It takes barely a step inside Jill Soloway’s office on the Paramount lot for one thing to become, well, transparent: The lady likes her sleep. A queen-size bed adorned with three large pillows with vibrant prints takes up most of the room while a blue Post-It proclaiming “Nap. Do not disturb” is tacked near the door for repeated use. “I don’t want to have to rewrite that everyday; I’ve got too much to do,” deadpans Soloway, who’s now in production on season two. Given the bed, a medical article about the clitoris posted nearby and walls full of magazine clippings that serve as photo boards for two episodes she’s directing, her office looks more like the dorm room of a women’s history major than base camp for the mind behind a buzzed-about series that garnered 11 Emmy noms.

“I just like that I have two mugs of women’s breasts,” Soloway says of the Isaac Nichols creations, each a gift from different people. They’re filled with pens because “I always lose pens. I only edit with a red pen and write with a blue pen.”

“I always have a change of clothes. There are drawers under (the bed) where I have underwear, socks, sweat pants. As soon as we finish this, I’m changing,” she says. “There’s a shower in the (nearby) gym if I feel like I need to take a shower. I do the pretend thing of dry shampoo, baby wipes, toothbrush.”

“The curling iron is a very important part of the day,” she says. “My producing partner, Andrea (Sperling), has a flat iron. I feel like that’s why we’re good producing partners. I’m always trying to get my hair curly and bigger. She’s always trying to smooth it out. I feel like that’s a metaphor.”

A pair of thriving plants hang near the window while an orchid’s remains loom over a pile of magazine clippings in a corner. “(I don’t think about it) until somebody comes in to photograph my objects and then I’m like, ‘Dead orchid! What does it stand for?,’” she jokes.