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.

I’ve written several stories that are grounded in the academic world, either through plot or narration or setting. The contemporary idea of school is inherently a chaos unto itself, and there’s so much mystery in knowledge, so much potential for the unknown, the arcane, and the incomprehensible to rear their heads in learning, that the academic world lends itself to horror.

This is a dark reply to recent obsession with the worst things creators have done, either in their personal lives or in their public pronouncements. I fear that, given what amounts to omniscience like the bookseller’s unspecified “sources,” damned few creators would survive with their reputations intact. And then there are the names of people safely dead, like the story’s specified Al Capp, whose deeds are downright sickening.

Somewhere along the line, my thing, certainly as far as short fiction goes, seems to have become setting out to write genre stories that wind up becoming relationship stories. It’s probably no big giveaway to say this was intended as a take on the “Invasion of the Body Snatchers” formula, but as I went on, I began to realise that a big part of what I found so fascinating in that concept is, how would you even know?

The incompleteness of the past—narratives, artifacts—fascinates me almost as much as its persistence. It makes the present unstable, founded on false or fragmentary notions of what came before. The future is something we’re always catching up to, but do we only recognize it because we’ve been told what to expect? I sort of backed into hauntology and psychogeography by natural bent.

In my work I deal a lot with the idea of monstrosity—of how people can be monstrous to one another, or to themselves, and how they encounter and deal with monstrousness in the world. It’s been a consistent theme since my early writing in the crime and noir genres. This story is about two monsters who find one another, make a home together, and defend it from those who would destroy it.

I grew up in a house full of books. Mostly old, used, and weird. I don’t remember the first book I read in any language. I do remember being monolingual for most of my first half-decade, and what it felt like when the mysterious and exotic glyphs of English finally began to resolve into letters and words. Comic books were a big part of that, I think.