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In Allen's opinion, she couldn't learn fast enough to make a first-rate movie, although she thought Marnie did have some good scenes in it. She took a lot of the responsibility for what is considered a very flawed movie, since Hitchcock loved her script so much so that he did not make as good a movie as he should have. Hitchcock would have made her a director but she told him no. Said Allen: "It seems perfectly clear to me that any project takes a minimum of a year to direct. I like to get things on and over with. . . . Did you ever hear the phrase, 'the lady proposes, the studio disposes'? I didn't make it up. I would never propose myself as a director." Under Hitchcock's mentoring, Allen developed the screenwriting talent she would use the rest of her career.

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While The Prime of Miss Jean Brodie was still an unproduced script, Alfred Hitchcock read it and offered Allen the script for Marnie (1964). Hitchcock brought Allen out to California to work on the film at Universal Studios in the San Fernando Valley. Allen, who lived close by, would bicycle to work. This upset Hitchcock, who thought it was low-class and insisted that a limousine be sent for her every day, whether she wanted it or not. On days when she tried to walk to the studio, the limousine trailed along behind her.

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Eventually the couple came back to the city to work. By this time Bob Whitehead had become a good friend and encouraged Allen to write another play. She drew on her married life and wrote The First Wife, a witty script about a suburban working couple. It would later be made into the film Wives and Lovers in 1963, starring Janet Leigh and Van Johnson. When Allen read The Prime of Miss Jean Brodie, by Muriel Spark, she instantly saw play potential where no-one else did. After undergoing hypnotherapy to alleviate a year long bout of writer's block, Allen produced a draft of the play in three days.

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Allen returned to New York and performed on radio and in cabaret, both of which she loathed, and would go through the whole performance wishing to be fired. In the meantime she started writing again, little by little, and sold some of her work to live television programs like the Philco Television Playhouse. When she married Lewis M. Allen in 1955, they moved to the countryside, where Lewis wrote and Allen in her words "didn't want to do anything." She had a baby, and spent two and a half "absolutely wonderful years in the country."

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In the early 1940s, Allen married "the first grown man who asked me" and lived in the southern California town of Claremont during World War II. It never occurred to her to get into the movie business as she had always considered it to be exotic. Allen became a writer by default, and having always read constantly and being able to write pretty well, she decided to "write her way out" of the marriage and set out to become financially independent of her husband. She always claimed her first husband's big fault was marrying someone too young. Her first work, Spring Riot, was a novel published in 1948 which got mixed reviews. Allen's next effort was a play, which she sent to producer Bob Whitehead. Because he had produced Member of the Wedding, she thought he would like it since her play was also about a child, but the play came back from Whitehead's office rejected. Allen sat on it for a couple of months and sent it back, rightly figuring that some reader had rejected it instead of Whitehead himself. She was correct, and this time Whitehead read the play himself and instantly optioned it. The reader who had initially rejected her play was Lewis Allen whom she would later marry, but due to casting problems her play was never produced on stage.

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The only child of a department store manager, she would spend every Saturday and Sunday in the movie house, from one o'clock until somebody dragged her out at seven. From that time on movies became very important to her, and Allen knew she wouldn't be staying in West Texas. Allen attended Miss Hockaday's School for Young Ladies in Dallas for a couple of years, but came away with, in her words, as "having had no education to speak of." She skipped college and at eighteen left home to become an actress. In New York, her career lasted "for about twenty-five minutes" Allen says, when she realized that she only liked rehearsals and the first week of performance, and would rather be "out there" where the decisions were being made.

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Born as Jacqueline Presson in San Angelo, Texas, she was "never particularly fond of her given name", and decided to use her first initial when writing. According to the Dictionary of Literary Biography the more elaborate form, Jay, is the work of a Social Security Clerk.

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Jay Presson Allen (March 3, 1922, San Angelo, Texas – May 1, 2006, New York City) was an American screenwriter, playwright, stage director, television producer and novelist. Known for her withering wit and sometimes-off-color wisecracks, she was one of the few women making a living as a screenwriter at a time when women were a rarity in the profession. "You write to please yourself," she said, "The only office where there's no superior is the office of the scribe."