You start to get nervous when the value of a comic book or graphic novel is relative to the achievements of some other medium.

I feel like if people are going to go to the effort to get a stamp and, you know, put it on an envelope that, you know, it's a big effort these days. So I often write back.

It's important to make a distinction between becoming more precise and becoming better.

The first time I did a reading/signing thing at Cody's, the woman who did the introduction said something like that, and I wasn't the only one cringing. I remember looking out into the audience and seeing people's faces and people whispering to each other, and thinking like "Ugh, can we just cancel the whole thing? I can't go out there after she said that."

I set myself up for a lot of trouble by wanting to tell a story that is fairly earnest and emotional and expressive, but to do it in the most subtle, realistic way.

One of the by-products of being allowed to start my professional career prematurely is that the evolution of my work is really evident.

I think when I finally got it in my head that I was going to do the story, I wanted to avoid doing what I thought people wanted me to do.