It depends on the project. I’m working on a novel now, which started by taking a weird interest in something and circling around it. I think in the early stages, I like to do a lot of really rough draft brainstorming, trying to generate a lot of words, even though I know they’re not going to be part of the final draft. I find first drafts challenging and, actually, I prefer the revision stage, because it seems so daunting to create something out of nothing.

No. I think when I first started writing songs, I was approaching it more literally or narratively in the beginning, but through observing some of my close friends and some of my heroes write, I pretty quickly shifted into at least starting the process from a more subconscious space, or a more instinctual space. And I’ve really come to believe that it’s all there. It’s all already there, and if you can just kind of open the window and step out of the way, at least at the beginning of the process, with your subconscious mind, you can unearth so much raw material, and then go back and sift through that and shape it.

I don’t know. How do you start a project?

Yeah, I think it’s a combination of all those things, really. I think narrative is significant and important to me. And I think most of the narratives that really struck me were about history or were narratives that I received in ways that were abstract, so they were kind of nonlinear narratives that I pulled from, for example, music. You know, music was a huge inspiration to me growing up, I grew up listening to a lot of reggae music, a lot of dancehall, dub. If you listen to that music, I think one of the things you realize is that those particular artists, those legendary artists who were making that music in the ’70s and ’80s, and even to some degree in the ’60s, were really good at provoking you to go on your own journey with the information that they were giving you in the music. For me, one of the things about artistic practice is not about providing some solution, but instead provoking curiosity about some things that you should find on your own and not be led to.

I love being bad at something and getting better at it.

I had help in the form of my friend and former editor Carrie Frye

You have kids and you’re forced to remember that time actually extends. The world extends, policy extends, stakes extend past your own life.

It used to be dosing people out of my purse at parties. Now it’s leaving the hang at 11 p.m. to get in bed.

It’s a gift to let yourself be changed by a person, and for a person to allow you to change them.

I worked as an editor until I joined the New Yorker , and so I’m an extremely tough self-editor. I also love being edited. I love a hard edit. It’s a privilege to be edited hard.