Being a writer is so great because you're literally not dependent on anybody. Whereas, as an actor, you have to audition or wait for somebody else to make a decision about how to use you, with writing, you can do it anywhere, anytime you want. You don't have to ask permission.

I don't understand my feelings. I really don't. I don't understand how I could hate you so much after so much time. How, no matter how much I'd like to not hate you, I hate you even more. It grows.

[Rewriting is] a whole other art form; it's about craftsmanship.

Sides are being divided now. It's very obvious. So if you're on the other side of the fence, you're suddenly anti-American. It's breeding fear of being on the wrong side.

For me, playwriting is and has always been like making a chair. Your concerns are balance, form, timing, lights, space, music. If you don't have these essentials, you might as well be writing a theoretical essay, not a play.

Everyone wants a piece of land. It's the only sure investment. It can never depreciate like a car or a washing machine. Land will double its value in ten years. In less than that. Land is going up every day.

In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.