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.

In a way, film and television are in the same sort of traumatic trance that print journalism is. The technology has outpaced our comprehension of its implications.

I find writing very difficult. It's hard and it hurts sometimes, and it's scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities.

If you're gay and you can't hold hands, or you're black and you can't catch a taxi, or you're a woman and you can't go into the park, you are aware there's a menace. That's costly on a psychic level. The world should be striving to make all its members secure.

There are two strains, I think, in American playwriting, of importance. One is traditional narrative realism, which is definitely my strain, and then the other great contribution is American musical theater, which is a whole other kettle of fish.

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 computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.