I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.

Who was it recently invented some machine that will enable her to sign a book from 5,000 miles away? Margaret Atwood. Get off your arse, love, and sign it in person. Publishers and circumstance made you a bestselling author. Give a little back.

I was particularly drawn to Berlin because of its literal, concrete division. Two halves making a whole, or two entities that were altered doubles of each other? Twins that had been separated and kept in neighbouring houses and raised according to different sets of rules as a social experiment? It was irresistible as a metaphor for division in the mind, for a split personality.

The short story feels like the most natural length for prose fiction, or certainly for the kind of ideas and situations I like to encounter.

What the short story needs above all is for one of the big publishers to get an equivalent series up and running and to support it and promote it.

I am interested in power and in the idea of one country exerting power over another. The Soviets took this to an extreme.

I only like naturalistic stories. I love short, fantastic stories that cast a spell over the reader, that transport you instantly to another place with another set of rules, somewhere imagined by someone else.