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.

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.

There's a thing that creeps into this conversation ... that if you complain about the depiction of women [in comics], it becomes, 'Well, but ladies - the dudes are idealized too.' And the thing is that the dudes are idealized for strength and the women are idealized for sexual availability. It's very, very different. The women's costumes are cut in such a way that I could give a cervical exam to 90% of our heroines. And I don't have a medical degree! So if I can find it, that's impressive.

My creator owned books sell better than my mainstream books. And that makes no sense.

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.

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.

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