It's important to me that the reader goes on a ride with the characters, that you set context enough to know, "Okay, here's where we are in the world. Now we're just going to go inside this person's head, this guy's heart, this woman's ambitions and take it down to very, very small scale."

American cops didn't create that atmosphere, they're the ones though who have to live with it on a daily basis. These are generalisations; you can't make generalisations about hundreds of thousands of people. The New York Police Department, for instance, has 38,000 police officers in it. But most cops, when I talk to them, desperately care about the victims of gun violence. They see it, they experience it.

A lot of times, writers are told write as big as you can, and that's not untrue. But at times I think it's better to write as small as you can, to start scenes with little personal details or people who are doing average every day human things. That, to me, lets the average reader into that person's life. "Yeah I eat breakfast. I take a shower."

It's important to me that the reader goes on a ride with the characters, that you set context enough to know, "Okay, here's where we are in the world. Now we're just going to go inside this person's head, this guy's heart, this woman's ambitions and take it down to very, very small scale."

I've been writing since I was six years old. It's hard to imagine stopping. I would hate to think that I've already written my best book.

American cops are the ones who are in the emergency rooms. They're the ones who go to the morgues. They're the ones who have to go tell the families that their son is not coming back, their husband, their wife, is not coming home that night. So when we talk about guns and gun violence and police, let's understand that as well. No one wants guns off the streets more than cops because cops are killed by those guns.

The Force deals a lot with the heroin epidemic, which I'm sorry to know people are experiencing in Canada.