I feel like every time I start up, it's like a truck you have to get into 15th gear, so you very solely crank into that mental space where you feel really immersed in the world of the book and then you can just kind of go.

Every dude in your high school wasn't striving to be the best poet because then he'd get all the girls, right? But you could imagine a society in which that were the case.

I mean, first, almost all writers these days teach because they don't make enough money publishing to live on, to support themselves - people like Tobias Wolff, Anne Beattie, Amy Hempel, Stuart Dybek; a lot of short story writers, for one thing.

For me, the process always has to be pretty intense. I could never write just two or three days a week. It had to be every day.

The effects of MFA programs, and the rise of creative writing instruction more generally, are far more diffuse than people think. Even if you're a writer who has avoided institutions your whole life, you're still going to be reading a lot of writers who have MFAs, and are affiliated with universities.

I think that it is very interesting to write about a team because a team is a group of people who work in very close quarters and have very intense relationships so - in my days of playing sports, I was very rarely on a team that did not have it's own peculiar dynamic, and you wind up having very intense feelings for good and for bad about these people with whom you spend many hours a day.

Baseball is a team game but, at the same time, it's a very lonely game: unlike in soccer or basketball, where players roam around, in baseball everyone has their little plot of the field to tend. When the action comes to you, the spotlight is on you but no one can help you.