How New Writing North UK Amplifies Nisola Jegede’s voice in Filmmaking

Yinka Olatunbosun

Nisola Jegede has carved a niche for herself as a scriptwriter and dramaturg, working behind the scenes, not only bringing ideas and stories to life, but also to push the boundaries of storytelling.

Unknown to many, the passion did not start today. From the early days of her career, spanning a decade, Nisola Jegede exhibited an extraordinary talent for creating awe-inspiring narrative, revealing the raw essence of human experience. Her scripts, as has been noted, “are celebrated not just for their compelling plots, but for their depth, authenticity, and social consciousness.”

It is almost impossible to talk about Nisola Jegede without talking about her participation in the Professional Development/Workshop: New Writing North, England, which, she enthused, was quite challenging and stimulating.

The process of joining a New Writing North programme begins with an open call that happens once in a year. Writers are asked to apply with a sample of their work and a short statement about their interests and ambitions. The application is competitive as more than 2000 people apply and less than one percent are selected.

Once applications close, the submissions are reviewed by a panel made up of New Writing North staff, industry partners, and guest judges. From this stage, a shortlist is created, and candidates are invited to further discussions before the final group is selected.

The programme itself combines structured training with practical development. Writers take part in workshops led by experienced professionals who cover everything from craft to industry knowledge. Each participant is paired with a mentor who provides one-to-one guidance, helping them refine their project and build confidence in their writing. Alongside this, the group environment allows writers to share work, exchange feedback, and develop a peer network.

By the end of the programme, writers are expected to have made significant progress on their scripts. The programme often ends with a sharing event or showcase, giving writers the chance to present their work to industry figures or an invited audience.

While with the New Writing North programme, she developed ‘IRINAJO, a captivating and thought-provoking African fantasy drama series. The experience with New Writing North, she recalled, was both challenging and affirming.

“The programme placed me in a room with writers whose voices were completely different from mine, and that diversity forced me to sharpen my own. We spent time breaking down scripts, asking why a part of the script fell flat, and I learned how to interrogate my own choices with more honesty,” she said.

“What stood out most was how the mentors treated African stories with seriousness rather than as a niche. When I shared work rooted in Nigerian tradition, they engaged with it as drama, not just as cultural material. That gave me the confidence to write with more boldness, knowing the stories I carry can hold their own in any setting.”

The workshop, she further stated, also trained her to think about the audience, noting that in England, a reference that feels obvious in Lagos may need a different kind of framing.

“I began to see how I could stay authentic to Nigerian textures while shaping stories that speak clearly across cultures. That balance continues to shape how I write for film and television.”

Significantly, she emerged the Best Student Scriptwriter, Bournemouth University 2023. So, how did she feel when she emerged the winner and how it has impacted your career? You asked.

She noted that winning the Best Student Scriptwriter at Bournemouth University in 2023 gave her a moment of certainty, stressing that she had been writing with doubts about whether her Nigerian-rooted stories could connect in a UK environment.

“When I heard my name, I felt an immediate sense of validation. My voice carried further than I thought it could. The award pushed me to trust my instincts. I had spent long nights rewriting, shaping dialogue, and holding onto cultural identity in my scripts. That recognition showed me those choices had real value. I walked away with courage to write more boldly and to stop second-guessing my approach.

“It also changed how people received my work. After that moment, I noticed more respect for my scripts and more openness to collaboration. For me, the award was not about a trophy. It marked the point where I stopped calling myself a student and began moving with confidence as a professional scriptwriter.”

Jegede’s remarkable talent has earned her numerous awards and critical acclaim. She has been behind several acclaimed TV drama series and films—each project a testament to her signature approach: stories that are rooted in cultural consciousness, yet revolutionary in their scope and impact. Celebrated for her meticulous craftsmanship, her work challenges stereotypes, questions conventions, and invites viewers into worlds that are both familiar and utterly transformative.

Reflecting on the journey so far, she noted that she grew up surrounded by several forms of storytelling, especially films, adding that she was fascinated by the way moving images could hold an audience captive.

“But I also noticed how rarely I saw African stories on screen that reflected the richness I knew from where I lived. I remember watching movies that shaped global culture and thinking, where are our stories? That is, movies that truly reflect us. That question pushed me to write.”

“Dramaturgy and other forms of storytelling came naturally as part of that process,” she added, noting that her inspiration has always been rooted in African traditions.”

She also noted that what drew her to cross-cultural narratives and African traditional stories is the tension and beauty in how stories shift when carried from one context into another.

“African traditions are full of layered myths, philosophies, and humour that I wanted to re-imagine for the screen, as living, breathing narratives. Film allows me to merge those with contemporary storytelling techniques, giving both African.”

On the challenges she faced trying to bridge different cultural perspectives in her work, Jegede said it has to do with how layered Nigeria is.

“We are many tribes like Yoruba, Igbo, Hausa, Tiv, Efik, and so many others. Each tribe with carry their own rhythm, humour, and worldview. I am always aware of the responsibility

“When I try to bring those into film. I often asks questions like how do I honour a tradition without flattening it into something generic? How do I make sure one tribe’s truth does not get mistaken as the only Nigerian truth? I address it by leaning into a story’s emotional core. For example, a Yoruba proverb might not translate word-for-word for someone who is Igbo or Hausa, but the emotion, whether it’s longing, caution, or pride, is universal. I work to let the audience feel that through the characters’ choices, gestures, or the visual language of the film. That way, even if the detail is specific, the resonance is shared. For me, the goal is to make every tribe breathe uniquely while still reminding us of the threads that connect us. Film gives me the space to do that. It gives us the space to show the intimacy of each culture while also revealing the humanity that ties them together.”