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.

Musical beds is the faculty sport around here.

Some writers' view of things depends upon the success of the final result. I'd rather stand or fall on my own concepts. But there is a fine line to be drawn between pointing up something or distorting it.

Usually, the way I write is to sit down at a typewriter after that year or so of what passes for thinking, and I write a first draft quite rapidly. Read it over. Make a few pencil corrections, where I think I've got the rhythms wrong in the speeches, for example, and then retype the whole thing. And in the retyping I discover that maybe one or two more speeches will come in. One or two more things will happen, but not much.

If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.

Art has an obligation to offend

If you intellectualize and examine the creative process too carefully it can evaporate and vanish. It's not only terribly difficult to talk about, it's also dangerous.