My road to publishing actually came through a colleague who connected me to my agent, and the faculty at Cornell was very supportive.

Everything necessary to understand my grandfather lies between two stories: the story of the tiger’s wife, and the story of the deathless man. These stories run like secret rivers through all the other stories of his life – of my grandfather’s days in the army; his great love for my grandmother; the years he spent as a surgeon and a tyrant of the University. One, which I learned after his death, is the story of how my grandfather became a man; the other, which he told to me, is of how he became a child again.

Being taken seriously, for a young writer, is a wonderful form of encouragement, but at the same time, I don't think one should ever feel like attempting a kind of artistic endeavor is beyond your scope just because of age or inexperience.

When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.

For me it was a lot harder to come to terms with the death of my grandfather than it was to come to terms with what's happened to the former Yugoslavia.

I like dark subject matter. I'm not sure what that means about me!

What inspires me most to write is the act of traveling.