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.

But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.

The next thing I wrote was in a writing class at night school. It was about a poor woman who worked at a dime store and who was all alone for Christmas in Laurel, Mississippi.

Plays are so much more special if they've never ever had a production, but I think you can really work on a play and make it better with each production.

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

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