One Writer’s Journey to a Commissioned TV Pilot
I’m excited to share an inspiring interview with screenwriter Natalie Ekberg, a screenwriter and playwright who embarked on her writing journey at age 48.
She shares how she transitioned from a career in coaching to writing, the unconventional paths she took to break into the industry, and her strategies for networking and staying resilient amidst rejection.
I love how Natalie’s insights align with the areas I focus on in both my writing and my coaching— honing our craft, building strong industry connections, and learning to stay resilient amidst the ups and downs of a writing career.
I hope you find our conversation as inspiring as I did.
Katy: Thanks for joining me today, Natalie. Could you start by giving us a quick introduction about who you are and what you write?
Natalie: My name is Natalie, and I write for TV, film, and theatre—so I’m a screenwriter and playwright.
How Natalie Got Started
Katy: Going back to the beginning, can you tell us how you started as a writer? What was your first bit of success, and how did you get your agent?
Natalie: I’m a classic case of starting late in life when it was now or never—a sort of last chance. I’d always been writing but never really seriously. Then, at 48, I decided it was time to go for it.
I applied for an MA in screenwriting and playwriting. My thinking was that I just wanted to be part of the industry. I thought if I had this diploma, I could officially say I’m part of the industry and maybe apply for a job at the BFI or something. That was my plan because I thought it would never happen at my age, knowing nobody and being a foreigner.
But then things started happening. Every single piece of writing I did for my school assignments led to something.
Early Success
My first ever short play was immediately picked up for performance in London. My first short film was a finalist in a competition in Bath called Page to Screen. They invite big names from the industry to judge, and they have actors perform the movies—it’s a full evening social event. Although I didn’t win, just being one of the five finalists was amazing.
I didn’t even check the results; someone called me because I didn’t think for a second that would happen.
Then the first pilot I wrote, which was again a school assignment, was a New Voices competition finalist. I don’t know how it happened, but because these things were happening, I thought, “Okay, let’s recalibrate. Let’s forget the BFI job plan and go for the writing career because clearly there’s an indication that I have potential.”
Funnily enough, regarding the agent, I never looked for one because people were telling me it would never happen—that it’s so difficult.
Getting an Agent
I was approached by an agent before I even finished university. She contacted me via LinkedIn. I think it was one of those situations where she was starting out and building her slate, and for some reason, my profile spoke to her. So she signed me up, and that was it.
Katy: Wow, what an amazing beginning! Before you did the MA, you said it was now or never. Had you been writing on the side? What made you want to write?
Natalie: I actually wanted to study screenwriting when I was 18; it was my first choice of university. My second choice was journalism because I was heading the school magazine. But it never happened for me because I grew up under communism, and my parents told me I would never be allowed to write what I wanted to write—which was true. So they said, “Forget it.”
Plan B
Instead, I went into business and corporations—I had my own business. Then one evening, I was very unhappy, and I had a dream. The dream was a movie, and I woke up and wrote it down quickly. I started looking into it and thought, “Okay, that’s a new direction.”
I wrote a 32-page script, and the feedback was, “You don’t know how to write!”
But they also said, “You have something because we can see that you understand life, characters, and how life is, but you can’t write. Our advice would be to go and learn how to write. Don’t give up, but learn to write.” It was funny.
So I thought, “Okay,” but I didn’t have time for that because I was busy with my business and children. Then, probably ten years later, it was still there in the background.
The Dream Didn’t Go Away
I had the chance to sell my business and had a year when I could allow myself to sit back and think. That’s when I said to myself, “Give it a try and see what happens.” Honestly, I just applied for the MA thinking I would get a job.”
Katy: So I know that you’ve recently been working on a commission to write a TV pilot—congratulations on that! Can you tell me a little bit about the process of pitching to a TV network and how it came about—how it evolved into a commission?
Natalie: Well, it’s a bit difficult because if I just tell you the story of how it happened, it might come across as very lucky or obscure. It didn’t happen in the way people expect.
People who aspire to be screenwriters need to understand that, yes, this is a big result, but behind it are years and years of work and practice—writing and writing and writing.
I thought it would be easy
After my early successes, I got it into my head, “Oh, I’m so talented, I’m so great, I have an agent, I’m winning.” But then you learn the harsh reality that 90% of people who are trying are super talented, and talent alone is not enough.
I’ve been working for five years now, developing stuff. I’ve probably created five TV series, four movies—I have a lot of work behind me. All those years were just to learn how to be better, and you keep meeting people. When this pilot happened… I believe it was an accumulation of all that effort.
I actually had a play on… For this play, I had met an actress through a completely different project. She did a producer course and asked if I had any plays. I happened to have finished a play at the time, and she said, “I love it. I want to produce it. Let’s do it.” So we did.
It was one of those projects where we just went for it without overthinking. We had a three-week run, and it was fully sold out. I think part of it was the energy we put behind it—the enthusiastic spirit. We were literally standing on the street with leaflets, inviting people in. But we sold it out, and it was very popular and successful financially.
A Lucky Break
Then an established TV actor came to watch it, and he asked me if I would develop an idea for TV for him. He gave me just two words, and I went away and developed the whole thing in terms of pitch, storyline, characters, the Bible—all of that.
Then, because he is an established TV star, he went to a production company, and they knew the commissioner at ITV. They went for a meeting, and because he’s an established TV star, the commissioner said on the spot, “I’ll commission this.” It was immediate. I wasn’t even in the meeting. It was just him, because he’s famous, and the producer who knows the commissioner personally.
It was sort of lucky break, but equally, what I developed for him, I did for free. I thought, “Okay, let’s give it a shot.” And here we are. I’m not saying it’s the right way or that it would work for everyone, but this is how it came about.
“Be open to any possibility… it can happen in any way…there are no rules”
Natalie Ekberg
It came through my play. Despite the fact that I have five TV projects constantly circulating. So my advice would be that people have to be open to any possibility… it can happen in any way…there are no rules… as long as you keep writing, keep meeting people, deliver high-level work, and be willing to take risks.
It Comes Down to Networking
Katy: Yeah, I agree. As long as you’re writing, honing your craft, and putting yourself out there…
Natalie: Exactly—putting yourself out there. Another thing I’d like to say is that I have an agent, but I’d say 99% of everything I get is through my own hustling.
Katy: That’s my experience, too. Can you tell me a little bit about the networking and hustling that you do to get work?
Natalie: I go to a lot of screenings through organizations like Women in Film and Television or the Royal Television Society. It’s a bit of an investment to pay for membership, but you do get invited to events.
I think what many people do is they go and feel lost because they don’t know anyone. I’m not one to approach people—I’m too shy for that.
What I do is I go to a screening, take the names of people involved in the project, then write to them the next day on LinkedIn. I tell them how I liked the piece and ask if we can connect. When they connect, I ask if we can meet for coffee.
Building Relationships
I do it in a sort of background way because I find it more personal to have one-on-one interactions. People don’t say no when you say you like their work—it’s pure psychology. You have to reach out while they’re still happy from the event—that’s my strategy anyway. I’ve gotten many meetings like that. I’m not saying things always happen, but at least the door is open.
I have lots of relationships on the basis of, “Can I send you the pitch when I have something new?” Or, “I’ve written a new thing; what do you think?” Or, “I’ve placed in this competition—just wanted to let you know.”
Even if it’s once a year or every six months when the time comes and I have something that’s perfect for them, I know I can send it, and they will read it. It’s not like they’re calling me saying, “We need you on our project.” It’s a long game.
Katy: Yeah, that’s a similar approach to what I take, actually. So do you meet them personally for coffee?
Natalie: Yes, normally I go for coffee in person. I prefer that because I feel it’s a different energy. They usually want to meet to get a feel of the person. It’s a mix, but I’d say normally they say, “Okay, let’s meet.”
Collaborating
Katy: Brilliant. Writing for television often involves collaboration with producers and directors, along with other creatives. How do you navigate the feedback process, perhaps with a commissioned project? Any memorable experiences you can share?
Natalie: Well, it’s definitely a learning curve because as writers, we’re used to being alone, and all of a sudden, there are all these other people who have opinions. It’s not easy, especially if you don’t agree.
But what works for me is that I take it all in. If I don’t like it, I won’t use it; no point going against my own integrity. I never reject anything outright because they might be right. I incorporate the suggestions into the script, and if it doesn’t work, I take it out. If it works, I keep it.
I don’t have problems with feedback or rewrites. I’m very open, and I’m good with rewrites. To me, rewrites are fun—I like the challenge when people tell you, “Don’t say this; say it differently.” You have to figure out what it is, and I think that’s cool. But being part of a team is definitely a learning curve.
Handling Feedback
Katy: How do you stay motivated and resilient in the face of rejection or setbacks? Can you share a moment of doubt or struggle that you’ve faced and overcome on your journey?
Natalie: Well, I think TV, out of all the media, is the most competitive and most difficult because people refuse to take risks.
I’ve been in situations where it’s very disheartening. Let’s say my agent sends the script, the company says, “We love it.” I talk to them, and they say, “We really love it.” I ask, “So what does it mean?” And they say, “Well, it means nothing because you don’t have any credits. But it was lovely to meet you, and if you have something new that you’ve developed, send us the pitch. Let’s stay in touch, but we can’t help you, sorry.”
That’s extremely disheartening. Or, for example, I was shortlisted for the C21 competition, and you’d think, “Oh my God, it’s so difficult to get shortlisted for that level of competition.” I thought surely someone would get in touch, but nobody did.
These are the things in the industry that, as an aspiring writer, you think when you reach a certain milestone, something will happen, and nothing happens. That’s probably the worst bit—that in spite of having an agent and doing top-notch work, it’s still not enough.
That’s why I decided to produce a play because I said to myself, “I have to do something.”
A Change of Direction
I put TV on the back burner and told my agent “I’m not doing it anymore because I simply don’t have it in me to keep writing”. As I said, I developed five TV series—all of them highly accomplished in terms of compliments and meetings—still nothing happened.
Instead, I decided to focus on theatre and film,” and then the TV opportunity came. It’s completely bizarre.
But one thing I’ve learned is that it’s smarter to maybe have one good, strong spec script and then have pitches and not go beyond that.
For example, with this series now, I refused to write the pilot initially. I prepared everything else but said I’m not writing the pilot because we don’t know which way to go. As it happens now, it’s a 100% comedy project, which was never the intention. So now we’re writing a comedy pilot, and I’m so happy we didn’t have it written before because it would have been good for nothing—it was more comedic drama before.
Lessons Learnt
So my advice would be, if you have one or two really strong writing samples, just go in with pitches… and maybe they will develop the pitch with you.
That’s what I would do differently, rather than just write and write and write.
Katy: Yeah, I agree, because it’s heartbreaking investing all that time in something and then having people say, “We like it, but it’s not quite what we’re looking for.” And also, people like to collaborate.
So has it been a deliberate decision to just create your own ideas, or have you written on other people’s shows? Have you tried that route?
Natalie: So, obviously, in the beginning, I wrote my own ideas. Then there came a point when it became mostly about writing other people’s ideas.
I’m a writer for hire. For example, I was hired to rewrite a horror script. Now, I don’t watch horrors; I don’t like horror; I don’t write horrors. And yet, there was an opportunity to do a horror script. I was hired to rewrite an existing script. They interviewed probably eight people, and I think they picked me because I did a very deep analysis of everything.
To me, it just shows that if you recalibrate in your head, you can do anything. As a writer, you can be rather flexible… I like change and challenge.
My Happy Place
I’m now working 90% on projects for other people, and then my 10% is my happy place—that’s my work – theatre work – because that is truly mine. Also, in theatre, you are respected much more as a writer. Yes, there’s always a team, but at the end, they ask you, “What do you think? Is it okay?”
So that’s my happy place because that’s where I feel like I’m really writing.
Katy: Thank you so much for letting me interview you, Natalie Ekberg, for talking to me and being so open about your writing journey. Very best of luck with all your writing projects, especially the pilot. If readers want to follow along with your journey, where can they find you?
Natalie: They can find me on Twitter and on Linkedin.
Thanks for having me, Katy.
I hope my interview with Natalie Ekberg has inspired you as much as it has inspired me. Her experience reminds us that success often arrives when we least expect it—as long as we stay open, keep writing, meet new people, and dare to take risks.
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