One of the greatest sins in any story is false suspense. The kind of 'suspense' that disintegrates the moment you give your reader one second to think about it. And it's an easy trap to fall into, so watch carefully for it. If your story hinges on the question, 'Will Superman be pushed so far in his battle against Lex Luthor that he'll have to kill him?', or if your big cliffhanger moment is, 'Wow, is Spider-Man really dead this time?', then I understand Food Lion is hiring.

You're a superhero. Shut up and enjoy having superpowers. This makes me crazy. This is why the Marvel movies kick DC movies' asses right and left. Because, I'm not paying $15 for a movie to go watch people being morose about lives that are much more interesting and exciting than mine and they hate them. I'm paying my money to see people sort of revel in doing things that I can't do.

A superhero is someone who, at some point or in some way, inspires hope or is the enemy of cynicism. Even if you bog it down with political allegory, or even if you're doing celebrity allegory. You still need to take the cynical out of it.

Never forget that at the end of the day, as a creative person, your résumé is all you've got.

In the world of comics, Jack Kirby and Will Eisner may have been more influential artists, but Joe Kubert was its most influential man. Even if he were to be remembered solely for his body of illustration work, he’d still be one of the greats, but by opening the Kubert School in 1976, he was able to personally mentor and educate literally thousands of successful artists who owe their careers to his teachings.

In the long run, the quality of your work is all that matters. That is your only resumé. Be professional. Make sure your editor or publisher can always reach you. Do what's asked of you if your conscience can bear it. But know that, five years from now, as fans or prospective employers are looking over your published pages, no one will care that this story sucks because the publisher moved the deadline up or because the editor made you work an android cow into the story. All they will care about is what they see in front of them, and they will hold you responsible for it, no one else.

In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.