"AVC: What would you say are the hardest episodes to write?
MS: Sometimes they're the ones where we start with a point and then we try to shoehorn a story around a point, and it doesn't come out of the story organically. Those just kill us. Or when we try to put two ideas into one episode. You'd be surprised—"Oh, it's about this." "Oh, wait, what's it really about?" "It's about that and that." "Okay, it needs to be about one thing."
We've learned that the hard way over the years. I don't know about the easiest, but the best episodes come from "This is a great story with actual emotion in it." And then all of the sudden, when you have a real good story with a real emotional centre to it, it actually makes its point. And the point may be what you started out wanting to make, or different, but it will make sense, and it'll be cool. Whereas the ones where we go, "Oh, we want to do a show that rips on this." "How do we do that?" "Okay, how about Kyle gets a letter—" And you just start talking—they always suck that way. They're so hard. We don't make that mistake as much any more, but we do every once in a while."