“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.”

I love writing for the screen.

The impetus behind going to graduate school was a year after graduating from college spent in Dallas working at the dog food factory and Bank America and not having met success in my chosen field, which at that point was being an actress.

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.

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.

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.

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

And all writing is creating or spinning dreams for other people so they won’t have to bother doing it themselves.

It was kind of enlightening to become a playwright.

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.

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

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

There are probably brilliant people, geniuses, alive today who don’t even know how to say, “Hello, how do you do?” because their minds are absorbed with electronic images.

But when I got to SMU and decided to take a playwriting class, I said this isn’t a bad idea. IfI write characters, they could be as dumb as me, and I don’t have to be very smart.

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.

That was always my inclination, to start on a new play before the other one gets done, because at least you’ll have something to go back to if that play gets trashed.

Slamming the book shut produces a wind on the face, a weather that is copyrighted by the author, and this wind may not be deployed without permission, nor may the pages be turned without express written permission.

I have very mixed feelings about it. On one hand, I’m concerned that the rampant downloading of my copyright-protected material over the Internet is severely eating into my album sales and having a decidedly adverse effect on my career.

Without high functioning legal systems and a well regulated business environment there would have been no copyright protection for Mickey Mouse.