Every so often you want to map out your plot mythology but never so specifically that you can’t let a story surprise you. You want to allow the type of action of the writer’s room so that you have the ability to take a left turn.

If I had a worldview, and I don't know if I do, but if I did, it's one that's intensely humanistic. [That worldview] is that the only thing that matters is family and personal connection, and that's the only thing that gives life meaning. Religion and gods and beliefs - for me, it all comes down to your brother. And your brother might be the brother in your family, or it might be the guy next to you in the foxhole, it's about human connections.

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.

When I am kicking around show ideas, or really any idea, usually an image comes to me. I don't really start with a character or a logline like, "What if the electricity turned off?"

What I think networks do so well are big, fun, accessible, invite everybody into the tent kinds of storytelling, akin to an early Spielberg movie or a Michael Crichton novel. That's not to say that there aren't scary parts 'cause there are, and that there aren't sexy parts and edgy parts, just like early Spielberg would have, but there's a lot of heart, a lot of emotion and complicated characters.

If I had a worldview, and I don't know if I do,but if I did, it's one that's intensely humanistic.

I really am a very research-oriented writer.