American - Writer | July 15, 1970 -
I think women are vital to the future of the superhero comics and the entire industry - as creators, as editors, as consumers, as retailers.
Kelly Sue DeConnick
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In popular culture, when women compete, it's usually over a man, and it's usually very nasty. And that is just frankly not my experience. That's just some kind of popular mythology, it feels like. I find it insulting.
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I'm really just trying... to write what feels true to me. I don't think about a lofty responsibility. I think I'd be paralyzed by that. Like any of my male colleagues, I'm writing the stories that interest me in a way that feels true to me.
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Gray space is fertile ground for fiction. When I can see both sides of an argument and feel strongly in both directions, then there's a story there, then I can write real characters that I care about and believe in and champion on both sides.
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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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You'll go mad trying to figure out what people want. I don't bother. I write the stories I want to read.
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I think 'The Avengers' is a Black Widow movie. She saves the day. And if you take her out, the plot does not function.
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I used to be good at clothes shopping and whatnot - at least ,I think I was! - but at some point after two kids and a career that worked out better than I ever could have imagined, I looked up from my desk and realized that I wore the same three t-shirts and 15-year-old jeans every day.
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In a weird way, I think I'm much better at oneshots than longform. So I try to focus on five or six-issue arcs. I have a real fondness for the one-shots because that's where I do my best storytelling.
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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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Part of a writer's job is just spacing out, looking into the air and imagining things.
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With 'Pretty Deadly,' I think you'd be hard-pressed to find a three-act structure in it. I don't know - someone probably can.
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