For inspiration, I definitely had thoughts of the Alien-style “workforce in space” undertones (though with decidedly less acidic drippings in my result). I like the idea of a person just trying to carry out a normal life in space, and the economies that crop up in that “landscape.” I thought of how tired that person might get with so much darkness stretching between them and the nearest human. How burnt out on the daily grind. How old they could feel while still so young. And—depending on the profession they took up—how chronic injuries might be a huge part of their life.

I often draw from the Russian folklore I grew up hearing, and with this particular story wanted to try working with an invented myth rather than an established one. Lake Baikal is of course a real place, and one that’s special and fascinating to me, as I have family living in the nearby city of Irkutsk and visited occasionally as a child. The seals, or nerpa, endemic to the lake are real as well, and though some mystery surrounds them—like how they came to be there in the first place—the queen and her mythology aren’t part of that mystery (not in our world anyway).

I am a multi-instrumentalist (acoustic and electric guitar, keys, drums and bass). I’m also trying to learn the saxophone. I used to make beats but haven’t had time for that in a while. I’m one of those outlier writers who can never write to music because then my music brain kicks in and I’ll spend the session analysing the vocal harmonies, chord progressions, and key changes that I won’t be able to focus on writing. So I write in silence.

In the months before drafting “SyncALife,” I experienced a loss that made me think about how easy it is to fondly remember a loved one, but miles more difficult to discuss the harm they might have caused in their lifetimes. This felt especially true of men—and paternal figures—who seem to receive more grace when it comes to their shortcomings. This story was a way of exploring the long-term effects of hypermasculinity.