The beginning [of Lincoln in the Bardo] is strange, and I did a lot of work calibrating that so that a reader with a certain level of patience would get through it and in the nick of time start to figure out what was going on. In a short book, you can do that.

To me, the writer's main job is to just make the story unscroll in such a way that the reader is snared - she's right there, seeing things happen and caring about them. And if you dedicate yourself to this job, the meanings more or less take care of themselves. That's the theory, anyway.

So much of what I am doing in my fiction is just trying to get into interesting places in terms of language or form, places that don't bore me. And this happens via hundreds of quick micro-decisions that are done "to taste," so to speak. So the experience is one of groping toward that interesting place - trying to leap away from anything that seems boring, or about which I don't have strong opinions. Essentially trying to avoid that moment where, devoid of any strong feeling, I start conceptualizing.

It really was something, to see Ram Bahadur Bomjon, apparently living without food or water. Before I went on that trip I'd asked advice on it from a very wise person who I love and revere - basically trying to see if I was somehow disrespecting Buddhism by trying to write about it, and also looking for some grounding on what stance to take ... and my friend said, "Well, why don't you just go and see?" And I hear that in my head all the time now: "Why don't you go and see?"

I've had that situation where I start writing somebody really miserable, and in order to make the story come alive, I have to give them a vote of confidence, make him vulnerable or wounded. But in real life, you often meet people who, in that particular moment, actually shouldn't get a vote of confidence.

He was a father. That's what a father does.Eases the burdens of those he loves. Saves the ones he loves from painful last images that might endure for a lifetime.

I think the trick of being a writer is to basically put your cards out there all the time and be willing to be as in the dark about what happens next as your reader would be at that time. And then you can really surprise yourself. There's that cliche, "No surprise for the writer, no surprise for the reader!"