What An Executive Story Editor In A Television Writers Room Wishes They Had Known Before Entering The Television Writing Industry
Marshall, an Executive Story Editor, reflects on the unpredictability of breaking into television writing, advising aspiring writers that "there are many other ways that are just as likely to... break in," emphasizing relationship building and craft development over solely relying on traditional assistant roles and promotions. The traditional "ladder" approach, while valuable, is less reliable in a changing industry with fewer opportunities and shorter show runs, making alternative paths equally important to career success.
Networking, Career Development, Overcoming Challenges, Industry Realities, Hard Truths
Advizer Information
Name
Job Title
Company
Undergrad
Grad Programs
Majors
Industries
Job Functions
Traits
Marshall Knight
Executive Story Editor
Television Writers Room
UCLA
n/a
Arts, Entertainment & Media, Advertising, Communications & Marketing
Creative
Honors Student, Worked 20+ Hours in School, Student Athlete
Video Highlights
1. There are multiple paths to breaking into the TV writing industry; it's not just about climbing the traditional assistant ladder.
2. The industry has changed, with fewer jobs and shorter seasons, making traditional career progression challenging.
3. Building relationships and developing one's craft are more important than focusing solely on a specific entry-level position.
Transcript
What have you learned about this role that you wish someone had told you before you entered the industry?
I think the biggest thing is that there are really no guarantees. I don't mean specifically about the level I'm at right now, but as far as getting into TV writing. People ask me all the time, "How do you sort of break in?"
When I started, there was a pretty clear idea that the move was to be an assistant in a writer's room. That would get you on a ladder from which you'd get promoted and get your opportunity. But the last 10 to 15 years have really changed the industry a lot.
I wish I had known that there are many other ways that are just as likely to help you break in. Some of the people who have been really successful have come from completely other careers, like advertising or law. They've developed relationships in other ways.
This isn't to say that if you get the opportunity to get one of those jobs and try to climb the ladder like I did, it's not a great way to go. But thinking that it was the only way to do it was really arduous.
As there are fewer jobs, shorter orders for series, and shorter runs of shows getting canceled after one or two seasons, the ability to actually climb that ladder can be really frustrating. It can be kind of a mirage.
So, if I were somebody graduating film school now, looking at a path, I would say to them, yes, if you get the opportunity to be a writer's assistant or a showrunner's assistant, it's great experience. But don't think of that as your path.
Your path is dictated way more by the relationships that you develop and the work that you put into your craft. It's less about positioning yourself in one particular job in the industry and hoping that's going to lead to promotions.
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