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.

My life isn't much different than when I worked full time as a journalist.

Facebook, from what I can tell, is the virtual equivalent of dropping into the homes of several million people, all of whom say at the same time: 'Hey! Let's set up the slide projector!

It's one thing, holding open the door for someone at a grocery store, or the library, or just about anyplace else. But the doughnut shop is a different thing altogether. This is a get-in-and-out-as-fast-as-you-can operation. There's no room for courtesy or chivalry here.

Switching over to a hybrid car is one of those right things, but, unfairly or not, it still has a reputation among car enthusiasts as something you have to pedal really fast when you're on the ramp merging into traffic on the 401.

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.

These days, my subjects are murder and mayhem and other terrible things that happen to people - things that are even worse than cutting yourself shaving. And these are not the sorts of things you feel the need to experience before you write about them.