When I'm working in finite serials, I always think in terms of the entire book rather than the individual episode because, by far, the vaster sector of the project's lifespan will be in complete book form rather than the singles.
I was originally going to train as a journalist, passing a series of exams that winnowed ten thousand applicants down to one hundred places on a National Union of Journalists course.
I can be collaborative, for instance, in situations where I go and study the artist's work before I start writing. Then I can at least try to write towards their style.
I think the New Aesthetic is a series of observations. I think most of the trouble people have had with it comes from a misunderstanding of it as a movement.
For me, the Internet's like music. I don't like working without it. I will tune it out for hours at a time, as I get lost in the work, but I'd know if it wasn't there. If that makes sense.
On the evidence I have on hand at home, social media isn't killing our children. It isn't killing families, either, because the constant long bloody phone calls that parents complained to their teenagers about in decades past are gone.
It's always difficult with the superhero stuff because you're working with characters who have been written by 100 to 200 people over the past 20 years, at least, so they never sound the same or act the same. The best approach is to try to draw the best fitting line through all of the interpretations.
The things I have sold to film, I've sold because I was happy to rent out the right to adapt those works. Some things, I haven't sold to film, because I was less interested in having no control over the adaptation.
