After the writer’s strike, there was a surge of optimism. Hollywood writers looked forward to returning to normalcy after a summer without work. However, for many, “normal” remained elusive. The previous era of Peak TV had driven streaming services into a competitive frenzy for original content. Yet, post-strike, this momentum waned, and with it writing opportunities. A recent article in The Hollywood Reporter, “I’m Scared”: Why It’s a Brutal Time to be a TV Writer, featured interviews with numerous TV writers sharing a common plight: work is scarce, particularly for newcomers struggling to break in.

The Entertainment Community Fund, which supports workers in the film and TV industries, has distributed over three million dollars in aid since the start of 2024—a rate surpassing even that of the pandemic period. We also know from 2022 to 2023, the number of live-action, scripted TV series decreased by 14%. John Landgraf, CEO of FX, attributes this industry-wide contraction to the competitive rush among streaming services to match Netflix’s output of original series. “There are more streaming services than the market can bear,” he says in an interview with The Hollywood Reporter. Now that the streamers have realized not all of them will survive, they are tightening their belts. The era of Peak TV seems to be over.

Bad News for Up-And-Coming Writers

As an aspiring TV writer, this is sad news for me. I have spent the past few years honing my skills and perfecting a few pilots. This year, my plan is to submit to as many competitions and fellowships as possible, hoping for a chance to stand out, place well, and use that as leverage to find representation. I’m still going to follow through with these plans. But in an industry where many who are more experienced than me can’t find work, I am considering other options.

Unlike many writers who are in the thick of this, I am fortunate enough to have a day job here at theOffice. I don’t have to worry about where my next paycheck will come from. I don’t get paid to write (other than these blog posts). I don’t have the pressure of needing to sell a pilot or needing to get staffed on a show to pay rent. Everything I write, I write for me. I have a lot of room to experiment, try new things, and potentially fail without repercussions.

Other Options

So, if it is extremely difficult to break into TV writing right now, what can I (or anyone else) do? One thing frequently mentioned in the article was how the only writers getting staffed on TV shows were ones who had proven their worth somehow. Writers who were a “guaranteed hit” in the minds of executives. So, how do I prove my worth without getting one of these elusive writing jobs that used to be entry-level?

Pivoting to features is one option. The market for features isn’t quite as dry as it is for TV. Recently, I have dabbled with an idea for a TV show based on my time living in an artist’s commune. As I plot out the story (and as I read about the above events unfolding in the industry), I am slowly convincing myself that writing this as a feature might be the way to go. The last time I worked on a feature-length project was when I was still in college. Some diversity of projects in my portfolio certainly won’t hurt.

Another option to consider is self-publishing. I could reformat and expand some of my TV series treatments into novels. I know a lot of folks will roll their eyes at self-publishing. After all, the publishing industry has been a necessary gatekeeper to the doors of credibility. But I’m not pursuing the goodwill of the gatekeepers. I’m pursuing a career as a TV writer. And to do that, I need evidence of what kind of work I can produce and how much. To me, being able to send a potential employer a link to my books on Amazon is much more useful than spending countless hours searching for an agent and publisher in traditional print.

Towards the end of the article, The Hollywood Reporter quotes an anonymous studio chief who believes this industry contraction is temporary saying, “Netflix needs to keep feeding the beast.” Yes, studio and streamer executives must reckon with their profit margins but that won’t last forever. At some point, they will have to give their subscribers more new shows. When that will be, is anyone’s guess. In the meantime, I plan to use this industry slowdown as an opportunity to expand my portfolio and refine my storytelling skills. So when this lull swings back around, I’ll be ready.

What will you be working on during this slow down? I’d love to hear your thoughts and get some more inspiration!