I wanted it to be as multi-windowed as possible, so that the reader felt like they were seeing all the different ways in to a big haunted house.

As in the case of many of the stories that I've written I'm not trying to editorialize. I don't want there to be a message at the end of anything I write. Otherwise you wouldn't trust the characters. They'd feel less organic and more like puppets that are sharing the author's opinion.

People talk about me as masculine. Because of the way I walk and talk and crank out pull-ups and smell like bacon.

Writing is an act of empathy. You are occupying and understanding a point of view that might be alien to your own--and work is often the keyhole through which you peer.

I found collaboration to be a terrible thing in Hollywood because there are so many people involved you have to make a thousand little compromises to every project and every single scene is a committee decision. It's maddening. But with comics you've got an artist and you've got a writer.

I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.

I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.