I was doing some work for my Obsidian and Blood trilogy, and I had this very vivid image of a gunslinger coming to a mine—except I couldn’t really fit it anywhere into my novels. So I took the image, added the research I’d done into Aztec customs, and more or less made up the universe on the spot, throwing in a few references to not-quite-steampunk-y things (the god-machine is actually more a reference to Asimov’s positronic machines in his short stories, who end up ruling the world).

“Why You Want a Physicist to Speak at Your Funeral” [a eulogy written by NPR commentator Aaron Freeman] resonated with me. It haunted me from the moment I read it. Then I watched a documentary about supernovae. In 1604, there was one so brilliant it lasted for months in the daytime sky. Johannes Kepler tracked it for over a year, and wrote his observations—which is why most people call SN 1604 “Kepler’s Supernova.”

I love giving voice to characters who aren’t typically seen in SF, or fiction in general. That’s part of the beauty of all the projects in the last few years like LONG HIDDEN and FIERCE FAMILY and Women Destroy Science Fiction!: They show that these characters and these stories are wanted and needed. Characters and relationships that reflect the diversity and complexity of real people, even if they’re in fictional settings.

I am very focused on mortality in my fiction. My first novel, The Between, was about a man who escaped death and had to face the consequences as death chased him. My African Immortals series that began with MY SOUL TO KEEP is about people who never age or die. I have been very aware of death since I was a child, and living with that awareness has been an important part of my life and growth.

The very first spark that turned into Quentin’s gift came, like so many good things, from Twitter. I believe it was the excellent writer Elizabeth Bear whose biography used to read, “I tell lies to people for money.” And it’s such a great description of part of the writer’s job (the other part, of course, being that we tell truths to people for money) that it stuck in my head, and made my want to do something with it.

I first encountered “Traveller’s Rest” on reading the Wollheim/Carr anthology WORLD’S BEST SCIENCE FICTION: 1966. (It also appeared in Judith Merril’s The 11th ANNUAL OF THE YEAR’S BEST SF, making it one of only two stories Wollheim/Carr and Merril agreed on in the two years their books overlapped.) But I confess I don’t remember it from that reading. Several years ago, I came back to it.

Grass is ordinary and relentless, like the domination of the family and the rules of everyday life. It ties things (and princesses) down, with countless tiny, tough threads, a mass of them, almost impossible to sever, and even if you break free, these tiny threads leave scars.