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For me, titles are either a natural two-second experience or stressful enough to give you an ulcer. If they don't pop out perfect on the first try, they can be really hard to repair. Or, worse, if the author thinks they pop out perfect, but the publishing house does not agree, it's difficult to shift gears. And then? Then you go insane.

For a director and a producer to be named on the writing credits is practically unheard of.

Because I don't give the studios advanced quotes or an advanced look at my reviews. I think the readers deserve to read my reviews before the studios do.

Typically, when you sell your story rights to a movie production company, they can do whatever they want with it. The writer is typically not involved anymore.

It's easier to come up with new stories than it is to finish the ones you already have. I think every author would feel that way.

On a book like 'X-Men,' you have to stay true to the established fiction, working with editors to ensure continuity, sometimes across multiple titles.

You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.

Unfortunately, the author of a book pretty much gives up control of the story when the producers take over a book to make it into a movie.

I like to have a title before I start writing.

Fans want to see a story with characters, and they want to see a story.