Every play I write is about love and distance. And time. And from that we can get things like history.

Some people think I am an issue-oriented writer, but I've never said to myself, I'm gong to write about such-and-such an issue - that would make for incredibly boring writing, at least to my taste. Creating someone I don't know and her made-up world shows us more about who we are - is actually a better mirror - than if I were to parade in front of you an instantly recognizable person in an instantly recognizable situation. I'm not saying, Let's make it all abstract and weird and difficult and thereby you will know more about yourself. My process is much more organic than that.

I don't consciously start writing a play that involves issues. After it's done, I sit back like everyone else and think about what it means.

Difficulty creates the opportunity for self-reflection and compassion.

I knew that I was learning one of the most important lessons of my life: that instead of waiting for the perfect opportunity, I should work toward a realization that every opportunity is perfect.

The writing of Topdog was a great gift. I feel the play came to me because I realized that my circumstances, while causing me despair and heartbreak, also held great possibility, if only I could see it.

Be bold. Envision yourself living a life that you love. Believe, even if you can only muster your faith for just this moment, believe that the sort of life you wish to live is, at this very moment, just waiting for you to summon it up. And when you wish for it, you begin moving toward it, and it, in turn, begins moving toward you.