Actors aren’t the only ones who flock to Hollywood in search of fame and fortune. Authors do, too. The vision of palm trees, swimming pools and mammoth paydays has been the dream of writers for nearly a century. Never mind that the dream usually turned out to be a fantasy.

Back in 1925, journalist/screenwriter Herman J. Mankiewicz moved to Hollywood and wrote to his pal Ben Hecht back in New York that “millions are to be grabbed out here and your only competition is idiots. Don’t let this get around.”

The word did get out. And countless numbers of writers headed west. F. Scott Fitzgerald looked to Hollywood as an economic savior, as did Dorothy Parker and Raymond Chandler and William Faulkner and later, John Steinbeck.

In recent years, though, there’s been an intriguing twist on that old formula. Most of the writing is for TV these days rather than movies.

But instead of abandoning theater altogether, many of those writers have found ways to sneak the occasional stage script into their hectic TV-writing schedules.

We’ve seen a lot of this in Cincinnati theaters recently. Cincinnati-born Theresa Rebeck, an immensely successful TV writer for Law & Order, Law & Order: Criminal Intent and, most recently, Smash, has had three shows produced at the Playhouse in the Park in the past decade. And Trey Ellis, who co-wrote the Playhouse’s season-opening ”Fly,” has scripted a pair of highly regarded TV movies.

Nowhere in Greater Cincinnati do you see the TV-theater combination more often than at Ensemble Theatre Cincinnati. Perhaps it’s because ETC’s Artistic Director D. Lynn Meyer spent several years working on the west coast as a casting director before she returned to Cincinnati to take over ETC.

You’ll see it at play again with the October opening of “Rapture, Blister, Burn,” by Gina Gionfriddo. Like Jon Robin Baitz (Brothers & Sisters), whose “Other Desert Cities” opened the ETC season, Gionfriddo wrote primarily for the stage early in her career. But these days, she is best known for her writing for Law & Order and the new Netflix series House of Cards.

The trend may be new. But Meyers doesn’t see it as a battle for supremacy between TV and the stage. To her, it’s a matter of writers trying to succeed in both mediums.

“I don’t think there was anything sinister about stage writers doing more work for TV,” says Meyers. “I think it’s just because there is more TV to write for these days. And why shouldn’t they write for it?”

Look back to television in the 1950s and 1960s. There were the occasional highbrow shows that featured the work of theater writers in what were little more than televised versions of stage plays.

“You didn’t see Arthur Miller and those guys crossing over mostly because there were only three networks back then,” says Meyers. “Look at it now. There are hundreds of channels. And some of them are looking to put intelligent work on the screen. Think about Mad Men. And now there’s the House of Cards phenomenon,” she says.

“To me, this is about more opportunities and more demand,” says Meyers. “More good writers are getting more food work. And now, they’re getting it in TV and in theater. They can make more money in TV than they can on the stage. But they love writing for the stage. So they keep doing it. And we’re the lucky ones.”

“Rapture, Blister, Burn,” by Gina Gionfriddo, runs Oct. 9-27 at Ensemble Theatre Cincinnati. For information, call 513-421-3555 or go to