A trick I picked up from reading Frank Miller scripts: ... He tended to always start his panel caps sometimes with a general noun and a verb. 'He weeps,' and then there'd be whatever else. And a couple of collaborators of mine have always said that the first sentence of my script is for them, and everything else that comes after is for me. Which is true, that's very much how I try to write. The first line is just to get the physical action down, and then I'll kind of drift off into whatever else I see in my head and they can take it or leave it.

I had at some point the epiphany that if I wanted to be a writer, maybe I should stop thinking about writing, or stop writing about writing, and actually write.

I think writing comics is predicated on being a fan - there's no either/or. I'd argue I'm an even bigger fan now than when I started because I know how the hot dogs get made. And I kinda always saw the moving parts. I think I appreciate the good ones more now that I realize how lousy the production process can be, how hard it can be, and how easily something good can get crushed in its cogs.

[A comic book writers' union] will never happen. Someone will always be willing to write Batman for free. ... You sit at a bar with an editor at a show and you see 19 people come up and pitch ideas at them. If everybody writing the top 20 books all quit and demanded, 'Union now, union forever,' those 19 guys would be getting phone calls. There will never be a union. I think things are getting better - I bet things have never been so good - but there will never be a union.

I don't understand the feeling of, the way people speak of writing as though it were, like, some kind of djinn to be summoned or like it's the Loch Ness monster or seeing a shooting star. It's a physical act. It is a thing you do with your muscles and your body and your willpower. Watch, I'll show you: get a piece of paper. Get a pencil. Put the pencil on the paper and write the word 'something.'

Sexcastle is a perfect mix of homage and comedy, action and irony, loving tribute and hilarious send-up of the great, good, and ungodly-bad action movies of the '80s. I don't remember the last time a debut book hit me this hard. Literally, this book punched me in the face. It's THAT mean.

A trick I picked up from reading Frank Miller scripts: ... He tended to always start his panel caps sometimes with a general noun and a verb. 'He weeps,' and then there'd be whatever else. And a couple of collaborators of mine have always said that the first sentence of my script is for them, and everything else that comes after is for me. Which is true, that's very much how I try to write. The first line is just to get the physical action down, and then I'll kind of drift off into whatever else I see in my head and they can take it or leave it.