Marjorie Liu

I'd like to go back in time and haunt Robert Louis Stevenson during his years in the South Pacific.

Individual writers can certainly make a difference, but they are working within a system, an institution, that still holds tremendous power over whose voices are heard and whose voices are rewarded.

I wanted to be her; I wanted to write her. Red Sonja became anchored in my imagination like a mountain.

I had never been a comic book person before, really, because I had no access to them. Once I had access, I thought that these are just another avenue for telling stories and delving into the imagination.

I don't write fight scenes in comics all that well. I think they're a waste of space unless they can move a story forward in some compelling fashion. You've only got twenty-two pages to work with. Why throw that away on a set of meaningless punches?

As women, we have to deal with constant threats of violence. And it's in our media and fiction, too. So we internalize it.

A novel is 400 pages; it's an endurance race. There's no artist, so I have to describe everything. It's all prose. Whereas with comics, I can rely on the artist. It's really wonderful to have that collaboration and to not always feel the burden of describing everything myself and also just to have someone who can paint the world.