As soon as baseball becomes a job, as soon as I stop caring, as soon as the smile goes away, I'll hang up my spikes and do something else.

When it’s all said and done, I want to be able to say I got the most out of my potential. I don’t want to look back, however many years from now, and say, ‘I wonder if I would have worked a little harder. I wonder if I would have done this or done that, how things would have turned out.’ I want to, when it’s all said and done, be able to put my head on my pillow and say, ‘I did everything I could do — good or bad.’

I take positives out of negatives all the time.

I’m always looking to improve. And every year I want to do better than the year before.

An excess of development can undermine the most ephemeral but distinctive tool a writer possesses: authorial voice. A writer's voice is as individual and marked as a thumbprint, and is a playwright's truest imprimatur. It is as innate as breathing, and can be as unique as any genetic code. By its very singular nature, it is seldom born in the act of collaboration. True authorial voice always pre-dates the first rehearsal of a text. And it is - and will always be - an author's most distinguishing and valuable feature.

I'm very confident in what I do, but I'd like to think I don't ever show any kind of cockiness or overconfidence.

People only rooted for the underdog in movies, not in middle school.