If you're writing about a character, if he's a powerful character, unless you give him vulnerability I don't think he'll be as interesting to the reader.
Superheroes? In New York? Give me a break!
The only advice anybody can give is, if you wanna be a writer, keep writing. And read all you can, read everything.
Some people will say, "Why read a comic book? It stifles the imagination. If you read a novel you imagine what people are like. If you read a comic, it's showing you." The only answer I can give is, "You can read a Shakespeare play, but does that mean you wouldn't want to see it on the stage?
Technology isn't a villain. Technology should help, but if you just use the technology for the sake of technology, then you're cheating your audience. You're not giving them the best story and the best direction and so forth.
... And we talk it out. Lately, I've had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally - I have a little tape recorder - I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon ... so we don't have to worry that we'll forget what we've said.
I have never had a lap dance in Tampa or any other part of Florida. If I ever did have a lap dance, I don't think I would be discussing television ideas with the girl that was giving it to me.
In the entertainment industry all that anybody wants to do whether it's music or stories or dancing or comedy or whatever, they want to entertain the public. And they do it any way they can. Sometimes they concentrate simply on entertaining people and they don't care what message they are giving.
Some artists, such as Jack Kirby, need no plot at all. I mean I'll just say to Jack, "Let's let the next villain be Dr. Doom" ... or I may not even say that. He may tell me. And then he goes home and does it. He's so good at plots, I'm sure he's a thousand times better than I. He just makes up the plots for these stories. All I do is a little editing ... I may tell him that he's gone too far in one direction or another. Of course, occasionally I'll give him a plot, but we're practically both the writers on the things.
In fact, I was too dumb to save any of the old comic books or the old artwork. I used to give them away.
From 1940 to about 1960, I had been writing just regular comics, the way my publishers wanted me too. He didn't want me to use words of more than two syllables if I could help it. He didn't want me to waste time on worrying about good dialogue or characterization. Just give me a lot of action, lot of fight scenes.
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