What kind of research did you do to create the world within The Scorpion Queen?

My research approach combined reading with direct outreach to historians of medieval West African history. Historians Gregory Mann, Baz Lecocq, Augustus Casely-Hayford, Fatima Sadiqi, and Nick Jubber were especially patient and helpful with my many questions about the time period. 

To further immerse myself in Amie’s world, I read secondary sources like African Dominion: A New History of Empire in Early and Medieval West Africa by Michael A. Gomez and Beyond Timbuktu: An Intellectual History of Muslim West Africa by Ousmane Kane—these books helped me to imagine how 14th-century Malians lived, worked, ate, worshiped, studied, and celebrated. 

When writing scenes involving sorcery and the Songhai pantheon, I leaned on ethnographer Paul Stoller’s descriptions of Songhai possession priests and spirit mediums. Stoller’s book Fusion of the Worlds: An Ethnography of Possession among the Songhai of Niger was helpful for grounding the magic system in real cultural and mythological elements. I also spent time exploring primary sources like the writings of Ibn Battuta and Ahmed Baba, whose first-hand accounts of life in imperial Mali are truly fascinating!

What has been the most surprising (or exciting) thing you’ve experienced during your journey to debuting your first book?

I’ve been both surprised and excited by the transformative nature of the editorial process! The draft that I initially shared with my agent back in 2020 was very different from the final product you’re reading today. Suggestions from my agent and editors have made my book so much more magical and more fun to read, and I’m proud to share today’s version of The Scorpion Queen. 

I was also pleasantly surprised by how forthcoming historians were when I reached out to them with questions for my book. I was amazed by their friendliness and generosity in answering my questions, even through cold emails.

What’s one line/quote in The Scorpion Queen that you’re really proud of writing?

I’m especially proud of this quote from Amie and Mariama’s first significant interaction in chapter five: “I have met so many liars at court. Liars, traitors, thieves.” She counted them on three fingers. “This palace is full of hateful people who do horrible things. But you are not one of them. The longer I look upon you, the more I am convinced that you are good.” 

Because Mariama is such a slippery character, this line becomes even more meaningful upon a second read! It’s an establishing moment for Mariama, and her words, addressed to Amie, form the foundation of their bond—one where trust forms far too quickly, leading to a deep yet toxic companionship.

What new projects can we look forward to seeing from you next?

I’ll definitely continue to write historical fantasy projects that are steeped in Black history in particular! Currently, I’m working on a project set in late 19th-century Brooklyn that follows a teen cosmetic chemist who finds herself cursed with supernatural powers after an accidental brush with alchemy. That’s going to be my main focus for now, but I’ve got more ideas up my sleeve. 

I’ve often thought about a villain origin story for Anna Colas Pépin, an 18th-century Senegalese merchant who participated enthusiastically in the Atlantic slave trade and grew rich in the process. I’d also love to write a gothic horror story following a young Black nanny who becomes convinced that her charges are haunted—think Henry James’ Turn of the Screw meets Jamaica Kincaid’s Lucy.

What was your favorite part of creating the edges for our January book?

I have never designed an edge inspired by a map before, so it was interesting to try to make it as visible as possible within the narrow space, but I loved it nonetheless! Also, working with OwlCrate is always great; everyone’s always kind and helpful.

What’s your favorite piece of advice that you’ve been given that you would like to pass on to new artists?

Hmm, this is hard. I’ve had a lot of great advice and have learned quite a few things myself through trial and error. But I guess if I had to choose one right now, one of the most important is to value yourself and your art. 

It’s very easy to compare yourself to others, especially within the same industry, and art can be very subjective. It took a while for me to build up the confidence, so I would tell any artists reading this to persevere in creating art and to not undersell yourselves!