If you read any sort of, like, military general autobiographies or biographies, most of them never wanted to fight, you know? It's necessary. War is necessary.

For me, a story always goes out of a mistake. Somebody makes a mistake, and that becomes the story. Probably that explains why my series are kind of dark: because there's a problem to begin with.

When I write, I'm talking to myself constantly to make sure that it sounds OK; it has kind of a nice rhythm and a nice jump to it.

Denny O'Neil did some great things with Joker - I thought Greg Rucka used him really well in 'Gotham Central.'

'100 Bullets' is a novel on its own. 'Brother Lono,' other than the main character, has nothing to do with '100 Bullets.'

I like being a cult figure.

I have a reputation for writing all kinds of hard-core, violent things.

What's the trick to writing a good bad guy? Well, for me, it's always been the idea that you pit yourself against authority, you know? I think that's what it takes - and then you can write villainous characters.

People have told me that the dialogue in '100 Bullets' is very realistic. I don't agree.

Believe it or not, but 'White Heat' and 'Little Caesar' keep dancing around in my brainpan while I'm writing 'Moonshine.'