The most basic definition of a story is 'Somebody wants something and something's in his way,' and I'm more likely to be engaged if I at least think I know what those two 'somethings' are. They can be simple, they can be complex, but - particularly if you're a beginning writer - I'd rather you err on the side of revealing too much than too little.

Each time I think I've made a connection with someone... once they find out what I can do, whether it's hours or days later, everything changes. Invariably they freak. They get retroactively paranoid, wondering what else Clark Kent is hiding from them.

Gillen and McKelvie shared their upcoming The Wicked + The Divine with me, and its amazing. Please tell your retailer this week to order!

When you give me something that I love, then I spend a long time drilling down on it and figuring out what it is I love about it.

I like the brighter, shinier, happier comic-book material on a personal level, but I also think the best stories are told where you just don't know from page to page or moment to moment when the sucker-punches are coming.

Twenty-two pages is not a lot of space. Believe me. Having written a bazillion comics, I still find myself more often than nine pages into a script and realizing to my horror that I'm only about a quarter of the way through the story I wanted to tell, and the next thing you know, I'm making fresh coffee and tearing up the floorboards to rewrite.

Socrates should have written comics.