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.

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.

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 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.

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