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“Manner and morals have improved, improved wages and world travel during the war have had effect, and the farm labourer now is an intelligent, self respecting workman, on a level at least with the town artisan. The village rustic of the past no longer exists outside of the comic papers.”

“If you loved everything you were writing, you would be deluding yourself or a complete and absolute narcissist. It's not about liking what you write, it's about improving with every word, little by little, exploring your craft, becoming the artist you hope to be one day. And you can only do that by working at it every day. It doesn't happen overnight, it doesn't happen over a weekend, it is a lifelong pursuit.”

“Ultimately, any character you write - no matter how fantastic or alien - is an extension of yourself. When our characters reflect the truth of our souls and psyches, they become real and compelling. The wonderful paradox is that the characters then take on lives of their own, separate from their creators. That's where the magic comes in.”

“In a 22-page comic, figuring an average of four to five panels a page and a couple of full-page shots, a writer has maybe a hundred panels at most to tell a story, so every panel he wastes conveying a.) something I already know, b.) something that's a cute gag but does nothing to reveal plot or character, or c.) something I don't need to know is a demonstration of lousy craft.”

“Twenty-two pages is not a lot of space. Believe me. Having written a bazillion comics, I still find myself more often than nine pages into a script and realizing to my horror that I'm only about a quarter of the way through the story I wanted to tell, and the next thing you know, I'm making fresh coffee and tearing up the floorboards to rewrite.”

“Stan Lee always wanted to do another syndicated strip while we were doing Spider-Man. I was working two jobs, and he wanted to make time to do another strip. He wanted to do a humor strip. I said, 'Stan, I barely make it through the week now. How the hell am I going to do another strip?' He said, 'Oh, I'm sorry, I always forget it takes you longer to do a page than it takes me to do twenty pages.'”

“The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.”

“All the other editors at DC never gave me a moment's time. They would take the thing and give me a check and say, 'I'll see you in two weeks.' They never gave any kind of encouragement or information. They were very competitive with each other. They didn't want to teach an artist and then lose him to some other editor.”

“When I went to Stan Lee - every time I was with Stan, I learned something every day. When I would do a pencil job, if I didn't have much faith in it I would hand it in and invariably Stan would make it look like it was a well-written and well-planned-out story. It made me tell people, 'If you want to become an artist, go to work at Marvel. Stan will turn you into a storyteller.'”

“Superheroes are also about immigrants. Superman, the prototype of all superheroes, is a prototypical immigrant. His homeland was in crisis, so his parents sent him to America in search of a better life. He has two names, one American, Clark Kent, and the other foreign, Kal-El. He wears two sets of clothes and lives in between two cultures. He loves his new country, but a part of him still longs for his old one.”

“When I was there at Marvel, everybody thought if you could draw well and you could do sensational panels, that you were going to be a success. The truth is that no matter how good or bad you are as a draftsman, if you can't tell a story, you don't last in comics. ...About halfway through my stay at Marvel, I realized I was being paid to tell a story, not do a drawing. That's why my stuff is always rather simple and uncomplicated compared to a lot of guys.”

“Almost everyone working in mainstream comics started off as a starry-eyed kid reading and loving comics. We're all fans, and that's great. But when we start working on company-owned comics professionally, we have to think like storytellers instead of fans. Editors aren't looking to hire the biggest fans of the characters. They're looking to hire the best creators with the best ideas.”

“The dirty little secret about comics is that the wall to getting published is actually not that high. You can publish your own comic. You can have your comic printed by the same people that print Marvel and DC and Image's comics for, I think, it's about $2,000 for a print run. So you can Kickstart it and get your own comic made. It depends on what is considered success to you. So if you need to be published by the Big Two to feel that you've made it, well, you should start working very hard.”

“What keeps this industry alive is creators doing their own work. Once you change a costume or origin enough times, it's a dead body - you're just electrocuting it and keeping it sort of shambling on. There is a lot more creator-owned stuff now, and some of it I look at and go, 'Oh, that's his pitch for a TV show. That's his pitch for a movie. That's him saying oh, this kind of thing sells.' I didn't do that.”

“One of the greatest sins in any story is false suspense. The kind of 'suspense' that disintegrates the moment you give your reader one second to think about it. And it's an easy trap to fall into, so watch carefully for it. If your story hinges on the question, 'Will Superman be pushed so far in his battle against Lex Luthor that he'll have to kill him?', or if your big cliffhanger moment is, 'Wow, is Spider-Man really dead this time?', then I understand Food Lion is hiring.”

“I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.”

“... 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.”

“We were pregnant at the time, and while I was out there I started to realize that if I had a daughter, there would come a day when I would have to apologize to her for my profession. I would have to apologize for the way it treats and speaks to women readers, and the way it treats its female characters.”

“When coming up with Wonder Woman cover designs, sometimes people will pitch ideas to me, either the writer or the editor. And it's interesting, because I know they're not trying to, but they end up pitching things that end up feeling like damsel-in-distress covers, where the tension comes from her needing to be rescued somehow. And it's something I immediately push back against.”

“I realize that this is not what you want to put on a cover with Wonder Woman emblazoned on it. She could be in trouble, but she doesn't need to be completely out of control. So whenever I'm doing these covers, I try to make sure that there's an element where, even if there is danger, it's not something where agency is taken away from her.”

“No other serial publications carry a number on them that is of any weight to their readership. The number is there to serve a function, but it has no intrinsic value in and of itself. It's comfort food and nostalgia at best. On this, we follow what you and your fellow readers do more than what you say. We hear complaints about renumbering every time we do it, but every time we do it it results in higher sales, which is the whole ballgame - so if it were your time and your effort, what would you do?”

“It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.”

“When you start out on a career in the arts you have no idea what you are doing. This is great. People who know what they are doing know the rules, and know what is possible and impossible. You do not. And you should not. The rules on what is possible and impossible in the arts were made by people who had not tested the bounds of the possible by going beyond them. And you can. If you don't know it's impossible it's easier to do. And because nobody's done it before, they haven't made up rules to stop anyone doing that again, yet.”

“I remember attending Toronto Comicon shortly after the release of Captain Marvel and seeing a five-year-old girl who'd come in a handmade Captain Marvel outfit with her hair moussed up - and I totally got the need for this book, for this hero. Someone who looks like her, and acts like her. So, in a way, Captain Marvel helped pave the road to the expanded role of female leads.”

“Comic book readers are just as abandoned by the corporate system as the creators, despite the importance supposedly given their hard-earned dollars. The average comics shop can offer only a tiny fraction of an industrywide selection that is itself extremely limited in scope. And even when readers know exactly what they want, the search can be maddeningly futile.”

“Well it's been about 100 years and every attempt at a comics writers' union has failed miserably. There is, sadly, a long history of short-term thinking and self-destructive behavior among my fellow comic book creators. No matter how many horror stories they have heard they won't even go so far as to hire themselves a lawyer when they need it. It breaks my heart. I am a very proud union member of the Writers Guild. And I can't imagine my fellow comic creators being able to pull something like this together.”

“Women are exciting for this one reason - it is the secret of women's allure - women enjoy submission, being bound. This I bring out in the Paradise Island sequences where the girls beg for chains and enjoy wearing them. Because all of this is a universal truth, a fundamental subconscious feeling of normal humans, the children love it. That is why they like Wonder Woman on Paradise Island better than anywhere else.”

“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.'”

“Comics play a trite but lusty tune on the C natural keys of human nature. They rouse the most primitive, but also the most powerful, reverberations in the noisy cranial sound-box of consciousness, drowning out more subtle symphonies. Comics scorn finesse, thereby incurring the wrath of linguistic adepts. They defy the limits of accepted fact and convention, thus amortizing to apoplexy the ossified arteries of routine thought.”

“I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.”