|“||What I will say is... whether I have been privileged to work for Eric Kripke, Sera Gamble or Jeremy Carver, they all had really specific visions for the show. Visions that I thought took the show in their own way. You know I think if you look at all their tenors on the show, they're all Supernatural but they feel a little bit different and I think coming and sitting in that chair and me being able to dictate things a little bit more I'm able to play up a sort of Supernatural that I really enjoy.||”|
— Andrew Dabb on writing Supernatural 
Andrew Dabb is a co-executive producer and writer for the series Supernatural. He started writing along with Daniel Loflin as a writing team/supervising producer who joined Supernatural in Season 4. In Season 8, Dabb and Loflin began writing episodes separately. Beginning with Season 12, Dabb took over as co-showrunner with Robert Singer, following the departure of Jeremy Carver.
|“||If Season 12 was about children coming to terms with their moms as adults, then Season 13 is very much about Sam and Dean as parents.||”|
— Andrew Dabb 
|“||I get that people may not have been as into that as we were, they're certainly fair, but I do believe that, you know, sometimes you try things and you hope they work and that one... yeah. It didn't necessarily work for everyone, I'm certainly aware of that, but at the same time if you start doing things only you know that people are going to like, and people are like "Oh my God I love it," that limits you storytelling wise. At this point in the show, those stories are easy to do. It's easy to tick three boxes and know on Twitter the fans are going to go crazy for it. It just is. We all know what those three boxes are but I think the question is, if those are only the types of stories you're telling and those are only the type of episodes you're telling, then are you really allowing the show to grow creatively? It becomes a nostalgia cycle. You know what I mean? And we've certainly been on 12 years. We have our share of nostalgia and certainly have gone to that well but if that's all you're going for, that's all you're doing is repeating, then it becomes a real problem and it puts a clock on things. I think we have with the guys and these relationships we have places to go that are really interesting, I don't ever want to get to the point where I'm like, "We're not going to do this because Twitter's not going to like it." I just don't think that's a good way ever to run a story, or run a show, and I also think truth of the matter is, the thing people like the most is that they want it but they didn't know they wanted it.||”|
— Andrew Dabb on the controversial ending of Season 11 
|“||What's bigger than God? The answer is nothing. So after we did that, it was really about new directions that we could take our characters that will give them new things to react to? This opens up a lot of storytelling ideas in that way.||”|
— Andrew Dabb on the alternate universe in Season 13 
- "Yellow Fever" with (with Daniel Loflin)
- "After School Special" with (with Daniel Loflin)
- "Jump the Shark" with (with Daniel Loflin)
- "I Believe the Children Are Our Future" (with Daniel Loflin)
- "Sam, Interrupted" (with Daniel Loflin)
- "Dark Side of the Moon" (with Daniel Loflin)
- "Hammer of the Gods" (with Daniel Loflin)
- "Weekend at Bobby's" (with Daniel Loflin)
- "Family Matters" (with Daniel Loflin)
- "Unforgiven" (with Daniel Loflin)
- "Frontierland" and (Jackson Stewart; teleplay with Daniel Loflin)
- "The Girl Next Door" (with Daniel Loflin)
- "Season Seven, Time for a Wedding!" (with Daniel Loflin)
- "Plucky Pennywhistle's Magic Menagerie" (with Daniel Loflin)
- "There Will Be Blood" (with Daniel Loflin)
- "Form and Void"
- "The Devil is in the Details"
- "Beyond the Mat" (with John Bring)
- "Red Meat" (with Robert Berens)
- "Alpha and Omega"
- "Lost & Found"
- "Wayward Sisters" (with Robert Berens)
- "A Most Holy Man" (with Robert Singer)
- "Let the Good Times Roll"