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While being a parent has been the most fulfilling experience of my life, it comes with a price. Besides the onslaught of worries and fears that can be paralyzing, more personally there is a struggle with identity, or the fear...

Horror is often about how we live in the liminal, whether we want to or not.

When you trust your subconscious enough to put something in a story and then figure out why it really needed to be there later, when that works out, aye, that's the stuff.

There are many talented and worthy writers engaging horror in new, imaginative, and yes, terrifying ways.

Ambiguity and the horror of possibility play a part in so many of my favorite horror stories: Shirley Jackson's 'We Will Always Live in the Castle,' Mark Danielewski's 'House of Leaves,' Victor LaValle's 'Big Machine,' Charlotte Perkins Gilman's 'The Yellow...

I became a reader - never mind a writer - because of Stephen King.

The response to 'A Head Full of Ghosts' has been amazing and thrilling. I'd be lying if I said I don't feel a little extra pressure trying to follow it up.

There are great and terrible consequences to any act of violence, and they reverberate beyond the act itself.

I'm harsh on myself. But let's be honest: I'm not as harsh as the online one-star critic who says, 'This book is boring and stupid and smells like poo.'

I do remember dancing in my living room when my short story 'The Laughing Man Meets Little Cat' won a Chizine fiction contest in 2002.

When it comes to actually writing the book/story, I work on a computer. I wish I could write longhand, but I can't.

Crime, horror, and satire each aim to reveal an ugly or uncomfortable truth: one that, after the reveal, will ensure we'll never be the same. The big difference between those genres being the effect they create.

My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to do so, and so there I was being introduced as a crime writer.

I won't call 'Cabin' an anti-home invasion story, because that's not exactly true, but the home-invasion subgenre is one I generally don't gravitate toward as a reader or film viewer.

'Martha Marcy May Marlene' is excellent. I adore how the film is both grounded in realism and, at the same time, it has an ethereal, nightmarish atmosphere.

The feeling of having no choice or no say is a fear of mine, partly because the idea of loosening oneself from the burden and responsibility of choice and consequence is so intoxicating.

Chance, choice, and consequence are fundamental parts of existence and perfect fodder for a horror story - or any story, for that matter, that asks, 'How do you live through this? How does anyone live through this?'

So much of my work is about children and/or parenting; it's something I'm drawn to without being able to completely articulate why.

Ambiguity is our permanent state, isn't it? We don't like it being so. Most of us crave order and routine, and yet yawning before us is our future, as frightening as it is thrilling.

The closer a horror story gets to the truth of things, the more affective it is going to be.

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