While my stories are experimental, they're also very traditional. I love the works of the great Russian writers like [Pavel] Chekhov and [Lev] Tolstoy, and their ability to portray our human struggles and joys.

I was really interested in this ability for others to create virtual memories for us. In "The Cartographers" I explore this through Adam Woods, and the company he works for, which produces virtual memories that people can beam into their consciousness. While the technology is sci-fi, the story is also a metaphor for the way love relationships create memories in our minds.

It's true, I do love the semi-epiphany. For example, in "Fall Line," the character's final decision is less epiphany than imbecility. He makes a choice, which the conflict hangs upon - whether to seek fame or actually change his life - and so, his decision is tied to the central conflict and his own hubris.

I think the challenge for humans remains the same as it has always been: to learn the skills of kindness, compassion, and love. Without these sacred skills, all technology can do is grow the shadows in our lives.

I'm a big fan of Chris Hedges and Joe Sacco's book Days of Destruction, Days of Revolt, where they visit what they call The Sacrifice Zones of America and report on the current state of our environmental calamity.

I set many of my stories in a gritty "realist" world, but one that is plagued by an overuse of technology, which is akin to the world we find ourselves living in now.

We're being asked to continually be "authentic" and "honest" with the world through social media. There's a demand to post our wedding pictures, baby pictures (only minutes after the birth), our relationship status, and our grief and joys on Facebook and Instagram. Similarly, we construct persona through dating apps and networking sites. All of these social media networks exert pressure on us to share the personal details of our lives with unknown masses. So the pressure on the characters in "Openness" isn't merely romantic, but public/social as well.