"I'm going to put out something that I believe in, or I'm not going to do it." I'm really scared of putting out a product that people will say, "Oh, that's not as good as the other thing."

Television showrunners are a foolishly optimistic bunch.

"I'm going to put out something that I believe in, or I'm not going to do it." I'm really scared of putting out a product that people will say, "Oh, that's not as good as the other thing."

The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

People pitch me the crazy mystery mind-blowing thing all the time. My response is, 'Great, but how do the characters feel about it, and how do we reveal new facets and new dimensions of who they are?'

I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."

When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.