You know that feeling when a joke hits just right? It’s that sharp, slightly mean, but somehow incredibly cozy humor that defines Only Murders in the Building. Most people give all the credit to the "Three Amigos"—Steve Martin, Martin Short, and Selena Gomez. They deserve it, sure. Their chemistry is a once-in-a-generation lightning strike. But the real magic? It’s happening in a room full of people you’ve probably never heard of. The Only Murders in the Building writers are the ones actually building the puzzle boxes that we spend ten weeks every year trying to solve.
Writing a mystery is hard. Writing a comedy is also hard. Doing both at the same time while making sure the stakes feel real is basically a tightrope walk over a pit of hungry alligators.
The Masterminds: John Hoffman and Steve Martin
It all started with an idea Steve Martin had years ago. He wanted to do a show about three old men who lived in a building and realized they were all too tired to go outside, so they just solved murders in the hallway. Eventually, that evolved. John Hoffman, the showrunner, became the glue. If you look at Hoffman's track record—he worked on Grace and Frankie and Looking—you can see where the heart comes from. He isn't just interested in the "who-dun-it." He’s interested in the "why-do-we-care."
Hoffman and Martin set the tone early on. They wanted a show that felt like a New Yorker cartoon come to life. It’s sophisticated but silly. The Only Murders in the Building writers room is a mix of seasoned veterans and fresh voices, which is why the show can pivot from a silent episode like "The Boy from 6B" to a full-blown Broadway musical season without breaking a sweat.
Honestly, it's the structure that kills me. Most shows get lazy by Season 4. They start repeating beats. But this team? They treat the Arconia like a living, breathing character. They map out the secrets of the building years in advance.
How the Only Murders in the Building writers Craft a Mystery
You can't just wing a murder mystery. If the audience feels cheated, they’ll stop watching. The writers use a "Double Mystery" technique. There’s the central murder—the corpse on the floor—and then there’s the emotional mystery of the lead trio. Why is Oliver so desperate for a hit? Why is Mabel hiding her past? Why is Charles so terrified of being alone?
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- The Red Herring Rule: Every episode needs to provide one genuine clue and two distractions.
- The Emotional Anchor: A death has to matter. Even if the victim is a jerk (looking at you, Bunny Folger), the writers spend time showing the ripple effects of their absence.
- The Meta-Commentary: Since the characters are podcasters, the writers can literally comment on how tropes work while they are using them. It’s brilliant.
They don't just sit around and talk about plot points. They talk about the characters' specific anxieties. During the writing of Season 3, the team had to figure out how to integrate Meryl Streep and Paul Rudd without overshadowing the core trio. It’s a delicate balance. You have these massive stars, but the show is still about three lonely people who found a family in an elevator.
The Diverse Voices in the Room
One thing that often gets overlooked is how many different backgrounds are represented in the writers' room. You have people like Kirker Butler, who brings a traditional sitcom sensibility, and Madeleine George, a playwright who understands the theatricality of the Upper West Side.
Ben Philippe is another name you should know. He’s a novelist and screenwriter who brings a younger, sharper edge to Mabel’s dialogue. This prevents the show from feeling like "old people yelling at clouds." When Mabel calls out Charles or Oliver for being out of touch, it feels authentic because there are writers in the room who actually inhabit that world.
The Only Murders in the Building writers also rely heavily on "The Vibe." That’s not a technical term, but it’s how John Hoffman describes the show's aesthetic. It’s autumnal. It’s coats and scarves and expensive wallpaper. The writing has to match that. It has to feel lush.
The Challenge of the "Cozy Mystery"
We live in an era of "True Crime" obsession. People spend hours on Reddit dissecting real-life tragedies. The writers know this. They aren't just writing a show; they are writing a response to our cultural obsession with death as entertainment.
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In Season 4, the show moved to Los Angeles briefly, and the writers used that to poke fun at the "Hollywood-ization" of life. It was a risky move. Fans love the Arconia. Taking them out of the building could have backfired. But the writing stayed grounded in the characters. That’s the secret sauce. You can put Charles, Oliver, and Mabel in a space station, and as long as they are bickering about dip or old theater stories, it’s going to work.
Real Examples of Writing Shifts
Look at the difference between the seasons.
Season 1 was about loneliness.
Season 2 was about fathers and legacy.
Season 3 was about the masks we wear on stage.
Season 4 tackles the idea of "The Double" and the people behind the scenes.
The writers aren't just changing the victim; they are changing the theme. This keeps the show from becoming a "procedural" like Law & Order. It’s a serialized character study that just happens to have a high body count.
What Most People Get Wrong About TV Writing
People think the actors make up those quips on the fly. Martin Short is a genius of improvisation, but most of those devastating one-liners are polished for weeks by the Only Murders in the Building writers. They spend hours debating if a joke is "too Oliver" or if Mabel would actually use a certain slang word.
It’s a grueling process. They start with a "Blue Sky" phase where anything is possible. Then they "break" the episodes, which means mapping out every scene on a whiteboard. By the time the script reaches the actors, it’s a Swiss watch of comedy and suspense.
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There's a reason the show has dozens of Emmy nominations. It’s not just the star power. It’s the craft.
Actionable Takeaways for Aspiring Writers
If you're looking at the success of this show and wondering how to replicate it, here are the real lessons from the Arconia's inner circle:
- Character First, Plot Second. If we don't care about the people, the mystery doesn't matter. Make your characters flawed and specific.
- Theme is Your North Star. Every season of Only Murders has a clear emotional theme. Find yours and stick to it.
- Embrace the Meta. Don't be afraid to acknowledge the genre you're writing in. It builds a bridge with the audience.
- Vary Your Tone. Life is funny and sad at the same time. Your writing should be too.
- Location Matters. Treat your setting like a character. Give it history, secrets, and a unique "sound."
The writers of this show have proven that "Cozy Mystery" doesn't have to mean "Simple." It can be complex, daring, and deeply moving. They've turned a simple premise into a masterclass in modern storytelling.
To truly appreciate what they do, watch an episode a second time. Ignore the plot. Just listen to the rhythm of the dialogue. Notice how they plant a clue in the background of a joke. Pay attention to how a character's silence says more than a three-page monologue. That is the work of a world-class writing team at the top of their game. They aren't just writing a TV show; they’re building a puzzle that we’re all lucky enough to help solve.