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Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.

I wouldn't do a project if it weren't a story I wanted to tell. That's rewarding in itself, as a writer, if you're working on a story that you enjoy telling.

I suppose that I was a kind of consultant for taste. Is it good taste? Or bad taste? I had an attention to detail, to what would tell best the story. Because many people get excited about the work and drift off from the story.

The stories I write are often literal to events that have happened or observations that I've made, and sometimes they're fantastical.

To me, it's about good work, a good story, and tastefully done. There's so many stigmas - oh, you're on the small screen or you do films or you do reality. It's about the project and not the medium on which it's delivered. It's the story you tell, period.

I wanted to portray very, very dark subject matter and a deceptively complex story in the brightest colours and simplest lines possible to leave the readers reeling.

Whether you've done anything wrong or not people will write whatever they want, so it's just a matter of not reading it, not buying into it, and hopefully the people that do read it realise that it's just fictional stories for entertainment.

As a writer, my only responsibility is to tell a compelling story.

I am not an analytical writer. Once I flesh out my characters and decide on the elements of my plot, the story unfolds in my head almost as though it was a movie reel.

With years of experience doing whatever it takes to get to the bottom of each story, I am looking forward to covering the stories in the human dimension and impart the passion and visceral reactions the audience seeks.