Acquaintances represent a source of social power, and the more acquaintances you have the more powerful you are.

The 10,000-hours rule says that if you look at any kind of cognitively complex field, from playing chess to being a neurosurgeon, we see this incredibly consistent pattern that you cannot be good at that unless you practice for 10,000 hours, which is roughly ten years, if you think about four hours a day.

I worry that track is going to enter into an impossibly complicated stage, where our understanding of the complexities of human physiology - and our ability to accentuate and exploit them - is going to make the notion of pure competition impossible.

My highest compliment is when someone comes up to me to say, "My 14-year-old daughter, or my 12-year-old son read your book and loved it." I cannot conceive of a greater compliment than that - to write something that as an adult I find satisfying, but also that manages to reach a curious 13- or 14-year-old.

The Rule of 150 says that congregants of a rapidly expanding church, or the members of a social club, or anyone in a group activity banking on the epidemic spread of shared ideals needs to be particularly cognizant of the perils of the bigness. Crossing the 150 line is a small change that can make a big difference.

Arousal leaves us mind-blind.

My point is that the great challenge of an artist is to balance those two things: to be strong enough to have your own personal vision that you will put on the page or the canvas or the screen, no matter what people say, but it requires a radical sensitivity. You have to be completely open to what the world is telling you, to what your audience tells you. And balancing those two things is nearly impossible.