Get inside her head. Get inside any character's head and ask what they want in this scene. And if you work from the perspective of what they want, there's not going to be any wrong answer. There's going to be some boring answers, but none of them are going to be wrong. As long as she has agency, then you're on the right track.

I guess I am conscious of my weaknesses, and I think pacing is probably my biggest. I don't know if I think the clarity thing is actually a weakness. It was a stylistic choice.

I wish I could say confidently that pacing remains my weak point, if you could talk about your own stuff without sounding like you're self-obsessed. But I think you kind of have to be.

If you're not interested in your work, you're not doing it right.

One of the things about comics is people can linger on images and words as long as they want.

You can't write something actively trying to please everyone - you're going to end up with watery soup that way. You just have to write stories you would want to read and hope that people like them.

I was asked in an interview once: You're writing another book with a female lead? Aren't you afraid you're going to be pigeonholed? And I thought, I write a team superhero book, an uplifting solo hero book, I write a horror-western, and I write a ghost story. What am I gonna be pigeonholed as? Has a man in the history of men ever been asked if he was going to be pigeonholed because he wrote two consecutive books with male leads?