Once you come up with a premise, you have to work out how it all happened. It's a bit like coming up with a spectacular roof design first. Before you can get it up there, you need to build a solid foundation and supporting structure.

Once I have a hook I think has potential - enough to spin out more than a hundred thousand words, then I start turning my attention to characters. Who are these people? Why did this thing happen to them? But the hook always comes first.

Some authors, when starting a novel, imagine a place first. Others, a character starts taking shape in their head. I start with a hook, a situation, a 'what if.

My biggest complaint about drivers out in the country has tended to be that they're not in a great hurry to get where they're going. This is particularly true of old men wearing hats. If you get behind an old guy wearing a hat on a winding road, you might as well just phone ahead on your cell and tell your friends you're going to be late.

I was filling entire school notebooks with stories by Grade 3. Of course, they were double-spaced, and the handwriting was huge.

Crime fiction makes money. It may be harder for writers to get published, but crime is doing better than most of what we like to call CanLit. It's elementary, plot-driven, character-rich story-telling at its best.

I was born in Darien, Connecticut, but in 1959, when I was four, my parents moved to the suburbs of Toronto. Then, in the late 1960s, they bought a cottage in a resort/trailer park in the Kawarthas region of Ontario, and we moved up there. I wrote a book about it in 2000 called 'Last Resort: Coming of Age in Cottage Country.