As part of a short series of blog posts related to script-editing we asked experienced Story Producer to share some advice on getting started on the editorial side of television, in both development work and production.
When you’re starting out, the TV world can feel incredibly intimidating, and difficult to get your head around. If you’re reading this and wondering whether you’ll ever be able to break in – trust me, this is the hardest part, and I’m here to tell you that it gets easier!
The first step is to begin making some connections, while doing lots of research, and getting any experience you can.
There is no one ‘best’ route into a creative role in TV: everyone comes to it in different ways. For example, I used to be a journalist, then moved into drama working as a researcher, which meant I got to know writers that way. With that in mind, here is some advice:
1) CULTIVATE YOUR KNOWLEDGE
You want to be developing a deep love and understanding of story, and this means watching loads of TV, and devouring books, plays, and films.
Watch the great classic TV shows and movies from the past as well as the present, so that you can understand where the language of TV has come from. This is especially important if you want to work with writers, who are often voracious readers, and fans of films and TV.
If you can afford it, go to the theatre, especially theatres that showcase lots of new writing. To work in TV development, you will need to start thinking about the writers whose work you love and admire, and who are the new, exciting writers coming up. TV is different from film, in that we are ALL about the writer.
2) MAKE CONNECTIONS
This probably feels like the trickiest part. If you can, you should attend any networking events that you can manage. Ask people already working in the industry if they would be kind enough to have a coffee and a chat with you. (They should be kind enough incidentally, as we all had people help us too when we were new!)
Look people up who have the kind of career you might be interested in, and when you write to them, use their first name, rather than anything more formal. We’re pretty informal as an industry.
You want to start building a network of contacts, over time.
3) WHEN YOU MEET PEOPLE, DO YOUR HOMEWORK
If you have a meeting with someone, it’s always wise to look them up, and find out what they personally have worked on, and what their production company has made. Remember that it’s a small industry, and lots of people know each other, so if you’ve impressed one person, they’re likely to mention you to other people they know, and to recommend you for opportunities.
4) FIND YOUR TRIBE
Potential mentors are great, but so too are your peers – it’s a brilliant idea to start cultivating a network of people who are also starting out, because you will come up in the industry together, provide invaluable support to each other, and often become great friends.
5) GET ON SOCIAL MEDIA
There are quite a few Facebook groups advertising TV jobs, and it’s definitely useful to see what the community is discussing on sites like X, Threads, and Bluesky. Jobs are mentioned on these sites too. It’s also helpful to look at trends, and what’s happening in the States, as the USA and UK are closely linked when it comes to television. One recent example is the Writer's Guild of America writers’ strike in the USA, which had a big impact over here too.
You should create a LinkedIn profile for yourself and start adding connections as you make them.
There are great resources for those looking for entry-level jobs, such as , Creative Access, apprenticeships with , and of course the Βι¶ΉΤΌΕΔ’s early career schemes like . Look for schemes, and also check out organisations championing greater diversity in TV, like (the Disabled Artists Networking Community).
6) BE PERSISTENT AND TENACIOUS
You might find it takes a while to find your way in, and that is completely normal. The big thing is to be persistent and keep trying.
7) ACQUIRE PRACTICAL, HANDS-ON SKILLS
As a new entrant to the industry, you can best recommend yourself to potential employers with a great attitude and an eagerness to learn. You also want to start gaining skills as soon as possible – creative skills like understanding how to read and analyse a script, practical skills like how to use Final Draft, and how to take great notes in meetings, and administrative and organisational skills like how to manage a diary. Be prepared to work very hard!
8) GET YOUR HEAD AROUND ENTRY-LEVEL JOBS
Your first step in an editorial career in TV drama might be in one of the following roles:
- As a runner in-house at a production company.
- As a freelance reader of scripts for a company or a broadcaster.
- As an assistant at a production company (a Team Assistant, Development Assistant, or a Personal Assistant).
- An assistant at a Literary Agency (e.g somewhere like or ).
- As a runner or Production Assistant on a show.
- As a researcher, although these roles are few and far between.
- As a Trainee, when this kind of role is offered by a TV company.
9) START UNDERSTANDING THE MORE SENIOR CREATIVE ROLES, AND THE DIFFERENCE BETWEEN DEVELOPMENT AND PRODUCTION
When you’re building an editorial career in TV drama, it’s critical to understand the more senior roles, how you fit into the company structure, and the kinds of jobs you might be aiming for in time.
A great start is understanding the difference between development and production.
Development is when you’re pitching projects to broadcasters, networks and streamers, when you’re storylining and developing scripts, and very often, when you’re working in-house at a company.
Production is when the project is actually getting made. Production work is often freelance, or PAYE on fixed-term contracts.
IN DEVELOPMENT:
In-house at a company, the most senior jobs are usually Head of Drama, Creative Director, Executive Producer, and Director of Development. These people set the creative direction of the company, run the development slate, pitch to broadcasters, and usually Executive Produce shows. There are also Development Producers, another senior role, where people work directly with writers to progress projects, and might manage their own slate.
Mid-weight roles include the role of Development Executive, whose responsibilities include looking for new talent and developing projects with writers.
Junior roles include the roles of Development Assistant and Development Coordinator.
IN PRODUCTION:
On a show, the Executive Producer is the person ultimately responsible for overseeing and delivering the show. (N.B there are often multiple Exec Producers). The Producer is the person responsible for the show’s day-to-day management, and for managing the budget, alongside the Line Producer.
There will be a script team, led by the Story Producer, who manages the creative process, and who will work closely with the Showrunner and other writers to deliver the scripts. There is usually a Script Editor, who manages the technical side of the scripts (what we call the ‘amends’, i.e live changes to the script that are made throughout the shoot), and may also give notes to the writers (more on this below!), as well as liaising closely with other departments in Production, for example, the Art Department. You can also be a Script Executive – similar to a Script Editor, but more senior.
Sometimes there will be an Assistant Script Editor too; this is great entry-level creative role in Production.
The script team are the guardians of the story and are responsible for the integrity and good health of the story and the scripts.
In time, you’ll need to start understanding how the work of the script department dovetails into the wider production process on a show. As a creative, you should definitely aim to get as much production experience as possible, because this will enable you to come up with brilliant story solutions in high-pressure situations.
10) WORKING WITH WRITERS AND SCRIPT NOTES
Working with writers to develop stories and scripts is a huge part of any creative role in TV drama. This includes giving script notes, which means feedback on the latest outline, treatment, or script draft the writer has been working on.
My advice on notes:
- Tell the truth, but be positive, and always say what you like, and what you think is working, as well as the things that need sorting out.
- Understand that it’s a process, and that it takes time to arrive at a finished script. Most scripts go through multiple rewrites.
- Developing a relationship with a writer is also a process. It takes time to develop the trust that is at the heart of a writer/script person bond, and it’s normal to experience some resistance from writers when you’re first getting to know them!
- Notes form part of a conversation in a wider collaborative process between you, the writer, and often many other people, such as studio execs, commissioners, etc. Notes are for another human being, so they should not be your lit crit essay on the script, or your musings on the state of the universe. Great notes are respectful, actionable, and specific. You are there to champion the writer, and to help them realise what they are seeking to accomplish creatively.
And with all of this in mind…
11) BRUSH UP ON YOUR PEOPLE SKILLS, TACT AND DIPLOMACY
You will need these skills to pursue a creative career in TV drama, and they will help you to create fantastic, long-lasting professional relationships, and to diffuse tensions with difficult personalities.
12) BE A GOOD HUMAN
It’s no secret to say that TV hasn’t always been the easiest industry to work in. I’m so encouraged to see how many of the young people coming into our industry exemplify the kinds of values we need more of - integrity, generosity, and kindness.
Alexis Hood is an experienced story producer, who has headed script teams on award-winning projects for traditional broadcasters and streamers, and who has worked in development and production for numerous companies. Her most recent credit is A GENTLEMAN IN MOSCOW for Paramount Plus and Showtime, starring Ewan McGregor.