My fault now is making my plays too short.

I'm very into the first production of the show.

It's called Sisters of the Winter Madrigal. It was interesting for me to see it done after so many years; because I wrote it and I didn't realize what a rage I was in.

In movement class, you had to lie on the floor and get your alignment in to pass the class.

I was just restless with being in school; so I went out to Los Angeles.

I tried to start a theatre in LA and failed miserably, but I was probably not meant to raise money.

I love writing for the screen.

I just loved being divorced from my own wretchedness.

Part of that is that New York has proved to be too much fun for me to live and work; I love New York so much.

My first few plays took place in the South and even The Lucky Spot was in the thirties but in Louisiana.

I grew up in Jackson, Mississippi, really in suburbia, so my mother was in community theatre plays.

The most glorious thing about working in the collaborative art is when you have somebody like Susan Kingsley or Kathy Bates who are better than your play.

It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.

You can't just go in there and open your mouth until the cast and director feel comfortable with you.

What I loved about the acting class was that you got to think all day long about a person that wasn't you, and figure out why they were sad and what they wanted, what they dreamed.