You have to be aware what the consequences are of the approach you take.

You have to be aware what the consequences are of the approach you take.

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.

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.

If you want the reader to accept the premise as a given, then being specific is vital. This is what I'm after; I want the reader to accept the setting and the mindset of the characters, so we can get on with the story.

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.

Time is built entirely on consensus: humans decide that they have linear time, so they do.