有許多公司幫助學生和新人直接投身於戲劇劇本創作事業。戲劇行業不遵循任何嚴格的規則或分級方法來確定編劇的雇用(Epps, 2006)。因此，一個人可以在很年輕的時候進入這個行業，但是沒有這樣的學術課程可以幫助學生深入了解戲劇行業的編劇職業(Thompson, 2015)。學生們可能會找到新的機會，但由於這個行業的數據不足，他們似乎並不情願。
戲劇行業可以通過組織和管理各種工作坊來幫助熱情的個體去探索自我(BBC, 2014)。作家享有極大的優先權。人們通常認為劇院的編劇比電視或電影的編劇擁有更多的權力(Lawson, 2009)。作者可以在最後一刻修改劇本。一個成功的編劇必須根據需要改變劇本的動態。然而，這一因素往往給生產者或上級當局帶來巨大的問題。編劇們似乎經常濫用這種權力，在劇本中做出這樣的修改、排除或添加可能會讓權威陷入麻煩的情況(Firemark, 2013)。
另一個令人擔憂的方面是，相對於電視或電影行業，戲劇編劇的報酬相對較低，也很低。毫無疑問，大多數戲劇作家定期創作高質量的內容(young gs, 2015)。然而，與電視或電影編劇的經濟成就相比，他們的工作似乎沒有得到足夠的價值。戲劇產業通常被認為是娛樂大眾、激發智力的媒介，但隨著電視劇和廉價電影的出現，劇院的觀眾群體正在經歷一個問題(young gs, 2015)。這反映了編劇的立場。它影響他們的工作質量，他們對工作的價值，他們對這個行業的熱愛，以及他們的財務狀況。
There are numerous companies who help the students and the newcomers to attach themselves directly to the screenwriting career in theatre. The theatre industry does not follow any strict rule or hierarchical method to determine the employment of a screenwriter (Epps, 2006). As a result, a person can enter this industry at a very young age, but there is no such academic course that can help the students to have an in-depth view of the screenwriting career in the theatre industry (Thompson, 2015). The students may find new opportunities, but they seem to be reluctant due to the insufficient data on this industry.
The theatre industry may help the enthusiastic individuals by giving them the scope to explore themselves through the organization and management of various workshops (BBC, 2014). The writers are given immense priority. It is often considered that the authors for the theatres hold more power than the screenwriters of television or film (Lawson, 2009). The author can make a last-minute change in the script. It is necessary for the success of a screenwriter to change the dynamics of the script according to the requirement. However, this factor often produces huge problems for the producers or higher authorities. The writers often seem to misuse this power and make such changes, exclusion, or addition to the script that can put the authority in a troublesome situation (Firemark, 2013).
Another concerning aspect is that the payment for the screenwriters in the theatre is relatively and significantly low than in the television or film industry. It is beyond doubt that most of the theatre writers produce high-quality contents at regular intervals (Youngs, 2015). Howver, they do not seem to get enough value for their work if compared to the financial achievement of television or film screenwriters. The theatre industry is often considered as the medium of entertaining the people as well as stimulating their intellect, but with the advent of the television serials and budget films, the audience base of the theatre is going through a problem (Youngs, 2015). This reflects the position of the screenwriters. It affects their quality of work, their value for the work, their love for the industry, and their financial status.