I have a logical mind, almost robotically so. I like data. I like statistics. Here are some numbers courtesy of the FBI: In the United States, approximately eight out of ten violent crimes are committed by men. Eight out of ten burglaries. Eight out of ten robberies. Eight out of ten arsons. Eight out of ten physical assaults. Nine out of ten murders. Ninety-seven out of one hundred rapes. Ninety-seven out of one hundred —and those, of course, are only the rapes that are reported.

It’s rare for me to sit down and write a story from start to finish without pausing to catch a breath, but that’s how this story went. No surprises, no unexpected twists (for me, though several for the reader, I expect). This story was propelled by rage from start to finish. Like one of those moments when you are angry—so angry that every thought leads to some another thought that makes you even angrier. And I really enjoyed channeling all that anger into a character who was so cool and so much in control.

Fairy tales (the darker and more troubling, the better, I’m afraid) are always creeping in from the edges when I write. I owe a great deal to the folks who write (or write on) fairy tales and fairy tale retellings: Angela Carter, absolutely, and also Ludmilla Petrushevskaya, Helen Oyeyemi, Kate Bernheimer. I so dearly admire writing that keeps some sort of lightness or whimsy about it—in fairy tales, these are fabulist settings, mind-bending setups, the turns of phrase.

Ages ago, I’d started a story about werewolves—I was struck by the theme of embracing the things about ourselves we’d rather keep hidden. But the story never really hung together and I abandoned it. But time passed, and it tumbled in my head, and it stuck with some thoughts I’d been having about Little Red Riding Hood. If we’re going with “embracing things we’d rather keep hidden,” there’s a lot to unpack there. Frankly, Angela Carter has already done it quite effectively (hence the call-out at the beginning).

It happened to be something I realized while writing this: that if I was going to make this a story about the conflict between Ellis’s yearning for a soulmate, and the more practical and sensible life he could have known with a human romantic partner, I could not represent a woman as his sole backup option. The implication would have been that this was the only available normalcy, and that was a false and frankly antiquated default.

I am in love with the water. I suspect it shows in a few spots in this tale. I spend my free time traveling to the water. (I’m just back from kayaking an hour ago as I reply to this.) I go to Orkney, the Hebrides, Alaska, SoCal, the bayou. At least three to four of those every year. In June, I was on a boat in Alaska, and in August in SoCal (at the beach and on a boat). In January, I’ll be in the bayou. In June, the Scottish Isles . . . and in September, the Alaskan waters also. Somewhere in there, I’ll be in Mexican waters. And weekly, I’m on the river.

I was also thinking about the aesthetics of sadism and immigration. Our president says he wants to build a “big, beautiful wall” at our border with Mexico because he thinks he will always be on the right side of it. But what will happen to human beings if artificial superintelligence decides to continue the USian project of colonization and displacement? If humanity lasts long enough, then an ASI will eventually emerge, one trained on observations made from human behavior.

It’s sort of in the nature of an homage to the local Starbucks. My husband takes me there sometimes when I get stuck on, err, writing, and then we sit there as I drink hot chocolate with peppermint syrup or a chai latte, and I tell him what my problem is and he offers a fix, which  I then proceed to ignore. The shelf where you can take a book and leave a book is at that Starbucks, or at least it used to be; I haven’t been there in a while.

When I’m back in the U.S., I’ve consistently lived in the same neighborhood—Rosslyn, which is in Arlington County, just outside of D.C. It’s where the Foreign Service generally houses us during training. And every time I come back, which is usually at two- or three-year intervals, something else has disappeared. This last time, they ripped down a beautiful little 1950s fire station—the actual Fire Station 10 of the title. It was a shock: It was such a classic building, I was sure they would preserve it, but nothing is sacred around here.

In most fairy tales, protagonists end up with The One because it fits the story: like they’re both royal, or because one has a heart of gold, or sometimes because of a fairy’s meddling. In a story where there’s one royal and one poor but kind-hearted person, of course they get together. This could also be the effect of growing up with Disney’s Golden Age. It’s sort of my same problem with shoujo manga: It’s never a mystery who will end up together.