Michael McMillian Quotes

I want to work on the 'True Blood' comic for as long as they'll let me.

Learning to write comics is, in fact, so bloody difficult because it's such a weird form that it does actually make you a bit more adaptable for other forms.

I was embarrassingly well-versed in Marvel lore, so it was pretty easy to slip into that world. But really, already, by the time I'd started writing superhero comics, my dream was really to be writing my own characters.

I tend to like writing long stories in comics. I worked on 'Flash,' 'Teen Titans' and 'JSA' for years. I always like diving into characters.

I am thrilled to get the chance to write comics - and to tell Forgotten Realms tales, to boot!

In a weird way, I think I'm much better at oneshots than longform. So I try to focus on five or six-issue arcs. I have a real fondness for the one-shots because that's where I do my best storytelling.

The more you put out there, the more you have to resolve. 'Air' is the most literary comic I've written so far, and that poses problems.

People have told me that the dialogue in '100 Bullets' is very realistic. I don't agree.

I didn't know how to write comics. I had to teach myself.

I have a terrific editor in Molly Mahan - she's the best - and Red Sonja has become up there with Black Canary as my favorite character to write, ever.

My first draft of Marvel Knights 'Black Panther' was not funny at all. They smartly rejected the entire script and counseled me to inject liberal doses of humor into very serious subject matter.

When I write Superboy and other DC characters, it's about boiling them down to core concepts.

Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.

I make no secret of the fact that writing She-Hulk can serve as an opportunity for me to sneak in some really cool characters that I personally love. Some will be obvious fits, but others will come out of left field - but that's what's fun about the Marvel U - the bench is deep.

I'm such a huge fan of fan fiction, to me it's a great way for readers to become writers. It's like putting the training wheels on for writing.

From its beginning, fan fiction has been written mostly by women. Originally, this was because of a dearth of interesting female characters in conventional sci-fi.

I love funny women. I love writing funny women characters.

A page a day means I need to focus on a gag a day, and that's great for laughs but bad for plot, and I'm primarily a plot guy.

I'm sort of killing two birds with one stone here, getting to write for 'True Blood' and being able to put myself in a comic at the same time.

Seriously, you know - I love to write. I enjoy the process; I enjoy the different processes, because writing for film and television and graphic novels is all very different. So I've never had the feeling of, 'Oh, you have to do this one thing.'

I think that's a great opportunity, to pick a script where you can build up a good skill. I think the main thing I look for when I look at scripts is if it's inspirational. If it's something that teenagers can relate to. And is it something that the audience is going to get something out of. If not, then it's really not worth doing.

When you're drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.

As an adolescent I wrote comic books, because I read lots of them, and fantasy novels set in Malaysia and Central Africa.

I wanted to do an hour-long show, and I wanted to something that was dramatic and sometimes funny and humorous, as well. I'm just delighted to have this opportunity to be a part of this project.

I started my career as a novelist. 'Veronica Mars' was first imagined as a novel.