American - Writer | July 15, 1970 -
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.
Kelly Sue DeConnick
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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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Everything that feminism stands for is everything American, white, red and blue democratic. It is all the same stuff. So, I am boggled that I should have to give up this term that encapsulates what I want for my children, for my world, culture, brothers and sister because someone else thinks it means I don't shave my armpits.
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With Marvel, I obviously don't own the characters, so there are levels of approval to go through. But I'm very seldom told no, and never without reason. Maybe I've just been lucky; I don't know, but I don't think it's as frustrating as people generally imagine. I act as though I own it all while I'm writing, I think. I hope, anyway.
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Comics are not theatre - there's a very important difference in that the reader controls the page. You can linger on a page of comics as long as you want. You can read and go forward and then move back; you can reread, in one sitting or at your leisure. You can take as much time as you want to take in that story.
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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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I used to write reviews for 'Artbomb.' Our policy was to only cover books we loved and recommended.
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The first gift my husband ever gave me was a pack of index cards. I'm pretty sure the second was a 'Powers' scriptbook. This was well before either of us worked for Marvel.
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Marvel is run by some very smart people, and they seem to pride themselves on the fact that they don't just find talent, they groom talent.
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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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Going into the second arc, I'm making a conscious effort to do something I say I never do, which is to change my style because of feedback. I'm trying to make 'Pretty Deadly' more accessible by being more clear in the writing.
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I think I'm very strong at dialogue, I think I'm very strong in characterization. I think sometimes I use dialogue and character work to cover weaknesses in my plotting.
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