My husband, Brian Lindstrom, is my biggest supporter. There’s no doing it without him. When I was writing Torch, he believed in me more than I believed in myself. He’s always, always, always been there for me, every time I needed him. He encourages me. He believes in me.

MOVE was very supportive through all of that. My wife had a natural childbirth — MOVE coached us through a lot of that.

There are so many people I’ve loved working with, but you’ve got to get the right person for the project.

I couldn’t have asked for better collaborators on the stage play than John Tiffany (director) and Jack Thorne (writer).

I worked as an editor until I joined the New Yorker , and so I’m an extremely tough self-editor. I also love being edited. I love a hard edit. It’s a privilege to be edited hard.

I actually did write a novel. I worked on it for five years, and then I shelved it because it was bad.

the natural tendency to solidify a narrative that makes you look good

It used to be dosing people out of my purse at parties. Now it’s leaving the hang at 11 p.m. to get in bed.

I wrote while listening to Caribou, Kamasi Washington, Frank Ocean, Mitski. Towards the end, a lot of Talk Talk.

You have kids and you’re forced to remember that time actually extends. The world extends, policy extends, stakes extend past your own life.