But it's the particularity of a place, the physical experience of being in a place, that makes it onto the page. That's why I don't just do library research. I very rarely write about somewhere I haven't been.

Say there are three identical-looking pizza joints on a street. Two of those will always be empty. The third will have a line of people patiently waiting, checking their phones. There's always one place that's the place. That's how it works.

Suburbia is all about private ownership and not having to share, and it leads to a paranoid, defensive mindset. I know this, having grown up in Essex.

Some books I've kept because the binding is beautiful - I'm unlikely ever to read my grandmother's copy of 'The Life of Lord Nelson.' I'm addicted to secondhand bookshops.

I'm interested in complexity, in the mathematical sense, as well as the idiomatic sense. The idea of emergence - that it's possible for complex patterns to arise out of many simple interactions - is fascinating.

In good novelistic fashion, the discovery I’ve made is that it’s complicated. I think that’s one of good things about exploring these questions in a non-polemic, fictional way: you get to feel out territory rather than take positions. Through writing this, I can understand the impulse to faith, how people make meaning, how people make community, without having to say, do this, don’t do that, or I believe, I don’t believe.

These days we're all hyper-aware of the canonical way in which stories are supposed to play out - people are taught all about three-act scripting and where to put the reversal and all of that - and I think we can do more interesting narratives.