We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.
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I like the 'Keystone Kops' storyline. It didn't actually go quite the way I wanted to, but it was another great way to show how different life was in these two different corners of the DCU, being on the ground in these different areas.
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Comics fans want new stuff that looks exactly like the old stuff. It is hard for the publishers, and even the audience, to change something.
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Like nightclubs and sporting events, entry into an amusement park is a permission to become someone else. We come for the experience and to relish it.
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I'm a fan of genre in the abstract, but at best, perhaps all we can really say when we talk about genre is that we're talking about an umbrella that covers a kind of story with certain elements.
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The worst thing that can happen for a writer is for a writer to start believing their own press. I think the industry, and the comics industry in particular, is littered with the bodies of writers who believed their own press. And you can see the moment they did, and then the work nosedives.
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I do crazy amounts of research. I want this stuff to 'work,' so to speak. I need to be, at least to me, believable - because if I feel - if I cannot invest some element of verisimilitude, the reader is absolutely not going to buy in.
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I've always had a thing for theme parks and their less-glorious cousins, amusement parks, the carnival midway, and others of such ilk.
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A character wandering around asking, 'Who am I?' isn't, in and of itself, a story I'm interested in telling.