All horses are different - sometimes they have a long neck - so you don't ride the same way on every horse. It depends on their body, and your body, but the object is to get down low so you're aerodynamic, so you call pull from the horse through the head. The best jockeys do that really well, and know how much to push.
I wanted to be a broadcaster, sportscaster, or gameshow host from a very early age. I did my first broadcasting when I was 10 or 11 - into a tape recorder for my brother's football game, and for local events. A local radio station was experimenting with high school disc jockeys for rock and roll shifts - I applied - and got the job.
Cheese runners shouted at it, tried to grab it, and flailed at it with sticks, but the piratical cheese scythed onward, reaching the bottom just ahead of the terrible carnage of men and cheeses as they piled up. Then it rolled back to the top and sat there demurely while still gently vibrating. At the bottom of the slope, fights were breaking out among the cheese jockeys who were still capable of punching somebody, and since everybody was watching that, Tiffany took the opportunity to snatch up Horace and shove him in her bag. After all, he was hers. Well, that was to say she had made him, although something odd must have gone into the mix since Horace was the only cheese that would eat mice and, if you didn't nail him down, other cheeses as well.
He liked to start sentences with okay, so. It was a habit he had picked up from the engineers. He thought it made him sound smarter, thought it made him sound like them, those code jockeys, standing by the coffee machine, talking faster than he could think, talking not so much in sentences as in data structures, dense clumps of logic with the occasional inside joke. He liked to stand near them, pretending to stir sugar into his coffee, listening in on them as if they were speaking a different language. A language of knowing something, a language of being an expert at something. A language of being something more than an hourly unit.
In my younger days dodging the draft, I somehow wound up in the Marine Corps. There's a myth that Marine training turns baby-faced recruits into bloodthirsty killers. Trust me, the Marine Corps is not that efficient. What it does teach, however, is a lot more useful. The Marine Corps teaches you how to be miserable. This is invaluable for an artist. Marines love to be miserable. Marines derive a perverse satisfaction in having colder chow, crappier equipment, and higher casualty rates than any outfit of dogfaces, swab jockeys, or flyboys, all of whom they despise. Why? Because these candy-asses don't know how to be miserable. The artist committing himself to his calling has volunteered for hell, whether he knows it or not. He will be dining for the duration on a diet of isolation, rejection, self-doubt, despair, ridicule, contempt, and humiliation. The artist must be like that Marine. He has to know how to be miserable. He has to love being miserable. He has to take pride in being more miserable than any soldier or swabbie or jet jockey. Because this is war, baby. And war is hell." Page 68