Most of TV works this way: You try to get something up and running, and once you do, you just try to keep it going, because there's a lot of money involved.

You have the capacity to change the plotline of your life, even if you've been acting from the same script since before you can remember.

Transitions are a part of life, allowing for perpetual renewal. When you experience the end of one chapter, allow yourself to feel the emotions of loss and rebirth. A bud gives way to a new flower, which surrenders to the fruit, which gives rise to a seed, which yields a new sprout. Even as you ride the roller coaster, embrace the centered internal reference of the ever-present witness.

If I were a person of color in Florida, I would pick up a brick and start walking toward that courthouse in Sanford. Those that do not, those that hold the pain and betrayal inside and somehow manage to resist violence - these citizens are testament to a stoic tolerance that is more than the rest of us deserve. I confess, their patience and patriotism is well beyond my own.

There came this point where I sat down with all my notebooks and I had to start to write, when I thought: this whole notion of writing for the person who understands nothing, the average reader ... He has to die! I can't have him in my head. And so the person I started writing for was the homicide detective.

We either live or die based on how we live in cities, and our society is either going to be great or not based on how we perform as creatures of the city.

TV writers live life of well-paid, specialty prostitutes. We have a very special skill set and we occupy one of the higher floors in the bordello that is writing. We do a very particular job for a very select clientele.