“Are you quite sure you want to write for television? Well, of course you do. You are stuck in the endless tedium of an office, factory or behind the kitchen sink.”

This is how Eric Paice’s 1981 book 'The Way to Write for Television' begins. He goes on: “The sad fact is that most writers for the box are virtually anonymous. Their names appear momentarily [in] a long and rapidly moving credits list amongst producers, directors [and] make-up girls.” 

If the idea of having your name listed alongside a “make-up girl” hasn’t made you snap your fountain pen in disgust, you might be wondering how to make the leap from your supposed life as a hapless prole to getting your first broadcast commission.  This may seem an impossible task, however many books you’ve read by people like Eric. I spoke to eight professional writers and asked them how they did it.  

A dramatic moment from Casualty

When I catch up with Sally Abbott she is in the middle of writing a mammoth episode for Casualty and knackered after writing day and night to hit her deadline. Previously a theatre producer at the Contact Theatre in Manchester, she wrote her first Doctors episode when her son was only 6-months old.   Sally admits having contacts in the industry is useful, but says knowing people isn’t any help “if you’re actually not ready.

Her real break came from taking a play, Martha Loves Michael (co-written with her husband, the actor Michael Begley), to the Edinburgh Festival. “We didn’t get massive audience figures,” Sally says, But what we did get out of it is everything we’ve had since,” including the chance to develop a BBC TV show and an introduction to the BBC Writersroom.

Three years later she made the plunge into full time writing after juggling it with producing theatre part-time. “It was coming up to the year I was going to be 40 and I just went ‘I’ve either got to go for the writing now or forget it,’” she says. So I gave my notice in at work.” She took two weeks away from her husband and children to write a spec script, which got her onto the BBC Writers Academy.  For the first time she had an original solo-written script and that changed everything. It may sound simple, but it wasn’t.

“We were absolutely financially broke and surviving on tax credits,” Sally points out. “If you want to create that space for writing, then you don’t go out, you shop really carefully, you make really big sacrifices. We didn’t go out for years because we couldn’t afford a babysitter.” While Sally now gets paid more than she once did, she is keen to point out the process doesn’t get any easier. “The bottom line is that writing is really, really difficult,” she says. “Virtually every writer I’ve met thinks they might not work again. It doesn’t matter how many awards they’ve won.”

Levi David Addai

By 2006, Levi David Addai’s first play, 93.2FM, had sold out at the Royal Court Theatre and was about to start a UK tour. Meanwhile, he was applying for jobs stacking shelves in Sainsburys. “After the first run of my play, in 2005, I pretty much lived off my bank graduate loan, until mid-2006 when I eventually got an office job” he says. However, he found that working full-time took away all of his time to think. “I’d come home and my brain was exhausted. There was no fuel to write,” he says. He decided to go full-time as a writer and supplement his income with a few shifts in one of his local supermarkets. “However, I was rejected by all three.”

Sainsburys’ loss was television’s gain. Following his play’s tour, Levi was championed by script editor Esther Springer and went on to write for the BBC and Channel 4 and is now lead writer, co-creator and associate producer of the E4 drama series Youngers. He believes he couldn’t have done any of this without his theatre work. “I would have had no chance submitting an idea to a TV company cold. It was much easier to send an invitation saying ‘my play is on at this venue’…No slaving over a treatment, doing several drafts over several months/years. It was simply a case of the commissioner seeing my play, liking what I had to say and giving me a script commission. I was extremely fortunate.”

Lucy Moore is a writer and script consultant who, like Levi, started her career as part of the Royal Court Young Writers Programme. “I wrote some short plays that got put on, then I wrote a couple of short films that got made, then I wrote a half hour drama for Channel 4 that got made,” she explains, “And then I wrote my first feature film which got picked up by Miramax and didn't get made.”

When she was starting out, she negotiated a three-day week in the admin job she was doing and then worked as a waitress evenings and weekends. “It was tiring, but it really helped to keep [two] days sacred for writing/staring out of the window/drinking tea,” she says. Alongside admin and waitress work, she also supplemented her income with script reading, puppeteering and teaching. “I still do bits of these, except the waitressing, which is too bloody exhausting,” she says.

Gabriel Bisset-Smith

“Since I’ve started writing I have never taken a regular job,” says Gabriel Bisset-Smith, whose new show, Addicted to Everything, co-written and performed with Rob Cawsey, is at Soho Theatre from 30th January-1st February. “Now this is not because I make a lot of money. I really don’t and have gone hungry many a night. But…when I have a busy day out and about, I can’t come home and turn it on. A lot of people can, but not me.” So how does he survive? “As I don’t have any kids or a wife or anything I can kinda get away with it,” he says. “Although I do have some very generous drink buying friends who may be (are) sick of me.”

The first piece Gabriel wrote was a spec script which he sent anywhere that took unsolicited work, including the Hampstead Theatre. “They liked it, but didn’t think it was right for them,” Gabriel explains. “However, they put me in touch with Paul Ashton in the BBC Writersroom. He read it and invited me to a weeklong workshop to develop drama for BBC3.” The channel liked another idea that he pitched, with fellow writer Claire Wilson, and put it in development.

“After that I rang up every other theatre that I’d sent the play to (and had still not had a response from) and told them I was working with the BBC,” Gabriel says, “They read my play a bit quicker and I was put on attachment at the Royal Court. It may sound like it was all quite quick but there were months and months of waiting involved, and a fair amount of sulking.”

Bluestone 42

“My background was directing theatre, which I’d done since school,” says Richard Hurst, co-writer of the BBC3 comedy Bluestone 42, the second series of which is about to come out. “I wrote a bit but was never much good, except at silly little sketches. Then I fell into writing and directing comedy, and got given the chance to have a go at a sitcom with the rest of a sketch group (The Four Horsemen).”

In order to make a living when he was starting out, Richard balanced his writing with directing and script reading. “I’ve always had other things going on,” he says, “And tax credits were a fantastic innovation of the last government – they gave you a little safety net while you were trying to build a career.”

Samina Baig started her career helping out on the sets of short films. “I ended up doing the cooking,” she laughs. She trained as a journalist and then worked in factual broadcasting, while doing her own writing in the evenings. “I started going to workshops on craft and structure,” she says. “Then in 2000, I just decided to go for it.  I thought it’s now or never, so I rather optimistically ditched everything.”

Although she had saved up some money, she now thinks this approach was naïve. “I would advise [people] to keep the day job,” she says. “I was just super-optimistic.” It took her a year or two to get her first commission, which came after she sent a script to the BBC Writersroom. “They put me on a development programme at Radio 4 called Sparks,” she says, “I got my first commission through that.” She has now had a number of radio plays produced (including a new one for Radio 4, Karma, being broadcast today at 14.15 and on BBC iPlayer for 7 days) and also written for BBC Continuing Drama. However, “one commission doesn’t automatically lead to another,” she points out, “You have to prove yourself time and time again.”

The Club of Queer Trades, by G K Chesterton, dramatised by Simon Littlefield for Radio 4

“I’d heard about a meeting at BBC Radio 4 where non-commissioned writers could go and pitch ideas for satirical sketches,” says Simon Littlefield who writes for shows including Radio 4’s The News Quiz. “I was unemployed at the time and thought, ‘What the hell?’” At the meeting, he met another writer, Felix Riley, and they started working together. “We got commissioned…And then worked six or seven days a week trying to break into other shows and trying to write sitcoms.”

By the time Simon got his first radio commission he was working full-time writing TV listings for national newspapers. “After a while this became a part-time job,” he says, “and then eventually I threw myself off a financial cliff.” Prior to this, he was lucky enough to have a very understanding boss: TV pundit Boyd Hilton. “[He] was incredibly relaxed about me taking four-hour lunches to go to the BBC (handily just around the corner) to write radio sketches,” Simon reveals, “And I used to write before going to work. And in the evenings. And at weekends.”

Danielle Ward

“I always wanted to be a writer, but I imagined it would be journalism or maybe think tank stuff or policy work,” says Danielle Ward, “Something with a bit of importance to it. But no, that never happened.” Instead, feeling “bored and lonely” she started doing stand-up at the Albany Theatre, a place where “loads of people from BBC radio used to go.” Producer Colin Anderson was in the audience and asked her to write for The Milk Run, a late night Radio 1 comedy show.

While working at the fire brigade in an admin job, she began writing short plays based upon Chat Magazine for Robin Ince’s Book Club, also at the Albany. Siobhan Bachman saw the plays and decided to produce an Edinburgh Festival show based upon them, Take a Break Tales. It helped Danielle to win The BBC Writers Bursary, which funded her – along with her stand-up gigs – for a year. “I could give up my job,” she says, “It was the big safety net I needed.”

Since then she has worked on a variety of TV and radio shows and is currently developing a sitcom. “Once people start to know who you are, work comes your way,” she says, “But I think you still have to be proactive. Unless you have a really big hit you can’t really rest on your laurels.”

The one thing everyone I spoke to has in common, despite being talented and successful at what they do, is that they have at some point found it (and, in some cases, continue to find it) challenging to balance making a living with doing their writing. “You may be enticed by the money,” Eric Paice tells the would-be writers of the 1980s reading his book, “Though there is less of it than you might think.”

“You’re not a writer to make money necessarily, but you do need to make money,” says Samina. “Live cheap,” suggests Lucy. “Alternatively you could train for a ‘back-up career’ that allows you to work flexible hours for a decent amount of cash i.e. plumbing, IT support, lapdancing…”

“The obvious one is find a job that can help you write,” says Gabriel. “Become a night security guard and write on your shift.”  For Levi, the initial struggle was worth it in the end.  “There’s no feeling like getting something made and seeing what you’ve written produced – and that it worked,” he says. “Always appreciate that you are doing what you chose to do. No one forced you to be a writer.”

Editor's note: Sally is one of the Writersroom script readers. Sally blogs more about theatre, film, TV and writing. Follow her on Twitter @sallystott


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  • Comment number 66. Posted by Gadz

    on 24 Apr 2014 08:25

    Great article. Although, not every writer has that streamlined success to the big screen. It's some luck, good timing and a lot of hard work. Most of the writers I work with are great at what they do but there is a lot of competition in the market. I'd suggest that some start in the smaller writing scene. I offer one such program. I pay per publish article on my site so I can help others looking for work online. You can see more details here:


    There are many others that offer similar programs, like ListVerse, DigitalOcean, StrongWhispers... The list is quite long. So if you are just starting out, start small, get the feel for it and then progress to the 'bigger picture'.

    Good luck to all those writers out there.


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  • Comment number 65. Posted by Terence Park

    on 13 Mar 2014 09:09

    Hi Luke (62)
    'then why bother coming on this site.'
    I thought I had something worthwhile to contribute.

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  • Comment number 64. Posted by inspired Camping

    on 4 Mar 2014 20:44

    Re your title... ah yes... that'll be lovely! *smile*
    No really, it's so important the BBC nurtures great new writing talent in any way possible.

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  • Comment number 63. Posted by lynda

    on 3 Mar 2014 14:05

    Beerfagjoy: Thank you! I didn't realise that I'd had a lobotomy, what with me having had a lobotomy and all, but now I know that I've had a lobotomy, and therefore why I like - no, LOVE - 'trash' like Eastenders et al., I think I shall enjoy these programmes all the more!
    I suspect that we lobotomised telly-watchers would be far too stupid to appreciate your literary genius, so it's not all bad.

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  • Comment number 62. Posted by Luke

    on 28 Feb 2014 17:01

    Terence TV doesn't have the monopoly on making viewers 'powerless' - the same applies to the stage, Cinema and any performance art. I don't mean to sound churlish but if you seem so estranged to TV as a writing medium and don't care to write for it - as many of us do on here - then why bother coming on this site. It's a bit like someone who dislikes painting deciding to join a debating panel at The Royal Academy. The whole point of watching a TV drama or movies at the cinema is because the viewer accepts a passive postion in the story telling process. Otherwise play a video game.

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  • Comment number 61. Posted by Luke

    on 28 Feb 2014 16:54

    Getting paid? In a culture where options have gone out of the window and where the risk all lays on the writer? Well getting wonga is rare and it takes sacrifice to get into a position where if lucky, you get a break and then a pay cheque. The Writers Guild and other uinions should be fighting to bring back a policy of optioning work. At one time it used to be standard. The contract protects both writer and producer/broadcaster and at least gives the writer a little money to live on.

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  • Comment number 60. Posted by Terence Park

    on 21 Feb 2014 20:22

    Hi Luke
    Interesting perspective and thanks for sharing your thoughts. The business of script buying does seem anarchic. I think the attitude I take when I switch on the box is "entertain me (but make sure you tick all my prejudice boxes)". TV is a nuanced medium; viewers become the (powerless) chorus. Story content can (and often is) be delivered to manipulate their views. That, and plain clumsiness makes me switch off.
    As a writer, I find myself more analytical of narratives - I'm a little old fashioned here, I swing between Plato, who recognised the danger of exciting the passions of the audience; and Aristotle, who recommended authenticity and plausibility. I write SF and Fantasy so that gives me a B-I-G problem. :-).
    On the subject of writer development, mine has been helped by writers' clubs. I'm in several and I've also been fortunate in the patience shown by those around me.

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  • Comment number 59. Posted by Luke

    on 20 Feb 2014 22:02

    One thing that could make a huge difference to Writers' lives is the treatment they receive at the hands of people working in TV. It's all very well for a producer to like a project idea and encourage a writer to produce a treatment or draft (usually without payment) but what is essential and needed is nurturing and supporting that writer, particuarly through a process where the project may go through to the commissioners. Too often producers at broadcasters (and this includes the BBC) are rarely contactable and at worse move on to another dept leaving the writer high and dry. I know this from experience. TV schedules and practices often means producers, good ones too, are running around like headless chickens. The result being that they fail to invest time in writers who need help and development with their projects and not just be left on their todd. Too often writers are left to struggle on their own without support. After a while talented people give up.

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  • Comment number 58. Posted by Luke

    on 19 Feb 2014 20:15

    Can't agree Terence. Storytelling is far more varied and diverse than at the cinema so it all depends who you are writing for and what audience. The film industry is a machine also, subject to money men, guys in suits, sponsors, investors and worse of all - will your story play in a Multiplex and can you get a star to play a striking miner? To be writing on a TV drama that is about something, life in the real world, is far more satisfying and showcasing a unique voice of truth than say penning a predictable cat and mouse thriller or cliched 'buddy' comedy for the flicks. We should be so lucky considering the dosh eh! I've rarely watched any TV drama that bored me nor a comedy that didn't make me laugh. But I could have gladly asked for my money back at the cinema for awful, meaningless mediocrity posing as entertainment. The best storytelling, unusual storytelling is on the box. The problem for writers such as myself is getting the opportunity to be part of it.

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  • Comment number 57. Posted by Luke

    on 19 Feb 2014 20:01

    I'm not sure anyone working in TV as a producer, director or writing tutor should be encouraging writers to carry on no matter what. The reason been that it is fine for salaried people to assume writers should continue struggling for their art. It's a subjective subject and only the writer knows when the crunch time comes to move on. As most writers, esp in TV are paid little or nothing at all as they continually produce material for pitching or even scripts asked for by producers, most have to rely on secondary occupations or loans to help them pay the bills. I've been involved in TV for over ten years, have a couple of credits and still find the TV industry extremely un-nurturing outside of writers' groups and outfits such as the Writersroom. It's a risk keeping it going and exhausting maintaining momentum. You need more than determination and persistance but also luck with who sees your work and believes it is viable as a TV show. For most of us our passion alone keeps us at it.

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