The only advice anybody can give is, if you wanna be a writer, keep writing. And read all you can, read everything.

Once you get the script, you then hope you can get the director that you want. Then you hope he can get the cast he wants. Again, you can go quickly or there can be a million stumbling blocks. There's just no way to know.

So I'm happiest when I'm working with artists and writers, and involved in stories, whether we're talking about animation or movies or comics or television.

Everything has changed and we're all living in one city now. What happens somewhere affects things everywhere, so I have to be careful and whatever stories I work on, I want them to have redeeming moral values.

... And we talk it out. Lately, I've had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally - I have a little tape recorder - I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon ... so we don't have to worry that we'll forget what we've said.

The only time I go on the set is when I have a cameo to do in the picture. I go to the set and I do my little cameo and I meet all the people. It's a great way to spend the day. And then I go back to my own world.

My biggest regret is that I don't really have time to read.