I love the most unlikely characters in any giving adventuring group. The one who isn’t the strongest or most powerful, who doesn’t have any particular talents and skills.

I love his stories where the whole nature of perceived reality turns out to be untrue. I’m also interested in meta-fiction, where there’s usually a rupture in the text, a place where the story is no longer what you thought you were reading. It’s a version of the same device, only one is inside the story, and the other is outside.

It’s my own tongue-in-cheek response to the current state of the paranormal romance subgenre. I want to love paranormal romances, but I feel like that subgenre takes itself overly seriously, and by doing so has limited the types of paranormal romances that it could explore.

This story began with my interest in narratives that don’t follow the supposed “rules” of storytelling. There’s a lot of advice out there for genre writers, often phrased as universal laws. For example: The hero of the story must actively work at solving a problem.

As the title suggests, “The Huntsman” began as a retelling of Snow White; I was playing with the idea that the huntsman had a more permanent role in the Queen’s life than the original tale suggests. I kept returning to the image that now forms the opening of the story, the huntsman tracking a woman in a rather gritty, unromanticized urban setting. What was this man’s job—and why was he so good at it?

The first inspiration was early Hollywood studio contracts. In short, during Hollywood’s Golden Age in the first half of the 20th century, studios contracted with actors. The actor was all but owned by her studio—she took the parts assigned her, whether she liked them or not. I found myself wondering how cinema history might have played out if studios had contracted the right to clone their actors. Jean Harlow, always alive, always twenty-six, the leading lady in every film?

I think the basic idea of the story, with the hound asking for the princess, came to me first. I often think first in plot. Then the characters seemed to follow naturally, then the settings. Sylvania was a lot of fun to create. But it’s actually larger than this story: I’ve set several other stories there, and I’d like to write more about that country. It’s my way of exploring the history of Eastern Europe, a kind of fantastical thought experiment.

The story arose out of the knowledge that we’re all dying all the time, though we like to remain scrupulously unaware of it. To know it, like Darwin, ironically is to be more alive, not less. That idea met up with zombies, a trope I’ve never liked. In my experience, the dead remain dead. It’s the single most distinctive feature of death—its permanence. I think of “Leaving the Dead” as an anti-zombie story. One thing you can count on in this tale is that no one is the living dead. Dead is dead.

I started telling the story in present tense almost from the beginning because present tense can be really distancing in interesting ways for me. It allows a character to exist in a perpetual now, looking neither backwards nor forwards. And for a character like Nadia, who is trying incredibly hard to not think backwards or forwards, it really fits.