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.

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.

I feel with writing, so much of the time, I don't know how to tap in and be spontaneous and alive on a daily basis. So I don't write every day. I'm just not disciplined, and I can't be in the groove most of the time. I feel like I'm in the groove ten days a year or something. But with reading and research, I feel like I have this incredibly instinctive pleasure-driven process that ends up working out for me and inspiring me. It's almost like a maze, like I know eventually I'll hit the heart of my play if I read enough books.

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.

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.

I feel like there's an obsession with pace right now in theater, with things being very fast and very witty and very loud, and I think we're all so freaked out about theater keeping audiences interested because everybody's so freaked out about theater becoming irrelevant.

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