[Setting is] pretty crucial ever since Ann Radcliffe used it as a source of atmosphere in her novels. The method was refined and focused by Poe—look at “The Fall of the House of Usher,” where the setting can even be said to share its spirit with those who dwell there. Several of Lovecraft’s greatest tales are inspired by real American locations, while others have their roots in his imaginative notions of places he hadn’t visited—Australia, the Antarctic.

Character always drove everything for me. A good setting becomes a kind of character.

Vietnam gave me the central image for “Graves.” We were airlifted into an area that included a graveyard, which had been extensively shelled. Plenty of moldy old corpses. Very different from the fresh ones we normally dealt with.

I think the uncanny and the horrific are seen most powerfully from the edges of society. Because of this, I often choose narrators who are marginalized in some way, or whose connections to mainstream culture are for some reason tenuous.

I wrote this story about eight years ago, and, though I loved the premise, couldn’t make it work. Then, about three months ago, I realized the problem. I’d been skating the line between psychological and true horror—I’d never answered whether it was all in Mary’s head, or a true haunting. Once I answered that question, I could move forward.

A story of any sort has a psychology, and beyond that it’s just a matter of degrees.

I’ve always been interested in world mythology, especially Norse. Late in 2011, I packed up my faithful hound Athena and drove an old truck pretty much non-stop from Montana to New York State. The story came to me as I visited a rest stop in Wyoming—two a.m. and a winter breeze rolling out of the Bad Lands.

As much as I make a living writing about things that go bump in the dark, I don’t particularly fear them. Ghosts have very little track record for doing much harm, and I’m not afraid of a spirit that would slam a door or change the temperature in a room. Big yawn. Fictional spirits are different in that they are vehicles in which we can tell different kinds of stories.