In a way, a lot of my work is in the re-writing once it is cast, as I adapt to the rhythms of how the roles are played out by the actors.

I would have started writing a lot earlier if I hadn't been [Arthur Miller's daughter].

I was trained to look at colour, edges, to see negative space. I honestly think my greatest influence as a writer is from Cubism - the idea of a multi-faceted, multi-perspective way of looking at things.

I had a lot of great lakes of ignorance that I was up against, I would write what I knew in almost like islands that were rising up out of the oceans. Then I would take time off and read, sometimes for months, then I would write more of what I knew, and saw what I could see, as much as the story as I could see. And then at a certain point I had to write out what I thought was the plot because it was so hard to keep it all together in my head. And then I started to write in a more linear way.

Writing is still a bit of a miracle - the whole process: I see the world, filter the world, write down abstract squiggles on a page which somebody is then able to connect with. I'm still amazed by it and think I always will be.

Nobody is so weird others can't identify with them.

As if there's a world that exists that you're semi-privy to yet can't quite penetrate - that's how it feels when you're starting a book.