When I first went to Hollywood I wanted to write all kinds of scripts: films, sitcoms, plays, animation, hour-long dramas. On top of that, I was drawn to several genres: comedies, dramas, thrillers, even Westerns. I wrote all kinds of sample scripts and got nowhere until a friend pointed out something that should have been obvious: if it's hard to break in to any one of these, trying to get into all of them at the same time is going to diffuse your energy and effort so much you probably won't break in to any of them.
I decided to focus on sitcoms, partly because I felt I had a knack for comedy, partly because there were lots of sitcoms using free-lance writers in those days. It worked. I got assignements writing for Benson, Family Ties, Too Close for Comfort and others.
However, the desire to write lots of different kinds of things never sent away. Probably I would have had more success (at least as conventionally defined) if I'd stuck to sitcoms. I didn't want to do that, and I was able to branch out and also wrote TV movies, feature films (mostly script doctoring), one-hour episodes, animated shows and more. The genres included thrillers, drama, comedy and a Western TV movie that was going to be made for CBS until the executive who'd commissioned it left and his replacement threw it out.
I also wanted to live somewhere different--namely, London. That's REALLY not recommended if you want to continue to write for US television and film. I was able to keep up the connections and the assignments for a couple of years but then, probably inevitably, the connections loosened and eventually disappeared. Fortunately I was able to find lots of work in Europe.
I think if you are drawn to expressing yourself in a variety of ways that's an important part of who you are. You can put it aside for a while, and it may be wise to do so, but eventually it will come back. I believe the trick is to embrace it rather than resist it, and to accept that there may be a price to pay as well. If you handle it strategically you can minimize the cost.
One advantage these days is that there are so many channels through which you can express your creativity. If making money with everything you do isn't essential you can, for example, focus on one type of writing for your income but do others as a sideline and share those via your website or YouTube or Facebook or Pinterest or other forms of social media.
Or you can get together with some fellow creators, hire a space for a night or a week and screen your films, hang your paintings, recite your poetry, do your comedy improv, or whatever it is you want to do.
Occasionally that pays off in an unexpected way. I just read in the Los Angeles Times how a couple of animators who created a short cartoon film just to show at some local screenings were contacted as a result by a network who has commissioned a series based on the characters in that short film.
Sometimes the things we make for fun benefit from not having deadlines or the baggage of expectations and lead to the more traditional type of success; other times they just help us keep our sanity.