My general approach to writing fiction is that you try to have as few conceptual notions as possible and you just respond to the energy that the story is making rather than having a big over plan. I think if you have a big over plan, the danger is that you might just take your plan and then you bore everybody. I always joke that it’s like going on a date with index cards. You know, at 7:30 p.m. I should ask about her mother. You keep all the control to yourself but you are kind of insulting to the other person.
In this book, [Lincoln in the Bardo] the only thing I knew at the beginning was that Lincoln had to come and hold Willie’s body and then he had to stop doing that. And that it had to happen in one night. Then the whole thing became more about orchestrating the motion through the graveyard, and the motion through the graveyard would tell me who could talk and who you encountered. Something like that. (from here) George Saunders interviewed by Kate Harloe in The Rumpus Interview , Feb 20, 2017