As a reader and a writer, I approach unconventional structures with extreme caution, and perhaps a bit of prejudice. A formal conceit really needs to be earned, and I often find that quirky structures are there partially to distract from a story’s other deficits. But then I’ll find an amazing story that really could not be told any other way, and I’ll happily ditch my bias. My Clarion classmate, Carmen Maria Machado, used a similarly unconventional structure for her brilliant story “Inventory,” published in Strange Horizons, and it reminded me that you can use that kind of format to highlight what’s structured out of the story—in the case of “57 Reasons,” the way the narrator’s selfish and single-minded pursuit of revenge blinds him to the reality of the situation, and his own guilt and responsibility.

So often in life, there are no explanations. We encounter people every day and have no idea of their background or where they’re headed or why. Things can’t always be wrapped up with a neat little bow.

Often I know the genre of a story before I start writing, just as I know whether it will be a short piece or a novel or a play. Often, too, I consider taking stories in any of a number of directions. When I teach writing, I invite students to try writing a story in several genres and see how it morphs when written as a science fiction story, a romance, a crime story. Part of the germination process for “Dhost” was determining which “side of the line” would best serve the story.

We’re at our most vulnerable when we’re sleeping. Any hidden space—an open door into the hall, a closet door standing just ajar—can serve to terrify us. The bed is worse because you’re right over that hidden space, in the eye of the abyss.

I generally find it more difficult to write flash pieces, because the amount of information you have to pack into such a small space is obviously going to be extremely limited. That said, I’m also terrible at writing anything over 7,000 or 8,000 words, which is why my novel-in-progress generally gets to around 10,000 words on any given draft and then dies twitching on the table. This has been going on for five years and counting. Regimes have risen and fallen. Children have been born and learned to walk, dress themselves, and throw horrific tantrums over gadgets that didn’t exist when I started working on the very first draft. Feral cat genealogies across the same timeline run into the tens of millions.

The autopsy report was very tricky, since I needed something that conveyed the relevant information without taking too long to get there (not to mention a reasonable medical cause of death).

After reviewing your bibliography and biography all I can say is . . . Wow! Numerous publication credits in top markets, awards, and inclusion in “Best of” collections; attending grad school, writing both poetry and short fiction, and editing two online publications: Mirror Dance and Lacuna; a penchant for naming pocket-watches (Nemesis and Juggernaut); and a love of critical theory. […]

In “All You Can Do is Breathe,” the long men seem to be siphoning off what makes Stuart a survivor, or maybe his will to live. What do they want it for? The long man represents the way we react to a survivor. We treat survivors as heroes, and exalt them for a while. We […]

I had picked up a copy of Joseph Brodsky’s Less Than One: Selected Essays, and was reading his great piece on St. Petersburg, “A Guide to a Renamed City,” and realized with a kind of shock that I could write something similar (but more like a guidebook entry) about the city of my birth and childhood, Milwaukee. My feelings about Milwaukee are mixed and cloudy, and they veer back and forth between hostility and acceptance. I thought I could pack all kinds of feelings about the city into this story if I did not stick to the literal truth, to physical accuracy, but instead permitted myself to exaggerate and invent, and by those means perhaps to express another, deeper kind of truth.