With pictures, sixty seconds is about the length of a commercial voiceover. This results in a lot of choices made by what is omitted. This is the expensive part, because once you make those choices, they can’t be changed until you hire a whole other crew.
We have to presage everything. Every comparison, superlative, and price statement needs to supportable for it to make the air. We write with that condition in mind and signal the sections that will require evidence instead of leaving that burden to the lawyers.
Television advertising is the first step to creative direction for pretty much every advertising campaign. The script for that TV spot informs the phrasing and tone of the advertisements that will run in display banner form, on the shelf, in ads alongside radio broadcasts, etc. Writing is the least expensive and thus the least flexible aspect of a production budget, so this is not an efficient place to cut costs.
The generated commercial script is bland with the images coming last and the words as a long paragraph. You get thirty seconds of voiceover accompanied with a montage with no beat structure and claims which nobody can actually verify. On the day of the shoot that document has no value whatsoever.
The writer begins by citing the one thing the spot must communicate, after which it is easier to write the script. Rather than draft words and add pictures later, audio and vision are written together. At this point in the process, rather than thinking about the sequence, timings are checked for the spot by reading the entire script out loud at production speed.
This is your last chance to spot the mistakes that cost the most. We check for claims that require supporting evidence, superimposed text that will be too small to read during the broadcast, and brand name mention that comes too late. We also verify cutdowns. A thirty-second spot that only makes sense if you saw the full sixty should never be bought.
One rate, whatever the format: $10 per 100 words. You are paying for the writer’s time and judgement, so the price scales with the words rather than with a package tier.
| Typical TV commercial | Words | Writing | Fee (1%) | You pay |
|---|---|---|---|---|
| Short (3 min) | 450 | $45 | $0.45 | $45.45 |
| Standard (10 min) | 1,400 | $140 | $1.40 | $141.40 |
| Long (30 min) | 4,200 | $420 | $4.20 | $424.20 |
The writer receives 100% of the writing price. Our 1% fee is added on top of it, and 0.5% is donated to tree planting. Full pricing breakdown.
Yes — 2 rounds are included, for 14 days after delivery, handled by the writer who wrote the piece rather than by someone new to the brief.
Yes, by assigning someone who already knows the subject rather than someone who will research it overnight. If we do not have the right specialist available we will tell you rather than take the brief and hope.
This format is what a production company wants. We are looking forward to being on the call while this script gets deconstructed. Plot boards and shot lists are the director’s job. We give you the words and the structure of the beats.
No, and be aware of those who say otherwise. We flag claims that we anticipate will need verifying, and we avoid wording that prompts a challenge. Clarification is the job of your legal team or the broadcaster’s. Our notes are meant as a time-saving device in that regard.
Completely. Copyright transfers to you on delivery, with no attribution requirement and no licence back to us. Nothing written for you is resold, repurposed or republished.
Reviews from completed, paid orders in this category.
Five emails, four landed first time. The fourth leaned on urgency in a way our brand does not, and I said so. It was rewritten within a day and is now the best performer in the set. I’m most likely working with too general of a brief on tone.
I have my own newsletter publication most weeks. I send the hard ones to my colleagues. No one on my distribution list has noticed the change. Someone responded this week saying that they think that was my best one yet. It was a bit of a hard blow, cutting it loose.
Email subject lines, which clear security quickly and interchangeably, are the most expensive opportunistic part of the email. That’s why I’ve asked for a second set. The replacements were an improvement, but I still wrote two of the twelve myself. The bodies, where there was the most potential to improve the email, were worth the money.
We do not ask you to take the no-AI promise on trust. Each draft is run through these platforms and the reports are attached to your delivery email.
Originality.aiAI detection + plagiarism
GPTZeroAI detection
TurnitinAI detection + similarity
CopyleaksAI detection + plagiarism
Winston AIAI detection
ZeroGPTAI detection
SaplingAI detection
Content at ScaleAI detection
Send the brief, get a human draft back within 3 days. No account, no subscription, no AI.
$10 per 100 words · all of it to the writer · 0.5% to trees