I grew up in a very westernised environment and went to a private American school. But my personality was shy and quiet, and I wanted to wear the hijab but didn't have the courage, as I knew my friends would talk me out of it.
I wasn't trained to write non-fiction.
When I was growing up, we spoke Egyptian, we ate Egyptian food, we had other Egyptian friends. It was my father's preference.
My faith was started off by my grandmother and mother, and so I always saw it as a very private, personal thing.
It was 1989, and the word 'Muslim' wasn't even really used in Britain at the time; you were either black or Asian.
That's what religion teaches: that life is a temporary thing which is going to dissolve one day.
I was 24 years old and stuck in a strange place with two boisterous little boys, and my husband was working offshore on the oil rigs. It was a life for which I wasn't prepared.
Sudan is not Arab enough for Arabs and not African enough for Africans.
My characters are not role-model Muslims, but they struggle to make choices using Muslim logic.
I read a lot of fiction.
My father married out of the family. I also married outside the family.
When you write about a Muslim woman, like I did with my previous novels - 'Minaret', for example, which is about a woman who starts to wear the hijab - it sets all the alarm bells ringing.
The coverage of Islam in the media is becoming more sophisticated, and there is more access to knowledge.
Many Arabic/Islamic words have now entered the English dictionary, such as haj, hijab, Eid, etc., and I no longer need to put them in italics or explain them.
I'm concerned that Islam has not just been politicised but that it's becoming an identity. This is like turning religion into a football match; it's a distraction from the real thing.
My mum and dad were speaking all the time about, 'In Sudan we do this,' and 'In Egypt we do that,' so I was very aware of cultural differences. I was confused growing up; it gave me a feeling of being an outsider watching others. But I think this is good for a writer.
I started creative writing classes at Aberdeen Central Library, and the writer-in-residence there, Todd McEwen, encouraged me a great deal. He showed my stories to his editor, and I thought that was just what happened to everyone who took his classes!
I write fiction that reflects Islamic logic: fictional worlds where cause and effect are governed by Muslim rationale. However, my characters do not necessarily behave as 'good' Muslims; they are not ideals or role models.
My grandmother studied medicine in the Forties, which was very rare in Egypt, and my mother was a university professor, so my idea of religion wasn't about a woman not working or having to dress in a certain way; it was more to do with the faith.
