The story came entirely from the first image: wondering how cats do that thing where they seem to edit reality and retroactively insert themselves in your lap after you’ve repeatedly tried to keep them out of it.

I’m drawn to characters with imperfect knowledge of events, because they seem real to me. This is the human condition. We all have to operate daily without the data needed and all of our lives are severely impacted by events we don’t witness and are powerless to affect. By the ends of my stories, the reader knows at least as much as my narrator knows and sometimes more; if I know more than the narrator, then I mean for the reader to know that, too. Whatever questions remain in the story are questions for which I don’t have the answers.

Ah, science fiction—how I doted on the stuff from exuberant boyhood into sullen post-adolescence, a span of time encompassing Captain Video and Again, Dangerous Visions. In somewhat less general terms, between the ages of ten and about twenty-eight, I described an arc through Jules Verne (admittedly, a tough go at age ten), H. G. Wells, Edgar Rice Burroughs, Ray Bradbury, Philip José Farmer, Harlan Ellison, Robert Silverberg, and Barry Malzberg: ontogeny roughly recapitulating phylogeny.

A lot of my fiction is a retelling of something or other, because I have serious problems with the philosophical underpinnings of a lot of stories, and it often seems to me that the best way to answer them is to rewrite them in a way that lays bare the absurdity.

We are technological creatures, and use the products of our scientific discoveries for various ends. Sometimes the results are predictable; often, they are not. Biotech is a strong presence in our lives today. As our scientific and engineering abilities become ever more finely honed, targeted biotech applications will become ubiquitous, with anticipated and unanticipated results.

We so often punish the one who is different in our societies. Perhaps it’s a leftover of our “mass production” mentality from the WWII years, or a more primitive “tribal” mentality, but we are not happy with someone who does not fit the specified mold, who marches to a drummer that the rest of us can’t hear. We are not tolerant of “different,” and I think it’s one of the biggest weaknesses we face as a race—that inability to value the unique.

I think one of my favorite things about “Alarms” is that Cara doesn’t even recognize her superpower when she gets it. That may be the way with all of us. We may have superpowers we don’t even recognize as such.

There’s always a worry when writing an alien invasion story that the aliens will be silly, no matter how hard you try to make them interesting. Alien invasion stories belong to a subgenre with a lot of history and expectation built into it. It’s very well-trod ground, so I kept asking myself what, besides aliens, this story was supposed to be about.

Like a lot of people I’m attracted by the aesthetics of steampunk. It appeals to the anglophile and costumer in me. Also, big unlikely machines, ray guns, and all kinds of weirdness.

Conrad is a big influence in my writing—not his style or technique, but his sense of the moral forces governing our lives—and I have acknowledged that many times by giving my characters and even my stories names out of his work.