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.

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

Sometimes, it`s easier to tell a stranger something very personal. It`s like there`s less risk, opening yourself up to someone who doesn`t know you.

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.

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.

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.

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.

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.

Before I left the 'Star' last year to write books full-time, I welcomed catastrophe. It was material. Missed planes, broken pipes, dead lawns, digestive disorders, you name it, if it was something that had gone horribly wrong, it was worth banging out 600 words about.