TVC scripts. Thirty seconds to tell a story.
TVC scripting is a specific craft. What works in print doesn't work in broadcast — timing, the interplay of visuals and dialogue, the discipline of storytelling in thirty seconds. I've written for broadcast across categories for decades.
The TVC scripts I write
Dialogue-driven spots
Commercials where characters interact — lines that sound like real conversation while carrying the brand message and fitting the clock.
Voiceover scripts
Narration that adds something the visuals alone could not — context, emotion, a perspective, not just description.
Visual-led films
Spots with minimal words — pacing, imagery, and knowing exactly where the few words that appear should land.
Long & short form
60-second brand films down to 15- and 20-second cutdowns where every frame counts.
Concept development
The idea and creative approach before the script — or writing to a concept already approved. Either way works.
How I work
Brief
Understand the single message — and the feeling the film has to create.
Script
Write for the ear and the eye at once, in standard format everyone can read.
Storyboard notes
How the words and visuals work together, frame by frame.
Revisions
Tight and focused — through feedback, and again into pre-production.
Proof, not promises
All work →
Creative insights, an eye for detail, quality execution, broader perspective and timely deliveries. That's what you can expect from Nabina.
If you're a brand
Commissioning television, through an agency or directly with a production house? I can develop concepts from scratch or write scripts for ideas your team already has — and stay involved through production if that helps.
If you're an agency
TVC scripting is often agency work, with production houses, directors and stakeholders involved. I understand that workflow and can fit in at any stage — a pitch, a campaign moving into production, or senior writing on a tight timeline.
TVC Scripting FAQ
How many words fit in a 30-second spot?
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Roughly 75 words of dialogue or voiceover, less than a short paragraph. Every word costs screen time, so the discipline is knowing what to say, what to show instead, and what to leave out entirely.
Do you write the concept too, or just the script?
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Both. Sometimes I start at the concept stage and develop the idea before writing; sometimes I write to a concept your team has already approved. Either approach works.
Do you write 15 and 60-second versions too?
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Yes. Most campaigns need a hero film plus cut-downs: a 60 to tell the full story, a 30 as the workhorse, 15s and 6s for reach and reminders. Writing them together keeps the idea intact as it shrinks, rather than hacking the long one down and hoping.
Do you write radio and digital film scripts as well as TV?
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Yes. Radio is pure audio, so the words have to build the picture; digital and social film often has to work with the sound off, so the first frames and captions carry it. The scripting discipline is the same; what changes is what the viewer or listener actually gets.
Will the script actually be producible?
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Yes. I think about locations, casting, effects and budget as I write, not as an afterthought. An idea that's brilliant on paper but impossible to shoot, or ruinously expensive, isn't a good script.
Developing a television commercial?
Whether you're at the concept stage or ready to script, send the brief and I'll come back with how I'd take it on.
Start a brief