The traditional “writers’ room”—a collaborative hub for television storytelling—is shrinking as production models shift toward shorter seasons and tighter budgets. While veteran creators like Inger Scharis and the writing duo Tove and Sofie Forsman argue that collective writing is essential for diverse perspectives, industry trends toward solo authorship or smaller teams are fundamentally changing how television narratives are built, according to recent industry observations.
The Evolution of the Writers’ Room
The writers’ room as a creative engine traces its roots to 1940s American radio serials, designed to meet the demands of rapid, high-volume production. This model reached legendary status through programs like Saturday Night Live and The Simpsons. According to Conan O’Brien, who has written for both, the collaborative pressure of these rooms is what guest stars and peers most often want to discuss, rather than the glamour of hosting or acting.
In Sweden, the American-style writers’ room became standard in the 1980s and 90s, particularly for long-running soaps like Varuhuset and Rederiet. Inger Scharis, who worked on early soaps like Vänner och fiender, notes that these rooms were “a good school for entering the industry.” At that time, writing teams were large, often consisting of two head writers, several episode writers, and an editor, producing up to ten episodes per week.
Did you know?
The intense atmosphere of the Saturday Night Live writers’ room has served as the creative blueprint for acclaimed television series like Tina Fey’s 30 Rock and Aaron Sorkin’s Studio 60 on the Sunset Strip.
The Shift Toward Smaller Teams
As the industry moves away from long, multi-episode seasons, the collaborative nature of the writers’ room is being challenged. Writer Ulf Kvensler, known for his work on Solsidan and Vår tid är nu, suggests that while the room can be a site for “therapeutic” collaboration, it is also a frequent source of conflict. Kvensler notes that he now prefers writing on his own, citing the difficulty of navigating interpersonal disagreements in large groups.
This sentiment is echoed by the industry’s practical shift. Inger Scharis points out that the pandemic accelerated the move toward remote collaboration via video calls. While she acknowledges that digital tools can work, she maintains that “the human contact between writers in the same room is better for the story.”
Creative Friction vs. The “Solo Auteur”
Tove and Sofie Forsman, who have written for Young Royals and Barracuda Queens, advocate for the “lagsport” (team sport) approach to writing. They argue that the Swedish cultural preference for the “lone auteur”—the idea that a single person writing and directing is inherently more authentic—can limit a project’s potential. According to the sisters, having more voices in the room provides a wider range of perspectives on a theme, which strengthens the final product.
However, the hierarchy within these rooms varies significantly. The Forsmans noted that their experience working on the Netflix series The Playlist highlighted that Scandinavian rooms are often less hierarchical than their American counterparts. They recounted anecdotes of American rooms where strict power dynamics forced writers to sit on the floor to avoid “threatening” the head writer.
Pro Tip: Balancing the Room
Ulf Kvensler suggests that maintaining a balance of perspectives is a key responsibility for a head writer. During his time on Solsidan, he actively worked to ensure gender balance in the writing team to avoid narrow storytelling, a move he believes is essential when the room serves as the project’s creative compass.
Frequently Asked Questions
Why are writers’ rooms shrinking?
According to industry observations, the decline is largely driven by a reduction in the number of long-format orders. As networks and streamers move toward shorter seasons, production companies are prioritizing smaller, more cost-effective teams.
What is lost when a writers’ room shrinks?
Veteran writers like Inger Scharis and the Forsman sisters argue that smaller teams risk losing the “creative friction” that comes from diverse perspectives. Without a collaborative environment, they worry that television narratives may become narrower or lose the benefit of collective brainstorming.
Is the American writers’ room model still the gold standard?
While the American model is legendary for its efficiency and history, it is also noted for its rigid hierarchies. Writers like the Forsmans suggest that while the American model produces high-quality results, the Scandinavian approach often allows for more collaborative freedom.
Are you a fan of the “writers’ room” style of television, or do you prefer the voice of a single author? Share your thoughts in the comments below or subscribe to our newsletter for more deep dives into the television industry.
