This story has a complicated genesis. The short answer is that it’s a tie-in to my new novel, Twinmaker. I’ve been writing a bunch of these stories to explore aspects of the world and the main characters (including “The Missing Metatarsals” and “Face Value,” also published by Lightspeed). “Hobbyist” sprang in part from speculation regarding how death from illness is treated in a post-scarcity society. It would be easy to regard it as a vile injustice, but modern humans have always had a nuanced relationship with mortality, and that’s something I was keen to look into.

I did lots of research into candy-making in the ’20s in Chicago. The candy industry in Chicago was a big deal, and the stuff in the story is pretty accurate as far as that goes, the female workers, the kinds of machinery, although also, given that it’s a story about a candy factory, I went Wonka on the list of things Chet’s father brings in from his travels. Only a little, though—most things in this story are things you might find in the real world. Besides, of course, the talking, tasty mummy.

I would have been thirteen. The anthology was called Flashing Swords, the story was called “Morreion,” and it started me dreaming.

A common part of the experience of cultures facing the threat of loss (via emigration and assimilation, colonial domination, or something else) is the conflict between the older and younger generations as to the value and meaning of that cultural legacy. This story explores three possible resolutions—out of countless other possibilities—of this conflict.

I used to call myself an absurdist writer, back in the early 2000s—in keeping with the fact that I was doing more straight-up comic fiction. And I think that a lot of the goal of writing fiction, for me and maybe for other people too, is to point out how ridiculous and nonsensical a lot of stuff is. In this story, the media frenzy pretty quickly turns into a look at people’s unfulfilled yearning for the kind of power that they think Peter has. People fantasize about having the ability to change the world, without having to pay any price. Fantasy stories often revolve around the idea of paying a price for magic, and I wanted to approach that from a different direction.

The starting point for this story came when I wondered if crime could ever occur in a hive society. If you imagine aliens that are less inherently individual than humans, could there still be enough motive to commit, for instance, a murder? When I began writing, I had no idea how the story would end, but as I went on, it came to me that even under conditions of low individual selfishness, there might be selfishness on the group level. Everything grew out of that. The different genotypes of ammet, which could be redesigned or discontinued or even recalled if they turned out to be defective. The communal living, with refectories and dormitories. The basic drive of every ammet to do its predetermined job.

Marvin Dimitri is inspired by a family friend who has been declared dead about four times. Most of the deaths in the story are his: He went missing in Vietnam, died on the operating table, wandered back to work after they found his wrecked car.

Some writers are gardeners, just throwing interesting seeds of things together and seeing what comes out, and some are careful, exacting architects who know precisely where they’re going and what they want to accomplish. I’m definitely the gardener variety. Writing is as much a process of exploration for me as it is for the reader.

I am a terrible person who enjoys schadenfreude pie more than almost anyone else I know. People say that the internet runs on cats or porn, but I feel this is inaccurate. Beneath the layers of pornography, cats, and pornographic cats, the internet really runs on schadenfreude. This story came from reading the now-defunct Regretsy site and browsing spectacular crowdfunding failures for far too many hours. I also felt like crowdfunding has been ubiquitous for the past three years and wanted to poke at it a little bit.

What would become Augusta Prima’s world was originally born in 2005, when I co-wrote a Nordic LARP called Moira. It was a contemporary story set in the borderland between the human and the supernatural realms. The faerie folk, for lack of a better word, abducted a group of humans to examine them, and would, based on their findings, decide whether humanity should be exterminated or left alone.