In the competitive landscape of British film and television, female screenwriters have long been fighting for recognition and opportunity. Despite making up just 16% of film screenwriters in Britain, these talented women have consistently delivered some of the most groundbreaking, commercially successful, and critically acclaimed content across screens large and small. Their contributions have not only enriched British culture but have also provided fresh perspectives in an industry traditionally dominated by men.
This article celebrates the achievements of British female screenwriters past and present, highlighting their remarkable work while examining the challenges they continue to face. From period dramas to gritty crime thrillers, these writers have demonstrated exceptional versatility, creating stories that resonate with audiences worldwide.
The Current State of Gender Representation in British Screenwriting
Recent reports from the Writers’ Guild of Great Britain (WGGB) paint a concerning picture of gender inequality in the industry. Women write just 28% of TV episodes and make up only 16% of film screenwriters in Britain.
This disparity becomes even more pronounced in high-profile projects, with less than 15% of primetime television episodes predominantly written by women. The figure drops dramatically to below 7% for UK feature films with budgets exceeding £10 million.
“I have been asked about the dearth of female screenwriters in this country ever since my first feature film put me in that endangered species bracket,”
noted Olivia Hetreed, the WGGB’s president, who is best known for adapting the screenplay for 2003’s “Girl with a Pearl Earring.” She observes that “the number of women writing films has flatlined at abjectly low levels.”
The gender pay gap compounds these issues, with female screenwriters earning approximately 74% of what their male counterparts make for similar work. This gap widens further when considering top-tier projects, where women are systematically excluded from the most lucrative opportunities.
When compared internationally, Britain falls behind several countries in gender representation. Nordic countries like Sweden and Norway have implemented successful quotas and targeted funding initiatives, resulting in near-equal representation in their national film industries. Similarly, Canada has implemented specific funding requirements to improve gender balance in screenwriting, a model that British industry leaders are increasingly looking toward.
Recent initiatives like the BBC’s Writersroom and Channel 4’s 4Screenwriting program have made conscious efforts to discover and nurture female talent. Additionally, organizations such as Women in Film & Television UK have created mentorship programs specifically targeting underrepresented groups in the industry. These efforts, while promising, have yet to create the systemic change needed to achieve parity.
Pioneering British Female Screenwriters: Historical Context
British women have been writing for the screen since the early days of cinema, though their contributions have often been overlooked. Muriel Box, who won an Academy Award for “The Seventh Veil” (1945), was one of the first British women to gain international recognition for her screenwriting. During the 1950s and 60s, she wrote numerous screenplays while also directing, a rare combination for women at that time.
Screenwriter Shelagh Delaney’s “A Taste of Honey” (1961), adapted from her own play, brought working-class female experiences to the forefront of British cinema during the social realist movement. Her work influenced generations of writers with its authentic portrayal of marginalized communities and complex female characters.
In television, Carla Lane created some of Britain’s most beloved sitcoms, including “Butterflies” and “Bread.” Her work in the 1970s and 80s gave voice to women’s experiences in a way that was both humorous and poignant, often tackling subjects like unhappy marriages and midlife crises that were rarely addressed through a female lens.
These pioneering women faced extraordinary obstacles. Many were forced to use male pseudonyms or collaborate with male partners to get their work produced. They often had to fight for credit and fair compensation, with studios and production companies frequently dismissive of their contributions.
Despite these challenges, they created enduring works that influenced today’s screenwriters. Their determination to tell women’s stories authentically, often against significant resistance, paved the way for the next generation of female screenwriting talent.
Award-Winning British Female Screenwriters Today
Today’s landscape features several extraordinarily talented British female screenwriters who have achieved both critical and commercial success. Among them, Phoebe Waller-Bridge stands out for her groundbreaking work on “Fleabag” and “Killing Eve,” which have earned her multiple BAFTA and Emmy awards. Her distinctive style, characterized by breaking the fourth wall and creating complex, flawed female protagonists, has revolutionized contemporary television.
Sally Wainwright has similarly dominated British television with her critically acclaimed series “Happy Valley” and “Last Tango in Halifax.” Her work is known for its authentic northern voices and compelling female characters, earning her multiple BAFTA awards and international recognition.
Abi Morgan, whose impressive portfolio includes “The Iron Lady,” “Suffragette,” and “The Split,” has demonstrated remarkable versatility across film and television. Her work often explores women’s experiences through different historical periods and contexts, earning her both Emmy and BAFTA recognition.
Analyzing their career trajectories reveals common elements: many began in theater or television, built strong relationships with directors and producers who championed their work, and persistently pursued projects they were passionate about despite industry resistance.
“When people talk about my work, and talk about me writing for women, or strong female characters – it’s made me realise how badly women have been served in the past,”
Wainwright has said.
“I just invented characters I wanted to read about, blissfully unaware that I was doing a feminist thing.”
Waller-Bridge has been equally candid about industry resistance:
“There was a meeting at one point where someone actually said, ‘We can’t have too many women,’ meaning it will look unbelievable,”
she recalled.
“I was like, ‘What the f**k are you talking about?'”
Rising Stars: Emerging British Female Screenwriting Talent
A new generation of British female screenwriters is making significant waves in the industry. Theresa Ikoko, whose film “Rocks” received critical acclaim for its authentic portrayal of teenage girls in London, represents an exciting new voice. Similarly, Krysty Wilson-Cairns co-wrote “1917” with Sam Mendes and received an Academy Award nomination, demonstrating that women can excel in traditionally male-dominated genres like war films.
Charlie Covell, known for adapting “The End of the F*ing World” for television, brings a unique perspective to coming-of-age stories with dark, comedic undertones. Lucy Kirkwood, whose television drama “Chimerica” adapted from her own stage play won multiple awards, showcases the fertile crossover between theater and screen that many British female writers navigate successfully.
These writers are approaching the industry through diverse pathways. Some have benefited from initiatives like the BBC Writers Room or Film4’s development programs, while others have transitioned from acting or journalism. They share a commitment to authentic storytelling and challenging traditional narratives.
Projects to watch include Candice Carty-Williams‘ adaptation of her novel “Queenie” for television, Namsi Khan’s work on upcoming science fiction series, and Nicole Taylor’s continuing projects following her success with “Three Girls” and “Wild Rose.”
Genre Specialists
British female screenwriters have excelled across numerous genres, though their contributions to period drama have perhaps been most widely recognized. Heidi Thomas’ work on “Call the Midwife” has made it one of the BBC’s most successful exports, while Emma Jensen’s film “Mary Shelley” brought a feminist perspective to historical biography.
In comedy, female writers have shaped the distinctive voice of British humor. Sharon Horgan’s “Catastrophe” and “Motherland” have redefined how motherhood and relationships are portrayed on screen with unflinching honesty and humor. Jessica Hynes, Lisa McGee (“Derry Girls”), and Holly Walsh have similarly created comedy that centers women’s experiences in ways that are both hilarious and groundbreaking.
The crime genre has also benefited from female perspectives. Sally Wainwright’s “Happy Valley” subverted crime drama tropes with its middle-aged female protagonist, while Marnie Dickens’ “Gold Digger” and “Thirteen” brought psychological depth to thriller narratives.
Perhaps most encouraging is the success of women in traditionally male-dominated genres. Abi Morgan’s “The Hour” brought a female perspective to political thriller territory, while Jane Goldman has become one of Britain’s most successful screenwriters in the action and fantasy genres, with credits including “Kick-Ass,” “X-Men: First Class,” and “Kingsman: The Secret Service.”
British Women of Color in Screenwriting
Women of color face additional barriers in British screenwriting, often navigating both gender and racial bias simultaneously. As the WGGB report noted, the statistics for women of color are particularly troubling, with even lower representation than white women across all formats.
Despite these challenges, several British women of color have created exceptional work. Gurinder Chadha, though primarily known as a director, has co-written her films including “Bend It Like Beckham” and “Blinded by the Light,” bringing South Asian British experiences to mainstream audiences. Similarly, Amma Asante has written and directed films like “A Way of Life” and “Belle” that explore complex racial histories.
Michaela Coel’s revolutionary “I May Destroy You,” which she wrote, co-directed, and starred in, represents a watershed moment in British television. Her unflinching exploration of sexual consent, race, and trauma has redefined what television can achieve and has won multiple BAFTAs and international awards.
Organizations like the Triforce Creative Network, Black Girl Fest, and Raised Voices have created specific programs to support women of color in screenwriting. Their work includes mentorship, networking opportunities, and showcases for emerging talent.
The impact of these writers on representation cannot be overstated. Their work has created space for stories that were previously ignored by mainstream British media, challenging stereotypes and expanding the cultural conversation.
From Stage to Screen: Playwright-Screenwriters
The transition from theater to screen has provided a productive pathway for many British female writers. Debbie Tucker Green, whose stage plays have won critical acclaim, has successfully adapted her distinctive poetic style to film with projects like “Second Coming” and “ear for eye.”
Lucy Prebble, known for her plays “Enron” and “A Very Expensive Poison,” has brought her incisive writing to television with “Secret Diary of a Call Girl” and, more recently, as a writer and executive producer on the hit HBO series “Succession.”
The theatrical techniques these writers bring to screenwriting often result in distinctive dialogue and character development. Their experience crafting stage narratives frequently translates into tightly structured screenplays with powerful thematic resonance.
Notable adaptations from stage to screen include Moira Buffini’s “Jane Eyre” and “Harlots,” which demonstrated her ability to bring historical settings to vibrant life across different media. Lucy Kirkwood’s adaptation of her own play “Chimerica” for television showed how theatrical material can be expanded and reimagined for the screen.
Essential Viewing: Must-Watch Work by British Female Screenwriters
For audiences looking to experience the best work by British female screenwriters, the following list provides an excellent starting point:
- “Fleabag” (Phoebe Waller-Bridge) – A raw, funny, and heartbreaking exploration of grief, guilt, and modern womanhood. Available on Amazon Prime.
- “Happy Valley” (Sally Wainwright) – A police drama set in Yorkshire that subverts genre expectations with its complex female protagonist. Available on Netflix and BBC iPlayer.
- “I May Destroy You” (Michaela Coel) – A groundbreaking examination of consent, trauma, and recovery. Available on HBO Max and BBC iPlayer.
- “Suffragette” (Abi Morgan) – A historical drama following working women fighting for the right to vote. Available on various streaming platforms.
- “Rocks” (Theresa Ikoko and Claire Wilson) – A moving coming-of-age story centered on a group of teenage girls in London. Available on Netflix.
- “Derry Girls” (Lisa McGee) – A hilarious comedy about teenagers growing up in Northern Ireland during the Troubles. Available on Netflix and Channel 4.
- “Belle” (Misan Sagay) – A period drama exploring race, class, and gender in 18th-century England. Available on various streaming platforms.
- “Catastrophe” (Sharon Horgan and Rob Delaney) – A raw, honest comedy about relationships and parenthood. Available on Amazon Prime.
- “Call the Midwife” (Heidi Thomas) – A period drama following midwives in London’s East End during the 1950s and 60s. Available on PBS Masterpiece and BBC iPlayer.
- “Adult Material” (Lucy Kirkwood) – A nuanced drama exploring the adult film industry through a female lens. Available on Channel 4.
These works have received numerous awards, with “Fleabag” winning six Emmy Awards and “I May Destroy You” winning BAFTAs for Best Mini-Series and Best Writer. Critics have praised these projects for their authenticity, innovative storytelling, and complex female characters.
Industry Pathways and Opportunities
For aspiring female screenwriters in Britain, several educational and training programs provide valuable entry points. The National Film and Television School offers specialized screenwriting courses, while institutions like the London Film School and Royal Central School of Speech and Drama provide training that combines practical skills with industry connections.
Mentorship initiatives like BAFTA Breakthrough Brits and the BFI Network have supported emerging female talent through personalized guidance and networking opportunities. These programs have helped launch the careers of writers like Krysty Wilson-Cairns and Theresa Ikoko.
Funding opportunities specifically for women have emerged in recent years, including the Film4 and Ffilm Cymru Wales Female Filmmaker scheme and the Sky Writes program targeting underrepresented voices in regions outside London. These initiatives provide not only financial support but also development guidance and production opportunities.
Industry organizations supporting female screenwriters include Women in Film & Television UK, Birds Eye View Film, and the Writers’ Guild of Great Britain, all of which offer networking events, career development resources, and advocacy for improved gender representation.
The Future of British Female Screenwriting
Several emerging trends suggest potential improvements in the landscape for British female screenwriters. The rise of streaming platforms has created new opportunities, with services like Netflix and Amazon Prime demonstrating greater willingness to greenlight female-written projects than traditional broadcasters. This shift has allowed writers like Phoebe Waller-Bridge and Michaela Coel to retain creative control while reaching global audiences.
The industry has also seen increasing demand for authentic representation across all media, creating opportunities for female writers to tell stories that might previously have been considered “niche.” This trend, coupled with public pressure for greater diversity, has pushed commissioners to seek out female voices.
Looking ahead to the next decade, we can cautiously predict continued improvement in representation, particularly as successful female-written projects demonstrate their commercial viability. The critical and commercial success of shows like “Fleabag,” “Derry Girls,” and “I May Destroy You” has weakened the argument that female-centered stories don’t find audiences.
However, significant challenges remain. The economic impact of the COVID-19 pandemic has resulted in more risk-averse commissioning, potentially disadvantaging writers perceived as “untested.” Additionally, the persistent lack of women in decision-making positions continues to create barriers at the highest levels of the industry.
To address these ongoing challenges, industry leaders need to implement more transparent hiring practices, set specific targets for gender representation, and ensure that initiatives aimed at supporting female writers continue beyond entry-level opportunities.
Conclusion
British female screenwriters have consistently delivered exceptional work despite facing significant systemic barriers. Their stories have entertained, challenged, and moved audiences while providing perspectives that enrich British cinema and television. From pioneering figures like Muriel Box and Shelagh Delaney to contemporary voices like Phoebe Waller-Bridge and Michaela Coel, these writers have demonstrated remarkable resilience and creativity.
Supporting their work remains crucial for the health and diversity of British screen culture. As viewers, we can seek out and celebrate female-written content, while industry professionals must continue working to dismantle barriers to equal representation. Platforms, production companies, and broadcasters should make concerted efforts to commission female writers across all genres and budget levels.
The future of British screenwriting depends on hearing from diverse voices. As Michaela Coel stated in her BAFTA acceptance speech, “Write the tale that scares you, that makes you feel uncertain, that isn’t comfortable. I dare you.” The continued courage of British female screenwriters to tell their stories, despite the obstacles they face, ensures that British screen culture will continue to evolve, challenge, and inspire.
By celebrating these writers and their work, we recognize not only their individual achievements but also their collective contribution to British cultural life. Their stories have expanded our understanding of human experience, challenged conventional narratives, and entertained audiences worldwide—proving beyond doubt that women’s voices are not just valuable but essential to the art of screenwriting.