My early stories revolved around reality and faith. I wrote a series of stories about the darker aspects of Christian myth: a woman who hides in the attic and watches the Apocalypse, a cult whose members preserve themselves in huge formalin tubs waiting for the Second Coming, and so on.

When I returned to short stories, I'd started working on what is still central to much of what I try to do: putting myself in the place of the alien rather than describing it from an outside point of view.

What does seem to be a constant is that I write more emotional stories the older I get. I think a lot of that has to do with growing up in a patriarchal structure where unemotional intellect (male) is taken more seriously than delving into emotions (female), and gradually freeing myself from those expectations.

I can write a story in working-class Stockholm Swedish, but I'm not going to assume I can perform the same feat with Cockney. I'll focus on adventures in story, themes and structure instead.

What I do with the story itself varies of course, but what I want to do is to present the world so that the reader can access it without tripping over the details.

I want my voice to be consistent no matter if it's an original or a translation.

Some stories I write in Swedish, some in English. Short stories I've almost exclusively written in English lately, mostly because there's such a small market for them in Sweden and it doesn't really pay either. So, the translation goes both ways. What also factors in is that I have a different voice in English, which means that a straight translation wouldn't be the same as if I'd written it in English originally.