But the problem with coaching is that it is a full-time job. By that I mean for at least 40 weeks in a year you have to be with the player, either travelling or training. Right now I don't want to do that.
In the book, I write about children in first grade who were taught to read by reading want ads. They learned to write by writing job applications. Imagine what would happen if anyone tried to do that to children in a predominantly white suburban school.
What I tell these young people is, the world is not as dangerous as the older generation would like you to believe. Anyone I know who has ever taken a risk and lost a job has ended up getting a better one two years later.
The game has a cleanness. If you do a good job, the numbers say so. You don't have to ask anyone or play politics. You don't have to wait for the reviews.
It's true that the more you put in the more you get out and that has to be there I think, If you aren't really hooked on your instrument this job would be a hell on earth but if you are, it's the best.
My experience with the Junior League, when I worked in Philadelphia for four years in reference to children's things, is that whenever they were asked they responded. They always responded with sincerity, and they did a good job.
The biggest hurdle to writing Fargo Rock City was that I couldn't afford a home computer - I had to get a new job so I could buy a computer. It could all change though. In five years, I could be back at some daily newspaper, which wouldn't be so bad.
In Fargo, they say, well, that's a job. How well do you get paid? For example, for this book I was written about in Entertainment Weekly, and it was kind of cool because my mom asked me if Entertainment Weekly was a magazine or a newspaper.
