Sometimes I think the experience of a play is finished for me when I finish writing it. If it weren't for the need to make a living, I don't know whether I'd have the plays produced.

The characters' lives have gone on before the moment you chose to have the action of the play begin. And their lives are going to go on after you have lowered the final curtain on the play, unless you've killed them off.

One must let the play happen to one; one must let the mind loose to respond as it will, to receive impressions, to sense rather than know, to gather rather than immediately understand.

I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.

When I was fifteen I wrote seven hundred pages of an incredibly bad novel - it's a very funny book I still like a lot. Then, when I was nineteen I wrote a couple hundred pages of another novel, which wasn't very good either. I was still determined to be a writer. And since I was a writer, and here I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, I thought I would try writing a play, which seems to have worked out a little better.

All serious art is being destroyed by commerce. Most people don't want art to be disturbing. They want it to be escapist. I don't think art should be escapist. That's a waste of time.

When a play enters my consciousness, is already a fairly well-developed fetus. I don't put down a word until the play seems ready to be written.