I try to pay attention to language. I think that as a general rule, we as writers talk too much and we should listen more. I read my dialogue out loud to myself because I think that's when you catch the wrong notes and the wrong tones.

That sounds like Anthony Soprano. He has a point. I've said it before: if you're black and you sell dope, you end up in the big house; if you're white and you sell a large amount of dope, you end up visiting the White House. So it's a matter of race and it's a matter of scale, frankly.

My grandmother was from Guelph, Ont. I grew up playing ice hockey, I'm a massive fan. A great-uncle who was in the early days of the NHL played for the Chicago Blackhawks.

We need to do something about gun violence in America. But every time one of these things happen, we say the same thing, and then we don't seem to be able to do anything. And that needs to change.

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.

The devil's in the details. The way I view my job is to bring the reader into a world they otherwise could not enter and let them see it through the character's eyes. And you can only do that with detail. The details make the characters distinct from one another. If you can give them those little grace notes, those little touches, that's what makes the reader relate.

Smart people sometimes get stupid, but stupid people never get smart. Never. Ever. 'You can come down the evolutionary ladder,' Chon has observed to Ben and O; 'you can't climb up.