I really don’t know, but my own practice is to put the pencil in the back of my hand, like it was going to be sent back. And then I’m drawing in the dark, holding it, drawing the back of my hand, going, “Oh, wow, that’s what she’s like. That’s what I’ve been doing it for a while, but I really can’t see what’s in the pencil. But she’s always drawing to it and she has a very, very intense mind, and I can try to bring that in, if you will.” And that way, I know I’m in good shape.
Your work is just as much about the visual as it is about the writing; that’s how you’re able to tell these stories.
And I do both, but I’d rather do it by myself. I just have a better way to communicate things, so they don’t feel rushed. And I think I have a better way, too. I have better rhythm on the page; I can write faster than I can draw. I have better technique. I can read, in general. I’m much more comfortable with words, and I can go, “Okay, so you want to get this word right here, right here, right next to this word there, that can be done better than this word right there.” If I just stick to the drawing itself, the words would just be distracting.
I’m not saying I’m not a great artist. I’m still, still very, very good at what I do, but I’m at a different level than I’ve ever been.
How has writing this series come along? Do you consider it an epic?
It was a very fun ride, but it was very taxing mentally. I don’t think anybody can really talk about a work like this, this has been a process that, that was in some ways a rite of passage for me. It was the first time I’d drawn superhero comics. It’s been a process of, it’s like, I don’t know how much more stress can you put in, I’ve had so many things going on. I’ve been married and divorced, and I was trying to work out all the problems I’ve had with this, and all the things I’ve been doing.
It’s been stressful. At one point, I was actually in a coma. I remember the first time I read the script, which is like I’m
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