I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.

The problem isn't to learn to love humanity, but to learn to love those members of it who happen to be at hand.

I think of myself as a very lazy writer, though other people see it differently.

In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.

All too often, when creative people pick out someone else's creative work as an inspiration, what they end up with is very, very far from the original.

It is easier to argue that something nobody believes in actually exists than it is to argue that something everybody believes in is unreal.

A number of things in Dhalgren are just meant to function as mysteries. They're mysteries when the book begins, and they're mysteries when the book ends.