“I want this book to be a guide for other women; for them to see possibilities for themselves and to feel like they can be the hero of their own lives.”
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“Our industry isn't set up for this; it's always focused on the next show. I think this is the primary reason Australian mainstage theatre hasn't yet properly and deeply engaged with POC audiences, apart from the obvious lack of diversity in the leadership of those organisations.”
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“The more opportunity we have to tell our stories, the more people realise how disparate those identities are, and how much there’s even a lot of intercultural interplay and tensions, and hierarchies as well.”
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‘I recently saw a publication describing “cheap eats” venues as places you shouldn’t be ashamed of embracing because their prices are so low, while it described “fine dining” venues as examples of mastery—but isn’t there also mastery in tending to a ramen stock that takes hours to develop, or making the fresh ingredients for banh mi?’
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“The wider question is whether our stories can exist as complex entities in all of its facets, or is it consumable through a certain angle in order for it to be sellable or watchable?”
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“I think it’s key for many writers coming from marginalised backgrounds not to see themselves through the eyes of the dominant, colonialist culture because that’s when we begin to objectify ourselves.”
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“Music and the spoken word are natural bedfellows. Rhythm is an integral part of poetry and can augment the emotional impact of a piece of writing.”
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“I think the key to satire is to sort of harness that fucked up real-life energy, and just live in it.”
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“I think the reason why the [hospo] industry has gone unchecked for so long is that it is a trade that has been romanticised by media and the upper-class as a gateway to a particular lifestyle, so it isn’t properly regulated.”
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“There’s a common misperception that speculative fiction is less serious, meaningful, and ‘literary’, and, in my few years of writing, I’ve certainly experienced a divide between mainstream and speculative writing worlds. This still doesn’t make sense to me.”
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“To me, [Jaedon’s] experience reflected the state of surreal existence where you belong and un-belong at the same time.”
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“I’d like more TV shows about Asian women dealing with surreal situations, and as there are not too many of these in the world, I thought I’d make one myself.”
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“It feels like we are still living through an intense period of struggle over what the world will look like in the future.”
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“If you’re writing your memoir or non-fiction and you’re emerging in the story as a perfect person surrounded by assholes, I strongly suggest you re-draft.”
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“There’s a phenomenon that when a brown woman creates work that is analytical and innovative, she may be seen to be stepping beyond her perceived limit.”
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“I think our relationship has so evolved that our friendship, our sisterhood, is much larger than our working relationship. I consider Tiff my family.”
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“We discussed how people assume that because you are published that you don’t experience ‘no’s’ anymore. I think ups and downs are the nature of this profession.”
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“I guess that younger writers can read my work and may be influenced by it, if only to find that my work gives them encouragement to experiment, to sound original, and not be afraid to be ‘difficult’.”
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“Being a ‘first-generation migrant’ and trying to break into the literary industry is especially hard as most new migrants have to focus on building a new life in a new country.”
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“I was born to do this show. It was conceived when I was conceived.”
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