Everyone Wants a Good Story, Nobody Wants to Pay the Writer

Someone whose name might flash for three seconds before the opening credits disappear. Someone who built the story, brick by brick, only for everyone else to live inside it.

That person is the writer.

And for years, in Nollywood, writers have been the industry’s invisible fighters, underpaid, undervalued, and often forced to wear other hats just to be taken seriously.

Lani Aisida knows this story all too well.

Before becoming the man many now call “the King of Web Series”, Lani was crunching numbers as a Chartered Accountant. 

But at some point, the itch to create took over. He quit his 9–5, traded balance sheets for blank pages, and began writing his way into the hearts of a generation raised on Skinny Girl in Transit, Rumour Has It, and Phases. 

Still, even with all that success, Lani is brutally honest about one thing: in Nollywood, writers are treated like an afterthought.

“You can’t build a 20-floor structure and ignore the foundation,” he said. “The story is the foundation. Yet, people want cheap scripts and spend millions shooting. You’ll feel it later when the story falls apart.”

That line sums up the problem perfectly.

ALSO READ: Lani Aisida Knows What Secrets You’re Hiding and He’s Writing It Down

Producers will spend lavishly on cameras, actors, and PR, but haggle endlessly over script fees. They want the story that’ll trend, the dialogue that’ll move mountains, but they don’t want to pay for the craft that makes it possible.

It’s ironic because, for Lani, storytelling isn’t just a skill; it’s a profession that demands years of study. When he first left accounting, he didn’t rush into producing. He focused on mastering writing, the structure, the rhythm, and the art of dialogue.

“I’m big on mastering one craft,” he explained. “If you’re producing and writing, be very good at one. I wrote for seven to eight years before producing. There’s so much to learn about writing.”

In a way, his philosophy is both old-school and radical. Old-school because he believes in earning your stripes, not just demanding high pay without proof of mastery. Radical because he insists writers deserve to be treated as collaborators, not mere contractors.

“Everyone in filmmaking should understand storytelling,” he said. “Costume, art, cinematography, everyone contributes to tone. But first, learn the craft.”

This is what separates writers who survive Nollywood from those who burn out. Because here’s the harsh truth: writing alone doesn’t always pay the bills. 

Most writers eventually become producers or directors just to have a seat at the table. But even then, Lani warns against rushing that transition just for visibility.

“Financially, writing alone isn’t always sustainable, but you must pay your dues,” he said. “I left my finance job because I wanted to be among the best. I couldn’t give my best hours, 9 to 5, to another company and expect to compete with full-time filmmakers. I had to sacrifice, work harder, and give my craft full-time.”

ALSO READ: Nigerian Series You Should Binge Watch on Netflix

In today’s Nollywood, where everyone’s in a hurry to blow, Lani’s approach feels almost rebellious. He’s advocating patience in an industry addicted to virality.

He believes real recognition comes from skill, not hype.

“I’ve heard producers complain that writers demand high fees,” he said, “but do you have the skillset to match? Have you improved yourself to that level? Everyone has bad writing in them; get it out. Write, rewrite, learn.”

That’s the kind of tough love the new generation of writers needs to hear. Because truthfully, Nollywood is at a crossroads: there’s never been more demand for content, yet fewer people respect the process of writing it.

Lani Aisida’s journey, from accountant to award-winning screenwriter and showrunner, is beyond chasing dreams. It’s about discipline. It’s about knowing that the foundation of every great film is still the same thing it’s always been: a well-told story.

And maybe, just maybe, it’s about time the industry started treating writers like the architects they are, not just the ghosts behind the screen.

RECOMMENDED: How Osuofia in London and Living in Bondage Captured What It Means to Be Nigerian