Do you use a stylist?
No. I want to just take the best ideas I can get, then use the best technique I can get. I don’t do much stylin’ myself. My stylist does most of what I do, and she’s also a writer who comes by sometimes to show me some stuff I haven’t seen or have some other ideas that I haven’t seen. She also helps with all the other things. So I feel very comfortable just letting someone else do that for me without really worrying about how anything looks. It’s hard for me to just go in and say “Here’s this cool cut I want, and I have this concept, and you can do this concept” and expect my stylist to go and figure it out.
In the books you’ve been doing—The Sandman, The Demon, and the forthcoming The Wicked + The Divine—do you go through the process of picking out characters or story concepts before deciding to work on them?
Every story that I do has a story idea at a certain point. It can go from “I need to find this thing about this person, and then I’ve got this other thing, and I’ve got this scene with this other person” to “I think the character is important for this book.” Sometimes I can’t get to the story ideas until we’ve got the characters, and sometimes that’s after I’ve had the characters. I’m in the middle of finishing a long story and I’m just not able to get to the characters.
In The Sandman, one of the major changes you did was to move some of the more significant events from an earlier arc to a later arc. The Demon is a big one. Does the transition at a certain moment, sometimes years later, make a difference?
I wouldn’t use words to describe it but there were definitely a lot of things I could tell you but I’m sure you know all too well. When I finally saw those final designs that I didn’t want at the end of the Demon arc, I was in a really, really, really tough, really happy, deeply relieved spot.
It looked really epic in the book. It looked epic. We were going to do another one, that felt less epic. I went and did two short stories while I was working on The Demon. I did A Wizard Can’t Be Wrong by Jules Feiffer. And then some other stuff that I’m not actually going to mention, because
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