Writing for the boxed set Print Email Email to a friend Your email Your name Friend's email Friend's name Verification Please prove your humanity Go on prove it :) Close Related Articles Don’t forget the writer: an interview with screenwriter Giula Sandler She remembers a time before TV was cool, but persistence built this writer's career and it's taking her far. Small Screen Highlights: TV, Streaming and Podcasts Ten brings back ensemble melodrama with Five Bedrooms, satire is not dead on the ABC, plus a beautiful short film and more. TV Review: Extremely Wicked, Shockingly Evil and Vile Netflix's Ted Bundy film conveys the superficial charm of the serial killer, but doesn't go much deeper. Three Glimpses of Grotesque TV Adrian Martin finds guilty pleasure and strange connections between three new shows: Now Apocalypse, The Act and Fosse/Verdon (Premium content) Premium content Madeleine Oliver Monday 26 October, 2015 Television writing is sometimes seen as a poor cousin to book writing. But the present surge in televisual storytelling makes it a potentially profitable alternative. This content is only available to members of screenhub Join Now for instant access! A subscription to screenhub will enable you to: Access the most comprehensive jobs board for the screen sector, with hundreds of positions posted weekly Keep up to date with the latest industry news Access thousands of members-only features, articles and guides Be in the know with upcoming events and exhibitions added daily Learn how and where to get grants, with the most extensive grant finder ... and much, much more. Join Now and join the Australian screen community today Photo Credit: Still from The Writers' Room: Parks and Recreation via Sundance TV Member login Email address Password Forgot password? About the author Madeleine Oliver is a writer and principal of Dark and Stormy Night which provides storytelling services and writing & editing classes.