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

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.

Seriously, just buy the [expletive deleted] book. I promise you'll like it. Unless you're [expletive deleted].

I just did an arc with Warren Ellis - and no one else on the planet could get away with this, because I think this is like harassment? - But Warren felt like there was a depiction of Spider-Woman where it looked like her waist perhaps didn't contain any internal organs. And he suggested very quietly ... 'You should fix that, or else I will come to your house and nail your feet to the floor and set your house on fire.' ... And it totally got fixed!

The reader is not the customer. The retailer is the customer. So I try to have as much interaction with the retailers as possible because those are my customers.

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

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.