So You Want to Get into TV Writing: Here's What I Know

Lots of people are interested in writing for TV, but the phrase itself seems so outdated. What does TV writing mean anymore? This type of narrative, serialized writing for the screen (scripted TV, as it's commonly known) 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 episodic story space.

It's not surprising then that the appetite to learn screenwriting as a craft 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 prestige TV, shows on the box weren't thought of as "peak". Television was considered 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, there are advantages and disadvantages to being a series writer today. On the one hand, stories are now, quite literally, everywhere. Episodic short-form content seems to be having a moment, with companies, brands and influencers recognising the power of addictive storylines and cliff-hangers to keep 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.

A combination of unique concept and characters are key now more than ever.

Getting into TV writing: my story

My passion for TV writing began back around 2002. This was when the TV landscape was still mostly dominated by terrestrial channels, at least outside the U.S., while payTV or cable channels were quietly gaining ground. I'd always been interested in writing fiction, so when I saw an ad for a TV writing workshop, I applied. After a brief but intense training, I was offered a full-time writing position, part of a 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 each 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 and 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" (or at least better) 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 is no scene; it's just 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.

The reality of getting into TV writing today

There's no longer a typical route into TV writing (I'm referring to the U.K. and European markets). 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 getting so much shorter – sometimes with only five or six episodes for limited series – writer's rooms are also much shorter.

Although there seems to be a never-ending stream 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 high-end 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 behind the scenes has been struggling to find its feet fiscally.

The business of producing series has become one that is extremely risk-averse. This explains why there seems to be so many reboots and rehashing of old (but tried and tested) ideas and IP that come with a built-in audience. 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.

Do I need an agent?

This is the perennial chicken and egg situation: an agent won't look at you until you have credits but you can't get credits without an agent. Or can you? It is still possible to "break-in" and start building credentials without an agent; some people have certainly managed it by nuturing relationships in the industry. This takes strategy and time.

Outside the U.K., in Europe specifically, it's far more common to work without an agent. But the same principle applies: you need to create a professional network and build a reputation.

Armed with a strong portfolio of scripts and leveraging some kind of buzz – a prestigious competition win, a short film that's made an impact at festivals, or social media content you've written that's got big numbers, you might be lucky enough to find an agent who can put you forward for writing opportunities.

However, even if you secure an agent, that doesn't mean you can take a back seat to hustling. It always make sense to be widening your net and making connections with producers and development executives. If you've got solid writing skills, you could be selected for a writer's room based on lived experienced you have that's a good fit for the series being created.

Additionally, producers are always on the look out for great material. If you build relationships with them and bring them a killer script with an original concept that really sings, they might be willing to work with less experienced writers. Either they will guide you through re-writes with feedback, or they may bring on a more experienced writer to work with you.

Getting paid for TV writing

So, the good news is you can – and should – get paid for your writing. Beware of anyone who tries to convince you to write just for "exposure" or credentials. If it's a case of a passion project with an early-career producer or director who is also putting in the leg-work to get something off the ground, it's of course up to you and your situation and could well be worth your while.

Outside of that, however, your talent, knowledge and experience are worth payment. Don't fall into the trap many writers do of underselling themselves. Once you start building a network, you might be asked to write a script from someone else's idea. If you have studied and practised the craft, have received positive responses from people in the industry on your scripts, then you should certainly expect some kind of payment.

What's an "option"?

Alternatively, a producer might option your original work. This involves an upfront payment to secure rights to your project for a certain amount of time as per the agreement you reach. During that period, the producer or production company might want to develop the project further, package it (by attaching a director and/or talent), and pitch it to broadcasters and streamers. They do this hoping to raise interest and secure funding for further development, which could then lead to the project getting "greenlit"; i.e., produced.

What's a "shopping agreement"?

This is similar to an option in that you agree with a producer or company to take, package and pitch your project as above. However, it is unpaid and doesn't typically specify terms upfront. As a result, it is less legally binding than an option agreement.

Then why would you want to agree to one of these instead of an option? It still offers opportunity. A producer or smaller production company may not have access to a lot of funds. This limits them in terms of paying option agreements, even though their bread and butter consists of finding IP and pitching it. A shopping agreement gives them the flexibility to represent your project on the market without the costs (and internal bureacracy) an option entails. So it's absolutely worth considering.

What do "in development" & "greenlit" mean?

As mentioned above, a script or project you're attached to or working on sometimes enters the next phase of evolution: "in development". This means that someone, somewhere is funding the process of getting the series concept into shape and rewriting the pilot episode to within an inch of its life.

A script is never really finished. It can go through countless iterations – it's not called "development hell" for nothing. With the careful consideration and feedback a script receives from story professionals, the script usually gets better with each subsequent re-write. All this is done to further clinch that illusive next step: greenlit by a broadcaster or streamer. Unfortunately, even when a project is in development, it's still relatively rare for it to actually go into production.

Numerous stars have to align, which is why production companies have several projects in development on their slate simultaneously. Think of it like a survival show but for tv projects: only the fortunate few will make it.

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're willing to initiate and organize things yourself. You might decide to do whatever it takes to get your script on a screen somewhere by, for example, calling in some favours, getting your mum or dog to act out a part, then 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.

Is screenwriting a tortuous, perhaps often delusional endeavour? Yes. Is it creatively satisfying to have created a world and characters, even if no one else gets to see them? Also, yes.

Building Momentum in TV Writing

Here are some actionable steps to keep motivation going in the right direction:

• Write Regularly  

  Practice is key. Keep writing scripts and scenes and keep outlining new ideas 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. The big name, reputable competitions include: Austin, Page, Script Pipeline, Big Break, Sundance, Blue Cat.

• Stay Informed  

  Keep up with industry trends, new shows, and emerging platforms (such as short form or micro drama).

And most importantly, keep writing!

If you're still on the fence about screenwriting and wondering if it's for you, take a look our post on 7 Reasons to Write a Screenplay.

For those serious about learning the 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.

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 Austria, Kristina also writes online content about the art of storytelling and topics that inspire creativity. 

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