When I told him I was a writer (which strictly speaking was true, even though I'd never been paid a penny for it), Maxwell had suddenly become very interested. 'I've got plenty of stories to tell,' he growled, following this revelation with the immortal line 'you could turn my life into a book', which, even as a rank amateur in the literary world, I must have heard a hundred times before, usually from people whose lives would have made a bloody awful book. But in Maxwell's case, I'd seen a degree of potential.
By this time, Conspiracy was already pretty much down the pan, so I'd gone to the cottage in Berkshire where Maxwell had retired on his ill-gotten gains to interview him, not entirely sure what to expect. What I got was a friendly charismatic guy who was a hugely gregarious storyteller with a never-ending stream of original anecdotes, who'd clearly lived the kind of life that would make a perfect book. I envisaged it as a kind of British riposte to Goodfellas: a thug's journey through Britain's seedy underbelly from childhood to middle age, encompassing the crimes he'd committed along the way, and adding in a few he hadn't, including a couple of murders, just for good measure.
Maxwell hadn't taken much persuading. Since he loved talking about his exploits it stood to reason that he'd jump at the chance to make some money from them. And so, a couple of months earlier, we'd finally got down to work, and I'd produced the first ten chapters, focusing on his early life, which was the part that got me my agent. Since then I'd been ploughing slowly through the rest of it, trying to ignore the fact that what little money I had left in the world was rapidly running out. I'd even contemplated tapping Maxwell for a loan, but had quickly thought better of it. My front door was flimsy and I didn't think he'd grant me any special favours if I didn't pay him back.