“Things of Which We Do Not Speak” was written during a period of my writing life when I focused more on real world horror and less on the supernatural. That has changed somewhat now, but I’ve always been intrigued by the dynamics of dominant/submissive relationships and the fear and distaste some profess for this type of sex play. So I started with the idea of a woman who asks to be “abused” as part of a sex game, while her male partner reacts very negatively and judgmentally to the idea.

“Great Black Wave” began with the ending, and nothing like its final form. All of the wider context, the bomb disposal team, the robot, the Afghanistan setting, grew out of that. In that sense—and I suppose this is always the case to some extent—the particular themes and background were a combination of pragmatism and my own preoccupations. A bomb disposal robot and rural Afghanistan as a location were an interesting way into the tale I wanted to tell.

“The Lost” is one of my earliest genre efforts. I’d gotten out of Columbia for my MFA not long before, and finally felt free to experiment. Columbia’s a lot more open-minded now, but back then genre wasn’t permitted. So I tinkered a lot—trying to figure out the line between literary and genre, between symbolic loss and real loss, and how to show that. Turns out, there are no rules, right?

I’d gone to the Oakland Museum and seen the original of the photograph Migrant Mother, by Dorothea Lange. It’s a very powerful portrait of a woman migrant during the Depression, and for some reason I’d never seen it before, and it really haunted me. Then I started thinking about the Depression, and how horrible it must have been to be confronted with two catastrophes at once: the Dust Bowl and the failure of the banks.

Whenever I come across a new form, I’m always curious to see how it might be bent to fictional ends. And horror has a long history of using the most novel means of communication to create unexpected shocks. Dracula, for example, used letters, telegrams, diary entries, and wax recordings to stitch together a dark tapestry of unease. Blair Witch Project employed apparently unedited documentary style footage to disturb the audience. And so on.