Childhood is a wellspring for a lot of writers, I think, a place of intense feelings and clarity of vision. And of course those are also the reasons we need art—to experience powerful emotions and to see things in a new way. A kid’s perspective is great for that. When you write a young voice, you remember how it was to be utterly, stupidly passionate about things, and to perceive the injustices we often learn to close our eyes to later. Kids are not fooled when we try to cover up inequality.

Shelly evolved as I wrote. At the start, I knew that she was a Chinese-American girl. Despite the speculative element, I wanted the story to take place in more or less the present. Given that I wanted to write a figure skating story, that meant the mother had to be this huge Michelle Kwan fan. It’s hard to overestimate the impact Michelle Kwan had on Chinese-Americans of a certain age. Everything else about Shelly more or less fell out of that.

I’d like a diverse list of voices taking speculative fiction in all kinds of directions. Any community needs the constant influx of new ideas and new perspectives in order to remain vital and healthy. Although there’s chaos and displacement involved with new voices, a mature community is enriched by them. Personally, I’d like to see writers from cultures I don’t know very well. From an Australian perspective, indigenous writers are underrepresented in speculative fiction.

I just struck on this idea, after seeing reports on VA hospitals and being aware of the issues surrounding the government’s responsibility for returned veterans, that if in the future we created androids to fight in our wars—what would happen to them after? I didn’t want to make the government the Big Bad necessarily—even if they might struggle with how to deal with their decisions and are in some way always catching up to the fallout. I wanted to think that the government would at least try to help their wounded warriors—whether human or android.