When I'm working, I'm so narrowly focused on sound, language, rhythm, flow, that I rarely feel the emotion of the text. It's only after - long after - I've finished a piece that I can experience in any way its emotional charge.

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.

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

I was four when I announced my ambition to write, eight when I began publishing such claims.

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.

How can I come from a nation? How can a human being come from a concept?

Every Christmas, all around Ghana, there are tons of these parties and they are full of everything that exists in human life in Ghana and worldwide.