I suppose every time [something bad happens], I have that instinct to make that joke that distracts.

I'm a huge fan of basically anything written about complicated, contradictory women. I'm drawn to them really quickly.

I just love any kind of language that can change the energy in a room. There are no limits for me, as long as it feels like it's being used in a particular way to garner or elicit a very particular reaction, so that you can then use that reaction later for something else. But when it's gratuitous language or physical exposure, then I get a bit like, "Oh! Put it away!"

I know actors who say acting is acting, but I love the live-ness of an audience. I love feeling the energy of a room and allowing them to sort of teach you how to do it better.

The characters I didn't have actors in mind for, that was the scary moment. Because in any production, until you find the right person, you're constantly judging your writing or what it is that isn't working here or not clicking here, because you have amazing actors coming to read for it, and if something's not clicking, it can't be them because they're amazing actors. You're sort of completely doubting yourself.

I think a lot of time, I'm just writing my worst fears, of the idea of losing my mom or my best friend or doing something so terrible to somebody that's kind of deemed unforgivable, or having a really broken family.

I'm constantly on the brink of tears in conversation about things that happen to people.