Every time I write something down I check it to see if it has that telltale glow, the glow that tells me there's something there. If it glows, it stays. Everything is either on or off.

When I started formulating the first Frank comic, I knew I wanted it to be something that was beyond time and specific place. I felt that having the characters speak would tie it to 20th-century America, because that would be the idiom of the language they would use, the language I use.

I do sort of feel like I'm building my monument with what I do, but it's pretty small and inconsequential compared to real works of genius like this, which are giving vast inspiration to humanity. But I guess I shouldn't even say that. It's ridiculous to say that. You are what you are. My stature suits me.

I have a personal definition of cartooning, which is, simply, "imaginative drawing." Anything you're drawing that is not in front of you but is a mental construct that you want to express in a drawing is, to me, a cartoon.

I could never write about the sort of people John Cheever or John Updike or even Margaret Atwood write about. I don't mean I couldn't write as well as they do, which of course I couldn't; they're great writers, and I'm no writer at all. But I couldn't even write badly about normal, neurotic people. I don't know that world from the inside. That's just not my orientation.

Every time I write something down I check it to see if it has that telltale glow, the glow that tells me there's something there. If it glows, it stays. Everything is either on or off.

The fiction I tend to like is nothing like my own work. I like the kind of writing that shows me things I don't know about, and what I don't know about is the everyday, normal world.