When I was younger, I used to be very impatient with anyone who wasn't doing overtly political work. I've since come to feel that some writers have an appetite or a need for the political, for political discourse, for historical political subjects.

As a playwright, you are a torturer of actors and of the audience as well. You inflict things on people.

You have a good heart and you think the good thing is to be guilty and kind but it's not always kind to be gentle and soft, there's a genuine violence softness and kindness visit on people. Sometimes self-interested is the most generous thing you can be.

You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.

Plays can outlast even the opinions of the chief film critic of The New York Times and that reviews, although they feel devastating in the immediate moment, are not remotely as significant as the significance you endow them with on the day that they appear.

Here's another piece of advice, only date people who have read a different set of books than you have read, it will save you lots of time in the library.

The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.