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 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.

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 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.

I grew up with guns. For my 16th birthday, in fact, I received a .357 instead of a car. But there was nothing playful about them; they were tools.

I want to build as many worlds as possible - each a version of ours with a crack running through it - and not be anchored to any of them.

My voice dropped when I was 14. And when I was 14, I might have weighed 75 pounds. So you can imagine how strange that must have been: like James Earl Jones speaking through a sock puppet.