Love is the only energy I’ve ever used as a writer. I’ve never written out of anger, although anger has informed love.
With so many young playwrights, the true craft of writing for living voices is not what it used to be. They write for attention spans of 10 minutes between adverts.
Night-time is when I brainstorm; last thing, when the family's asleep and I'm alone, I think about the next day's writing and plan a strategy for my assault on the blank page.
The things that converge in the writing of a play come from a complex of motives, a genesis shrouded in a certain kind of mystery.
How thin and insecure is that little beach of white sand we call consciousness. I've always known that in my writing it is the dark troubled sea of which I know nothing, save its presence, that carried me. I've always felt that creating was a fearless and a timid, a despairing and hopeful, launching out into that unknown.
All of my life had been spent in the shadow of apartheid. And when South Africa went through its extraordinary change in 1994, it was like having spent a lifetime in a boxing ring with an opponent and suddenly finding yourself in that boxing ring with nobody else and realising you've to take the gloves off and get out, and reinvent yourself.
The toughest challenge I faced came right at the beginning of my career with 'Blood Knot,' which was trying to convince South African audiences that South African stories also had a place on the stage.
For you in the West to hear the phrase 'All men are created equal' is to draw a yawn. For us, it's a miracle. We're starting out at rock bottom, man. But South Africa does have soul.