I guess we all feel like underdogs. I remember being a freshman at Brown University and not knowing what a WASP was. We were reading an Edward Albee play, and - it was just a moment of accepting, certainly that I wasn't very worldly, but also that a lot of the plays that I'd been reading, let's say other kinds of family plays, were speaking a foreign language.

Everyone's taste is different. But I think the best way to defend against regrets after opening night is to try your best to tell the story you want to tell. In terms of smaller changes over time, I think good plays are like poems. Every syllable counts.

I'm still learning so much with every play I write. So I wrestle with word choice, rhythm in final drafts. I think you have to be ruthless.

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.

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.

Priests are very interested in theater in New York! It's this lovely reminder that priests are just people, too, who need to be entertained.

I'm always very self-conscious and assume the way faith or religion might come up in my plays will seem very harsh to people of faith, or who are currently practicing.