Joey Soloway Quotes

In television writing, even if you're running the writers room, it's a writers room.

When you talk about a character on a situation comedy, it's not just the actor. It's the writers, too.

I was only ever part of 'Lost' - a very small part of an extremely talented writers' room, where as a writer, it's sort of your job to sublimate your ego and work in the service of the show and the show's voice.

I like writing for movies. It's nice to be alone working on fiction in your room, and then it's nice to be in a room with a bunch of people working on a movie.

It's much like writing a screenplay with someone else and that's how we view it, I think.

If you write a good line, you write a good line, and the best line wins in television. It doesn't matter if you're the guy who gets the coffee or if you're the showrunner - best line wins. That's the beauty of television collaboration.

I have admiration for people who can do it well - the guys who wrote 'Cheers' and 'Frasier.' They created sort of a blissful comedic universe.

Stories often take their own course once you start to write them, especially when you have the benefit of a writers' room and a team of people augmenting and adding to the material.

So we [with Kate DiCamillo] decided to give the friends an object and see what they did with it. The object was a sock and it went from there. Once we got going, once we got on a roll, it became very easy to work together and to figure out how to do it. We would meet for two-hour segments, usually from 10-12, two or three times a week. We met all one summer, and I think into the fall.

Because I was a television writer for many years, I write very conversationally. I put things straight, and with a lot of humor.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

The director in TV and the writer and the creator are working very much hand in hand.

We don't feel pressure of, 'Let's make this really raunchy.' It's more about making a good story, which is 10 times harder. The raunchy stuff's really easy for us.

Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.

If someone said, 'Sit down and write a 'Community' episode,' I would be panicked.

One thing about writing 'The Sarah Silverman Program' was the concern that I don't give myself the best story, you know what I mean?

I'm trying my hand at writing. I'm writing a couple of projects for HBO, a half hour comedy and a miniseries.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.

It's not uncommon to have chaotic writers' rooms.

I'd love to do another television series. I really love the writing process, and as an actor I really like how much you get to examine in television.

Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

I've always loved brainstorming with other writers, and I consider having my work critiqued a part of that brainstorming.

I've continued to write fiction since being in television. TV is a different kind of writing, but it's all writing. It was David Milch of 'Deadwood' who helped me to see it that way. We later collaborated on the short-lived 'John from Cincinnati,' but I'm very proud of the work we did together.

You write what makes you laugh, and you hope that the audience agree, and so far they do.