People pitch me the crazy mystery mind-blowing thing all the time. My response is, 'Great, but how do the characters feel about it, and how do we reveal new facets and new dimensions of who they are?'

Let's be honest, any show will live or die based on how good the characters are, how good the actors are, how complicated the relationships are, how grounded they are and how much heart they have.

The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

It's always better to go personal and painful than to go big.

When you start a show, the plans are not set in stone. They're really mutable, cocktail napkin sketches.

When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story.

I like to tell stories that have beginnings, middles and ends.