By: Sarah Chaisson-Warner
Everyone has a starting-out point, and navigating this industry can be notoriously tough for newcomers. For entry-level TV writers, there is a lot to know about how to break into this world, what to do once you’re hired, and what to expect in your first writers’ room.
We’re here to help – here’s a short primer with five key things that every entry-level TV writer should know:
1. IT TAKES MORE THAN TALENT TO BREAK IN
Breaking into the entertainment industry isn’t easy – ask anyone working right now as a TV writer! There is no shortage of talent for executives and showrunners to choose from. And while talent might be plentiful, opportunity is not. Opening doors requires an ability to demonstrate your talent, utilize relationships, and deliver once you’re hired.
How does one do this? First, get out there – join writers groups (online or in-person if you can), attend events like film festivals and educational programs, and build authentic relationships with people in the industry.
Last year’s TV Writers Program Mentor Teresa Huang offered this advice: “Worry less about making connections and more about meeting your peers…The tried and true way to break in is actually to network with your peers. Form communities, get to know your community, and you’ll move up with them.”
At the same time, look for opportunities to demonstrate your talent – like contest placements and television writing labs. A lot of television writers participate in labs, including Shore Scripts, NBC, and Disney. (See here for a list of top TV labs to enter in 2026.)
2. UNDERSTAND THE CONTEXT AND THE CULTURE
Once you have been hired as an entry-level TV writer, understanding how a TV writers’ room works and who does what is essential. From writers’ assistants to staff writers and story editors to the showrunner themselves, having a clear understanding of the roles and hierarchy in the room can help you navigate the room like a pro and demonstrate that you’re already fluent in team structure. (Want to know more about how TV writers’ rooms work? Click here.)
Remember, too, that the Showrunner runs the show. That might sound obvious, but consider the implications. Your job as a new TV writer in the room is to support and execute the Showrunner’s vision, and not to pitch competing or alternative visions. The Showrunner also sets the tone, expectations, and rules for the writers’ room.
Some Showrunners even split up the writers’ rooms to focus on different things. With comedies, one room often focuses on the story and the other focuses on writing jokes. Stephen Miller (The Handmaid’s Tale) splits the writers’ room into two as well – the first room is focused on writing one episode and the second room is thinking about the next episode.
3. LISTEN AND LEARN
As a newly hired TV writer, you might be tempted to start your TV writing career with a bang – after all, someone saw something in you and you’re ready to show the world you’re worth your weight in salt. But listening and learning may be a better approach.
Remember that everyone knows you’re new, and many will themselves remember what it was like to be entry-level. No one is likely expecting you to demonstrate your worth on day one. Instead, they will expect you to be respectful, learn the ropes, understand and follow both explicit and implicit writers’ room protocols, and listen to your colleagues – all things that will help set the foundation for success when you are ready to swing for the fences.
4. UNDERSTAND THE LANGUAGE AND LINGO
Every workplace has their own language and special terms – the television industry is no different! Before joining the ranks, it’s helpful to be fluent in television terms. For example:
- Alt: An alternate joke or punchline to give the production team several choices when it comes to editing.
- Down and Back: Used to describe a story that is too simple or when a conflict is too easily resolved.
- Hat on a hat: When a second joke is added to a particularly strong original joke, diluting its comedic effect.
- Blue Sky: A prompt allowing writers to pitch ideas without constraints.
5. YOU CAN MAKE A LIVING WRITING FOR TV
According to various sources, including Zip Recruiter, TV writers on average make between $50,000 and $70,000 annually. In some metro regions, including New York and California, the annual salary can hover in the $90,000 range. So it’s definitely possible to make a living as a TV writer.
Once you qualify for membership, the Writers Guild of America (WGA) can also help support your financial well-being. The primary union for television writers, WGA members can access important benefits, including residuals, health insurance and pension plans, and access to career resources.
APPLY TO OUR TV WRITERS MENTORSHIP PROGRAM
If you’re looking to take your television career to the next level, consider applying to our TV Writers Mentorship Program!
Over 8 weeks, participants will meet with Showrunner Beth Schwartz (ARROW, SWEET TOOTH), Peacock Development Exec Duane Luu, Industry Leaders, Agents and Managers, working TV writers from top shows, and more.
Winners will also have the opportunity to meet with Showrunner Jess Brownell (BRIDGERTON) and get an inside look at what it takes to run one of the world’s biggest TV phenomena – plus, gain insight into what showrunners look for in writers and how stories come together behind the scenes.
This is a once-in-a-lifetime opportunity that will open doors and shape your future in the TV industry!
