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Olamide Shobowale is a screenwriter, producer, and writer based in England, United Kingdom. She holds a Master’s degree in Creative Writing from the University of Derby and has extensive training in film and television writing. Her work spans across multiple genres, contributing to notable films across continents.

Olamide is passionate about mentorship and founded the Young Writers’ Club, a platform for aspiring writers and screenwriters. As an independent screenwriter and editor, she has worked closely with directors and producers to develop authentic narratives.

In addition to her creative work, Olamide serves as a film festival judge where she evaluates films, supporting emerging talent worldwide. She has been recognised for her literary work, with publications in Manic World Magazine and over here in the 7th Issue of Journal of African Youth Literature (JAY Lit). She’s the author of Unsaid, a collection of poems. She is a member of the Screenwriters Guild of Nigeria. 

In this interview with Ibrahim Babátúndé Ibrahim, she talks about her processes and how she is able to excel at both film and literature. Come along for an insightful read.

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IBRAHIM

Olamide, it’s a pleasure to have you with us today. You’ve had a remarkable journey as a screenwriter, poet, and fiction writer. Your short story, “One and the Same”, which was recently announced on the longlist of the 2024 JAY Lit Prize for Fiction, showcases your skill in narrative storytelling. But you’re also deeply involved in the world of film and television. How do you manage to balance your work in screenwriting with your pursuits in fiction and poetry?

OLAMIDE 

Thank you for having me. It’s an honour to be featured in JAY Lit, especially with the recognition of my short story “One and the Same”. The balance between screenwriting and writing fiction or poetry is something I’ve always enjoyed, though it does require a specific mindset shift. I’ve found that my work in film and television actually informs my prose and poetry writing, and vice versa.

When I’m writing for television or film, my focus is on dialogue, pacing, and visual storytelling. It’s all about creating a story that is both compelling and can be visually experienced. But with fiction and poetry, I allow myself to dive deeper into inner thoughts, emotions, and the nuances of language. There’s more space to play with the structure of the narrative and to reflect on the meaning behind every sentence. Both art forms are very much about capturing human experiences, but I approach them from different angles.

IBRAHIM 

Your work in screenwriting, especially on popular projects like Egodi na Lagos, shows your ability to bring characters to life while tackling serious themes with humour. You have been commended by notable industry professionals on your unique talent for making even the most serious subjects relatable and funny. How do you strike that delicate balance in your screenwriting between humour and social commentary, and how does that influence your fiction and poetry writing?

OLAMIDE

Egodi na Lagos was an incredibly fulfilling project because it allowed me to bring the humour and contradictions of life in Lagos to the screen. Lagos, like many places, is a city filled with both hardship and humour—it’s often how people survive and make sense of their world. Writing for television in this context meant finding that balance between humour and social commentary.

What I learned through Egodi na Lagos is that humour is not just about making people laugh; it’s about helping them reflect on deeper truths. We used everyday experiences—traffic jams, office politics, relationships—to highlight the absurdities of life in a city like Lagos. Humour, in this case, is a vehicle for insight.

This approach also informs my writing in fiction and poetry. In my short story “One and the Same”, for example, I explore themes of identity and self-perception, which are serious, yet I try to infuse the narrative with moments of lightness or irony. I have a knack for making complex social issues accessible and relatable through my writing. This blend of light and heavy tones is something I strive for, whether I’m writing for TV, film, or fiction.

IBRAHIM

I can see your ability to adapt to different genres and formats in your writing, particularly your capacity to switch between scriptwriting, prose and poetry. How does your work as a screenwriter influence your fiction and poetry? Do you find that your experiences in film and television have shaped your narrative voice in your written work or vice-versa?

OLAMIDE  

That’s an excellent question. I believe my experience as a screenwriter gives me a strong foundation in pacing, structure, and character development, which all translate into my fiction and poetry. When you write for film or television, every line of dialogue or scene must serve the plot. You don’t have the luxury of excessive exposition or lengthy inner monologues. This has taught me to be concise and purposeful with every word I write, which is especially helpful in short story writing and poetry.

In poetry, you don’t have the luxury of time or word count, so every line must contribute to the atmosphere and emotional undercurrent of the piece. This, I learnt during my Masters of Arts in creative writing, at the University of Derby. My adaptability as a writer helps me create stories that are both emotionally resonant and concise, whether I’m writing for screen or page.

The technical skills I’ve honed as a screenwriter—building tension, creating compelling character arcs, and crafting satisfying narrative resolutions, also inform how I approach fiction. Writing screenplays taught me the importance of ‘showing, not telling,’ which translates into prose as well. In both forms, I strive to reveal character depth through action, dialogue, and subtle moments of reflection.

IBRAHIM 

Your work as a mentor, especially through the Young Writers’ Club, further speaks to your commitment to nurturing new talent. How do you approach mentorship, especially when guiding young writers interested in both screenwriting and literary fiction?

OLAMIDE 

Mentorship is something I’m very passionate about because I truly believe in the power of storytelling to change perspectives and even lives. When working with young writers, I emphasise the importance of developing both their creative instincts and technical skills. I aim to help them see the practical side of storytelling, how to structure a story, how to create compelling dialogue, and how to balance pacing.

But I also encourage them to explore different genres and forms of writing. Writing for screen is very different from writing a short story or a poem, and I want them to understand the unique strengths and challenges of each medium. I tell them that their unique voice is what sets them apart, and it’s essential to maintain authenticity regardless of the form they choose to write in.

Ultimately, I believe that all forms of storytelling, be it for television, film, or the written word, are about creating a connection with the audience. For me, mentoring is about equipping young writers with the tools they need to find their own voice and tell their stories in a way that will resonate with others.

IBRAHIM

One of the most remarkable things about your career is your ability to work on both scripted and unscripted projects, such as your role on The Teju Babyface Show, which is very different from your other scripted works. How do you navigate this shift between scripted and unscripted formats, and what have you learned from working in both realms?

OLAMIDE 

Working on The Teju Babyface Show was an entirely different experience from writing for scripted television. On a live talk show, you have to be prepared for anything. The script needs to be adaptable, because the conversation can veer off in any direction, and you must adjust quickly. You don’t have the luxury of controlled pacing like you do in scripted writing. Instead, it’s all about ensuring that the content is engaging, funny, and meaningful in real-time.

What I learned from The Teju Babyface Show is how important it is to read the room, whether it’s a live studio audience or the digital audience watching at home. Writing for television with a live format challenges you to be flexible and responsive to the moment.

The ability to balance the immediate nature of unscripted formats with the thoughtful pacing of scripted writing has been invaluable in expanding my storytelling skills.

IBRAHIM

Your writing spans several genres and platforms, from TV shows to short stories and poetry. What do you see as the future of African storytelling in film and literature, and what role do you envision for yourself in shaping that future?

OLAMIDE  

The future of African storytelling is incredibly exciting. With the rise of streaming platforms, there’s an increasing demand for authentic African narratives, and I see a real opportunity for us to shape the global conversation through our stories. We’re seeing more African writers, directors, and screenwriters gaining international recognition, and I believe that this is just the beginning.

I envision myself continuing to be part of this movement, not just as a writer but as a mentor and collaborator. As the industry continues to evolve, I hope to contribute to the growth of African television and film while continuing to write fiction and poetry that speaks to our shared experiences and the complexity of our identities.

IBRAHIM

Thank you very much for your time and honesty, and all the best when the shortlist announced in a few days.

OLAMIDE  

The pleasure is all mine. Thank you for your kind words.