What has happened in most of my books is the call to the extraordinary world, the hero's push, or that push has come to him.

I don't think of the ashram world as being any more spiritual than the corporate world.

What helped me a lot was that I chose an American lead protagonist, because that liberated a lot from my own knowledge. If I had approached it from the perspective of an Indian main character, I think I would have assumed a lot of knowledge and I would have resented the presence of the author.

Here are two dichotomies here. In the West it is a very physical practice, and even meditation is a practice to become productive and more at peace. In the East, you think of the deep spiritual practices as a journey of complete dissolution of the self, the ego.

The first novel that I wrote was because I was having very interesting sorts of experiences, for Indians of my generation.

Almost every yogi that appeared in the book [The Yoga of Max's Discontent] is either somebody I have seen and met and spoken to, or someone who is in my three degrees of separation - I know the source who talks to me about it so well that I believe his story.

In the year that I take off, I don't have any goals. I just surrender to experiences like traveling or learning yoga and meditation or just living in a completely random place like Mongolia or Portugal or Bhutan. Then when I come back, I am much more intuitive, creative, right-brained. That kind of system has been working very well for me.