If I can be more efficient, I'm actually being more respectful to the reader, which then implies a greater intimacy with the reader.

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.

I do find the values in A Christmas Carol significant. It is important not to be mean and stingy and not to give up love for money.

I heard Zen teacher one time talking about abortion, and he was saying the way that abortion makes bad karma is any time the person involved pretends that there's not a cost to the choice, one way or the other; whether you get it or don't get it, there's a cost. That's just basic responsibility, to admit that there's a cost. And the bad karma is when you pretend that the thing is free.

Twitter is a deliberate abstention. Somehow I hate the idea of there always being, in the back of my mind, this little voice saying: 'Oh, I should tweet about this.'

My mind goes really quickly and I tend to talk really fast, as you've probably heard, I sometimes lose track of my syntax, as I'm talking that fast. The only thing I try to do, well, it's slow down, but also I do something when I'm reading that's similar to when I'm writing a section, which is to really try to imagine you on the other side, in a certain way, as an intelligent, sympathetic presence who's rooting for me to tell you a good story.

One of the principals of composition, I would say, in fiction, is you want to do what you can do a lot of. You want to do what you're enthusiastic about and what rings your bell. In this case, almost every decision I made was on that basis.