I lost the plot for a while then. And I lost the subplot, the script, the soundtrack, the intermission, my popcorn, the credits, and the exit sign.

Anyway, who lives a rich and beautiful life that I know? It's no longer possible, surely, for anyone who works for a living, or lives in a city, or shops in a supermarket, or watches TV, or reads a newspaper, or drives a car, or eats frozen pizzas. A nice life, possibly, with a huge slice of luck and a little spare cash. And maybe even a good life if... Well, let's not go into all that. But rich and beautiful lives seem to be a discontinued line.

You can wait forever for the muse to sit on your shoulder, but most of the time you know what has to be done and inspiration is not going to help you.

A man who wants to die feels angry and full of life and desperate and bored and exhausted, all at the same time; he wants to fight everyone, and he wants to curl up in a ball and hide in a cupboard somewhere. He wants to say sorry to everyone, and he wants everyone to know just how badly they've all let him down.

What good were real feelings anyway?

But I suspect that all writers come up with premises of some kind, fragments of narrative or scenarios, in the course of a working week.

Sometimes you know you've got a chance with a girl because she wants to fight with you. If the world wasn't so messed up, it wouldn't be like that. If the world was normal, a girl being nice to you would be a good sign, but in the real world, it isn't.