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So how did your affiliation with National come about? Did you just drop by the offices and look for work? I felt National had always been a respectable house, a prestige house. I liked the people who ran the place.

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When we first moved to California, Mort Weisinger came to visit us. Every goddamn one of them was good. A very young person can come up with an idea— well, Superman is the classic example, see? GROTH: Do you remember at what point in your life you realized that you were devoting your life to comics and that comics had become a career? Some paid more. I was a freelancer. I wrote everything I did. His mother was horrified. I says. Nerd fucking two hot blondes! Were there circumstances that contributed to it, or what? Were you paid on a weekly basis? All his characters look Polish!

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She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car. I suppose I must be a lot like Ben Grimm. If you can find excitement in that kind of atmosphere — the excitement of fear. It was a caste system, pure and simple. I revived what I could and came up with what I could. Once or twice a month. My monsters were lovable monsters. I assumed that he took it, OK? This is the way Stan Lee became the writer. The publishers are usually businessmen who deal with businessmen. When you were doing a story, say, the first Dragon Man story in Fantastic Four that took place on a campus — would you plot that out in your mind? Did they have different approaches? Fury was the head of a battalion or something. The Challengers were us contending with these very strange people. I inserted him in a lot of the stories I was doing.