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.

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.

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

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.

When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.

Comics are reflective of what's going on in larger culture. Wonder Woman came to be in her position when women were first entering the workplace in numbers during the war. Then Wonder Woman had another rise in the '70s when Gloria Steinem latched on to her as an icon for the [feminist] movement. I think we're seeing another wave of feminism today, a fourth wave characterized by intersectionality and the internet. And I think it falls right in line that we would see another wave of superheroines coming to the fore.

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.