What you have to get used to as a writer is realizing that most of what you come up with is wrong for the show.

Ultimately people don't watch shows because of how realistic they are. They watch them because of the same dramatic elements that have always made stories interesting. And fundamentally if those elements don't work, no amount of reality is going to be enough to keep people watching a show.

I personally have more faith than the average writer in people's willingness to be complicated, and so I'm thrilled by what's happened. I'm elated at audiences' willingness to handle complexity. In some sense, I feel like my belief in what people are capable of is being validated.

The beauty behind killing someone who no one thinks you're willing to kill is, of course, that you throw people out of their comfort zone. And that's good because you want people to be on the edge of their seats.

I actually started in the opposite place. I come from a technical background - I'm a mathematician and a programmer by trade - and I was one of those people who would watch a show and say, "Oh, that could never happen."

The idea that you could stitch together every detail episode to episode and preserve continuity for the length of a season and tell a story while using no time cuts, no flashbacks, nothing but pure real time just seemed too difficult.

The rule, I think, is: Do your homework, learn what there is to learn about the real world, and then when you get in the room, forget it all.