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.

Writing is my primary way of expressing myself.

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.

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.

If I think back to every rehearsal process for every play I've ever worked on, there's just so much crying at home. I barely sleep. There are moments of deep despair and anxiety, and then there are moments in rehearsal that are the most exhilarating; feeling seen and seeing everybody. Feeling like you have a purpose on the planet. A huge part of the process I enjoy is watching the actors figuring out what they can handle and what they can take and what they need from the director and me.

For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.

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.