I wanted to give readers the feeling of knowing the characters, a mental image.
There was a sort of irony in the fact that these [superhero] characters - many of whom in that period, the Golden Age, had been evolved to fight the Nazis - were themselves very much in the Nazi ideal. The idea that you can solve problems through physical strength, by being stronger and more dominant and more powerful - that is fascism. I mean, that's it, that's the essence of fascism. I don't think the creators of the superheroes or the kids who were reading them at the time were the slightest bit aware of it.
I knew that I shouldn’t have, but I did it all the same; and there you have my epitaph, or one of them, because my grave is going to require a monument inscribed on all four sides with rueful mottoes, in small characters, set close together.
There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.
All the preparation in the world doesn't avail you if you can't make that imaginative leap and put yourself in the position of the characters you've created, to imagine what it's like to be somebody else.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
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