What made you switch from journalism to playwriting?

I like the greater freedom of expression that you have in drama – you’re not so constrained to tell the story as you are in news.

I started writing in my spare time – during my lunch breaks when I was working at The Financial Times. It’s easier to make that switch in your career if you already have a job and are pulling down a salary.

What I started writing were the scenes that eventually became Fixer. Then I won a competition at the Almeida for short plays, so it kind of went from there really.

Although, even after leaving The Financial Times, I kept working as a freelance journalist.

Do you think your early career helped you as a playwright? 

My journalistic experience certainly helps in terms of research. I know how to go digging for information and I’m reasonably good at interviewing. Those skills have served me quite well in the second part of my career.

One of the things that I’ve had to try not to do is edit myself. As a journalist you’re always cutting and cutting and cutting. With playwriting, you have to be a bit looser.

Is winning competitions important for new writers? 

Winning the Almeida competition in 2006 was a real boost to my confidence. I do think it’s a good idea to apply to as many of those things as possible. At the very least, you will get useful feedback. I still apply for things.

As a journalist you have sub-editors who will edit and adapt your writing. As a playwright you will have a director who interprets your writing. Which is worse?

In some ways working with a sub-editor is quite a dispassionate process. I don’t feel particularly involved with my journalistic writing, so if someone wants to make a change that’s fine and normally for the better.

Playwriting is different because you do get quite invested. That can make it trickier when someone tells you that something isn’t working. But actually, there is often truth in what they’re saying. It’s usually something that was clear in my head, but that I haven’t expressed very well.

Do you go to the rehearsals of your plays?

I tend to be there at the start and the end. At the start, if things aren’t clear or there are factual questions, then it is good to be available. It’s nice to then be able to come back and see how it has developed.

Is it hard to turn a news story into a play?

I think it depends on how you approach it. I prefer to start with the characters and the drama. I didn’t think “Right, I want to write a play about these issues,” because I think, if you’re not careful, that can turn out a bit dry.

I love it if there’s something substantial and interesting, but the characters and drama have to come first. It’s got to be entertaining.

What advice would you pass on to young playwrights? 

Try to write every day. It doesn’t have to be anything good at all – it’s just a case of practicing and keeping your hand in. Don’t be discouraged and if there are opportunities, then apply for them.

If none of that works out then look into putting on work yourself. There are always actors and directors out there looking for plays.

Fixer by Lydia Adetunji runs from Tuesday 21 June to Sunday 10 July at the Oval House Theatre. To book tickets, call 020 7582 7680 or visit the website.