I think that everybody who writes believes that their work has some kind of use-value, for someone, that there's some need for it, some person or group of people out there has demanded that these words come into being. I think that you do the work for these people. You hope that you can make a living at it. Whatever your ambitions and needs are in that regard, your only real requirement is to try and dig as deeply as you can dig to make sense of the meaning of human existence.

There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.

I make my living now as a screenwriter! Which I’m surprised and horrified to find myself saying, but I don’t think I can support myself as a playwright at this point. I don’t think anybody does.

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.

We can't just stop. We're not rocks-progress, migration, motion is... modernity. It's ANIMATE, it's what living things do. We desire. Even if all we desire is stillness, it's still desire for.

Gay writers now have both a sense of history and the fables that allows them to dwell in the realms of the ridiculous and at the same time talk seriously about things.