I think death and grief are huge things, and when there is something huge, it can break language. We all know that, “I’m so sorry for your loss,” no matter how genuinely meant, no matter how much love is beneath those words, is never enough.

Yes, I have an idea what his life was like, but in the microcosm of the story, it doesn’t matter. All that matters is how this man reacts to the current circumstances, whether or not he rallies or crumbles … it’s what his reactions in the moment reveal about his true Stuff.

Ideas just come to me, and this one did. I think the grimace on the gorgon masks (especially the ancient Rome variety) may have influenced me with some ideas of pain, and frustration. The hero is an American … But the rest simply … arrived.

I like to surprise myself. I like to surprise my readers. I want every story to be different from the story before it. I want to avoid the existence of a “typical” Adam-Troy Castro story. So I don’t just change genres. I change styles.

Small towns often hold big secrets. Because there are fewer people in a small town, people tend to know—or want to know—each other’s secrets, and that tends to instill in some of the population a strong desire for privacy. Or secrecy. Secrets are often dangerous things. Like cancers, hidden things tend to grow in the dark. That’s the vibe I had in mind when I sat down to begin plotting out the Pine Deep novels.

Revenge is appealing in theory, toxic in practice. I love stories about revenge […] and tales of escalating responses and counter-responses are great in fiction. Personally, though? I think living well is the best revenge. Let your enemies gnaw their guts in misery while you shine, shine, shine; be content in knowing they think about you often, seething with resentment, letting their minds be poisoned by your presence there, while you scarcely spare them a thought at all, because you have better things to do.

It was also during [a] trip [to Scotland] that I first heard of the medieval practice of walling up a sacrificial victim at the end of a construction project to ensure good luck for the building and its occupants. Whether or not this was actually practiced in Scotland, I don’t know for sure, but references to the immurement of people and animals appear in folk tales and legends in many parts of Europe.

The real Bunny Gibbons was quoted as saying, “People want to see this kind of thing.” And you only have to look at today’s thriving, serial killer cottage industry to see that the guy was way ahead of his time. Murderabilia is a big business, and I shudder to think what Ed’s car would be worth today.

Q: In “A Home in the Dark,” the horror seems to be more about the stifling and destructive lifestyle of the narrator than the creature in the canyon. Was that your intent? A: It is an interior story about an exterior event, which casts the reliability of the narrator into deep doubt. This follows a more vintage horror form—a detailed rendering of a single event leading to what Poe called the “effect” (the essence of horror), which may be a fever dream or hallucination.

In 2002, my wife and I bought a crumbling, old (but very beautiful) farmhouse in southwest France, near Cognac. The first time we were shown around the place by the estate agent, we found a dead owl in the attic. Owls lived in a number of the outbuildings and you could hear them at night when they went out hunting. We’d done a lot of driving around in search of the perfect property, and on some of the roads were these “fantômes,” black, person-sized cut-outs that stood at the edge of the tarmac, signifying a death by road traffic accident. Pretty sobering. Some of them had jagged red fractures in their heads. The story came out of those two elements.