”—Joanne Guidoccio, screenwriter of “Between Land and Sea”

“Mark has the ability to take an idea and mold it into an amazing story that touches others. With years of creating great work, he has a grand insight into consulting on screenplays that is a true gift. My recent consulting experience with Mark has resulted in personal growth as a screenplay writer and a stronger screenplay then I could have ever imagined. I am proud to say Mark Sanderson is my mentor and an amazing teacher.” —Faith Fay, screenwriter of “Game On”

“Your suggestions and notes were very, very, very insightful and helpful. They were so thorough and every point made sense. You didn’t just outline problems, but you suggested solutions to the problems which I admired. After completing these changes, I read through my script again and it reads much, much stronger. There were points you brought up that I hadn’t even thought of before or knew much about. Your service was worth every dime and I will be using you from here on out. THANK YOU once again! I owe you an Oscar speech!” —Justin Bamforth, screenwriter of
“The Collectors”

“Mark’s analysis exceeded my expectations on every aspect of my screenplay. I needed a pair of new eyes, professional eyes, that could help me realize the true story behind my first draft. Now that my “first draft fugue” has cleared, I understand not only what my screenplay has been trying to convey, but how to convey it. I am now beginning to sense what a true re-write consists of, but I couldn’t be happier with the clarity and precision of which Mark’s notes have guided me. Thanks a million!”
—Will Stockton, screenwriter of “The Laugh Crafter”

“I wrote a feature comedy, but it turned out to be 274 pages when I finished it.  After Mark came in, he taught me all about making a script “lean & mean.”  In the end after his editing, the script came in at 102 pages. The Scriptcat really knows his stuff.” — Brad Grunberg, screenwriter of “Final Exam”

“This was my second time to reach out for a professional’s opinion.  Your review, by far, was the most constructive and insightful.  Well worth the money!  Having feedback from someone who has already been there and done that is important to those of us who are amateur writers and do it for the joy of writing and creativity.  Of course, we all have the dream of one day bringing the characters to life.  Thank you for the detailed advice to improve my sitcom.” —Chris Parman, screenwriter of “Tulsa’s Crude”
“Mark’s feedback helped me break bad writing habits that I didn’t even know I had. The level of detail provided in his coverage made me understand where the problems were and how to fix them. He pointed out strengths in the script and not just weaknesses, which was a real morale booster. I was also amazed that he read the script more than once, which is above and beyond most coverage services.”—Carrie Wachob, screenwriter of “Hunters”
“Mark gave me great notes.  Being a professional screenwriter, he knows the industry standards and gives not only advice that you would get from taking a screenwriting class, but also an experienced industry perspective.  A very reasonable, reliable and helpful guy.” — Nick Josephs, screenwriter of “As the Crow Flies”

“Thank you for handing me the insight to to turn a good script into a great, exciting one.  After using your notes and with any luck, my ‘Legend of Sweet Revenge’ will give me a shot at the proverbial ‘Hollywood – Brass Ring.’  I’m excited. Thank you, Mark.” — Frankie Carbone, screenwriter of “Legend of Sweet Revenge.”

“For anyone who is looking for a professional writer and script doctor, I would highly recommend Mark.  I’d say, if you are looking for a professional writer to walk that extra mile with you on your script, look no further!  My script is based in India and he knew my story and the characters as well as I do. He is extremely dedicated and into his work.” — Earl Reginhard, screenwriter of “Zia”

“When I came to Mark with my screenplay I was stuck. I knew that it was too long, but wasn’t sure where to begin cutting. Mark’s advice was exactly on the money. Not only did he steer me in the right direction to get it where it needs to be, but he also gave me the feedback that I wasn’t getting by having my friends read the script. Thanks!” — Tony Jones, screenwriter of “Chuck My Life”

“Mark has been a tremendous help to me. With the advice he gave me, I was able to make my script tighter, pacier and more how I envisaged the finished version to be. Suffice to say I now have one script with a producer and another has made the quarter finals of a screenwriting contest. I attribute the speed of both successes to having followed Mark’s advice. Thank you, Mark.” — Hilary MacKelden, UK screenwriter/playwright of “Barabbas” and “Sammy”