I can look at my early work and see what a pained struggle it was to draw what I was drawing. I was trying so hard to get this specific look that was in my head, and always falling short.

My feeling is that it's one of the very few things that comics can do that you really can't do in any other medium. I feel like the reader accepts all of these styles, and after a certain point you can flip the pages and see a character rendered very differently than you saw on an earlier page, and it's not jarring. It suggests things that you can't suggest just in the writing or in the plotting.

I've had a real lucky time working in Hollywood. I've talked to other screenwriters, and they're all kind of beaten down and their spirits are crushed, because they work on these screenplays and these projects, and then directors either take them and change everything, rewrite them and make them worse, or they film them and they're nothing like how they imagined it to be.

Even if I only had 10 readers, I'd rather do the book for them than for a million readers online.

One of my weekend hobbies is to go look at old houses when there are open houses around here. Just to go look at the architecture. And you can see how many houses were built around 1977, the year where everyone said, "Let's put in these aluminum windows instead of beautiful hand-made wood ones."

I'm always looking for things I imagine must exist, but don't - this is usually the impetus to create that thing myself.

It's a challenge to express real life in dramatic terms. In an entirely "made-up" story, you are sometimes overwhelmed by the infinite possibilities.