‘This isn’t about clouds parting to beam in words channelled by angelic beings… so much as the process of story-making becoming magnetic and natural. One of the most gratifying elements of writing is getting out of the way of ourselves, to discover what we didn’t know we knew. This happens when we write words and ideas that we might not have believed ourselves consciously capable of constructing.’

‘I love speculative fiction the same way I love all fiction – for the joy of being free to let my imagination roam and to see possible new worlds and ways of being…Science fiction is joyfully mind bending, horror awakens a deep emotional response, and I love the feeling of breathtaking limitlessness in fantasy, either that which takes place in secondary worlds or which makes one or two key changes in my own.’

‘Our labour as writers, as storytellers, is so crucial now, more than ever, because we need to reimagine possibilities for our world and for ourselves. We also need to reimagine the past, the stories that have been erased. We need to make meaning afresh out of the ‘rag and bone’ conditions we are negotiating together on our fragile planet.’

‘In the early stages, just put it all in there and write un-self-consciously, as if no one will read it. Do the re-writes later. It’s important that you don’t self-censor in those early stages or think too much about who will read but just write it for yourself and your ideal reader – someone who will understand exactly what you have to say.’

‘I think spice is important. But for me as a reader (and therefore when I write), I want to see the spice being in service of the story rather than vice versa. Erotica absolutely has its place and is super popular, but it’s less about the spice for me and more about the connection and the story that’s being told.’

‘In order to write realistic, compelling characters, you need to first and foremost be fascinated by people… the way they talk, dress, move, behave, react. I love to write in cafés and on public transport, because it’s amazing what you pick up on when you’re actively engaging with the world around you.’

‘Voice is notoriously hard to define and identify. If I had to try and define my ‘unique writing voice’, I would have say that it is what happens somewhere in the thousands of decisions that make up a novel. To give a less annoying answer, at its most simple, I think voice can be boiled down to word choice and what is noticed.’

‘I see my non-fiction work as often being more advocacy-driven, often motivated by increasing understanding of particular issues or experiences, or trying to connect people through common experiences.’

‘Reading a story for discussion helps us to consider and better understand how the writing is working effectively to absorb the reader, to hold their attention and to create a rich reading experience… Reading short fiction by masterful writers can also be inspiring and encourage us to try out their approaches.’