My feminist interests have moved since the days of writing that story from the binary, the story of men and women, into something more complicated and more accurately reflective of the many gender and sexual possibilities and histories. But I do think, with the Clinton campaign fully underway, we are already seeing a return to that simple old-fashioned misogyny.

I usually like to invert genre expectations, or at least to put a different spin on them. Since, as you mentioned, hauntings are often about what lingers, I wanted the haunting effect to be about what’s lost irrevocably, which can haunt in a different way. The strong absence of someone or something can sometimes be felt as if it’s a presence.

Drastic legislative initiatives like SOPA/PIPA (and the vast scope of the backlash against those), governmental and corporate ambivalence about whistleblowers, social movements from Anonymous to Occupy, Twitter-powered revolutions, the explosion of FLOSS (Free/Libre and Open Source Software) resources and communities, hackerspaces, the claiming and reclaiming of the word “hacker”. . . all of these paint a world much different from the one I grew up in.

The thing about Clarion is that it’s also confirmed for me that I do a lot better with people around me and also that I am not an ogre. It’s also been good to get some solid instruction on how to streamline stories—specifically genre stories. I did a creative writing minor in undergrad; I was not a good note-taker, and also the expectations were more literary when I was clearly a genre nerd.

The intersection between the scientific and the unexplained is a theme to which I’ve frequently returned, mostly because it’s a wonderful idea engine, especially if you’re trying to write mysteries. Part of this is due to my longtime love for The X-Files, and many of my stories can be described as puzzles in which Scully’s worldview, rather than Mulder’s, is ultimately proven right.

I was also thinking of a great line from a Utah Phillips bit: “Make a break for it, kids. Flee into the wilderness. The one within, if you can find it.” The combination of that line and the thought of a volcano that no one noticed coalesced nicely. The sex part is there because, I dunno, sex is pretty interesting? Like most people, I think about it a bunch.

The thing I really hoped for with this story was to convey the emotional life of a person who might engage in a loving relationship with multiple versions of themselves, the efforts they might go to in order to preserve that relationship, and the personal cost of it all going horribly wrong. Which seemed likely to me. Relationships are fragile enough even between two very similar people.

The kid version of stories about running away to join the circus is almost always a morality tale, not a heroic journey. Frankly, the adult version is, too. You’re not supposed to leave things behind, not in this culture of holding onto what you’ve got. You’re emphatically not supposed to leave people behind. I wanted to write a kind of American, lost, fucked-up person on the run story.

I don’t think I would consider cryonic suspension unless I was dying of an illness that I hoped they could cure in the future—I imagine there would be a huge likelihood of something going wrong and a ton of people dying before they ever woke up. I guess there would have to be pretty impressive proof that the process was safe, before I would consider doing it.

When you watch Lord of the Rings, you get goosebumps and awe at the epic battle scenes, but it’s Frodo who makes you cry, who scrapes your heart against a cheese grater. I love the tight focus in the midst of something huge and world-encompassing, because it would be easy to write a story about the dragons destroying everything.