For the kind of places I've written for and the kind of writing that I've done, the general way to think about your audience is to think about somebody who's like yourself, but in a completely different discipline.

I do worry a lot about the time it takes for people to get a PhD, about the difficulty of finding employment, about the difficulty of getting tenure, and generally about the perception that undergraduates have, that this is a very high-risk career to get started.

It's difficult to get a job and people stay in school longer because they're employed as teaching assistants or instructors by their schools, by their schools where they're graduate students, and that does become exploitative eventually because they're very cheap labor and there's a way in which in it's not in the institution's interest to give them a degree if they can continue to employ them, I don't think anybody thinks that way, but effectively that's the way the system is starting to work.

Writers are not mere copyists of language; they are polishers, embellishers, perfecters. They spend hours getting the timing right so that what they write sounds completely unrehearsed.

You want diversity in any intellectual organization. I mean, that's how good ideas arise.

Sometimes people won't even finish a piece that you wrote, because they've already decided what it is that you want to say, and generally I, whatever I say in the first half of the piece, you should not assume I'm going to end up with, but they don't finish reading them. So, and people read fast and stuff.

Diminished circumstances had no effect on his sense of what was honorable: after The Spectator sent him a check for a piece it had accepted but was unable to run for a lack of space, he refused to write for the magazine again.