Carla Lane is one of the most successful British sitcom writers-she has conceived of and written numerous shows that have proved tremendously popular, and she has contributed to many others. Lane carries particular significance within British television, as she is one of few British counterparts to the women writers, directors, and producers of American prime-time sitcoms.

Lane broke into television when she and Myra Taylor created The Liver Birds, a BBC sitcom based on two young women sharing a Liverpool bedsit and their mainly amorous adventures. Having moved to London from her native Liverpool at a time when, Lane reports, being from Liverpool was not something people were interested in, she succeeded in demonstrating her writing skills precisely by flaunting Liverpool culture. Over the following ten years and 100 episodes, a highly recognizable style developed in Lane's writing of The Liver Birds. The characteristics of her work include themes on sexual and personal relationships, contemporary characters, and narratives more realistic than British television comedy had hitherto allowed. Lane's comedy has always been distinctive for its lack of jokes and can be best defined as comedy-drama. She describes herself as writing dialogue not jokes, with humor emerging through characters and speech rather than action.

Butterflies (1978-82), Lane's next popular success, marked an increasing seriousness and melancholic tone in her sitcoms. This long-running BBC show presented an intimate and studied portrait of a middle­ aged, suburban housewife, Ria (Wendy Craig), as she became attuned to the shortcomings of her life. Initially, the BBC argued with Lane that comedy was not ready for a married woman to be attracted to another man, but Lane persevered and Ria embarked on an adulterous affair. Although not championing women's issues, Lane writes from a woman's experience and point of view, which is clearly evident in the relationships defined in Butterflies. Her shows are, consequently, favorites with women viewers.

Lane furthered many of her earlier themes in ensuing sitcoms for the BBC, including Solo and The Mistress (both starring Felicity Kendal), Leaving, and I Woke Up One Morning. In addition to creating portraits of life up and down the social scale, these and other shows written by Lane took social issues as a backdrop for character development, focusing on such topics as adultery, divorce, and alcoholism. Focusing on the theme of unem­ployment,  Lane's  next  major  show,  Bread  (BBC, 1986--91), was once again informed and inspired by Liverpool; this program revolved around the Boswells, a working-class family consisting of a matriarch and her unemployed children. Bread was in no sense an instant success-it took a while for viewers to warm to the in­dulgent, staunchly Catholic mother and her family of unashamed scroungers-but within two years the sit­com had gained almost soap status and came close to overtaking top soap EastEnders in the ratings.

Lane has received official recognition for her contributions to British television in the form of an O.B.E., but her work has not always received critical approval. Some have expressed aversion to her subtle, anecdotal, and often poignant approach to programs that have been labeled as comedy. However, ratings confirm the popular appeal of her work for the BBC. Lane's success has stemmed from her insight into character construction and her skill at allowing humor to flourish in situations that are not conventionally considered for such potential, yet which exist as ev­eryday realities.