My interview with Stephanie Lai, and as you can see I get to interview some of the most awesome Stephanie types in Australia! I conducted this interview as part of Snapshot 2016, reposted from the original over at the Australian SF Snapshot Project. #Snapshot2016.

Stephanie Lai is a Chinese-Australian writer and occasional translator. She has published long meandering thinkpieces in Peril Magazine, the Toast, the Lifted Brow and Overland. Recently, her short fiction has appeared in the Review of Australian Fiction, Cranky Ladies of History, and In Your Face. Despite loathing time travel, her defence of Perpugilliam Brown can be found in Companion Piece (2015). She is an amateur infrastructure nerd and has a professional interest in climate change adaptation and sustainability. You can find her on twitter @yiduiqie, at stephanielai.net, or talking about pop culture and drop bears at no-award.net. 

Congratulations on your Artist Residency in Singapore! What excites you most about getting to spend three months concentrating on your creative work?

Thank you! Only EVERYTHING. I’ve never had the chance to really sit and just focus on my practice before, undistracted by calling my mum or cleaning up after the cat or visiting my friends who coincidentally have days off work. So the idea that I’ll be able to just sit and work is intimidating but so exciting, too. I’m also very excited about exploring something that is so personally important to me (the impact of traditional culture and cultural identity on how people interact with climate change information/instructions, particularly in Asian communities), and that has an impact on both my professional day job and my writing. Although I’m going to be working on community research for a research memoir, I expect the understandings and learnings and all the fun stuff will have an impact on my science fiction, too – so it’ll just mean even more climate change fiction about Chinese-Australian ladies. 😀

The residency is facilitated by Asialink Arts and located at Grey Projects in Singapore, and my grant is through the Malcolm Robertson Foundation.

Your story about lady pirate extraordinaire Cheng Shih in Cranky Ladies of History was fantastic, and barely scraped the surface of how awesome she was historically. Is there a chance that you would consider writing more of her story in future?

Yes. I desperately want to look at how Cheng Shih’s domain and reign would have changed in a silkpunk world; or a world where she truly was the (Water) Dragon of the South Seas.  My piece in Cranky Ladies was very much set in our world as we understand it, and I’d like to explore that in a science fiction or fantasy setting.

If you had the opportunity to edit an anthology of your choice what kind of project would you want to put out into the world?

South East Asian climate change SFF written by South East Asians. Our islands will be impacted, and in many ways are already being impacted (our first climate change refugees are coming from the Pacific, from Tuvulu and Kiribati), and I’m interested in how people envision that. And in creating more spaces for South East Asian SFF.

What Australian work have you loved recently?

Since last year’s Snapshot I’ve really loved Orphancorp by Marlee Jane Ward (Seizure) and The Family Law by Ben Law, which wasn’t published recently but was a delight. I’ve also appreciated, rather than loved, a book by my housemate’s dad (Putting Stories to Work, Shawn Callahan, self-pub), which is about great using stories in business and not-profit contexts to change hearts and minds, and has really helped my professional storytelling practice (Storytelling is such an important part of climate change communication, and one which is often overlooked).

I am really looking forward to reading The Island Will Sink by Briohny Doyle, which just came out last week through The Lifted Brow.

Which author (living or dead) would you most like to sit next to on a long plane trip and why?

I don’t talk to strangers on long flights! But I guess in the spirit of this question, my answer is either Pu Songling, Ted Chiang, or Maxine Beneba Clarke.