I remember lying on my bed in a hundred hotel rooms, thinking about sleep but also seeing foot shadows walk back and forth past my door—the lights in the hallways are always on. And then, right when I start to get drowsy and the membranes between possibilities become more permeable, I wonder if I’m going to be sleeping alone here tonight, or if I’m going to wake with someone standing over me, which makes me wonder how they would get in in the first place. So, I think through all the ways a person with ill intent could scam their way through my door.

Jaws and The Godfather are the two classic examples of works that became stronger as they hit the screen, from their literary sources; I would say the same of the Michael Mann version of Last of the Mohicans. What I would mostly say to “fans of the book,” in any case, is that the new medium has its own challenges and that much that changes in the process of adaptation is actually stuff that must change in the course of adaptation. The biggest problem is, I think, adapting anything that is driven by an internal monologue.

When I’m writing a character, good or bad, I basically put myself in their headspace: what would this character do and allow? What are their boundaries? And then I write as if I’m them. Any moral compass that might be mine is turned off; it’s about getting the truth of the character on the page, whether they’re likable or not. It’s about not flinching at anything they do, because you need to transmit to the reader that “yes, this person absolutely would do this” if you want them to believe your story and follow you along. My main aim is to make all my characters relatable in some way.

Grief is often very lonely, and I really leaned into that as hard as I could. I think most people have had the experience of mourning something that was “too small” to mourn, or grieved for something “too hard” or “the wrong way,” and that can be really alienating. So, uh, I made some characters who were grieving people everyone else said didn’t even exist.