Limmy Quotes

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?

They've got to deliver twenty-six episodes a season and they're not going to beat their heads up against a wall if they feel something didn't, like, pan out the way they had hoped.

If I write scripts that nobody likes, I don't think we'll be doing 'True Detective.'

I was fascinated with the writing process and seeing the evolution of a sketch and how it would change up to the minute before it went on the air.

The real challenge in doing a TV show is in what I would call the maintenance energy. You take that creative energy and you use it every week, of course. But you then need to maintain the quality of the stories, and it's harder to do.

Writing, yeah. Me and my friend Scott Bloom just finished the first rough draft of a script. It's taken us three years to do, but we finally got a first draft. And we'll see whatever happens with that.

When you're making TV, the last thing you want to do is watch TV. It's too much.

With TV, your first draft just doesn't matter. It's a skeleton, and then there's draft after draft after draft, and so many other factors influence it. It's just a whole different kind of storytelling.

When you're writing for a show, you're writing part of the script. You have to tell the story.

That's what my job is: to create quality programming.

I have no problems or issues with screenwriting in general.

Even though 'Glee' is sometimes a hard road, I am very excited about writing a multi-year arc.

I think it's a lot easier to put together a reality show than to actually create a scripted show.

I love rewriting because that is where and how you discover the story. It's like you have this skeleton, and you get to put flesh on it and hair and clothes and really wonderful jewelry.

I'm very involved in the writing on every level.

My writing process often begins with a question. I write down ideas and let them stew for about a year. Then, when I sit down to write, I make a list of characters and try to see how they fit.

I personally am a 'discovery writer,' as we're termed, someone who plans the book by writing it and then revising the entire thing. When it comes to saga, this means writing large chunks of prose before any of it coalesces into a book.

I get so used to working with writers that my prime occupation is development.

The research is the easiest. The outline is the most fun. The first draft is the hardest, because every word of the outline has to be fleshed out. The rewrite is very satisfying.

Typically on a TV series, the writers on a show are writing for their life almost every episode. When someone sits down to write a Netflix show, they know there's going to be a 13th hour.

I think I might want to get into development, as in developing my own sort of piece, whether it be for the stage or the big screen or for television.

Re-writing is different from writing. Original writing is very difficult.

There are many challenges I face while working on a book. Working within deadlines and schedules is certainly one of the bigger ones for me. I want to create the best possible book I can for my readers with words and pictures - and that takes time to get it just right.

I would fix other people's lines if they asked me on occasion. The hard part of writing is the architecture of it, getting the story and structuring it. Not the tweaking of lines.

It's my job to write the best book I can each month and hand my scripts in. Everything else is beyond my control.