'Fargo' becomes a metaphor for a type of true crime case where truth is stranger than fiction. So, there's no reason that there isn't another 10-hour true crime story that could be told in this region.

'Fargo' is a tragedy with a happy ending. So you need to have that tragic underpinning, that all of this could be avoidable, and that's what makes it tragic. It's about the use of violence, and the fact that the tension in anticipation of violence and the tension in anticipation of a laugh are sort of the same.

There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.

The most dangerous thing, when you have a serious mental illness, is convincing yourself that you don't have it. And you see it all the time. People get on medication, and they feel better, and they stop taking it. And some flirt with unreality on some levels. But it feels so convincing to them that it feels real.

The thing that scares us the most is when familiar things operate in unfamiliar ways.

Half of a broadcast show, in my experience, is things happening, and the other half is people talking about how they feel about the things that happened. And so there's this sense of everyone saying their subtext out loud.

I think that we're pattern-seeking animals, and what we like best is a story where everything fits together, where there's no puzzle pieces left over.

One of the things that I've always appreciated about the 'X-Men' style of storytelling versus other Marvel stories is how fluid the line between good and bad and right and wrong is.

The idea was always going to be that each year is a stand-alone story, which did make it easier on some level. It also requires the network to have the creative imagination to say, 'This is also 'Fargo,' you know what I mean?

I would have loved to have been in the room with the ABC executives when they watched David Lynch's 'Mulholland Drive' TV pilot. You know that had to be a long silence after that thing stopped.

For some reason, I tend to take on the stuff that people are really passionate about. If you make a list of people you don't want to offend, it's Vonnegut readers, comic book fans, and Coen brothers enthusiasts.

It's a human desire to be scared. On some level, that's how we survived - that sense of fear and danger. Our lives are much safer, so we gravitate to those stories that makes us feel those things and learn lessons, even if it's just, 'What are you doing? Don't go in the basement!'

The thing with making your art your business is: It's a business. You can't sit around waiting for the muse, especially when you run a show, and you're in production, and an outline is due, a script is due, and a reshoot is due. No. You look at the calendar, and you go, 'OK. I can write from 4 to 6.' So you write.

Anytime you want to create something different, you have to convince people that it's O.K. 'We'll be O.K. It's going to work out. It's going to be great.'

The danger of writing a so-called thriller is that in your last 100 pages, all of these really interesting characters you've created are just running away from something or toward something, but they're no longer capable of innovation or discovery.

There's a degree to which music bypasses our rational brain and accesses our emotional core in a way that's really visceral and allows you to make a strong impression on people without necessary delivering information.

The 'X-Men' stories are the stories of outsiders: people who don't fit into normal society and are ostracised; it's a metaphor for gender, race, or sexual orientation.

It used to be for writers that that six seasons and a movie thing, that's the holy grail as writers - your series goes eight, 10 seasons, you're set for life.

Greatness and fiasco is the same. You're reaching for something just out of your grasp, and if you get it, it's great, and if you don't, it's a disaster.

There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.

The prospect of being a father made me ask myself a question. How do you know what kind of adult your child will turn out to be? And how much can you control that?

You need a good James Clavell novel, I think, to make a good miniseries.

Experimental film by the '70s had become much more mainstream after 'Bonnie and Clyde' and stuff in the late '60s, when you were seeing bigger movies where people were exploring the medium a lot more.

One of the things I've always loved about genre, comic books, science fiction and fantasy is that there's a certain level of playfulness to them, and pure imagination and creativity.

There's a sense you get from the Coens' work, like 'No Country for Old Men,' where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.

The anthology format is completely normal to me. That's just how TV works in my experience.

Writing is this odd act, right? To sit and type, or write by hand, or whatever people do. And it requires a real discipline because it is really a sheer act of will that you're creating something, and you're doing it by yourself.

I think the age of the modern media campaign has created a new icon, the celebrity-in-chief. Political elections have become wars fought by candidates with opposing values.

Everyone always says that conflict is drama, and I agree, but I also don't think you need drama everywhere. Or conflict everywhere.

When I sold my first book, 'A Conspiracy of Tall Men,' it was part of a two-book deal. It wasn't hugely lucrative, but it was enough money for me to quit the paralegal job I had in San Francisco.

I think a writer's first job is to entertain, even in novels: to tell a compelling story that pulls the reader along toward an end. At the same time, the best stories are character-driven.

I love the idea that the editing room is the final time you write. You should still be creatively solving problems even at that point. It's not really until you're locked that you can call it quits.

America is a huge country, filled with great tracts of open land. If you're not careful, you can get lost in it - lost emotionally, mentally, spiritually.

As for my schedule, I tend to go to bed at the same time every night and get up at the same time every morning, and I try to be as productive as possible. Some days, I can devote to one specific thing. Other days, it's a catch-all day.

The '50s and the '70s are sort of similar in that they're both times of major paranoia in America.

I always feel like you can take a genre that has a familiar structure to it and then reinvent it as a character piece. Suddenly, what's old is new again. With 'Fargo,' I adapted a movie without any of the characters or the story. Yet somehow it feels like 'Fargo.'

A book is full of ideas. You just live with what you read for so much longer. A lot of the times, nowadays, with a movie or TV show, it's like, 'Oh, it's entertainment!' And you never think about it again.

I pitched the idea to FX that there's this larger 'Fargo' universe where there's true crime in the upper Midwest, and I can tell stories from any era of that. Maybe they connect to the first season or the movie, or maybe they don't. It's just a style of storytelling. We're under the auspices of being a true story that isn't true.

I think this idea of fighting the enemy within is sort of more interesting than fighting an external enemy.

I've always been really attracted to playing with structure. To take the story of 'Fargo' and break it up in such a way that's it's not linear, per se.

There's the craft of acting, and then there's a quality. There's a quality that someone has.

'Downton Abbey' didn't have the impact it had just because it was a good story about people. It was something about that period and that world that was fascinating to people on a level that wasn't just as an entertainment.

I think people used to read 'War and Peace,' and now they don't; now they sit around with their tablets and watch 'Downton Abbey' and 'Breaking Bad' or whatever, and they want the things that they watch to be better so that they can feel better about themselves for watching it.

When I took on 'Fargo,' I thought, 'Well, this is just a terrible idea. Four people will watch it, and they'll hate-watch.' But that allowed me to just go for it and take the risks.

When you're a writer on a show, your job is to write in the show runner's voice, really.

My feeling is there's a lot of straight drama on television. My goal in life is to try to create something unexpected, and genre is the tool in doing that.

I guess I still have this motto: 'What else can I get away with?' And unpredictability in film - that's the hardest thing there is.

You've got to give an audience something to root for. The minute you get into more dystopian shows, where everything's really dark, and no one has any hope, and there's no positive goal we're working toward, it's a bummer. You run out of gas with them. Because you need to know, 'What am I in this for? What am I rooting for?'

I don't think we have to suffer personally to make great art. If you're prepared and organized, and you know what you're looking for, you can make great art and then go home.

When Fox asked me if I'd consider taking on The X-Men universe for television, my first thought was, 'What would you do with those stories or that genre that hasn't been done?'