Getting into TV Writing: Things I Wish I'd Known

What does TV writing even mean anymore? What we understand as "writing for TV" is very often not even viewed on an actual TV.

It's not just that the industry has become dominated by streamers. There's also the likes of YouTube, social media and something called verticals or micro drama (often screened on dedicated apps) that are seemingly fast encroaching on the serialized story space.

It's not surprising then, that the appetite for screenwriting and writing scripts for episodic content has only escalated over the last few decades. The so-called "Golden Age of Television," an era when serialized TV really started coming into its own quality and story-wise circa the late 1990s, most definitely has a lot to do with it. Before that, prestige TV wasn't thought of as "peak"; it was long-held as an inferior art form cowering in the shadow of film, its cooler and edgier elder sibling. That clearly hasn't been the case for a while now.

In terms of opportunities to get your story "out there" and on a screen somewhere, this has its advantages and disadvantages. On the one hand, stories are now, quite literally, everywhere. Episodic, serialized, short-form content seems to be having a moment on social media, with brands and influencers recognizing the power of addictive storylines and cliff-hangers to keep a fickle audiences coming back for more. On the other hand, because there is just so much content vying for our attention, your story has to be able to stand out somehow in a very crowded market.

Unique concept and character are key now more than ever.

Getting into TV Writing: My Story

My love affair for TV writing began back at the turn of the century. Granny-alert! This was back when the TV landscape was still mostly dominated by terrestrial channels (at least outside the U.S.), although payTV or cable channels were gaining a firm foothold. After what seemed the briefest of trainings, I was employed full-time as part of a writing team generating storylines for a popular daily soap.

The real training in TV writing happened in that writer's room. We churned out storylines on a daily basis, each writer compiling an episode by the end of every week. It was a relentless conveyer belt; a well-oiled machine that delivered completed scripts to the production studio located on the ground floor of the same building.

From there I went on to write in the crime drama genre for HBO Europe and other production companies in the U.K. Writer's rooms were still central to the writing, but they were limited to a few weeks at a time. On the plus side, the writing of episodes didn't happen at the same break-neck speed. There was much more emphasis on quality rather than quantity; on getting a script right rather than getting it done.

But it was that first experience of working on a soap that really taught me the ropes of narrative structure, how to construct a scene and how to elicit an emotional response from the audience. The question my boss always asked whenever we pitched him an idea around the table was: Where's the drama? Without drama, there was no scene; it was window dressing.

Apart from these fundamental story skills, that first show also gave me an understanding of how collaborative TV writing is. It's a team sport, with many, many individuals doing their bit to bring the finished product to a screen.

Getting into TV Writing: The Reality Today

The truth is, there's no longer a typical route into TV writing (I'm referring to the U.K. and European markets. I have not had much experience working in the U.S. where things are, as I understand it, a bit different). A lot of the soap operas or continuing dramas, where newbie writers could traditionally cut their teeth (and have steady, regular work) simply do not exist any longer. And because seasons on other shows are so much shorter, with only six to ten episodes as opposed to twenty or thirty, writer's rooms are also much shorter.

Although there seems to be a never-ending flow of series being released on various platforms, opportunities to get into a writer's room to break story on one of these shows seem fewer and further between. We are beyond that period when streamers threw astonishing amounts of money into producing prestige shows. That was never going to be sustainable financially for companies that need to please shareholders. The pandemic, followed closely by industrial action in Hollywood (that impacted projects globally), means the industry is still struggling to find its feet fiscally. The business of producing series has become one that is extremely risk-averse, which explains why everyone is always rehashing and rebooting old (but tried and tested with a built-in audience) ideas and IP. The same goes for the writers who are entrusted with these shows–usually people who already have solid experience and credits to their name are considered a steady pair of hands.

Getting Paid for TV Writing

Of course, it's still possible to "break-in" and start building credentials. Getting paid to write is a wonderful feeling, I can confirm. It's entirely possible to be commissioned to write a script and get paid for it. If you have studied and practised the craft, have received positive responses form people in the industry on your scripts, then you should certainly expect some kind of payment. Alternatively, a producer might option your original work. This means that they give you some money to take your project off the market for a limited time period while they try to put together a package and get it into development and "greenlit"; i.e., produced.

In my experience, there are producers who are willing to collaborate with less experienced writers. The more experience you have, the more money you can expect to be paid. There are also, in Europe, modest script development funds in each country that can be accessed (usually in collaboration with a producer). So, can you get paid? Yes. Will you get paid regularly? The reality is, no.

Let's be clear. People don't usually get into this kind of freelance creative endeavour for the money. Is it tortuous and yet simultaneously satisfying? Yes. Although there are plenty of non-monetary benefits associated with writing (you are doing something that, hopefully, you love at least some of the time), make sure you have other means to support yourself while you build your professional reputation.

Are there Alternative Ways into TV Writing?

The good news is that the barrier to entry has never been lower in terms of getting your material in front of an audience–if you initiate and organize things yourself. If you do whatever it takes to get your script on a screen somewhere, even if that means calling in some favours, getting your mum or your dog to act out a part, filming it on your phone and uploading it to a social media account. Maybe two people will see it, maybe it'll eventually take off. There are no garantuees. What is certain is that you will learn something from each subsequent script written and continue to get better at the craft of writing.

How to Develop Scripts for Television Successfully

Developing scripts for television requires a structured approach to storytelling through storylines and character arcs. Here are some key steps to help you develop scripts that work well for episodic content:

1. Understand the Format

   Screenplays follow specific formatting rules. Whether you’re writing a half-hour sitcom, a one-hour drama or a two-minute micro drama, knowing the correct format is crucial. This includes scene headings, action lines, dialogue, and transitions. Using software like Final Draft or WritersDuet can simplify the process.

   
   

2. Create Strong Characters

   Characters are the heart of any TV series. They need to be relatable, authentic, complex, and capable of growth over multiple episodes or seasons. Spend time developing detailed character bios and motivations so you have multi-layered personalities with interesting backstories.

   
   

3. Outline Your Story Arc

   Series often have overarching storylines that span an entire season, along with shorter episodic plots. Plan your story arcs for each character and weave them together to create compelling drama.

   
   

4. Write Engaging Dialogue

   Dialogue in TV scripts should sound natural and distinctive. While dialogue can reveal character and advance the plot, avoid anything exposition-heavy and focus on subtext. Reading your dialogue out loud can help you catch awkward phrasing.

   
   

5. Revise and Get Feedback

   Writing is rewriting. After completing your first draft, put it away for a few weeks at least, then revise for pacing, plot, and character consistency. Sharing your script with trusted peers or mentors can provide valuable feedback.

   
   

Essential Tips to Develop Scripts That Stand Out

To make your TV scripts stand out in a competitive industry, consider these practical tips:

• Research the Genre & World

Each TV genre has its own conventions and audience expectations. Watch shows similar to the one you want to write and analyse their structure, tone, and character dynamics. If you're not familiar with the world of your show (e.g., it's set in a hospital), don't skimp on the research!

• Focus on Visual Storytelling

Television is a visual medium. Use action and setting descriptions to create vivid scenes that directors and actors can bring to life. Lean away from explaining everything in dialogue-heavy conversations. This isn't audio (although that too is an interesting genre to write for!).

• Keep Scenes Concise

TV scripts need to maintain a brisk pace. Avoid long, drawn-out scenes that don’t serve the story. Every scene should have a clear purpose. A useful rule of thumb for scenes: Enter late, leave early.

• Develop a Unique Voice

Your writing style and voice are YOUR unique selling point. Whether you're writing a comedy, drama, or thriller, it's the distinctive way that only you can tell the story that will build a strong reputation.

For those serious about honing their craft, consider enrolling in the next cohort of PILOT READY: Online TV Writing Course. It provides a unique blend of structured learning, group brainstorming, personalized mentoring and industry insights.

What are the 3 C's of Screenwriting?

The 3 C's of screenwriting are Character, Conflict, and Change. These elements are fundamental to crafting compelling screenplays.

• Character

Characters drive the story. They should be complex beings with goals, needs and flaws. Investing emotionally in the characters is what keeps viewers watching.

• Conflict

Conflict creates tension and drama. It can be internal (within a character) or external (between characters or from their environment). Without conflict, stories lack momentum.

• Change

Change refers to character development or plot progression. Characters should evolve in response to the conflict, leading to satisfying resolutions or cliffhangers.

Building Momentum in TV Writing

Here are some actionable steps to keep motivation – and your career – going in the right direction:

• Write Regularly

Practice is key. Write scripts, scenes, or even short stories to sharpen your skills.

• Network with Industry Professionals

Attend workshops, festivals, and industry events. Be active on social media and seek out other writers and industry professionals. Building relationships can open doors to opportunities.

• Create a Portfolio

Compile your best scripts. A strong portfolio showcases your range and style.

• Submit to Competitions and Fellowships

Many organisations offer programs that can provide exposure and mentorship. But be aware of competitions, producers or "industry folk" who only seem focussed on getting your money. If you really want to enter a comp, focus on the big ones: Austin, Page, Script Pipeline, Big Break, Sundance, Blue Cat.

• Stay Informed

Keep up with industry trends, new shows, and emerging platforms (such as micro drama!)

And most importantly, keep writing!

Story Inkubator was founded by writer, scriptwriter and teacher, Kristina Jilly, an Australian living in Central Europe who's written for HBO Europe and RTL Television. A teacher at the University of Applied Sciences in Upper Austria, Kristina also writes online content about the art of storytelling and topics that inspire creativity. 

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