Like everyone else, I am going to die. But the words - the words live on for as long as there are readers to see them, audiences to hear them. It is immortality by proxy. It is not really a bad deal, all things considered.
When in doubt, blow something up.
I like writing. It's partly control freak, and partly I really like what I do for a living. I have the luckiest job in the world. I can get up every day and do what I love for a living.
When you're writing a story in bits and pieces, month in and month out, there really isn't time or space for reflection, no room to learn what those scripts had to teach you.
There's a rule of writing: if everything is funny, nothing is funny; if everything is sad, nothing is sad. You want that contrast.
Here's the miracle: I grew up thinking, 'Wouldn't it be great to write 'Superman' someday? Wouldn't it be great to create my own show, or work on 'Lensman,' or 'Forbidden Planet?'' Those were very literally the goals I set for myself, the dreams that I thought I didn't have a chance in hell of ever actually achieving. But it's happened.
I don't need to write comics for a living. I have movies and TV for that. I write comics for one reason and one reason only: I love comics. I love the form, the structure, the storytelling process, I love everything about it.
Writing is the process of asking the next logical question.
A story is a story is a story. The only difference is in the techniques you bring to bear. There are always limitations on what you can and can't do. But I enjoy that. Just like when you write a sonnet or haiku, there are rules you have to abide by. And to me, playing within the rules is the fun part. It keeps the brain fresh.
The problem with writing a monthly book is that you're going through your work like a man running for a bus, red-faced and out of breath. There isn't time for reflection or critical self-examination.
Writers write for one reason: to create an emotion in the reader, to reach across and make them feel something. You want a reaction. Yeah, it's nicer when the reaction is to throw flowers than it is to throw brickbats, but you have to accept both equally.
At its heartmeat core, writing is about exploring the questions of your heart on the assumption that what intrigues you, what inflames or amuses or ennobles you, will have the same effect on someone else. It's about taking chances, and taking risks, and pushing yourself to be honest in the issues that present themselves.
Whenever you write for someone else, you're always aware - sometimes overtly, other times at an almost cellular, subliminal level - of the rules about what you can and can't do.
I don't start writing a script until I can see it all in my head, then it's a matter of getting it down in white heat.
Budget grows out of the story. If you're writing a story with people caught in an elevator for most of the film, you're pretty sure it won't be a $200 million movie.
