Writing different POVs is one of the seductions of the writing life. Aliens, whether from inside or outside, can be an interesting challenge. The truth is that we are only one of the nearly infinite possibilities for seeing the world, and that we actually only take in a small amount of data from the world, upon which we build our sense of everything. Tweaking that just a little can give you a wildly different experience, and can make for a mind-altering experience.

One setting in the story was inspired by my own experience, and that’s the cemetery. I had firmly in mind the Sauk City, Wisconsin, cemetery where Arkham House founder August Derleth is buried. I believe it’s the St. Aloysius Cemetery. I had visited it with my then-girlfriend, on a sort of pilgrimage. I was struck by the wrought-iron arch and by the hair-raising “holy and wholesome” sign (which is a quote from 2 Maccabees 12:46, by the way).

I love tropes as a starting point for stories—you can twist them, subvert them, play them for laughs. I poke fun at artificial gravity in this story, but I can see why it’s so common. It’s easier and cheaper to make a movie where the space station has artificial gravity. In short stories, you have to choose what you want to spend your words on. Science fiction often has a lot of weird stuff going on.

Sensory details help anchor the reader in the story. I try to be very specific when it comes to detail, particularly if there are weird things going on. The stranger things I want the reader to believe in, the more specific I get; I don’t want the reader to be busy orienting themselves or losing their suspension of disbelief. I also find stories without sensory detail flat and uninteresting.

We’re a species that has a deep history of massive transitions caused by technology. From stone axes to agriculture, gunpowder to the internet. We’re never quite in control of the things we create. And biotech doubles down on that sense of loss of control, which is why it is hedged around with so many regulations, and is regarded by the public with extreme wariness.

When I came across depictions of rural life in a lot of stories, I felt like they were either overly reverent and pastoral, in the old tradition, or else incredibly exaggerated in a way that made rural people more into caricatures than real people. I felt like, in the character of Tommy, I had an opportunity to explore the complexities of all of this in one story, though I still think I have lots to say about the subject.

Writing dialogue for characters who are different is way more fun than writing characters with more similar voices. You don’t have to worry as much about the voices getting confused. If I stripped all the dialogue tags away, you could still tell who was who in this story, I’m pretty sure. That’s an interesting way to test whether the characters you’re writing are distinct.