I don’t believe in predestination—the idea that everything is already written and planned out and that all we are doing is dancing a set of steps that have already been choreographed. I very much believe that we have the individual freedom to fuck up, and to be full of grace. I also believe that humans are story-telling animals—we like things to make sense

This story is an excerpt from a novel that I’ve been working on for a long time. And Rock’s narrative voice sort of evolved over the course of working on the book. I wanted a really energetic, reckless, crazypants persona, so that you could imagine this character being willing to pilot a flaming exercise bike off a tool shed without a second thought.

I think this illustrates a larger point which comes up in my fiction from time to time: Technology, by itself, does not have a moral stance; it simply magnifies the power of humans to accomplish what they want to do. I’m generally skeptical about “progress” as a pure positive for that reason.

I’ve had an off-and-on fascination with Sandburg’s cycle of designedly American fairy tales for years. They occupy such a strange and interesting literary space—part fable, part poetry, silly and curiously affecting at once. Fragments of phrases from the Rootabaga Stories are permanently lodged in my head.

We humans speak an amazing variety of languages—some of them truly extraordinary compared to our own—but this wonderful plenitude is rapidly disappearing. I wondered what it would be like for one of the last speakers of an onomatopoeia-like language. I imagine that such a terribly lonely speaker would want to preserve it, pass it on, teach it to others.

I always planned to tell a story where we meet Harry’s family … and see Harry in her role as Princess Maud. This was it. A story where Harry is balancing her two personae also makes a good fulcrum between what I see as two halves of the series—the early adventures where Harry and Marlowe begin their relationship and we learn about Aetherian technology, and the later stories, where the two will travel all over the world.

One of the things that I think comes up a lot in discussions around representation in fiction—both in terms of characters and authors—is the idea that groups of people are rendered voiceless, that they simply aren’t heard and space is not made for them to speak when they do. Losing one’s voice feels like an especially vicious form of oppression.

Sure—you could use direct neural marketing to sell sports cars. But in a lot of ways it’s actually creepier and more interesting when it’s so pervasive that it’s being used to sell something as commonplace as a bottle of water.

I didn’t have any idea where I was going. There was just something about a girl with feathers for hair. I kept writing about her as “the girl with feathered hair” until I realized what that actually meant.

I’m an electrical engineer, and I occasionally work building hardware for neuroscience labs, … One day a co-worker and I were having a conversation about what we were jokingly referring to as “brain DJs,” the idea being that you’d take, say, EEG recordings of somebody who was in a deep meditative state (or tripping, or whatever), and then induce somebody else to match their “brain waves” using magnetic stimulation (or flashing lights, or whatever).