There’s a tried-and-true aphorism in Hollywood that ‘There’s no one way to break in.’ Even though TV writing seems to have one of the more straightforward paths – PA, Script Coordinator, Writers’ Assistant, Staff Writer, SUCCESS????- the saying still applies.

Take Episodic Writing Lab Fellow Hank Jones for example. Sure, he got a break working as a PA on The Game, but that wasn’t the end of his journey. The Will Trent writer made his own projects, applied to labs, and worked writing for animation before moving over to live action.

Q: What drew you to episodic writing, and how did that lead to your current position?

Hank Jones: Honestly, I moved out to LA with the goal of writing feature films, but I had no real knowledge of how Hollywood worked. My thinking at the time was pretty straightforward—I’d get a job, work my way up, and make movies. I assumed it would be that simple. But I quickly realized how much I didn’t know.

Funny enough, I wasn’t watching a lot of TV back then. In college, I was more into watching sports, and outside of that, reality TV was it. The only scripted show I really followed was The Office—I loved that series so much that it became my first real writing exercise. I didn’t even know the proper way to outline a script or structure a story, but I knew The Office inside and out, so I just started writing. I picked up some screenwriting books, got Final Draft, and put together my own spec script for the show. Looking back, I didn’t have the fundamentals down, but those early attempts helped me find my voice as a writer. I still go back to that script sometimes, and honestly, some of those jokes hold up!

When I finally made the move to LA, I started watching more TV—this was around the time streaming was really taking off, and I just fell in love with so many great shows. That’s when I realized TV was where I wanted to be. My first real break came when I got a PA job on The Game, which was a huge learning experience. Over the next few years, I worked in different assistant roles, absorbing everything I could about TV writing. I was writing my own material the whole time, sharpening my skills, and eventually, I got an opportunity to write for Motown Magic. That was my first official writing job, and from there, things started to open up.

After that, I moved into live-action TV, writing for shows like The Neighborhood, Grown-ish, and Bel-Air. With each show, I kept growing as a writer, learning from incredible teams, and pushing myself to tell better stories. Now, being part of Will Trent has been an amazing experience—it’s the kind of show I would have binge-watched back when I was rediscovering my love for television. Looking back, I never imagined this path for myself, but I’m grateful for every step that got me here.

Q: How did the Episodic Lab help or change the way you approach your role in the profession and developing stories?

Hank Jones: The biggest lesson I took from the Episodic Lab—and something I hear from writers all the time—is to write what you know. But not just in a general sense—write from a deeply personal place, in a way that only you can. That idea was really cemented for me during the lab.

Listening to guest speakers, refining my pitch over and over, reading my fellow writers’ scripts, and hearing their pitches—everything reinforced the importance of personal storytelling. The most compelling stories weren’t just well-structured; they had something deeply personal at their core. That really stuck with me. Every script I write now has something personal embedded in it, because that’s what makes it stand out. It becomes my calling card.

We all go through similar human experiences, but no one else has my perspective, my lens on life. I realized that when I tell a story from a personal place, it not only helps me understand myself better, but it also resonates more with an audience. The lab helped me embrace that truth—whether I’m writing about relationships, self-doubt, or ambition, it needs to come from a real place. That’s what makes a story feel authentic.

Q: What is one piece of advice you have for future applicants or emerging creators?

Hank Jones: Keep your hand in the fire. I know how tough this industry can be—I’ve seen talented people hustle for years, pushing through barriers, only to reach a point where they feel like giving up. And I get it. I’ve had friends who came to LA chasing this dream, only to eventually pack up and go home. I’ve also seen people stick it out and find success after years of grinding. There’s no set timetable for this—some people say, I’ll give it two or three years, but the reality is, it often takes much longer. I’ve known people who broke in after seven or eight years. The key is persistence.

If you’re feeling stuck, try different approaches. If working as an assistant isn’t opening doors, apply to fellowships, enter writing competitions, or create your own projects. You can’t be one-dimensional in this business. If one path isn’t working, pivot and explore another.

Also, understand who you are. If you don’t have the most outgoing personality, your writing needs to be undeniably strong. If your writing is good but not great, then maybe your ability to network and build relationships will be your way in. Figure out your strengths and weaknesses—be honest with yourself about what’s not working and adjust accordingly. Talk to mentors, seek advice, and always keep learning.

At the end of the day, I’m not special—I just work really hard and I keep finding ways to push forward. That’s the difference between those who make it and those who don’t. It’s not just about working hard—it’s about working smarter, being adaptable, and staying in the game. If you’re willing to do that, success will come.

Q: If you could summarize your experience in the Episodic Lab in one sentence, what would it be?

Hank Jones: Oh man, one sentence? That’s tough! But if I had to, I’d say: You need to build through community.

The biggest takeaway from the program was the people—the writers I connected with, the relationships I built. Some of us stayed closer than others, but I still keep tabs on what everyone’s doing, and there’s a real sense of respect and camaraderie. The lab wasn’t just about developing scripts—it was about growing together, supporting each other, and having a network of people who understand exactly what this journey is like.

Even now, I know I can lean on any of them for advice, feedback, or just encouragement, and I hope they feel the same way about me. That’s the best part of the lab—beyond the skills you gain, you walk away with a community that keeps you going.