"…what I’ve learned about it throughout the years is that it’s my way of giving voice to the often voiceless; I write mostly about the sort of people on the opposite end of flush, and so when I hear them speak in this kinda jagged form of poetry, it moves me in a way I can’t even really describe. Technically speaking, some actors sing it beautifully, others can’t wrap their minds around it."

“…I like the word impressionistic more than experimental for some reason. I think experimental, I think of abstract language met with geometric stage gestures, while my writing tends to be worlds and people that we know and recognize, but the rules have changed on them. And on us, the audience, but the struggle is that I want the audiences to not spend time trying to figure out the rules, rather to accept them and see what it means to them as the world unfolds.”

“…The reason I write the plays is to open up some sort of dialogue or just to have this in the conversation. I mean what I would love is to have the guy—the Republican who thinks that the only issue is keeping brown people away—he is my ideal audience. That's who I would love to have in the audience. So I get a little bit tripped up because, on one hand, I want plays that my family can go to. You don't have to be an artistic person. You can go in and actually get something from it.”

“…With theatre, I’m attracted to stories of social or political relevance to the world we all live together in… With film or TV, I approach them much more as an audience member—stories I’d like to see…”