A priori criteria are pressing playwrights to be conservative, to unify their total experience so that everything is regimented and predictable, consciously or subconsciously. The danger, joy, and mystery of life is under the aesthetic gun. Do playwrights, and theater practitioners in general, repress and thus betray their inner voices, or do they seek out the frenzy of heterotopia, which may be throbbing to be uncovered? Certainly, playwrights do not choose to write; writing chooses them. However, a writer may dig into a vein of mystery, which fringe theaters at least encourage, but even those theaters are not interested if the playwright is not a member of their inner circle. After receiving many of these types of jabs at a play's form and content, a playwright may know how to stop writing. But Utopia is found within Heterotopia, and playwrights must keep searching for it. The playwright must feel deeply and write. (RS)