Years ago, I heard an interview with violinist Yehudi Menuhin. The interviewer said, "Do you still practice?" And he said, "I practice every day." He said, "If I skip a day, I can hear it. If I skip two days, the conductor can hear it. And if I skip three days, the audience can hear it." Oh, yes, you have to keep that muscle firm.

It's so difficult, particularly with an antisocial character. It's much easier if he's already a blank page, but once you've written on him, it's hard to keep him that stripped down.

I know people who have suffered writer's block, and I don't think I've ever had it. A friend of mine, for three years he couldn't write. And he said that he thought of stories and he knew the stories, could see the stories completely, but he could never find the door. Somehow that first sentence was never there. And without the door, he couldn't do the story. I've never experienced that. But it's a chilling thought.

Once he became a series character, I made the conscious choice that he would never act like a series character, never wink at the reader, never pull his punches. Better for him, better for me.

When Stark isn't off sulking somewhere, or whatever he's doing when he won't return my calls, I alternate between the two. That usually works well, though occasionally an idea for the wrong guy drifts through my mind.

I don't think I ever have trouble with writer's block. It's different when you make it up as you go - that means you're going to get stuck. I wouldn't call it writer's block, I'd say, "I don't know where the hell this story is going."

I do bookstore signings, and it seems to me that I get a variety of men and women, more women than I'd expect, and grown-ups among my readers.