Tonight, I've finally learned to tell fantasy from reality. And, knowing the difference, I choose fantasy.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

Well, there's no guarantee of failure in life like happiness in high school.

Tonight, I've finally learned to tell fantasy from reality. And, knowing the difference, I choose fantasy.

I define the American dream as the ability to imagine a way that you want your life to turn out, and have a reasonable hope that you can achieve that.

It's the stories that make my heart beat faster ...those are the ones to write about

I now know that to do a worthwhile family history I must interpret the past without falling into either demonizing or unquestioning acceptance. . . . As a playwright, what I object to right now is any form of fundamentalism, whether it's nationalistic, religious or ethnic. . . . I think it is ridiculous - and fundamentalist, by the way - to say that I am not changed by the culture around me.