BENJAMIN PERCY

Just about every weekend when I was growing up, we would throw rods and rifles and tents and shovels and pickaxes into the back of the truck and then head off to the side of a mountain or the bottom of a canyon. Hiking, fishing, hunting, rock-hounding: this is how my parents passed the time.

I travel often, so my routine is always getting scrambled. But on a standard sort of day, I get up at 6, pack lunches, hustle the kids off to school, then brew a pot of coffee and head downstairs to the dungeon, as I call it: my cobwebby office in the basement.

There is no cure for prions. They are a protein-based disease that, among other things, targets and transforms your brain. The symptoms reveal themselves differently in each host, and you might go months or you might go years before you realize you're infected.

I don't flinch from darkness, but I've always been bothered by what I call gore-nography.

I grew up on genre. If it had a dragon on the cover, I was interested. But horror, especially, really gripped me in its bony fist.

Yes, I grew up with guns. For my 16th birthday, in fact, I received a .357 instead of a car. But there was nothing playful about them; they were tools. My parents went through a back-to-the-land phase. Most of our vegetables and fruits came from our own garden.

Novels will remain my meat and potatoes, what sustain me imaginatively.

I grew up in western Oregon, just outside Eugene, on 27 wooded acres that served as my playground.

I typically spend a year thinking about a book before I begin writing it.

I can write ten or twelve screenplays in the time it takes me to write one novel. This allows me to offload all of my stories. But it's also not as creatively fulfilling.

People like to pigeonhole. People like to label - not just books and movies, but everything in their life. If people want to call me 'literary horror,' I guess that's fine. What I'm trying to do is be both thrilling and thought-provoking.

The USDA labs in Ames, Iowa, are level-four security clearance. Every nasty thing you can imagine is stored there. Ground zero for the apocalypse. And there's a day care right across the street.

My voice is rather quirky. It's abysmally low. People often think I'm putting it on at first. Think drunk Darth Vader. Or Barry White singing country. It suits my dark material. When I do readings, I really play it up and go subterranean. I can make the phone book sound terrifying.

It's still incredibly hard. Not just honing my craft but kicking down doors, getting my work published. Early on, I could have wallpapered my house with all the rejection letters sent my way. I put thousands of hours and pages into four novels that never saw the light of day.

I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.

I found collaboration to be a terrible thing in Hollywood because there are so many people involved you have to make a thousand little compromises to every project and every single scene is a committee decision. It's maddening. But with comics you've got an artist and you've got a writer.

As in the case of many of the stories that I've written I'm not trying to editorialize. I don't want there to be a message at the end of anything I write. Otherwise you wouldn't trust the characters. They'd feel less organic and more like puppets that are sharing the author's opinion.

I grew up with guns. For my 16th birthday, in fact, I received a .357 instead of a car. But there was nothing playful about them; they were tools.

I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.

I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.

The High Divide, a novel about a family in peril, is haunting and tense but leavened by considerable warmth and humanity. Lin Enger writes with durable grace about a man’s quest for redemption and the human capacity for forgiveness.

I wanted it to be as multi-windowed as possible, so that the reader felt like they were seeing all the different ways in to a big haunted house.

My voice dropped when I was 14. And when I was 14, I might have weighed 75 pounds. So you can imagine how strange that must have been: like James Earl Jones speaking through a sock puppet.

You can't teach talent, but you can teach people how to read strenuously and mimic the moves of rock-star writers so that they eventually accumulate a toolbox of skills.

People talk about me as masculine. Because of the way I walk and talk and crank out pull-ups and smell like bacon.