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There's something exciting about weekly strips in that you're following the way the story reveals itself to the writer week by week. All the possible directions it could have taken are there; it's a kind of participatory reading that I think books discourage.

Writing is a funny thing. It's not like you're working on a schedule. It comes in fits and starts.

The nice thing about doing a weekly record is you're rehearsing all week and working on getting the script better. Come Friday, when it's time to actually film it, you feel like you've done most of the work!

Some weeks there's no writing, and some weeks are full of writing.

I'd rather see a writer write 15 minutes a day than save it all up for a Saturday. A work gets a coating on it when it's not been worked on for a while, makes it hard to break back in.

L.A.'s always been good to me.

My first real break was when my college sketch troupe, The State, was asked to contribute pieces for a new MTV show called 'You Wrote It, You Watch It.'

L.A. is a great place to write because you have a lot of space. I have a big office at home, I can leave the doors open. Flowers bloom all year. But it's unglamorous in all the right ways.

I've reached a point in my career when I can demand certain conditions, and one of them is a weekend break every three weeks during the shoot.