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 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.

You can't teach talent, but you can teach people how to read strenuously and mimic the moves of rock-star writers so that they eventually accumulate a toolbox of skills.

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.

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 have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.