Often I know the genre of a story before I start writing, just as I know whether it will be a short piece or a novel or a play. Often, too, I consider taking stories in any of a number of directions. When I teach writing, I invite students to try writing a story in several genres and see how it morphs when written as a science fiction story, a romance, a crime story. Part of the germination process for “Dhost” was determining which “side of the line” would best serve the story.

We’re at our most vulnerable when we’re sleeping. Any hidden space—an open door into the hall, a closet door standing just ajar—can serve to terrify us. The bed is worse because you’re right over that hidden space, in the eye of the abyss.

I generally find it more difficult to write flash pieces, because the amount of information you have to pack into such a small space is obviously going to be extremely limited. That said, I’m also terrible at writing anything over 7,000 or 8,000 words, which is why my novel-in-progress generally gets to around 10,000 words on any given draft and then dies twitching on the table. This has been going on for five years and counting. Regimes have risen and fallen. Children have been born and learned to walk, dress themselves, and throw horrific tantrums over gadgets that didn’t exist when I started working on the very first draft. Feral cat genealogies across the same timeline run into the tens of millions.

The autopsy report was very tricky, since I needed something that conveyed the relevant information without taking too long to get there (not to mention a reasonable medical cause of death).

After reviewing your bibliography and biography all I can say is . . . Wow! Numerous publication credits in top markets, awards, and inclusion in “Best of” collections; attending grad school, writing both poetry and short fiction, and editing two online publications: Mirror Dance and Lacuna; a penchant for naming pocket-watches (Nemesis and Juggernaut); and a love of critical theory. […]