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The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

The play is one of the very few pieces of great dramatic and comic writing that I have read in a long, long time. I was drawn to it because of the power of the writing, which gives me the actor a chance to explore many facets of myself.

A lot of banging in the head has built up over the decades, and for my own sanity, I needed to write. I wanted to see if I could tell an honest, organic story about characters that interest me.

Whether I'm writing a novel about a guy mourning the death of his father or whether I'm writing a show about people killing each other, you want to hear characters speak and be funny and witty.

I'm not one of these 'the characters write themselves; the story just fell out of me' kind of writers. Wish it was like that.

As long as it comes across, the characters are well-served, the stories are good, and people like it, that's it for me. I'm a happy guy.

Kellie Overbey gave me this play called 'Girl Talk.' I read it and totally fell in love with the characters. I told her she had to let me direct it and put Marcia DeBonis in it.

My writing is sort of 'Sidney Sheldon meets Anne Tyler.'

One of the things I love about writing is the way you can use what you know and what you've experienced, without actually writing about yourself. I've given many of my experiences and perceptions to many of the characters in the book, but none of them is me.