Kelly Sue DeConnick Quotes
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If you want to, if you are a crazy person, you could go from idea to the stands in about four months. It does not cost hundreds of thousands of dollars to make a comic the way it does to make a television show or a movie.
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Complicated feelings are fertile soil for creative ideas.
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Years ago - I used to be an actor - I was in a production of Vaclav Havel's 'Temptation,' and when we started rehearsals, he was in prison. When we closed the show, he was running for president. And it felt incredibly timely and important and also this lucky thing.
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I hate when I get asked, 'What's it like to be a woman in comics?'
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Romantic relationships are the least interesting thing for me to write about. I'm 45, and that's not the most interesting thing in my life anymore.
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Girls have always read comics. There's nothing intrinsically masculine about telling stories with pictures.
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I kind of resent the suggestion that there would be something inherent about superheroes that wouldn't be of interest to women. That makes me nuts. I'm a 5-foot tall woman with a quick temper who always looks like a child, so power fantasies are not strange to me.
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The notion that somehow women are wildly different infuriates me.
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I don't think working in superheroes is slumming it. I'm proud of this form. I like this. There's nothing inherently masculine about power fantasies. There's nothing inherently masculine about superhero comics. There's nothing inherently masculine about mythology. About science fiction.
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If you have a smartphone - and you have a smartphone - then you have a comic book store in your pocket. So you don't have to get over any social anxiety you have about entering that space.
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My son is such a lover, such a caretaker and so funny. He's seven, and he genuinely cracks me up. And my daughter is a fearless powerhouse. They fill me with wonder and admiration.
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Because of the nature of monthly comics and deadline, I pretty much have to work on whatever's on fire, I'm afraid.
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'Pretty Deadly' is the story of these immortal and mortal characters, and the mortals' story follows Sarah's family, a black family, through the ages. I never made the choice of, 'Oh, this is gonna be the story of an African American family!'
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I want young women to see my name on 'Avengers Assembled' and to know that there are women who write mainstream superhero comics, and if it is something that interests them, it can be done.
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I need to go where I'm not comfortable. I think that's the artist's job.
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I feel like I have a kind of mirror blindness where it's hard for me to characterize or analyze my own work. I suspect I'm not unique in this regard.
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If there was any creature in American culture more derided than the young girl... I know people will argue with me about that, but everything girls are into gets ridiculed. I have a lot of compassion in my heart for girls in their teens and twenties who are going through this particular passage, because I get it. It makes sense!
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I like my heroes to be imperfect; I like them to be striving. I identify with that kind of aspiration to do better.
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Being a woman in a male-dominated industry sort of sucks, but it doesn't suck any more than being a woman in the world. My advice? Be terrifying.
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For hard resets, conventions and conferences can be inspiring.
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Anybody who's read 'Pretty Deadly' knows that I tend to savor an immersive, 'You'll figure it out as you go!' style. 'Pretty Deadly' really does not hold your hand.
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One of the things about comics is people can linger on images and words as long as they want.
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I'm not particularly good at page layouts. I make an effort to stay out of the way of the artist. What I'll try to express instead is, 'What we're going for here on this page is the idea of the containment of these women's bodies. So I want them framed as though they're bursting out of the panel borders.'
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I tend to choose collaborators who are more courageous than I am. I think it's good for me.