When I was younger I was attracted to people who had that kind of artifice - people who were incredibly polished and had a complex persona that always seemed to be turned on. I was really interested in these kinds of people because I felt so unformed.

It doesn't matter what you do. In the end, you are going to be judged, and all the times that you're not at your most dignified are the ones that will be recalled in all their vivid, heartbreaking detail. And then of course these things will be distorted and exaggerated and replayed over and over, until eventually they turn into the essence of you: your cartoon.

I think that the way that I write stories is by instinct. You have some basic ideas - a character, or an image, or a situation that sounds compelling - and then you just feel your way around until you find the edges of your story. It's like going into a dark room... you stumble around until you find the walls and then inch your way to the light switch.

There is a stage you reach, Deagle thinks, a time somewhere in early middle age, when your past ceases to be about yourself. Your connection to your former life is like a dream or delirium, and that person who you once were is merely a fond acquaintance, or a beloved character from a storybook. This is how memory becomes nostalgia. They are two very different things - the same way that a person is different from a photograph of a person.

I've never been able to sleep very much, even when I was a kid. I used to hate being forced to lay in bed in the darkness, and just shifting in bed and staring at the shadows.

People write fiction in their minds all the time - every time we read a 'human interest' news story, or a true crime tale, we find ourselves fascinated because we're trying to understand why people behave the way they do, why they make the choices they do, how we become who we become.

There is your car and the open road, the fabled lure of random adventure. You stand at the verge, and you could become anything.