It was never part of how I imagined my music, and I watched in awe at how this ukulele troubadour image suddenly devoured the Jens Lekman I had planned so carefully.

I realized that even though I had this urge, this longing, to write about other people, in order for it to be emotionally gripping, I needed to be in there somehow.

I started running to different albums, and I was starting with the short albums and moving on to the longer albums. I was interested in how they built up, in tempo and intensity. it made me interested in albums again, too.

My first single was based around the mishearing of the words 'make believe' - 'I thought she said maple leaves.' That kind of stuff is very central to my music and my life.

I realize that 'Postcards' was like input, and 'Ghostwriting' was output. I had all these frustrations and feelings before I did those two projects. 'Postcards' was something that brought new life and creative inspiration into the record, while 'Ghostwriting' was relieving myself.

When you're writing about difficult things and darker issues, it's nice to offer some sort of light at the end of the tunnel. Some sense of hope. Sometimes, the best way to do that is by offering it in the music, so that you can dance your way out of the darkness.