I wanted to do justice to texts that are in verse in their original, so I tried to invest my version with a comparable poetic power; hence even more literary fireworks there.

Words command us. Names define us. Definitions bind us. Words are where we keep our sacred secrets.

With undead armies, psychotic angels and exploding airships, Scar Night is a gripping, ripping yarn which rattles along at a great pace. Tether all that to the knock-out image at the heart of the novel-Deepgate, a Gothic city built on a network of chains over a great abyss-and you have urban fantasy at its best.

Prejudice validates itself as righteous abhorrence of the criminally deviant. So Christian homophobia is just a metonym of that abjection in general.

Movies, novels, TV shows - these are the water fountains of today. We thirst for stories which speak to us by representing us, but we go to the water fountains in the centre of town looking for that, and we're turned away, sent to the ghetto.

Where names of people or places would mean little to a contemporary reader, I figured "translation errors" could create interesting new meanings.

I started thinking about the endless bullshit about quotas, and how certain types of character are fine "as long as it's important to the story," and so on, started thinking about the absence of the abject.