Oh, I can't sleep, whatever - it's a huge problem. The comedian's thing is you self-medicate with alcohol and knock yourself out - but obviously, that's not a long-term strategy.

I think what I do is borderline art. Most people who do borderline art have to have other jobs, so I'm very grateful.

When I started on the London circuit in 1989, nationwide there were about 150 to 200 people that were what you could call alternative comedians - that weren't club comics. Now, last year when the Laughing Horse chain of clubs held a new acts competition, a thousand people entered. So, there are 800 people more.

I'd quite like to write a book about comics, actually. But trying to write about comics as literature, which I don't think anyone's really done before. Sometimes they're more like fan books, and I'd quite like to write one about the Marvel universe over the last 50 years. It's an unprecedented achievement to create that length of continuity.

When I was in college, I would go out, and I would go to these open mic nights at Stitches and Nick's Comedy Stop, so I was going to classes during the day, and then at night, I would be signing up on the lists.

Suspense is very important. Even though this is humor and they're short stories, that theory of building suspense is still there.

Comedy can be harder because if you aren't making the audience laugh, they're going to turn on you quicker. They'll go along with mediocre drama more than they'll go along with mediocre comedy.

What makes art in general, and literature in particular, remarkable, what distinguishes them from life, is precisely that they abhor repetition. In everyday life, you can tell the same joke thrice and, thrice getting a laugh, become the life of the party. In art, though, this sort of conduct is called 'cliche.'