I've painted in the past, but I only average about one painting a year, and the last painting I did, I actually really liked.

There's a ton of stuff in mythology and folklore that is loaded with wonderful creatures that I haven't drawn yet, but that's kind of my retirement plan. Theoretically, I won't be doing comics any longer, and I'll just be drawing and painting whatever the hell I want. Most of that will be monsters.

I've just always liked monsters, since I was a little kid. It was always the thing I found interesting. It's always what I wanted to draw; it's always what I wanted to read, and so, yeah, I don't know. It's a good question for a therapist, why I like monsters. But I tend to not question it. It's what pays the bills, so that's kind of nice.

I've always been much more comfortable with drawing fantasy stuff.

I know some people are like, 'I'm depressed, and I'm a struggling artist,' and that really works for some people, but that doesn't work for me. I have to be really happy, even when I'm writing my depressing songs; I have to come through that stage before I can write.

Starting in the mid-1990s, the end-to-end ubiquity of the Internet, combined with its cheapness, spontaneously combusted to give us Napster - a site that revolutionized the music industry overnight. We got P2P file swapping in the film and TV industry as well.

Walking by water frees your creativity. I don't know how it works - there's something about it that's liberating.

I write for young people because I like them and because I think they are important. Children's books can be mind-stretchers and imagination-ticklers and builders of good taste in a way that adult books cannot, because young people usually come to books with more open minds. It's exciting to be able to contribute to that in a small way.