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

I think I'm very strong at dialogue, I think I'm very strong in characterization. I think sometimes I use dialogue and character work to cover weaknesses in my plotting.

Having my brain doing different work is helping me a lot in terms of retro-feeding from the other experiences. It makes me feel inspired, looking forward to the projects and wanting to work harder.

My husband makes fun of me, because I know I can use strong prose to jazz-hand my way through plot that isn't as interesting as I'd like it to be.

There's a difference between feeling like I don't need to explain and deliberately confusing you. If the impression is that I'm deliberately confusing you, that is not what I am trying to do at all.

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?

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.