You can see a whole book as a series of creating an expectation and then delivering a skew on that expectation so it's not totally satisfied.

As the writer of this book [Lincoln in the Bardo], what I loved was the feeling of having so many surprises come at the end that I hadn't really planned or planted.

Nothing will turn you into a Civil War buff like five years of reading. Some of the letters that people wrote from that time are so deep and so beautifully articulate. And you realize, especially with the stuff that's going on now in America, that it's always been chaos - people were disagreeing at least as much as they are now and 20,000 people would die in a day. It's the scale that's amazing, and also the proximity to our own time.

Now, we don't really believe these things - intellectually we know better - but we believe them viscerally, and live by them, and they cause us to prioritize our own needs over the needs of others, even though what we really want, in our hearts, is to be less selfish, more aware of what's actually happening in the present moment, more open, and more loving.

The switch that I'd like to throw on is the one that says, "Look, you're a human being whose mind is every bit as active as anybody else's. Your experiences are just as real." For that matter, even if they're even if they're crazy, they're valid. They occurred in this world so they're valid topics for literature.

I read Rand and thought, "I want to be one of the earth movers, the scientific people who power the world. I don't want to be one of these lisping liberal artsy leeches." So I was working against my actual abilities.

I came to writing kind of late. I was an engineer, and the one thing I've learned is that you have to steer a project in the direction of the maximum fun for you. You could say lively energy, or you have to try to be intrigued. Basically, if you were a musician and you were playing joylessly, nobody would want to hear you.