I wrote fiction during my entire childhood, from age 4 to 18, and started writing plays when I went to Yale and Oxford.

When writing screenplays, it's a matter of remembering to leave off the page anything and everything that doesn't appear on the screen.

As a young woman, I had been seeking experience, knowledge, truth, the stuff writers need in their work, but when the artist actually kicked in, I came to understand that in this romantic relationship I was not free to be myself, or to find myself, in order to begin the true work I needed to do.

I write essays to clear my mind. I write fiction to open my heart.

I've written fiction for as long as I can remember; it's always been my preferred form of play.

The big ideas always come in flashes. I don't really craft stories that much. I genuinely don't know where these people come from and I've often wondered if writing is just a socially acceptable form of madness.

What distinguishes [Afropolitans] is a willingness to complicate Africa – namely, to engage with, critique, and celebrate the parts of Africa that mean most to them. Perhaps what most typifies the Afropolitan consciousness is the refusal to oversimplify; the effort to understand what is ailing in Africa alongside the desire to honour what is wonderful, unique. Rather than essentialising the geographical entity, we seek to comprehend the cultural complexity; to honour the intellectual and spiritual legacy; and to sustain our parents’ cultures.