I’ve always worked in a mix of words and pictures; it’s always been natural for me to draw a story, but to have a sprawling paragraph wrapped around it. Either that, or I start writing down an idea, but have to start making sketches in the margins to get the idea across. I’ve been a doodler since I could hold a pen, something that’s defined me in almost every job I’ve ever had.

I tried to get into comics in high school, but the well-intentioned man at the comics store gave me a copy of some JLA collection, pushing my discovery of comics off until I was 18 and in college in Boston, a city with at least two great comics shops – and comics shop workers who understand what it means when someone says, “I want a book with great art, good characters, and well-written women.”

These days, I oscillate between pictures and prose and try to mix the two when I can. When I’m working in pure comics, my stories tend to be straight realistic fiction. When I go further toward prose, toward longer works, my stories get more and more fantastical, to the point of including spaceships, telekinesis, mythical creatures, morally dubious genetic engineering, and lasers. As I have no problem drawing spaceships, I’m not sure why the divide happens, but it usually does.

I have a gob of stories in various states of completion, from one of a planned four issues drawn, to a graphic novel script on draft two or so, to partial drafts of novels, to increasingly elaborate outlines.

I am trying to keep in very good health so I have time to finish all of them.