How To Say Babylon By Safiya Sinclair Throughout her childhood, Safiya Sinclair’s father, a volatile reggae musician and militant adherent to a strict sect of Rastafari, became obsessed with her purity, in particular, with the threat of what Rastas call Babylon, the immoral and corrupting influences of the Western world outside their home. He worried that womanhood would make Safiya and her sisters morally weak and impure, and believed a woman’s highest virtue was her obedience. How to Say Babylon is Sinclair’s reckoning with the culture that initially nourished but ultimately sought to silence her; it is her reckoning with patriarchy and tradition, and the legacy of colonialism in Jamaica. Rich in lyricism and language only a poet could evoke, How to Say Babylon is both a universal story of a woman finding her own power and a unique glimpse into a rarefied world we may know how to name, Rastafari, but one we know little about.' Ordinary People By Diana Evans South London, 2008. Two couples find themselves at a moment of reckoning, on the brink of acceptance or revolution. Melissa has a new baby and doesn’t want to let it change her but, in the crooked walls of a narrow Victorian terrace, she begins to disappear. Michael, growing daily more accustomed to his commute, still loves Melissa but can’t quite get close enough to her to stay faithful. Meanwhile out in the suburbs, Stephanie is happy with Damian and their three children, but the death of Damian’s father has thrown him into crisis – or is it something, or someone, else? Are they all just in the wrong place? Are any of them prepared to take the leap? Set against the backdrop of Barack Obama’s historic election victory, Ordinary People is an intimate, immersive study of identity and parenthood, sex and grief, friendship and aging, and the fragile architecture of love. With its distinctive prose and irresistible soundtrack, it is the story of our lives, and those moments that threaten to unravel us. The Magic Border By Arlo Park The Magic Border is the debut book from Mercury Prize-winning musician and poet Arlo Parks, combining never-before-seen poetry, song lyrics and beautiful, intimate images from collaborator, photographer Daniyel Lowden. Featuring twenty original poems, alongside an exclusive artist’s statement and the complete lyrics from her sophomore album My Soft Machine, this vital collection explores the queer experience, blackness, grief, trauma and love through the eyes of the remarkable young musician. The Magic Border allows readers rare insight into her creative process and beautifully showcases the full breadth of Arlo’s singular artistry. Manorism By Yomi Sode Impassioned, insightful, electric, Manorism is a poetic examination of the lives of Black British men and boys: propped up and hemmed in by contemporary masculinity, deepened by family, misrepresented in the media, and complicated by the riches, and the costs, of belonging and inheritance. It is also an exploration of the differences of impunity afforded to white and Black people, and to white and Black artists. In this profound and moving debut, Yomi Sode asks: what does it mean to find oneself between worlds - to 'code-switch', adapting one's speech and manners to widely differing cultural contexts? Who is, and who isn't, allowed to be more than their origins? And what do we owe each other? What do we owe ourselves? The Race To Be Myself By Caster Semenya Olympic and World Champion, Caster Semenya finally shares the story of her extraordinary life and her battle to compete on her own terms. Labelled 'different' and banned from the sport she loved, Olympic and World Champion Caster Semenya shares the revealing and blisteringly honest story of how the world came to know her name, and place her at the centre of a debate about gender in sports which still continues today. Told with defiance and speed, The Race To Be Myself is a journey through innocence, ambition, obstacles and acceptance. From her rural beginnings running in the dust, to crushing her opponents on the track. To the falsehoods spread about her name, and the many trials she has been forced to endure publicly and privately. This is Caster's time to set the record straight and share her story of how she became a defiant champion. Caster's story is our story, and testimony to anyone forced to stop doing what they love and to fight for what they believe in. The Selfless Act Of Breathing By JJ Bola As a charismatic teacher living in London, Michael Kabongo strives to alleviate the injustices he sees around him: for the students who long for better lives, in memory of his father’s tragic death, and to end the violent marginalization of Black men around the world. But after a devastating loss, he decides to embark on an adventure in the land of the free—the United States of America. From Dallas to San Francisco, Michael parties with new friends, engages in fleeting romances, splurges on thrilling escapades, all with the intention of ending his life once all his savings run out. As he makes surprising new connections and faces old prejudices in odd but exciting new settings, Michael alone must decide if his life is worth living after all. On The Rooftop By Margaret Wilkerson Sexton A stunning novel about a mother whose dream of musical stardom for her three daughters collides with the daughters’ ambitions for their own lives—set against the backdrop of gentrifying 1950s San Francisco At home they are just sisters, but on stage, they are The Salvations. Ruth, Esther, and Chloe have been singing and dancing in harmony since they could speak. Thanks to the rigorous direction of their mother, Vivian, they’ve become a bona fide girl group whose shows are the talk of the Jazz-era Fillmore. Now Vivian has scored a once-in-a-lifetime offer from a talent manager, who promises to catapult The Salvations into the national spotlight. Vivian knows this is the big break she’s been praying for. But sometime between the hours of rehearsal on their rooftop and the weekly gigs at the Champagne Supper Club, the girls have become women, women with dreams that their mother cannot imagine. An Olive Grove In Ends By Moses McKenzie Sayon Hughes longs to escape the volatile Bris­tol neighborhood known as Ends, the tight-knit but sometimes lawless world in which he was raised, and forge a better life with Shona, the girl he’s loved since grade school. With few paths out, he is drawn into dealing drugs along­side his cousin, the unpredictable but fiercely loyal Cuba. Sayon is on the cusp of making a clean break when an altercation with a rival dealer turns deadly and an expected witness threatens blackmail, upending his plans. Sayon’s loyalties are torn. If Shona learns the secret of his crime, he will lose her forever. But if he doesn’t escape Ends now, he may never get another chance. Is it possible to break free of the bookies’ tickets, burnt spoons, and crook­ed solutions, and still keep the love of his life? Rippling with authenticity and power, Mo­ses McKenzie’s dazzling debut brings to life a vi­brant and teeming world we have read too little about. In its sheer lyrical power, An Olive Grove in Ends recalls the work of James Baldwin and marks the arrival of an exciting and formidable new voice.

Founded by friends Leonie Annor-Owiredu and Hannah Lee, Words We Write Festival entered its third year with special guest, Golda Rosheuvel. Most recently known for appearing in Netflix's award winning series Bridgerton, as the stoic yet formidable Queen Charlotte, and its prequel Queen Charlotte: A Bridgerton Story. Golda sat down with Leonie and Hannah to share stories from set, talk about her entry into the industry and look at, of course her role as Queen Charlotte. Golda, along with series producer and creator Shonda Rimes, have fanned the flames of a regency world that is rich in not just colour but nuance. Bridgerton has had such wide appeal that a spin off which dove deeper into Golda's character was widely welcomed by Bridgerton fans. They wanted to know more about the relationship forged by Queen Charlotte and her love King George. Golda tells the Words We Write Fest audience about how she gets into character and how Charlotte has become more than just a role. It was really important, she tells Leonie and Hannah, to ensure that as a woman of mixed heritage, Black hair was shown in her costuming. Golda spoke about how extensive the process was behind the scenes when it came to Queen Charlotte's wigs. Sometimes costuming would take up to six hours just to ensure the wig could sit right throughout hours of filming. The hair and makeup of Black actors on set is something which has long been a topic of conversation both behind closed doors and more openly post 2020. Conversations like this have forced change in the industry for the better and have allowed for the hair and makeup of Black persons to be prioritised on set. On the topic of breaking out in your career "later" in life, Golda has long been a seasoned theatre professional. Her accolades include heavy hitters, many of Shakespeare's greatest works, We Will Rock You, The Curious Incident of Dog in and Carmen Jones. But interestingly many have called her role as Queen Charlotte as her 'breakthrough' moment. On this topic Golda doesn't see it that way, but recognises that things in the industry are changing for the better with her appointment but we still have a long way to go. "I look at the present I'm in, rather than the future".

Whether you're an avid vinyl buyer, just starting off your collection, or simply a music lover, here are 4 black owned sonic havens you should know about. Pure Vinyl Since this year’s BHM theme is ‘Saluting Our Sisters’ where better to start than the Black Female-Owned store @purevinyllondon! I’ve been to this store a few times and it’s always a good experience + the staff have soooo much knowledge across genres it’s great to ease drop & get invoked in their music conversations😅 Moko The second spot isn’t a record store, but a black-owned Hi-fi Music Bar located in Tottenham. Moko celebrates the sounds & flavours of the Afro-Caribbean Diaspora🙌🏾 Sister venue to Peckham’s Jumbi south of the river, Bradley Zero & Nathaneel Williams’ spot is definitely worth a visit in the daytime or for a night out! Maestro Records The third record store is one I was so pleasantly surprised by. Maestro Records is quite unassuming outside, but the range and feel of the store was lovely. Everything feels like it really does have a place there. Whether you’re looking for some new contemporary records or old school ones, there is a lot of everything from everywhere literally so head down if you get the chance! Supertone Records Our final stop on the list is the legendary Supertone Records in Brixton. Supertone is owned and run by Wally B on Acre Lane. Since 1983, the store has served many local and international vinyl lovers. People from all over Europe come to buy their vinyls. Crowned as the store with the biggest reggae record collection in London, Supertone specialises in all things, Reggae and Caribbean music. From 7 to 12 inch vinyls, CDs to DVDs, this is the place to be! You can also find them on discogs, but be sure to head down & chop it up with the owner and other music lovers while you’re there.

Sydney Lowell is becoming. “The poet knows the power of the word,” she says before adding, “it’s the spells we conjure that make up what we believe and who we become.” After years of spell-making on stage with her spoken word, Sydney wants something tangible of her own. A poetic triptych to honour her journey thus far. We caught up with the poet to talk about the process of creating and releasing her debut poetry EP WORD; spirituality, love and the environment that shapes her art; as well as her writing process and the collaborations that inform it. How are you feeling about your EP coming out? I'm feeling good. It's been a bit of a tumultuous ride, though. It's my first time doing something like this, and naturally, when you're the one in charge, you're wearing a lot of different hats. So it's been a journey, but I am excited that I get to share a bit more of myself with the world. What made this the right time for you to finally drop an EP? Well, I feel like it's been a really long time coming. I have been writing for about 13 years and I started performing 6 years ago. And at one pointI realised that I don't really have anything to show people. If you didn't go to my performance, you don't know what I did. I just felt this urge to create something tangible that was mine. You mention wearing different hats when putting this project together. Tell me a little about that. What was the process like? So, I applied for funding a couple of months ago just to get started and because I really wanted to be able to pay people and go about it strategically. The goal was to challenge myself in different areas. I'm already a poet but how can I challenge myself further. So, I thought to bring poetry to music and incorporate movement as well. I’m making my own album covers, using images from a photoshoot that me and a couple sisters have done. It’s been a lot of collaborating with different people to make it happen. I released two singles in the run up to the EP drop, which is set for the 28th on Saturday. It's been a really rewarding process, because I now finally got to work hard for myself. And that feels really good. What can we expect from the last release of the EP? People can expect what they haven't heard from me as much yet. I feel like the first two singles are very much- and I don’t mean to sound cheesy here- flowy and meditative. I think that's the kind of sound that people have heard from me before. It’s what is recognisable for me, which is very valuable because these are messages that I want to get across to people when it comes to introspection and reflection. They're more soft, I guess. But I wanted to explore different sides of myself with the rest of the release, and show people that there's more to me. So, there will be more lyricism and more experimentation with different genres. Just more play. How did you go about picking the music to accompany your poetry? It was a very intuitive process, I'd say. I’m blessed to be around a lot of creative people, a lot of musicians. So it's not hard to come by really talented people to work with. When it comes to this EP, I already had some people in mind whose music I really admire. And they really blended with the kind of sound I had in mind, and the kind of genres that I’m inspired by like jazz and R&B. But also, they love to experiment as much as I do so we can create something new. So, I would show them a poem and they would let me know what kind of emotions that evokes in them, and then we kind of just go from there. You talk about spirituality a lot in your first two releases, and even the name of the songs allude to those themes. What role has spirituality played in your art? Introspection has been a very big theme for me in recent years and so it made a lot of sense for me to put that into this project. Especially with it being my debut. Also, symbolically, the first song I released, Prayer is exactly the way I wanted to make that debut. Whenever I embark on a new adventure, or something that I'm excited about creating, it starts with intention, and that's what Prayer is all about. It’s about when you’re in a time of chaos, when you can't see through the mist yet, so you pray for clarity. And you pray optimistically, because you already know you're gonna get through it, but you just need that guidance. And then Testament is an answer to that. Now you have that clarity, what are you going to do with it? What will you leave behind? Those are really important topics for me because as an artist, sure, I want to be seen, it's nice to be seen, but I really just want to be felt and have people recognise themselves in me. I want everyone to feel confident and be aware of the power they have in leaving something behind. And as Testament also says, I'm choosing to leave behind traces of love. How writing has influenced how you think about love? Oh, I love that question. I think that writing has actually helped me understand my love. I had a definition of love, I have experienced love, I'm lucky enough to be around love. But I think through writing, I was able to deconstruct my own patterns in my experiences with love. There was a time where I didn't even think I was worthy of receiving love in a romantic way. It wasn't like I was insecure in myself, but I just didn't think it was possible. Like maybe it's not for me. But through documenting my journey in poetry, I actually saw, “hey, you need to give yourself some credit. You are capable of a lot of love.” And maybe also in activating my writing by performance, I was able to directly give it to people as well, like here is a piece of love for you. What’s beautiful about being a spoken word artist is the reciprocity; you put the energy out and you get it right back. It has helped me understand and appreciate love more, I think. Have you got a writing process? I don't, it's all very organic. Sometimes I go weeks without writing. But when I do, it's when I feel called to. I might be on the metro or on the bus and this word might come to me and I might write it down on my notes. And who knows, maybe a month later I might expand on it. There's no actual process, it just kind of flows. I try to write down everything that comes to me and I try to be as accepting of it as possible. So, I hardly ever edit my poems, for example, or scratch off lines. I just try to leave it as is. What happens when you read the poem back and a line just doesn’t quite fit? Yeah, that happens. But it's all about acceptance. I see poetry as a way to communicate with people and even now in my conversation with you, for example, I wouldn't mute myself if I said something that sounded a little less nice than I would like it to be. I could apologise for it, or rephrase it, but I have this philosophy where I feel like all of my words are valid. And for me to scratch something off completely, it almost feels like I'm doing them a disservice. Of course, there are some words that I try to avoid but I just try to be accepting you know? What other kinds of art do you find inspiration from? Music is primary inspiration. Not only because I write to it but it's meditation to me. It's really primal. When I can't speak or when I don't want to speak, I go to music. I don’t have a few favourite songs or artists but I have a deep love for jazz from all around the world. I love free, experimental music. Music that brings me a feeling of ecstasy. And neo-soul, also a fan of that. I also love to dance and just move. I'm not a trained professional dancer but dance is definitely a way for me to communicate in a similar way I would with poetry. Certain things you can't say with your mouth so, you communicate them with your body. Also, visual art. Drawing, painting, photography really inspires me as well. And I actually used to draw and paint a lot as a child. I guess those are the big three. How has living in Amsterdam shaped your art? I think it has had a really big impact through the privilege that comes from living here. I have a lot of access and a lot of liberties that have allowed me to create freely and live off my art. It has allowed me to write as much or as little as I want to perform, and to organise in places that I feel accepted and loved. Now, it's not all roses, of course, especially as a Black queer person. And that was a common theme in my work in the beginning because as you're growing up, you notice all the inequalities and discrimination and so, I incorporated a lot of empowerment in my work. Now I try to speak life, or the answer to the wishes, the answer to the prayers, the answer to the protests. For example, I’d incorporate things like spirituality and self-love because I feel like when you're susceptible to bias and discrimination, in predominantly white industries, it's easy to think that you're supposed to write about survival and pain. I felt that my role had to be different. That’s how I’ve dealt with being here. But there’s definitely good sides, there’s people from different cultures in the part of Amsterdam where I grew up and still live. There's so much richness in where I come from, and I try to put that in my work as well. Tell me a little about “We the People.” “We the People,” is a cultural and creative, Amsterdam based platform that I co-founded in 2018. So, a year after my start as a spoken word artist. It was born from this need to create a space that would be a home for POC and Black people. Especially because the writers’ world here is predominantly white, and you hear a lot of the same narratives. And in spaces where they allow you in, you either feel like a token or you don't feel supported in your storytelling. And I guess that's the most important thing. You want to be accepted and received just as passionately as you give. So, we focus on POC in our line-ups, and we curate for POC, as well, because we don’t want to end up with a room full of white people watching us. It's mostly been poetry nights, open mics, and a couple of exhibitions. Sometimes we'd have like visual art exhibitions during our poetry night. We’ve also done collaborations with other platforms in Amsterdam.

Over the past 2 weeks I was able to experience an enormous amount of content at the 67th BFI London Film Festival. From striking features and documentaries by film legends to intimate and honest short films, this festival was filled to the brim with fantastic stories. These stories were made especially more mesmerising with ground-breaking virtual and augmented reality film instillations at the OXO Tower (which should still be running till the 22nd October). Below are 5 films and pieces of content I’d recommend you consume should you get the chance: Colored (Noire) – Lead Artists. Pierre-Alain Giraud, Stéphane Foenkinos, Tania de Montaigne | Novaya, Flash Forward Ent | Augmented Reality Claudette Colvin’s story told through a gripping experience at the forefront of immersive filmmaking. I’ve never experienced anything quite like this film. You are encouraged to explore and move around as you learn the tragic tale of 15-year-old Claudette Colvin, an American girl who refused to give up her seat on a bus in 1955. Claudette’s actions preceded those of Rosa Parks, but her story failed to gain national traction for a variety of factors that the filmmakers walk you through. What I found truly incredible were the amount perspectives I could choose to inhabit throughout this film. Wearing the AR headset and headphones they provide, I could walk around and choose to see this story unfold in a variety of ways. I sat as Claudette on the bus, I stood in the shoes of the lady who wanted Claudette to give up her seat, I stood as the bus driver and the judge, I sat with Claudette in her cell and watched her as a member of the jury, I walked with protesters and church members, the options were endless. If you so want, you could choose to view the entire piece as a passive observer, but the point is that you have that choice and that will affect how you experience Claudette’s story. This made my viewing very personal and is an experience I doubt I’ll forget. The Book of Clarence – Dir. Jeymes Samuel | Legendary Entertainment | Feature A remix of the Gospels, I still prefer the original. The Book of Clarence follows LaKeith Stanfield’s ‘Clarence’ try to make his way through Jerusalem while navigating love, enemies, an up-and-coming messiah called Jesus Christ, slavery and the law. A work of incredible scale, The Book of Clarence heavily comments on the plight of dark-skinned people in the western world. Jeymes Samuel’s ambition cannot be questioned. The world he creates are vibrant and interesting, with interesting characters and fantastical situations. I really wanted to love this film but there was too much happening for me to have any sort of emotional attachment to the characters. A lot of this film felt like an extended music video, where meaning is derived from looks and things are told rather than shown. It’s not bad by any means as there are many good qualities, such as the performances from most of the cast. Standouts include Lakeith Stanfield, Michael Ward, Teyanna Taylor and Benedict Cumberbatch (who has some of the funniest moments I’ve ever seen). There were a lot of moments that made me laugh and had me engaged but it wasn’t sustained. I think it’s worth a watch because there’s nothing like it but I think I would have enjoyed it more had I gone in with lower expectations. Maestro – Dir. Bradley Cooper | Netflix | Feature Emotionally gripping, visually stunning, a true standout. Bradley Cooper’s sophomore film is a biopic detailing the hectic life of composer giant Leonard Bernstein. Spanning many decades, featuring many tenets of musicals and classical compositions, and not shying away from any area in his life, Maestro is a brave film made with the cooperation of Leonard Bernstein and Felicia Montealegre’s three children. Carey Mulligan’s performance struck me particularly, with her portrayal of Felicia being beautiful and charming, as well as fierce and harsh. Carey steals nearly every scene she’s in and her chemistry with Bradley Cooper is electric; both of these performances gripped me from the opening note. Bradley Cooper has shown himself to be as talented a director as he is an actor. I didn’t feel lost at all in this film, in fact, the myriad of emotions I felt for Leonard and Felicia guided me through the moments where the technical aspects of Leonard’s conducting were at the forefront. This film made me laugh, this film made me cry, I cannot recommend Maestro highly enough. The Kitchen – Dir. Kibwe Tavares & Daniel Kaluuya | Netflix | Feature A look at the undying spirit of the heart of London. The much-anticipated directorial debut from Daniel Kaluuya alongside Robot & Scarecrow (2017) director Kibwe Tavares is a tale about fatherhood and gentrification. The Kitchen is a futuristic, multicultural, vibrant, musical estate that faces closure at the hands of a militant police force. Kane Robinson’s ‘Izi’ aims to escape to greener pastures until he meets Jedaiah Bannerman’s ‘Benji’ who creates an avenue for a new world. While the community shown and the performances from Kane and Jedaiah standout, the two themes in this film aren’t developed enough to say either were explored fully. I wanted to see more of The Kitchen and why things are the way they are, as well as see Izi and Jedaiah’s relationship hit more highs and lows. That being said, the audience gasped, groaned and felt what these characters were going through. The film does its job in making you feel, I just wanted to feel more strongly in one way or another. The Kitchen features some of the richest music I’ve heard and shows a fresh look at the dynamic mix of the British, European, West African and Caribbean cultures that exists in London. This film did well in creating a world I wish was delved deeper into, but it’s still one I would like to revisit. Dancing on the Edge of a Volcano – Dir. Cyril Aris | Salaud Morisset | Documentary How do you make a film through a national disaster, a global pandemic, flooding, wildfires and protests? With a community of champions and an unbreakable will The 4th of August 2020 is a day the lives of many Lebanese people changed forever as a massive explosion occurred in Beirut, originating from its port. This documentary follows Mounia Akl and her production team as they try to continue making their debut feature film through this unbelievable adversity. Mounia’s award-winning film, Costa Brava, went through numerous challenges, any one of which could have stopped production entirely. To name a few: The pandemic, banks and borders closing, cast and crew injury as a result of the explosion, sets and homes flooding. Through all this adversity, it was inspiring to see how the team rallied around each other and made such an important piece of art. This film offers and honest take on how Lebanon was failed by its government and how the people felt and resisted. It was inspiring to see that the communities that were built lasted through the darkest days in the country’s history. Other projects I’d recommend: Black Dog – Dir. George Jaque | Independent Entertainment | Feature Essex Girls – Dir. Yero Timi-Biu | Short Wildmen of the Greater Toronto Area – Dir. Solmund MacPherson | Short Killers of the Flower Moon – Dir. Martin Scorsese | Apple TV+ | Feature Flow – Lead Artist. Adriaan Lokman | Virtual Reality Hopefully these few recommendations have stirred your excitement and given you some projects to look out for in the last few months of 2023 and early 2024. I’d encourage you to see and talk about as many of these films as you can, as all these filmmakers have created some truly inspiring art.

Poet and screenwriter Thara Popoola’s career has been a slow and steady climb. Poem after poem, then short after short, and more recently one script after another, earning her a seat at the season 4 Sex Education writers’ room, where she got her first TV credit on the award winning show’s final episode. We caught up with her to talk what it’s really like to write for a living, Sex Education and her artistic sensibilities. Do you remember what point you realised you could write for a living? Probably when I started screenwriting, which was in 2020/2021. Before that I was doing shorts here and there but I hadn’t been paid for my writing. I think I did like a scratch night where I got 50 pounds or so but I was definitely still working my 9-5 as a paralegal. When I got my agent it made me realise, okay, I could do this as a job. Shortly after I also got Sex Education. That was my first TV writing job. But even then, I still stayed at my 9-5. I only left last year. Logistically, how do you do that? How did you do a 9-5 and write full time? Use all your annual leave [laughs] plus unpaid leave. And then later that year, I had a really understanding manager. I eventually ended up going part time and would work three times a week, and use the other days to write and do writing rooms. I just made it work. And then when it literally became impossible, that's when I finally left my 9-5. When did you join the Sex Education writers' room? I joined for season four, we did writers room around summer 2021, so it's been a long-time journey. Tell me a little about having a completely new cast for season four. When you’re writing on a show, you're serving the vision of the creator. I think there were various reasons, including the fact that Moordale closes down at the end of season three so there’s a new school, and inevitably new characters. But we came on board and was just kind of there to support Laurie’s vision for the season. What was it like having to integrate these new characters in an already established TV universe? It was quite fun actually. I think to come into a room of a show that is very established and to have that freedom to pitch new ideas, new characters, new themes, it’s quite fun. And then seeing them brought to life. I think the new class were brilliant, the actors did a great job. So, I really liked it. Can you describe to me a little what the atmosphere is like in a writers’ room for a show like Sex Education? So, it was the first room I’ve ever done. Laurie always describes it as like an extended dinner party and that's sort of how it feels. You're just talking all day for five weeks. The atmosphere in the room is very open. It's everyone pitching ideas. Sometimes by the time an idea goes on the board we don't actually remember who it came from, because everyone’s jumped on and added their bit to get it to what it is. I know we always hear about safe spaces, but it genuinely did actually feel like a safe space. People were free to have opposing views and it was fine. And I think in this climate, you don't get that. It often feels like everyone has to agree on everything otherwise you're cancelled but that was not the case with us. Although you do sort of ended up becoming a kind of hive mind, but you still want people to bring their different experiences. Especially with a show as diverse as Sex Education. How many new writers were there for season four? Selena Lim, who wrote episode four was the only writer returning. All the rest of us were new and for quite a few of us this was our first TV credit. I think they've done that in previous seasons as well, they’ve created opportunities for new writers. And that doesn't happen. I remember I was told that they wanted to meet me and I genuinely thought it was for an assistant role because I didn't have any credits, I had only written one script. That is very cool, especially for a show that is so acclaimed. I can see how the pressure to finish strong would have them stick with writers they know, so it’s great that they were willing to involve new writers. Yeah it doesn't happen very often in this industry. Often you find yourself in the catch 22 where you need experience to get experience. The biggest thing this season was that it zooms out a little bit and the focus is less on the micro interactions, but instead on the big picture stuff. It felt a bit more led by social issues than relationships between the characters. I wonder if that was intentional? I think it was to an extent, but I think it very much also did come from the characters who were experiencing these things, whether it be to do with sexuality or disability. As a result of that we ended up exploring these themes. I don't know if we necessarily went into the room and outright said ‘these are the issues we're going to cover,’ I think we sort of started with the characters and then through discussions and people's experiences in the room those issues were drawn out and explored during the season. What was it like for you to have the job of tying up all the storylines at the end? So when I was writing, I didn't necessarily know the show was ending. I maybe had an inkling because it felt like things were resolving, but I didn't really know. I think Laurie has really brilliant outlines, and there's a lot of support from Clare Couchman, the executive producer, and Maria Odufuye, who's the script editor. So, it was a lot of going back and forth and exploring and discussing. I felt very supported. I wasn’t just left to my own devices or left to freak out so it was alright, to be honest. Would you have suggested any big outline changes if you knew that episode 8 was the finale? I mean I’ve heard a lot of people say that they wish Maeve and Otis were more cemented, but they're 17 years old. I like that it's open. Maybe I would have made it more “not now, but maybe in a few years,” maybe I would have made that a bit more apparent. But I think it felt true to life in that when you're 17 years old, you have these people and these experiences in your life that feel like they’re forever but ultimately, for a lot of them the end of the show is essentially just the start of their journey. The friendships feel far more cemented though, particularly Otis and Eric’s. Tell me a little about having that friendship being a constant factor in the whole show? I mean, I think Otis and Eric’s friendship is the heartbeat of the show. Even before I was on the show, their friendship and their dynamic was sort of what drew me in. For Otis, even before Maeve, there was always Eric. Is there a storyline you particularly enjoyed writing for? Eric exploring his faith and sexuality. I enjoyed that. We don't see that very often in a nuanced way, that explores both sides equally. So often, it feels like someone having to pick a side but I think Eric is very much toiling in between. Those storylines are important. In my interview, I mentioned wanting to, -and Laurie had the idea as well- explore a kind of emotionally abusive relationship. So, I was glad that was something we were able to do [with Viv and Beau]. And I thought the actors did a brilliant job, because it wasn’t easy. Amy’s storyline as well, the bus scene was brilliant. Yeah, I think those were the stand outs. Is there any that was particularly challenging? I think in a way all of them because it's like, they're not necessarily my personal experiences. So, I always had that thing of wanting to do it justice. Cal’s storyline was probably the most difficult because of wanting to do justice to their story. We had consultants to help out. We wanted it to be an accurate reflection because it’s such an important story. I want to talk about Eric a little bit more. Tell me a little about the choice to incorporate magical realism, to depict the evolution of his faith in a show that although dramatic, has been rooted in reality so far. I think we spoke a lot about that in the room. He feels like he's being called and, there are instances in the Bible, like the burning bush and all these scenarios that are rather magical. So, we decided to draw from that and this idea that God comes to people in strange forms. That's why it was a black woman in this amazing outfit; that's who God is for Eric. I think the show being quite out there made it made sense. As opposed to Eric just being like “I'm being called,” I think having it quite visual and in his face was important for his story and just fits the tone of the show, to be honest. What’s the aftermath of a big TV credit like that for you? It feels great! I did it in 2021 and it's definitely opened a lot of doors. Because like I said, with this industry, it's very much, “what have you done? what have you worked on?” So, I feel very fortunate to be able to say that this is my first TV credit. I had just finished a screenwriting course and went on set right after, it was sort of going from training wheels to out in the real world. But I think it was a great place to dip my feet into the industry. I'm very grateful for the opportunity and that they took a chance on me. When you think of the kinds of shows you’d like to write, what would those be like? I’m quite open. I love kind of high concept shows that are grounded. I love comedy. I'm developing a sitcom at the moment, which is really fun. Kind of like a my wife and kids type of show. I'm also developing a legal drama thriller, and a sort of a psychological kind of like Russian doll vibe. So, I'm all over the place [laughs]. I'm very much character driven. And I just really liked cool, quirky ideas that are funny. Is there a common thread in the work you are making or want to make? A sort of underlying purpose? To an extent, but I think that's always secondary, because I'm not necessarily an issue led writer. I’m very much character driven. For instance, my first screenwriting script explores mental health and domestic violence, but it's a story about a young black girl who struggles with violent intrusive thoughts, and they manifest into a superpower. It's a dark comedy, but when you think domestic violence, your mind doesn't go to comedy. It's in development now and I've had quite good feedback about it. So yeah, I think a lot of my work does explore a lot on mental health, but that's not necessarily the entry point. The issues are kind of peppered on the side. I think a lot of things I absolutely love, like Russian doll, which explored so many issues like mental health, generational trauma, but when you first start it, you just think it's about this woman who just keeps dying and waking up again. Those are the things I’m drawn to and try to create as well. And sometimes it’s just about nothing, like my sitcom is about a black middle-class family and it's centred on twins who are just trying to get their first job and it's just silly and fun and not really about an issue per se. As a writer in the UK, what has it been like watching other writers across the pond having to like deal with the strike? I think it made me the realise how bad things are for us because essentially, from what I understand they're striking not become the UK industry in terms of wanting longer writing rooms. I think their mini rooms are around eight weeks, whereas the longest room I've done has been five weeks. They are also fighting for residuals; we don't have that. I've been very blessed that I have been able to sustain myself but that's not the reality for a lot of writers. And I think the strike and the results have been incredible because it shows what's possible, but it hasn't necessarily filtered through to here because our union is just strong enough, to be honest. So yeah, I think it was just an eye opener. Like, we're really in the sticks [laughs]. It's more and more understandable why people end up going to America because the UK industry is difficult. I think the same for actors as well, it's just hard to make a living unless you're literally doing like 10 projects at the same time. Which sounds like what you're doing right now. Essentially [laughs], then you're just constantly drowning and burnt out. I mean you’re at the beginning of your career so I imagine it’s fun to be able to try a bunch of things, but it does also sound like a lot. Yeah. And even with our fees, what we get here is just crumbs in comparison to what writers in America are getting. There’s that thought that yeah, I'm writing on these amazing shows, but maybe if I was in America I’d be earning, like, triple a year. I think that’s the feeling across a lot of creative industries so it's been an eye opener to say the least. And it is honestly so inspiring the outcome that they've got from the strike. Yeah it’s great, hopefully the actors get that next. I’m sure they will.

In Tomi Oyemakinde's The Changing Man fear is to be conquered as much as it is to be embraced. The novel follows a precocious and lonely teenager, Ife Adebola, as she navigates settling into new boarding school Nithercott, and the adventures that follow her investigation of the school's elusive urban legend. This debut offering joins the ever growing canon of YA speculative thrillers that combine a horror-esque pace, and the levity familiar to the young adult fantasy genre- although it is arguably at its best when the focus is on the latter. In The Changing Man, this explorative prose in anchored by a protagonist whose Nigerian roots form not only the casing for her character, but also for the novel's motivations. In this conversation, Oyemakinde shares publishing insights, personal ties to the story, craft, and candid feelings on the aftermath of the book's release. Walk me through the process of writing The Changing Man from idea to publishing? So, I like to draw from my own experiences. There were two instances that sat in my mind for a while and the first was moving away from the Netherlands to the UK when I was about 10. And the second thing is fast forward to when I was about 14/15, I went to boarding school and found really good friends there. Around the time when I was thinking about merging the two, Jordan Peele’s US came out and it left me feeling completely terrified, but also really energised. So I thought, why don't I just combine this idea has been sitting in my head for a while with this feeling that I've got, and try come up with something cool. From there, it was pretty much about getting words on the page. When it came to publishing, I had an unconventional path mainly because I used one of those Twitter pitch competitions, where there's a given day where you can pitch your book in a tweet, you have hashtags and literary agents looking at those hashtags. I was quite fortunate that I got a lot of engagement, so I got my material ready and sent it to them quite quickly. I ended up having quite a few conversations with various different agents, and then picked one to represent my work. And then from there, it's quite standard, tweak the draft before it goes to submission to a publisher. And then we get to the point of securing a publisher and it becomes the longer back and forth to get it published. What are you looking for in an agent as a debut author? So, you want your agent to have a passion for your story. It can be quite easy to see when an agent is passionate about the commercial aspect of it like, ‘this is going to sell really well,’ versus actually just ‘I really love this story and I want to be the one to represent it.’ As an author you want the latter. I think another thing that you're looking for as well is passion for your writing and being able to resonate with it and, and enjoy it, because this story that you have right now may be very different to the next thing that you write and you still want their support. You want someone with a desire to see your career grow. Is The Changing Man classified as fantasy or speculative YA fiction? So you picked up on something that's quite interesting, because up until I wrote this book, I was very much a fantasy reader and writer. But then I started seeing the possibilities that speculative fiction offered and realised there is something interesting about writing stories that are set in a world that's quite familiar to us, but with some distinct differences. So in the book there’s lots of me drawing on my enjoyment of fantasy, and then there's me trying to lean on that new appreciation for speculative fiction. Growing up, I remember being absolutely blown away by Octavia Butler. I think Kindred was incredible. Do you particularly care for it to fall into a specific genre? I mean one thing that I found quite challenging is that I never called it a horror, or a thriller, or horror thriller, or any of those things. But a lot of people have. And I found that readers are either surprised like, ‘this isn't what I was expecting,’ or they've quite enjoyed the weirdness. When I was querying it I called it a speculative thriller but even then when I was trying to define it, it felt difficult. I also feel quite pretentious saying this because it probably can be defined, but it really does have a lot of different aspects to it. I think I’m ok letting people decide. I'll take that risk. Tell me a little about why you felt like boarding school was a great setting for your story. So I think one thing that always sticks with me about boarding school is that if you don't know who you are, it can be quite easy to come in one way, and by the end of it be completely different. I saw that so often. Students would come in wide eyed and innocent and by the end of it, that innocence was gone and that's often, no fault of their own. It's often a result of the environment and the lack of support from teachers. And also because they're just still trying to figure things out. And I wanted to play with that when I was writing The Changing Man. Also, when you go to boarding school you can't just leave, so you have to try and figure yourself out in a place that almost feels like a prison at times. It's quite an interesting setting to play with. I think I wanted to write something that kids who are about to go or at boarding school can read and feel like they can relate to. And also hopefully offers them a sort of assurance that you can navigate this experience and come out the other side ok. How did you come up with the idea for the villain, Orchid? So I first thought, what is the weirdest thing that would freak me out? And for me that’s someone that could shapeshift. Octopuses have also always freaked me out, so I thought it has to be something that has tentacles. So that was the basis. But then I thought it would be terrifying if this was something that was based on something that could actually happen. My parents often encouraged me to go for scholarships when I was at school because private schools and boarding schools can be quite expensive. So what if, it was those who offered scholarships, and who were meant to be kind benefactors were doing it with sinister motives. And that was quite a sobering thought. Particularly with scholarship programs, what if the very thing that's supposed to help you get into a supposedly better institution, and the very people who are supposed to offer better were actually using your need for that opportunity to lure you into your death. So, the main character, Ife, goes through her own personal trajectory with fear and anxiety (on top of having to fight Orchid). Why was that important for you to include in the book? It was important because the remedy to her fear- and I say remedy lightly- was that she should open herself up to friendship. That she should let those who actually care about her in. The reason why I say remedy loosely is because obviously, you can feel fear even when you do have friends, but it helps to not be alone. I was saying, ‘hey fear is not something that you can just get rid of, it will always be present, but if you have good friends around you, and those you can lean on, then it makes it a little easier.’ I was drawing on a lot of my own experiences where I was felt alone. And in hindsight, it was actually counterintuitive of me to think it was much easier to just keep to myself and not make friends for fear of eventually losing them. It wasn't until I got to boarding school, I started to overcome that resistance to opening myself up to friendship. I still worry and I still get anxious, but I have friends to share that with. "Particularly with scholarship programs, what if the very thing that's supposed to help you get into a supposedly better institution, and the very people who are supposed to offer better were actually using your need for that opportunity to lure you into your death." Was the absence of a romance storyline, a staple for a lot of YA, an intentional choice so as to make more space for developing the friendships? Yeah, I was very much adamant that I'm not going to write romance. And the reason was because unless I'm going all in and writing with romance at the centre of it, it’s not for me. I find that younger readers can be quite impressionable and I'm a little wary. If I’m going to write a romance, I’d want to write it in a very responsible way. I think sometimes YA romances can make it out to seem like the best thing and that that’s what to hope for when you’re at school. And I just think school kids have got so much life ahead of them. Like, you don't need to hope for it in school. If it happens, that's great, but it doesn't have to be something that you expect or even work for. I certainly grew up watching loads of romcoms and I remember going to school thinking that my life is gonna be a romcom. And when I had my first girlfriend at 15, I remember thinking, right, this is it. We’re going to make it out of school and go to unis in the same city. She's going to be a GP, I'm going to do whatever, and we're going to have this nice family. It was over within nine months. You did leave enough space for a ship though. There was a bit of will they, won’t they going on. Of course. It’s all about the tension. What did the process of writing the book feel like when your personal experiences inform quite a bit of the story? I think it was quite cathartic. Thankfully I've processed a lot of the experiences that shaped the book, which meant that I didn't have to sort of step away to make sure I wasn't going too far into the thoughts and feelings that affected me a lot when I was younger. I think ultimately, it was a very liberating experience because I was able to write from the point of view of almost saying ‘if this book had existed when I was moving around and got into boarding school, what would it have have said that would have helped younger me process how he felt about things?’ To think that, by the end of it, I'd written something that if I could go back in time and hand it to myself, I would have loved it and actually been able to process a lot more of those thoughts and feelings that I had. Sounds like younger you would be very proud. What do your family think about this book? My brother ’s got no opinions. My mum and dad are very, very proud. The parents are pretty much based on them. The names of the parents are their names and I completely forgot to change them. They were like, ‘why are our names in this book?’ And I said, Well, that’s a great question [laughs]. But no, they're very proud. And I think they saw a lot of themselves and a lot of me in it as well. I think they also can appreciate all of all what’s in there, because we’ve had a lot of conversations about how these experiences have affected my upbringing. I think one thing that's always stuck with me, is that my mom has always said, write what you know, write truth, don't write in a way where if someone heard Tomi wrote this, they'd be surprised because it's not aligned with your character and what you stand for. And that’s really helped to inform how I write. What's the aftermath of publishing like? How are you feeling about your debut being out there? And how’s the promo been? I think one thing that I've struggled to do is process and enjoy the whole thing. I think part of it is because I'm so busy with my 9-5, but the other part is sort of just like processing the fact that it's out there in the world. Like people are reading it and want to ask me about it. But I think on the flip side, I've been really encouraged to have good conversations with people, especially when people have actually read it, and are curious about it. That's quite energising to think about and speak with with other readers. Even if it’s about something they didn’t like. I think whenever someone actually cares a lot about what they're reading or the craft it’s always encouraging. The most challenging part has been letting go and moving on to the next thing. I think, you spend so much time crafting it and trying to make sure that your vision is as clear as possible that once it goes out there, you realise you have no more control over it. I think I still have a lot of work to do in terms of being able to enjoy the moment. In my mind, my job is not finished, I'll only be able to enjoy it once I feel like I've finished writing all the stories in my mind, which probably is never going to happen. What’s the next story you are working on? I’m working on a book that's essentially another speculative thriller type story. Think White Lotus meets Jurassic Park. So, it's about two brothers and a dad, who are very different from each other. They struggle to understand one another but they have to work together to survive, essentially. I found that the publishers have already posted the title and the synopsis online so if you type in my name you could find it.

Since everyday is Black History Month for The Floor Mag, we've decided to spice up this month's shelf with some thriller/horror/mystery reccs. The Other Black Girl by Zakiya Dalila Harris Recently adapted for TV, Zakiya Dalila Harris's The Other Black Girl, sees editorial assistant and the only Black employee at Wagner Books, struggle when another Black employee, Hazel-May McCall joins the company. While Hazel seems supportive in their personal interactions, Nella soon finds herself sidelined and her relationships at Wagner strained due to Hazel's advice and interference. When Nella receives an anonymous notes ordering her to leave Wagner, she begins to suspect that Hazel is not what she seems, and searches for answers about both Hazel's and Wagner Books's dark pasts. Purchase here Out There Screaming edited by Jordan Peele Jordan Peele, the visionary writer and director of Get Out, Us, and Nope, and founder of Monkeypaw Productions, curates this groundbreaking anthology of brand new stories of Black horror, exploring not only the terrors of the supernatural but the chilling reality of injustice that haunts our world. Featuring an introduction by Jordan Peele and an all-star roster of beloved writers and new voices, Out There Screaming is a masterclass in horror, and – like his spine-chilling films – its stories prey on everything we think we know about our world, and redefine what it means to be afraid. Very afraid . . . Purchase here When No One is Watching by Alyssa Cole Sydney Green is Brooklyn born and raised, but her beloved neighbourhood seems to change every time she blinks. Condos are sprouting like weeds, FOR SALE signs are popping up overnight, and the neighbours she’s known all her life are disappearing. To hold onto her community’s past and present, Sydney channels her frustration into a walking tour and finds an unlikely and unwanted assistant in one of the new arrivals to the block—her neighbour Theo. But Sydney and Theo’s deep dive into history quickly becomes a dizzying descent into paranoia and fear. Their neighbours may not have moved to the suburbs after all, and the push to revitalise the community may be more deadly than advertised. Purchase here My Sister, The Serial Killer by Oyinkan Braithwaite When Korede's dinner is interrupted one night by a distress call from her sister, Ayoola, she knows what's expected of her: bleach, rubber gloves, nerves of steel and a strong stomach. This'll be the third boyfriend Ayoola's dispatched in, quote, self-defence and the third mess that her lethal little sibling has left Korede to clear away. She should probably go to the police for the good of the menfolk of Nigeria, but she loves her sister and, as they say, family always comes first. Until, that is, Ayoola starts dating the doctor where Korede works as a nurse. Korede's long been in love with him, and isn't prepared to see him wind up with a knife in his back: but to save one would mean sacrificing the other... Purchase here All My Lies Are True by Dorothy Koomson Verity is telling lies... And that's why she's about to be arrested for attempted murder. Serena has been lying for years. . . And that may have driven her daughter, Verity, to do something unthinkable... Poppy's lies have come back to haunt her . . . So will her quest for the truth hurt everyone she loves? Everyone lies. But whose lies are going to end in tragedy? Purchase here Beloved by Toni Morrison Sethe is now miles away from Sweet Home - the farm where she was kept as a slave for many years. Unable to forget the unspeakable horrors that took place there, Sethe is haunted by the violent spectre of her dead child, the daughter who died nameless and whose tombstone is etched with a single word, 'Beloved'. A tale of brutality, horror and, above all, love at any cost, Beloved is Toni Morrison's enduring masterpiece and best-known work. Purchase here Jackal by Erin Adams It's watching. Liz Rocher is coming home . . . reluctantly. As a Black woman, Liz doesn't exactly have fond memories of Johnstown, Pennsylvania, a predominantly white town. But her best friend is getting married, so she braces herself for a weekend of awkward, passive-aggressive reunions. Liz has grown, though; she can handle whatever awaits her. But on the day of the wedding, somewhere between dancing and dessert, the couple's daughter, Caroline, disappears--and the only thing left behind is a piece of white fabric covered in blood. It's taking. As a frantic search begins, with the police combing the trees for Caroline, Liz is the only one who notices a pattern: A summer night. A missing girl. A party in the woods. She's seen this before. Keisha Woodson, the only other Black girl in Liz's high school, walked into the woods with a mysterious man and was later found with her chest cavity ripped open and her heart removed. Liz shudders at the thought that it could have been her, and now, with Caroline missing, it can't be a coincidence. As Liz starts to dig through the town's history, she uncovers a horrifying secret about the place she once called home. Children have been going missing in these woods for years. All of them Black. All of them girls. It's your turn. With the evil in the forest creeping closer, Liz knows what she must do: find Caroline, or be entirely consumed by the darkness. Purchase here Harlem Shuffle by Colson Whitehead To his customers and neighbours on 125th street, Carney is an upstanding salesman of reasonably-priced furniture, making a life for himself and his family. He and his wife Elizabeth are expecting their second child, and if her parents on Striver's Row don't approve of him or their cramped apartment across from the subway tracks, it's still home. Few people know he descends from a line of uptown hoods and crooks, and that his façade of normalcy has more than a few cracks in it. Cracks that are getting bigger and bigger all the time. See, cash is tight, especially with all those instalment plan sofas, so if his cousin Freddie occasionally drops off the odd ring or necklace at the furniture store, Ray doesn't see the need to ask where it comes from. He knows a discreet jeweller downtown who also doesn't ask questions. Then Freddie falls in with a crew who plan to rob the Hotel Theresa - the 'Waldorf of Harlem' - and volunteers Ray's services as the fence. The heist doesn't go as planned; they rarely do, after all. Now Ray has to cater to a new clientele, one made up of shady cops on the take, vicious minions of the local crime lord, and numerous other Harlem lowlifes. Thus begins the internal tussle between Ray the striver and Ray the crook. As Ray navigates this double life, he starts to see the truth about who actually pulls the strings in Harlem. Can Ray avoid getting killed, save his cousin, and grab his share of the big score, all while maintaining his reputation as the go-to source for all your quality home furniture needs? Purchase here

Have you ever had a dream that felt so close yet so out of reach? It’s a phenomenon that resonates with many, including myself. That hunger to turn a hobby into a day job or turn your life circumstances around. Tyrell Williams’s highly acclaimed Red Pitch is back for round two at the Bush Theatre, and explores just that. The play follows three young Black boys who are kicking about on the football pitches of South London, pining for their dreams to go pro to become their reality. All the while their estate gradually vanishes piece by piece for “redevelopment” (AKA Gentrification). It’s not a situation that everyone may have found themselves in, trying to become a professional athlete whilst grappling the external pressure of potentially losing your home. There are powerful references to buildings being knocked down and the lack of football pitches in London. I left William’s play incredibly moved and related with the cheeky chappies on stage. Bilal (Kedar Williams-Stirling), Omz (Francis Lovehall) and Joey (Emeka Sisay) are 16-year-old boys trying to turn their QPR football tryouts into full time jobs by securing professional contracts. There are only 3 characters in this play, but the acting, alongside Williams’s rich writing and Daniel Bailey’s directing, holds the weight of 30 plus. The costumes, including Adidas tracksuits, Nike joggers and trendy trainers, grounded the play in reality for me. As the pressure mounts, the boys bicker, beat each other up, and belly laugh - as do the audience members. There is so much joy in Red Pitch and whilst there are moments of teenage angst, anxiety, and anger - it’s so refreshing to see Black boys just be. However, as they are chasing success, in the background, the boys’ estate and local area is changing. The price of chicken and chips has skyrocketed and the local Morley’s has turned into a Costa Coffee, much to Joey’s disdain. Omz is looking forward to moving into a swanky new building in a ground floor flat where his ailing Grandfather can be more at ease, while Joey is in the process of moving miles away. In true teen boy manner, the trio don’t fully address if this would impact their friendship. They don’t even consider what would happen if they don’t all ace the football trials and if burning resentment or jealousy will impact the group dynamic. Tensions do bubble over at points and I witnessed the most horrific stage fight I’d ever seen. I kept reminding myself that it wasn’t real and no one was actually getting hurt, because it truly did feel like I was watching a cage fight. Through a Twix bar and a tropical juice box we really get a glimpse into Omz, Joey and Bilal’s worlds and how awkward coming of age and stepping from boyhood into manhood can be. The extra three week theatrical run is deserved, but I feel Red Pitch can go further and could even end up on our screens. Its storytelling techniques reminded me of a TV series. When the 1 hour 30 minute play was over, I wanted more. I hope audiences far and wide get to see this unique story in some shape or form. 4/5

Talia Hibbert is growing bolder in her love for romance. "I take so much pride in telling these stories," she earnestly shares towards the end of the interview, before adding, "and because of the support of readers who have told me what these books mean to them, I have become much more open about the things that I really care about." The young romance author is steadily building her own romcom universe of sexy and diverse novels, featuring often misunderstood, passionate and unwittingly funny characters of colour. We caught up with her to discuss her writing journey, character building and the spicy sex scenes that have become a staple of her work. There's a list of all your books on your website, which breaks them down into the eras in your writing journey. I wonder how you feel like your writing has changed through the eras? When I first started out, it was about finding my voice and learning what I was passionate about. The start was about narrowing it down to the kinds of stories that not only spoke to me the most, but that I do best. So, a lot of experimenting, trying new things, and really honing in on what makes my writing special and what makes for the reading experience that my readers want. I think there's been a definite change, and I think that I'm still changing. I'm always trying to figure out better ways to communicate what I want to communicate and to develop my stories so that every book is better than the last. That's the goal. How do you craft your characters? So, I always start with my main characters, and then the side characters and the world around them is sort of created to serve whatever their story needs. I see characters as puzzle pieces that I need to slot in not just with their love interest, but with their family and friends and everyone else in their world. So, like I said, I start with the main characters, and it tends to be what dynamic or experience is speaking to me at the minute that I want to explore and convey to my audience. And then from then on, I try to immerse myself in the characters as if they're a real person. When I was younger, I used to be into acting and theatre and sometimes it feels a bit like acting, but you're just writing it down. Which characters have you had the most fun immersing yourself into? Gosh, it was really fun writing Act your age, Eve Brown actually, because writing romcom characters is so fun. You can just make them so wacky and ridiculous and I feel like I got bolder with that as I moved through the series. By the time I got to the final book, it was just so much fun sitting down everyday thinking, okay, what ridiculous thing are they going to do? The diversity in your books comes through in your characters' defining traits as well as nuances like a silk scarf when they're sleeping or mention of “inshallah.” I wonder if having minority identities yourself has influenced that quality in your writing? I think definitely because when you are a minority and you're reading a book and you get that thrill of seeing something about yourself that you usually don't see, you know how important it is. And it can be a minor thing like you said. Reading romance novels and having access to them via the library in my very white small town meant that I read all these books where it was like “her pearlescent skin,” and “he ran his fingers through her hair,” and I would be sat there thinking, “well, not my skin, not my hair.” You learn firsthand how these small, regular details can speak to a unique individual or a shared experience that a lot of us don't get to see, but would love to see. A staple of your books is the steamy sex scenes. The first time I read a sex scene in a book with a black woman was not too long ago. Do you remember the first time you experienced that in a book? Can you tell me a little bit about it? So my first experience was when I was too young to be reading the book that I was reading. I was at the library and saw Nalini Singh. I saw her name on the book and thought, ‘well, that's a brown person’s name so I'm gonna pick it up.' But then I was trying to read it and the book was too smart for me, so I put it away, which is funny, because now she's one of my absolute favourite authors. It was written in the stars. But the next instance was many years after with a Rebecca Weatherspoon book. I searched on Amazon for books with black heroines, because I was like, 'enough is enough.' I'm tired of this. So I was specifically looking and I found her and I also found Theodora Taylor. And for both of them, it was just explicitly on the page that the heroine was black. She had brown skin and in one of them, she had weave and then braids in another, which was exciting because those are things that I could have been. The other fun thing is the different kinds of sexual interests that your characters have. They’re all very specific. You have a 12inch, purple dildo in one book, and character with a control kink in another and it makes perfect sense for the story. Talk to me a little about that. So, I obviously love a good sex scene. But I think that the sex scenes for me should only be there as part of the whole story. I've read some romance novels that don't have sex scenes, or don't have open door sex scenes and that's completely fine because that fits in with the story. And conversely, in my books, the sex is part of the story and so for that reason, it has to be an extension of the characters' personalities, and it has to reflect the connection between them. So I'm glad that you said that it feels specific, because that's really what I want. Like it's these specific people having their specific kind of sex together. Romance is often associated with fantasy or escapism, but a lot of your characters go through real hardship that is sometimes traumatic. Why did you make that choice in your work? It's really important to me that my characters go through realistic struggles, because, like you said, romance is kind of escapist, but I find it to be a very hopeful genre. I myself read it to feel positive about the world; I think a lot of other people do as well. So, I think it's beneficial for a reader who is going through or who has gone through things like my characters go through to see that you can have those experiences and still have the fantastic happily ever after. Another common element in a lot of your couples is that they often find themselves in morally ambiguous dynamics with a power imbalance, but the story still turns out sweet. An exploitative contract for instance, or an employer-employee dynamic. Tell me a little about how you toe that line. I think that romance has a long and fabulous tradition of taking things that are technically wrong or terrible, and turning them into a lovely romantic story. And I think one reason why that happens is because in real life, things don't always happen the way they should. Sometimes you get into situations that are kind of terrible and unfortunately, in real life, they often end badly. But we all have this secret fantasy, right? That one day you could make bad choices or end up in a bad situation, and it would still work out. And I think there's kind of a healing element that those kinds of stories can have. And for me, if I am writing something like that, it's important to me that no matter the situations the characters find themselves in, or the bad choices that they do make, they still have this inner core of caring about each other. Because in order for them to end up together, happily at the end, they do have to genuinely like and respect each other, as well as you know, have affection and desire for each other. And that's what I try to keep in mind. Have you got a writing process? Yes and it does change. I feel like it changes depending on where I am as a person in my life and also, depending on what sort of book I'm writing. But a few things have remained very similar. For example, I love to go on walks, especially listening to music, to sort of plan my next scene because as I'm walking, I can really forget what's around me and get lost in the cinematic scene that's unfolding in my mind. I know that if I'm stuck on something, it always helps me to write it by hand, rather than type. I know that after I write a first draft, but before I show it to an editor, I always have to go over it again. I would never show anyone my actual first draft, I would be so ashamed. And finally, I think, once I get past sort of the halfway point in the book, from that point on, I'm convinced that it's horrible, and then I sort of just have to go through the motions while thinking this is a terrible book, and everyone's going to hate it. But I've come this far, so I have to finish it. And only when the book is finished, and I'm proofreading will I be like, Oh! Do you read other books when you're writing? I do. Yeah. I like to re-read books when I'm writing. I think it’s because it sort of takes less imaginative energy. I don't read new books when I'm writing because when I read a new book, and I get really into it, I feel like it can influence my voice and sort of muddy the waters a bit. What other authors do you go back to? Oh, let's see. So Nalini Singh. I love Alexis Hall. I love KJ Charles. I love Tia Williams. I love Sally Thorne. I read a lot of romance essentially. What other forms of art do you draw inspiration from apart from books? So I love TV. Things like Brooklyn99. I really like comedy because I love writing banter and I find that the banter in comedy TV shows is always really natural and funny. I also really love music, a lot of the time when I listen to songs or albums, I'll be like, this is basically a whole story. Not necessarily the lyrics, but like the vibe, the energy of it. How often do you write? Okay, so I'm supposed to write four days a week. Sometimes, like, for example, this week, it's Thursday and I've been writing today, but it's the first time this week so I’m behind. But if I'm being good, I write four days a week. What do you do when you're not writing? I read a lot. I bake, mostly because I like to eat. I play netball. And I spend a lot of time with my family. What's it been like promoting your recent YA book "Highly Suspicious and Unfairly Cute" Oh, gosh, it's been really interesting. I love kids. And I have a lot of kids in my family so I was excited to write something that some of them would actually be able to read. And similarly, I've been able to speak to book clubs in schools, and younger people. And it's just been so much fun. And I've found that surprisingly, these kids are so creative with their interpretation of things and their perspective on the world. And I've really valued being able to talk to them. What has writing, romance writing in particular, done for you? That's such a fun question. You know, I've always loved romance and I've always loved books, and I've always felt very strongly about happy stories and stories about emotion. And unfortunately, those things aren't necessarily valued or taken seriously in society. I've found that since I have started writing romance, because I have so much pride in telling these stories, and because of the support of readers who have told me what these books mean to them, I have become much more bold and open about the things that I really care about and enjoy. Sort of like the pinkification of my life. Pink is my favourite colour and if you say that, for some reason people react so strangely, but I'm like, no, I think it is the best. And so is romance.

You can spot a Kimberly Lemming book from a mile away by the hilariously unforgettable title and its cover art of a painting illustration to match. Two years in, and the fantasy romance author has made a name for herself with her humour forward, sex positive, adventurous books. We sat down with her to talk about how she got her start, writing choices, and her ever growing fanbase. What got you into writing romance? Well, I've always just loved reading romance. In 2021 I got to a point when I really just wanted to escape. I hated my job at the time and needed a break from everything. My husband was like ‘well, you've been talking about this romance novel, you've been thinking up in your head, why don't you just quit your job and just rest for a few months, and then write it and see what happens.’ So, I did just that. I took a break and then everyday I wrote a little bit more of “That Time I got Drunk and Saved a Demon,” and it was so relaxing and so fun. When I was done, I put it up on Amazon. Why fantasy, why is that the sub genre you chose to go with? Because anything can happen in a fantasy. You’ve got werewolves, you could throw sticks of cinnamon and secure a dragon from a curse, whatever you want. The world you build sometimes feels at odds with the language that you use. Some of the characters use casual language against a backdrop that is medieval. Tell me a little about that choice. Was it deliberate? It was a little bit deliberate. I feel like a lot of fantasy just gets slotted into medieval Europe but really you can have it go off any kind of culture you want. You can have any kind of dialect. And even if we do go back all those years, they still used slang depending on what region you were from. So there aren’t any set rules on what the language has to be. The women in your book are all super strong characters, except when it comes to their romantic affairs. Desire and lust for their partners turns them into completely different people. Tell me a little about that. I think it's funny when someone gets all flustered around the person they like. I think it's adorable and pretty universal. Like Cinnamon is not scared of an alligator, she's used to them. But when it comes to this man that comes in guns blazing and he’s like, ‘you're my wife now, and I adore you.’ She’s like, ‘whoa, first of all, take several seats. Calm down. Let's get some tea.’ I just think that's just a fun dynamic to keep going with. The couples in your book have an interracial element, although it’s hard to call it that because they’re not all human. Talk to me about how you toed the line with racial parallels from the real world but also just making sure that the books remain fantasy books. So, I would say when it comes to picking interracial romance, I wrote it based on how I interact with my real life. I grew up in very diverse areas. So I'm thinking in this fantasy world, why does everything have to be sectioned off in the race? It could just be anyone. When I was thinking about the dragons, I thought it'd be so much fun if I had an Asian style dragon instead because in a lot of fantasy romance it’s usually just European style dragons. So I made Fallon. And I wanted to keep it going. Because honestly, men of all different cultures are gorgeous, and deserve to be in a romance. Why did you choose to start off self-publishing instead of going through the formal publishing route? Well, I never thought a traditional publisher would actually take me seriously. Like my book title was “That Time I got Drunk and Saved a Demon.” It was like a goofy fantasy romance. So I chose to publish on Kindle Unlimited. What has it been like building a readership that is now massive and really resonates with your books? It's been a crazy ride. I never would have guessed that was gonna happen. Especially when the second book came out and they launched it to like, the top five of fantasy romance on Amazon. It's like, I turned around one day and all these people were here cheering me on. Like, this is amazing. But also, where did you all come from? Being self-published means you interact with your readers a lot more, so you're really privy to every opinion they have about your book. What's that like? Do you enjoy that? Is it weird? I love it. And especially when I was first starting out, it was a lot of fun to just jump on a discord chat with some of my readers and talk about what they were reading, what they liked about the book, what they wanted to see in the next book. Some of them actually dared me to put the word “cheese puffs” in book two of the series. When they actually saw “cheese puffs” in the second book, they just lost their minds. And because they felt closer to it I feel like they were more than happy to just become super fans and spread it everywhere. So honestly, I love being able to interact with my fans. I think they’re a lot of fun. I've met so many kind people, I wouldn't change it. You incorporate astrology in your character profiles and I don't know if that was intentional, but it taps into a whole other fanbase that is also very passionate. I thought the astrology girls might enjoy it. But also, when I was creating different characters, I had a hard time thinking of how to make them sound different. So, I went to the astrology chart and was like, ok, well, Fallon can absolutely be a Scorpio, it just fits. And that kind of helped me flesh out the characters a bit more. What do you think of the criticism around book-tok, and particularly romance book-tok and their penchant for likening characters to real life people? I think it's more of a symptom of the internet as a whole. It definitely gets bolstered on book-tok. I think that the whole situation with the hockey player can be boiled down to, spending all your time on the internet in these more sexually positive spaces. You have to remember to stand up, go outside and touch some grass. Because the internet is not real life. And you cannot be screaming obscenities at real life men thinking they're going to enjoy it. Do you feel like you have any kind of control when it comes to situations like that as an author? So I've been lucky that my fans, and a lot of my readership have just been wonderfully polite. Like, they sort of just keep themselves in check. I don't really have to do anything. What can we expect next? Well, right now I'm writing Ambrose and Usha’s book. That’s been a lot of fun just because there is a lot of adventure. And then I've also been taking breaks to explore the idea of an alien romance.

I am always busy. There have been days where I’ve resigned to that fact – I’ve justified it by explaining (to myself), that I am somebody who “thrives off of being busy”, and that I in fact, would hate to be bored. There are other days however, where the busyness becomes all-consuming. Days where I need to work, need to write, need to manage, need to eat, need to sleep, need to make money, need to save money, need to plan for the future, need to live in the moment. It’s a lot, and almost always ends with me facing the same conclusion – that there’s little I can do about it at this moment in time, that I am not alone in feeling like this, and therefore I should probably just accept and embrace this chaos. The little we can do though? Search for stability in things that generally provide comfort. For me, that search has led me to TV, and in particular, rewatching shows that I know and love. I'm not alone in this. There’s definitely been a resurgence of show re-watching; the evidence being the multiple Twitter threads and TikTok posts that circulate weekly, featuring clips from shows like ‘This Is Us’, ‘Scandal’, ‘Grey’s Anatomy’ and more. There’s usually a pattern with the shows that resurface too - they’re big on drama and they tend to have had cult followings on initial release, so much so that a ten second clip floating about on social media can generate discourse for days amongst fans. I’m currently re-watching ‘Scandal’ and re-revelling in the whirlwind that is Fitz and Olivia, reciting lines that are ingrained in my memory, but enjoying the twists and revelations as if I was watching them for the first time. It doesn’t feel like repetition, and there feels a marked difference between repeating a show, and re-watching a show. When I’m writing, I often have to repeat a show or film – to take notes of quotes, to learn character names. It’s a more clinical process. Rewatching a show though? Well, that’s an immersive experience. There are modern stimulators of course – things that act as triggers, gently encouraging you to re-enter the world of a show you’ve already been in. One verbal mention of Grey’s Anatomy and TikTok will take the opportunity to greet you with not just one, two or three parts, but more likely parts one through twenty-four of a random, but harrowing scene or storyline that you kind of remember, but kind of don’t. Next thing you know, you’re in the comments, searching for the guardian angel that has thoughtfully typed out which season and which episode the clips are from. Season two, episode six. And, before you know it, you’re re-watching the rest of the season. The immersive experience has begun. As somebody that works in the film industry, a self-confessed TV fanatic (I can attest to this) and my sister, Moyo Abiona explains the thrill that comes with social media prompting you to revisit old shows. “I love reading the comments whilst I’m watching the content. Because the content isn’t new to me, I’ve seen it, I remember it, but sometimes the comments point something out to me that I didn’t even notice. They’re also so funny on TikTok. It could be the most serious, tear-jerking clip and the top comment will have you bursting out in laughter. Rewatching becomes a social activity”. There’s also an undeniable comfort in knowing what comes next, and I think that plays another key part in the reason we’re re-watching shows. There’s something quite nice about knowing which parts make background television, which parts require intense concentration, which parts you can completely skip. It adds an autonomy to watching television that weekly episodes and new content just can’t offer. On the flipside, there’s also a mild discomfort that can come with a re-watch. The disappointment that the show you told everyone was so great, was actually not the timeless classic you thought it to be and was great in 2010 only. The self-growth that can be both accessed and assessed when rewatching a show can also be a bit of an uncomfy realisation. The character you so boldly proclaimed as your favourite, turning out to be just as flawed as the characters you so boldly proclaimed you hated (see Toni Childs in ‘Girlfriends’). Gaz Otim, ¼ of 14HQ’s Post Credit Scene Podcast, picks “The Wire” as a show that made him reevaluate the thoughts he had when he first watched it years ago. “Our relationship with the police is a by-product of how we’ve been treated. And that distrust is both inherited and learned, but rewatching The Wire, there’s a nuance to the characters that makes you think about that whole cycle more holistically. The writing, the character development, there was something on the second watch that gave me a bit more insight towards characters like McNulty (the lead detective in the HBO show)." The point being, rewatching shows is more than just living in the past and mindlessly basking in the delights of nostalgia. It’s a prioritisation of self, an acknowledgement of one’s need to embrace both comfort and growth, but to enjoy whilst doing so. There’s something quite beautiful in the idea of experiencing newness whilst conceptually doing acts already completed, and so to that I say, long live the era of the rewatch.