“…And we talk it out. Lately, I’ve had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally — I have a little tape recorder — I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon … so we don’t have to worry that we’ll forget what we’ve said. Then the artist goes home … or wherever he goes … and he draws the thing out, brings it back, and I put the copy in after he’s drawn the story based on the plot I’ve given him. Now this varies with the different artists. Some artists, of course, need a more detailed plot than others. Some artists, such as Jack Kirby, need no plot at all. I mean I’ll just say to Jack, ‘Let’s make the next villain be Dr. Doom’ … or I may not even say that. He may tell me. And then he goes home and does it. He’s good at plots. I’m sure he’s a thousand times better than I. He just about makes up the plots for these stories. All I do is a little editing … I may tell him he’s gone too far in one direction or another. Of course, occasionally I’ll give him a plot, but we’re practically both the writers on the things.”
Stan Lee, 1968 (via comicbookartwork)
In Stan’s defense: A lot of his hyping was somewhat less enthusiasm and a little more pushing a party line for somewhat involved corporate reasons. Occasionally, though, Lee spoke as true as his memory allowed.
“One could certainly question the logic in tying all of the New 52 books, even the extremely popular ones like Batman, to a middling weekly series set in a possible future that will never come to pass and that seems to be a fairly reliable mid-list seller. But this week’s crop of one-shots demonstrates that, despite the fact that each book has the words “Futures End” in the title, many of them have somewhere between nothing and very little to do with the actual plot of the event series.”
Again, dunno what’s worse: The lack of creativity at Dc or that the dreck seems to be successful enough for Warner.
Werner Roth did great work at Atlas, awful superhero work at Marvel in the 60s and finished his career doing romance work for DC. Here’s an Atlas cheesecake tale.