I like to start my short stories by immediately taking a plunge with my audience, a phrase or a certain voice or tone that lets them know what kind of tale they’re getting into and to trust this voice. This notion, supported with a sense of immediate urgency, i.e., give them something or someone interesting to latch onto—guides most of my work.

Grief causes us to make questionable decisions or judgements. When we’re grieving we do risky things and often trust the wrong people because nothing seems to matter, or maybe anything is better than what we’re currently feeling or experiencing. Romance and sex can be a wonderful distraction.

I think it started out in my head with the scene where the eyeball falls out of Muniza’s socket, and this almost sitcom style uh-oh moment where there’s just the worst person in the world witnessing that. The shame of falling apart while under intense, unsympathetic scrutiny. Then I got to thinking: what are the emotional stakes of that situation?

I like grimy stuff. Dirty, menacing, quick-witted exchanges between folks. I like crime fiction and horror that refuses to get world-rending, to get huge, that sticks to singular people. I love writing shakedowns, and that’s what happens to Chuck in that first scene. He’s got a need, and that need gets exploited