As playwrights, as poets, we have to look to ourselves, listen to our guts for the final answers about what changes to make. Everyone has advice about how to end your play differently. And it's not about right or wrong. At the end of the day, it's your baby and you know what's best.

Writing plays for me is often an act of looking at basement-level fears in terms of where they come from.

I know how much respect I have for people of all different faiths, but especially for my family, who are the most important people in my life, and who are still practicing, and deeply religious.

In reality, life was arranged and human relations were complicated so utterly beyond all understanding that when one thought about it one felt uncanny and one's heart sank.

The best work that I am able to do is when I am willing to write about questions I haven't quite figured out, or things I'm really wrestling with, things that keep me up at night.

So much of great American drama has been about a certain kind of dysfunctional family, and maybe my interests are in the kind of strange dysfunction that exists even among deeply functional families.

Suddenly you're at church and you hear someone pray, "For gays and lesbians, that they might realize their [sins]...." That's happening less and less now, but all it takes is one of those when you're nine, ten, eleven, twelve - and it's hard to describe to people who aren't, because of course if you're not gay, an eleven- or twelve-year-old wouldn't even remember that that happened.