I had been afraid of breast cancer, as I suspect most women are, from the time I hit adolescence. At that age, when our emerging sexuality is our central preoccupation, the idea of disfigurement of a breast is particularly horrifying.

You can't write about the past and ignore religion. It was such a fundamental, mind-shaping, driving force for pre-modern societies. I'm very interested in what religion does to us - its capacity to create love and empathy or hatred and violence.

When you're writing non-fiction, you go as far as you can go, and then ethically you have to stop. You can't go. You can't suppose. You can't imagine. And I think there's something in human nature that wants to finish the story.

I was not 15 anymore, and choices no longer had that same clear, bright edge to them.

I knew I was going to be a journalist when I was eight years old and I saw the printing presses rolling at the Sydney newspaper where my dad worked as a proofreader.

My mother's family were full-on Irish Catholics - faith in an elaborate old fashioned, highly conservative and madly baroque style. I sort of fell out of the tribe over women's rights and social justice issues when I was just 13 years old.

The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.