I'm very interested in silence. And, more importantly, in what happens when people aren't talking on stage. I'm interested in letting actors play and do things between the lines. And in slowing everything down.

I think growing up in a small town, the kind of people I met in my small town, they still haunt me. I find myself writing about them over and over again.

There are certain early plays of mine that I really don't like, but I can't imagine going back and fixing them. I would be totally incapable of it. I'm not in the head of the characters anymore.

I'm terrible at speaking extemporaneously about my work - I get completely tongue-tied and consumed with fear.

Yeah, I have the detail-obsessed, controlling personality of a novelist, but I somehow ended up writing plays.

I was raised by a single psychologist mother and we spent every evening sitting at the kitchen table and dissecting our emotions and speculating about the inner life of everyone we knew.

If anything, I was the opposite of most college students who think they can do anything.

I was a very self-righteous 15-25 year old. Anyway, I wake up every morning and thank God I'm not a kid anymore.

If I were less lazy, when my play was published, I would go and rewrite everything for the reader. But I don't do that. What people are reading is just me trying to get the actors and directors to do something or think about something.

I never had a lot of ideas. I always have exactly one that is the next project the idea of a project beyond that project is ludicrous.

I don't enjoy hearing the sound of my voice. The most important things for me are impossible to articulate extemporaneously.

I was 22 and stopped writing plays, and I didn't start again until I was 25. I was writing badly. In college, I attempted to write these more conventional plays, but the theater I loved was downtown experimental theater. I didn't feel like I could do that either. It didn't occur to me to do my own thing.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

Being sad and going out on terrible dates and having horrible breakups and then having a shitty job and then quitting the shitty job and then wondering if you shouldn't have quit the shitty job and then getting a new shitty job that you get fired off of after six weeks, it's all so good for your writing.

For me, being a good creative writing teacher is actually kind of being a good therapist. The line is very porous - you can also be a creepy guru/abusive therapist, too, so you have to be very careful. But it feels really important to me.

I ended up becoming a playwright because you can be grammatically incorrect: people speaking in bad poetry or people attempting to speak well and sometimes succeeding and sometimes failing. The whole imperfection of it suddenly felt freeing to me.