Questions, answered plainly

In the box at the top of the door. Come back to srv.lovingmywords.com/door, paste your seat code in the box at the top, and press Sign In. The same box is where you come back for your documents.

Write to support@lovingmywords.com from the email you claimed your seat with, or with the receipt from your payment. The house never stores your code itself — only a one-way fingerprint of it — so it cannot be looked up; a person issues you a new code for the same seat. Your read and your documents stay with the seat, and the old code stops working.

One complete read of one feature screenplay, FADE IN to FADE OUT, and two documents: THE SCRIPT VERDICT, where the script stands now and why, and THE SCREEN ELEVATION BRIEF, what happened to the viewer sequence by sequence and what could elevate it.

The first five seats are free — one for each writer. After them, Feature Film — First Draft Review is $299.95. TV Pilot / Standalone — First Draft Review will be $199.95 when its lane opens, and each further Episode Review $99.95. It is a one-time purchase for one script: no subscription and nothing renews.

No. Every seat is the complete product — the same read and the same documents. Feature Film — First Draft Review is $299.95; TV Pilot / Standalone — First Draft Review, once that lane opens, is $199.95. Television costs less because a television script is normally shorter and runs through its own lane — never because it is a lighter read.

‘First Draft’ describes the role SRV plays — the first professional-style review before your next serious revision. Your script doesn’t have to be version one. Your first draft doesn’t have to face the industry alone.

No. Each seat is one read of one script, paid once. Nothing is billed to you again unless you buy another seat.

Not yet. The television lane opens soon. Until it does, no television seat is sold and no television script is read. A television script uploaded to a feature seat is recognised and held at upload, before anything is spent, and your seat is kept.

From your own pilot. When the television lane opens, a pilot review opens a series record under your seat: the show’s name from the title page, the main cast, the world and the setting, the tone and the format lane — a fingerprint of the series, never the script — not one line of its text. An Episode Review ($99.95) is sold only to you — the same email — and you pick the show from your own list. Then, before any charge, the episode’s title page must name the show and its main cast must overlap substantially with the record’s. If it does not, the door says so plainly, for example: “This doesn't appear to be an episode of THE HARBOUR. A standalone teleplay is $199.95.” Nothing is written on your script, and each Episode Review extends the record, so episode five is read knowing one to four. The record is used only for the same writer’s later Episode Reviews of that series — the same email, picking the show from their own list; never for another writer, never shared, and it is deleted whenever the writer asks.

A feature of 90–120 pages is the professional lane. A script of 121–125 pages is read in full with a Page-Length Flag: “SRV will read the complete script, but at 123 pages the screenplay sits outside the conventional feature range. The read therefore evaluates whether the additional length is being earned.” A script of over 125 pages is not read, and you are told so at upload, before anything is spent.

A PDF — the one your screenwriting software exports. The page count the read reports comes from the PDF itself. A scan (pictures of pages, with no text inside) may be turned away: “This PDF is a scan — pictures of pages, with no text inside. Please upload the PDF exported from your screenwriting software. Nothing has been spent.”

English only, for now. A script in another language is told so at upload: “The First Draft Review reads scripts written in English for now — native languages are coming soon. Nothing has been spent.”

No. Coverage evaluates the script. The Script Reader's Verdict experiences the screen. Coverage answers a development desk’s question in a few pages. The First Draft Review follows what the audience experiences across the whole script and ties every finding to its page and scene, with options you rule on.

No. The pen stays yours. The read identifies what is happening on the page, explains why it matters on the screen, and offers options. An example is a short parallel illustration with invented characters — never your own scene rewritten. You decide what changes.

It gives a Current Read — a professional band derived from what the read counted, never a decimal score — and an Estimated Potential After Priority Revisions, which is conditional and never a guarantee.

We don’t promise a clock. A read works through every page and every check before anything is delivered. The door shows how far along it is, part by part. Once your read begins, it works quietly on our server until your documents are ready — you can close this page.

Come back to srv.lovingmywords.com/door, paste your seat code in the box at the top, and press Sign In. Your documents are kept for thirty days after delivery; download and keep your own copies.

It is held on the house’s own server only while your read runs (or while the house has paused it, or our side interrupted it — the house resumes such a read itself, and nothing is asked of you), and it is deleted at delivery — or at once if you stop the read or it fails. It is never used to train anything, never shared, and never shown to another writer.

No. One seat reads one script; the seat is bound to that script when your read begins. A revised draft later is a new read.

You are told plainly, and a paid seat is refunded in full. The Refunds page sets out the whole promise.

No. Your seat code is your only key. The read runs on the house’s own server and the house’s own account; there is nothing for you to set up.

Loving My Words, the seller of record. Payment is taken by Stripe; your card details never reach this website. Questions go to support@lovingmywords.com, and a person answers.