Because of the specialist nature of animation where almost everyone involved has to know how to draw even a little bit, you're legitimately better off trying to break into regular tv writing and then try to get into animation writing after you get some experience under your belt.
However, if you really want to fast track, you need to get involved in passion projects with artists who need script writers and be in the trenches for a while doing stuff for free and fishing for cheap gigs like writing articles. Its this paradox where you need experience to get gigs, but you don't get those gigs in the first place without the experience. The first big break is always the hardest to get but after that you tend to find more steady work as you have something to show.
Also, you need to know your market. Like >>104130509
said most cartoons these days are board driven. So its a tough racket. However, you at least have a fighting chance if you know ahead of time you'd mainly be writing comedy cartoons.
My honest advice is to team up with a few artists to make SHORT TERM projects. no giant long term epic story, just short stories that look good on a portfolio. This is VERY important and something a lot of people tend to skip, but you HAVE to prove you can make a finished story that doesn't take ten years to complete, you HAVE to show you can crank good stuff out in a timely fashion, and quite frankly anyone reviewing your portfolio will have an easier time reading short stories than exerps from your tenth unfinished project.>>104130534>>104130561
Ignore these guys, the industry has a lot of bullshit but unironically there's so many people who just can't do their job that just showing that you can do it puts you above the rest, its one of the few places where its almost equally a meritocratic industry as it is a nepotistic industry
t. guy with an animation studio