Loves Me Not Scripts offers a range of Script Development Services to writers that focuses on each specifc script.

For each individual submission, we assess and analyse their targets, goals and techniques. Our written notes cover a number of creative aspects of screenwriting, including structure, dialogue, character, pace and genre. On a business level, we take into account marketplace considerations that could effect a script's impact. Alongside this, our Recommendation Service allows for a collaboration in pushing forward a writer's career thanks to our extensive production connections. As we build ongoing working relationships with writers, we seek to get your scripts read by a range of established flm & TV producers. We also look to submit to agents on behalf of our writers. A list of the companies we are in contact with is below. SCRIPT DEVELOPMENT SERVICES THE FIRST PASS SCRIPT COVERAGE // When considering your script for submission to agents, producers or fnanciers, our frst-read coverage will fag up any issues arising that may limit the material's impact on readers and make good use of that valuable frst read. Two sides of evaluatory notes. Feature 60 // TV 50. ONE READ TO RULE THEM ALL SCRIPT NOTES // Incisive and focused script notes that will identify a script's potential issues and propose tweaks to hone a script's story, structure, character, tone, pace, dialogue and visuals. Three-fve sides of development notes. Feature 110 // TV
95.

SPECIAL EXTENDED EDITION IN-DEPTH SCRIPT NOTES // All of the above in much greater detail. An in-depth analysis of the screenplay's strengths and weaknesses along with pro-active suggestions to help move your script to the next draft. Plus a half page synopsis to use how you wish! Eight-twelve sides of development notes including page-specifc notes where necessary.
Feature 150 // TV 125. =======================

THE BLANK WHITEBOARD STORYLINING // One of our script editors will work directly with you to storyline a feature or TV idea from concept, expounding structure and plot to build a viable screenplay blueprint from the ground up. Half day 150 // Full day 250. THE BOUND SPINE BOOK EVALUATION // Some novels are ripe for adaptation; with a frst read of a novel, the story and character elements that can be brought to the fore will be identifed, enabling a writer to focus their novel's journey towards the screen. Two-fve sides of evaluatory notes. 200. WEBISODES AND SHORTS // Shorts afford a great opportunity for writers to forge an impactful piece within tight limitations. How does a short's creative elements cater to its concept and budget? 35, thirty pages max. BOLT ONs Second draft re-read and one-two sides of evaluatory notes. Feature 50 // TV 60. 1 hour meeting. 50. BULK DISCOUNTS AVAILABLE PAYMENTS AND SERVICES @ www.facebook.com/lovesmenotflms

RECOMMENDATION SERVICE As part of our Recommendation Service, we work on behalf of our Script Development Service clients and remain actively in touch with a number of producers and agents. This ensures we know the types of material they are currently working on and looking for. We then work together with our writers, developing scripts with a producer's or agent's remit in mind. This allows us to submit the right scripts on behalf of our Script Development Service clients, and ensure your work is seen people in the position to get it made. There is no charge for our Recommendation Service. It is available only to Script Development Service clients. A selection of the companies we are in touch with are below; PRODUCERS and FINANCIERS Ruby Films; http://www.rubyflms.co.uk/ Touchpaper TV; http://www.touchpapertv.com/ Carnival Films; http://www.carnivalflms.co.uk/ Future Films; http://www.futureflmgroup.com/ Impossible Pictures; http://impossiblepictures.co.uk/ Parallel Films; http://www.parallelflms.com/ Mammoth Screen; http://www.mammothscreen.com/ La Plante Productions; http://www.laplanteproductions.com/ Eleventh Hour Films; Celtic Films Entertainment; http://celticflms.co.uk/ Agile Films; http://www.agileflms.com/ WestEnd Films; http://www.westendflms.com/ Silver Reel; http://www.silver-reel.ch/ AGENTS Linda Seifert Management; http://www.lindaseifert.com/ The Agency; http://www.theagency.co.uk/ JFL Agency; http://www.jfagency.com/ The Christopher Little Literary Agency; http://www.christopherlittle.net/ Ki Literary Agency; http://www.ki-agency.co.uk/ Casarotto Ramsey; http://www.casarotto.co.uk/ Gemma Hirst Associates; http://www.gemmahirst.co.uk/ Alan Brodie Representation; http://www.alanbrodie.com/ Dench Arnold Agency; http://www.dencharnold.com/ Shiel Land; http://www.sheilland.co.uk/ Blake Friedmann; http://www.blakefriedmann.co.uk/ MBA Literary Agents; http://www.mbalit.co.uk/ CONTACT Steven Russell // steven@lovesmenotflms.co.uk // 07734 212 845 www.lovesmenotflms.co.uk // twitter @lovesmenotflms PAYMENTS AND SERVICES @ www.facebook.com/lovesmenotflms

TESTIMONIALS In all my years in the industry Steven is one of the best script readers/development executives I have come across. He has a clear understanding of what makes a script work, not only from a creative point of view but also from a commercial angle. I will gladly work with him again in the future to look at some of our submissions.
Carola Ash, Head of Production, Future Film Group IMDb page http://www.futureflmgroup.com/

In the several years I've dealt with Steven on a number of projects, I've always been struck by his attention to detail, and diligence at swiftly getting to root of any obstacle. Steven's remit and enthusiasm extends far beyond simply a 9 to 5 business acquaintance. His love of flm is apparent and shines out in an industry where so many simply go through the motions. This gentleman comes highly recommended.
Peter Briggs, writer 'Hellboy', 'Alien vs Predator', 'Panzer 88' IMDb page

Development is crucial, and Steven has that rare combination of keen analysis and sensitive but out-of-the-box collaborative creativity.
Meg Davis, MD at Ki Literary Agency http://www.ki-agency.co.uk/

I have worked with Steven for over fve years. He brings great energy, in depth analysis of structure and well crafted skills in breaking down characterisation. He does all of this concisely and with a light touch that makes him a joy for writers to work with.
Stuart Sutherland, MD, Celtic Films Entertainment; executive producer 'Sharpe' IMDb page http://www.celticflms.co.uk/

Steven has the knack of really being able to read a script. Properly. Not only does he see things clearly, but he invariably has a spot-on and feasible solution to any problems. When I'm too close to a project he comes to it with new and often inspirational eyes. And he's fun too!
Kate Wood, writer 'Hollywood Star', 'Randall and Hopkirk (Deaceased)', 'The Bill' IMDb page

I've worked closely with Steven and hope to do so again. As well as understanding storytelling and the challenges a writer can face, he is also prepared to work hard to help a project realise its full potential.
David Lemon, writer 'Faintheart', 'Dead Happy' and 'Doctors' IMDb page http://jetpacksandsuch.blogspot.com/

As a writer, I have always found Steven to be receptive to my ideas. He is both discerning in his reaction to what works and inventive when seeing how the fnished product will ft into the market place.
Guy Meredith, writer 'Daunt and Dervish', 'The Bill,' 'Heartbeat' IMDb page http://www.storyguy.co.uk

CONTACT Steven Russell // steven@lovesmenotflms.co.uk // 07734 212 845 www.lovesmenotflms.co.uk // twitter @lovesmenotflms PAYMENTS AND SERVICES @ www.facebook.com/lovesmenotflms

GUIDELINES FEATURE TV NOVELS scripts up to 125 pages scripts up to 65 pages less than 100,000 words

For longer page/word counts, price on application to steven@lovesmenotflms.co.uk All prices include VAT. Payment due in advance with PayPal via www.facebook.com/lovesmenotflms or BACS transfer. It is the policy of Loves Me Not Films Limited not to open, review or read submitted material unless and until the submitter has signed a Submission Release in the form set out here. Please complete the form and return the Submission Release otherwise your submitted material will not be read. Once PayPal sends their payment receipt, please then email your script and a completed Submission Release to steven@lovesmenotflms.co.uk. Please send standard format screenplays; see script sample overleaf. Scripts submitted via email only in PDF, Final Draft or Word formats. Script notes returned ten working days after script's receipt. Any delays will be fagged up as soon as humanly possible (if not faster).
TERMS OF SUBMISSION By submitting your script to Loves Me Not Films Limited (LMN), you hereby agree that:

1. You are submitting the Submitted Material voluntarily and not in confdence and no confdential
relationship is intended or created between us by the submission of the Submitted Material.

2. You warrant that you have originally created the Submitted Material, that no one else to your
knowledge has any right to it and you believe the Submitted Material to be original, OR you hold the underlying rights, if the Submitted Material is based on another work. However, you recognise that other persons, including LMN or LMN's employees, may have submitted to LMN or others, or made public, or may in the future create and submit, or make public, similar or identical material that LMN may have the right to use, and you understand that you will not be entitled to any compensation because of LMN's use of other similar or identical material. You understand and agree that LMN's use of material containing features or elements similar or identical to those contained in the Submitted Material will not entitle you to any compensation if LMN determines that it has an independent legal right to use that other material (for example, because the features or elements are not new or novel, were not originated by you (or the writer of the underlying work), or were or may hereafter be independently created and submitted by other persons, including LMN's employees).

3. You have retained a copy of the Submitted Material, and you release LMN from liability for loss of or
damage to the Submitted Material.

4. This Submission Release shall be governed by English Law and constitutes our entire understanding
with respect to its subject matter. This Submission Release also applies to any other material that you may submit to LMN, unless agreed in writing to the contrary at the time of the submission. 5. No termination of this Submission Release and no acts with respect to the Submitted Material (such as LMN returning it to you) will be deemed to affect our respective rights under this Submission Release and all rights will survive any termination or acts. AVAILABLE FOR DOWNLOAD AND SUBMISSION HERE.

With that, the rock face silently divides in the middle and TWO GREAT DOORS swing outwards ... revealing a blackness deeper than night. As the FELLOWSHIP enter the BLACKNESS something in the water stirs... INT. MORIA GATE - NIGHT The FELLOWSHIP step warily into the darkness of MORIA ... a DANK CAVERN, with winding steps leading deeper into the mountain. GIMLI Soon, Master Elf, you will enjoy the fabled hospitality of the Dwarves; roaring fires, malt beer, red meat off the bone! This, my friend, is the home of my cousin Balin ... And they call this a mine. (snorting) A mine! ANGLE ON: A GLOW from GANDALFS STAFF suddenly lights the chamber ... The FELLOWSHIP recoil in HORROR! Many DWARF SKELETONS are strewn about, clearly in the dead of some old battle ... the rusting armor and shields are peppered with arrows and axes BOROMIR (grimly) This is no mine ... It's a tomb! GIMLI (in horror) Oh ... no ... no ... no...! LEGOLAS pulls a crude arrow out of a SKELETON. Goblins. LEGOLAS

The FELLOWSHIP draw swords and back away, towards the ENTRANCE. BOROMIR We make for the Gap of Rohan. We should never have come here. EXT. MORIA GATE - NIGHT ANGLE ON: FRODO is suddenly PULLED TO THE GROUND! A LONG SINUOUS TENTACLE is wrapped around FRODOS ankle and is dragging him towards the lake!