I want to get that same feeling that everybody logging on to our website is sharing a little bit of an inside joke, and the rest of the world is oblivious to it although I want to have most of the world.

... 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.

From 1940 to about 1960, I had been writing just regular comics, the way my publishers wanted me too. He didn't want me to use words of more than two syllables if I could help it. He didn't want me to waste time on worrying about good dialogue or characterization. Just give me a lot of action, lot of fight scenes.

I don't wake up in the morning and say, wow I've got a great idea for a story. But I sit down, and I figure well, let's see.

The purpose of this is not show that I can do it better, because I think Superman is perfect. The original creation of Superman nobody could have done that better and I think Batman is pretty much a perfect character... The same with all of them. I'm just going to try to find a way to say, "If that wasn't the original idea, what would be another way to do it that would be more in my style?".

I am always nostalgic being in New York. Every neighborhood represents something to me. I lived here until I was 60 years old or so. So it was my life.

Comic books to me are fairy tales for grown-ups.