I love putting two things next to each other that don't necessarily belong, because then there's sort of a third atmosphere, a third space that is created depending on who the reader is. Some people will immediately make the links between who's in each section and see exactly what's going on and some people won't. And I don't think that matters at all.

I've talked to a few writers who have had childhood illnesses. The sense of convalescence - the feeling that you're waiting to become a real person - is quite an interesting thing. You're seeing all of your friends doing amazing things and you're just there, in a void, feeling a bit stupid. I wouldn't be able to say what I'd have been like without it, but maybe I'd be incredibly high-powered and successful. It also forced me to spend most of my time in my imagination.

I have quite a close relationship with violence and horror. They are enjoyable and terrible. I try and offset the horror with a sense of satisfaction or humor. You can't write a book that is entirely dark without having little spots that hopefully make you laugh out loud.

Part of the problem of being a feminist is that you feel you have to be actively doing things 
to relieve women’s plight. Actually, feminism is just thinking 
we should have the same rights as men.

It's an easier task to imagine someone's interior world when you feel quite distanced from them. In the same way that I find writing about Australia easier than writing about the UK because I don't have the reality of it in front of me to get me bogged down in trying to be exact.

But I think writing should be a bit of a struggle. We're not writing things that are going to change the world in big ways. We're writing things that might make people think about people a little bit, but we're not that important. I think a lot of writers think we are incredibly important. I don't feel like that about my fiction. I feel like it's quite a selfish thing at heart. I want to tell a story. I want someone to listen to me. And I love that, but I don't think I deserve the moon on a stick because I do that.

As long as the reader is enjoying a story and the writing, it doesn't concern me if people don't understand why it's running backward or if it's running backward. I think disorientating a reader a bit can be really nice. Making them work and bringing their own past to play in a novel.