'Malice' wasn't about horror to start with but an underground comic driven by the power of rumour. However, as nothing fuels a rumour like fear, I decided that it had to be a frightening comic.
Everything you write makes you better. But if you really need a tip, here's one: a good story begins in opposition to its ending. That means you work out how it finishes first, and then begin the story as far away from that point - in terms of character development - as you can.
I do screen work, adult books, kids books and comic stuff, which gives me a pretty full plate. The problem is usually choosing which one I want to work on next.
I hate SF books that think all you need to make a book is cool technology and mind-bending ideas without a decent plot or characters. And I hate when fantasy books are allowed to ramble off into five hundred page diatribes which don't advance the story one bit.
I like writing comic pages, discovering the rhythm of the panels, learning how much you can and can't express. It's good to stretch myself as a writer instead of always doing prose work; I write screenplays for the same reason.
I wanted to write an adventure in the old-fashioned way, something to which I could apply the adjective 'rollicking' and not feel embarrassed. But I've never liked my heroes to be too heroic, so they ended up being a bunch of criminals instead.
In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.
