Need advice on what to do after finishing your script? Want help with branding, how to best position your material, what logline to work on next, and which companies to target? Submit your full script, your bio, AND a one-pager of your loglines. Your chosen exec will read this material prior to your one-hour call. You’ll not only discuss story notes, but also what your next steps should be based on your bio, loglines, and goals.
MARKETING BONUS! If you receive a rating of Excellent or Virtually Flawless in at least four out of five categories (Logline and Formatting/Ease of Reading excluded) on your consultation feedback report, we'll do one round of personalized marketing to 5 execs for this screenplay for free!
Questions? Email terra@roadmapwriters.com
Any Comedy better have jokes or situations that are actually funny. Three acts on film and TV pilots. Tell me a story and give me a character to believe in.
True Feature Dramas with a bio, real-life, life rights, etc... Anything that gets me excited and makes sense for the current marketplace.
Drama Features must involve life rights, a true story, or some other heightened angle. No original drama features at all.
A graduate of UC Santa Barbara with a degree in Film Studies, Mark Saffian is the owner of literary management company Content House which represents dozens of New York Times Best Selling Authors, screenwriters, directors, and production companies, as well as top names in comic books, video games, and new media. Projects include THE CROOK FACTORY based on the best-selling novel by Dan Simmons (THE TERROR, HYPERION) and the television series ONE SECOND AFTER with Constantin Films based on the best-selling trilogy of books by William Forstchen. Recently, Content House sold or set up series on behalf of its clients to eOne, Warner Bros. Studios, Warner Animation, CW, Comedy Central, Showtime, and HBO. Mark began his career working in the mailroom at Agency for the Performing Arts (APA) before being promoted to an Assistant in the Packaging Department and eventually becoming the Literary Department Development Coordinator where he helped develop pilots and films including the television series 24. After APA, Mark worked as a Development Executive and Story Editor for Sony Pictures (GHOSTBUSTERS: AFTERLIFE; AN AMERICAN PICKLE) and Sid Ganis/Out of the Blue Entertainment where he was a story editor on BIG DADDY and DEUCE BIGELOW: MALE GIGOLO.
Mark not only identifies key script issues but generates multiple options to resolve them. He's great at finding ways to move forward.
~ Anonymous Screenwriter
Mark cares about your project and it comes across in his ease and likability. His notes are thoughtful and considerate. He never once made me feel pressured or anything less than a creative. You truly feel he's in your corner and he breaks down your work in ways that are easily understood. I have much appreciation for him in this mentorship.
~ Anonymous Screenwriter
Mark's notes have triggered breakthroughs on some really tough script issues that I have struggled with for quite a while. He seems to get what I'm trying to do with a script, and his suggestions have always been consistent with the core vision I started out with. Sometimes notes reflect a lot about the person giving them and would push a script in a direction that reflects their tastes more than mine - but Mark has a knack of making suggestions that improve the script without intruding on my role as the writer or leading me in directions that I later have to backtrack on.
~ Greg Price, Screenwriter
Our meeting went so well, it went beyond allotted time, so huge thank you to Mark. He said he enjoyed reading my script and suggested some pointed changes that yours truly thought were quite good. This was an amazing chat since, like many writers, we don't often get a chance to discuss our work in detail. Writers are not allowed to say this but, "I can't find the words to express my gratitude!"
~ Kevin Michael Irvine, Screenwriter
After registering, you will receive instructions on how to submit your material in your order confirmation email. Please be sure to select Career Coaching as your consultation type on your material submission form, so that you are able to submit all supplemental materials on the same form. Provide your script, writer bio, and one-pager of your loglines (to include Title, Format, Genre, and Comps with each logline). After submitting your material, please allow 3-4 weeks to receive proposed times for scheduling your call with the exec.
**Please note screenplays are limited to 120 pages maximum. Please contact terra@roadmapwriters.com for pricing on a consultation for a screenplay exceeding 120 pages.
Be sure to familiarize yourself with Roadmap's Code of Conduct.
Questions? Email terra@roadmapwriters.com
MARKETING BONUS! If you receive a rating of Excellent or Virtually Flawless in at least four out of five categories (Logline and Formatting/Ease of Reading are excluded) on your consultation feedback report, we'll do one round of personalized marketing to execs (up to 5) for this screenplay for free!
Cancellation Policy: You may cancel your registration for a refund or Roadmap gift card if you have not yet submitted your material for review. However, once your material has been received by Roadmap, your registration cannot be canceled. Having revised material or a desire to retroactively apply a discount or gift card code are not grounds for cancellation, refunds, or gift card credit. Once your material has been submitted, the only acceptable grounds for cancellation and a refund or gift card credit is an unforeseen, ongoing emergency on the part of either the writer or the exec resulting in more than 6 weeks without any scheduling update from the exec via direct contact or Roadmap, or a sudden change in the exec's ongoing availability. In the instance of an irreconcilable scheduling issue, the writer may still receive a written feedback report from the exec. In this case, the writer is not entitled to a refund or gift card credit as the exec has read the submitted material and provided written feedback in lieu of the call.