"Inside the industry, I am what Australian literature (‘AusLit’) might dub a Marginalised Creator, and I have dear friends who would be considered the same, and we often meet over coffee to discuss tactics to avoid being exploited in this industry—or at least, to exploit as much as or more than we get exploited. We lament having to start grant applications with mouthfuls that contain more personal information than we might even disclose to each other, after three cigarettes a...nd five beers. When I open an application for a job or funding with some variation on, ‘As a queer Muslim Middle Eastern woman who grew up in Western Sydney who is also working class and is the child of immigrants and an abuse survivor….’ all I’m really saying is: pay me not for being who I am, which would be a true opening up of the space, but pay me to be who I am, to perform my identity on stage."

"Every day I eat my breakfast, pat my 16-bit dog, and leave behind the pixels that look like a log cabin, ready for the great digital outdoors. Today it’s raining, so I don’t have to water my regenerative corn stalks before I pick their ears for shipment. That’s handy, because I need to hike into the mountains and find pink-haired Nina who likes potatoes.

She tells me, 'Humans, animals, and plants are all alive,' which is true, and also hot. I give her my blue feather. Thirt...y-five seconds later, we’re married."