Jim Shooter: Conversations

By Eric Hoffman and Dominick Grace

As an American comic book writer, editor, and businessman, Jim Shooter (b. 1951) remains among the most important figures in the history of the medium. Starting in 1966 at the age of fourteen, Shooter, as the young protégé of verbally abusive DC editor Mort Weisinger, helped introduce themes and character development more commonly associated with DC competitor Marvel Comics. Shooter created several characters for the Legion of Super-Heroes, introduced Superman’s villain the Parasite, and jointly devised the first race between the Flash and Superman.

When he later ascended to editor-in-chief at Marvel Comics, the company, indeed the medium as a whole, was moribund. Yet by the time Shooter left the company a mere decade later, the industry had again achieved considerable commercial viability, with Marvel dominating the market. Shooter enjoyed many successes during his tenure, such as Chris Claremont and John Byrne’s run on the Uncanny X-Men, Byrne’s work on the Fantastic Four, Frank Miller’s Daredevil stories, Walt Simonson’s crafting of Norse mythology in Thor, and Roger Stern’s runs on Avengers and The Amazing Spider-Man, as well as his own successes writing Secret Wars and Secret Wars II. After a rift at Marvel, Shooter then helped lead Valiant Comics into one of the most iconic comic book companies of the 1990s, before moving to start-up companies Defiant and Broadway Comics.

Included here is a 1969 interview that shows a restless teenager; the 1973 interview that returned Shooter to comics; a discussion from 1980 during his pinnacle at Marvel; and two conversations from his time at Valiant and Defiant Comics. At the close, an extensive, original interview encompasses Shooter’s full career.

• Language: English
• Publisher: University Press of Mississippi
• Release date: Jun 9, 2017
• ISBN: 9781496811806

Book preview

Jim Shooter Interview

DOUGLAS FRATZ / 1968

Originally published in Comicology #3 (1969). Reprinted by permission.

Doug: Well, to start off, can you tell us when, how, at what age, and what you sent in to get you the job at DC, and all other whos, whats, whens, hows, and whys that you are probably so tired of telling everyone?

Jim: When I was fourteen and still occasionally reading comics, it dawned on me that people actually got paid for creating such junk. Immediately, I set out to get in on a good thing and wrote (and illustrated) a script for Legion of Super-Heroes. I had written other such scripts before (usually Spider-Man) but for once I did it in real earnest. I was so pleased I sent it to Editor DC Comics. It took quite a while, but I finally got a reply—a nice letter from Mort Weisinger asking me about my career plans, telling me about opportunities in comic books, inviting me to New York for a visit, and best—asking for another script. That was enough for me—I wrote a giant two-book Legion plot and poured my heart into the story and art. I mailed it and waited. It clicked. On February 10, 1966, a Mr. Weisinger called me from New York to offer me $200 for my story and assigned me a Supergirl script. I’ve been receiving assignments ever since. Later, my first story was also bought and used.

Doug: What work have you done since and under what editors and what artists? Had any artwork used?

Jim: I’ve had all of my work under Mort Weisinger. Usually Curt Swan interprets my layouts, but I’ve also worked with other DC artists like Carmine Infantino and Wally Wood. Living in Pennsylvania, I can’t work as an artist, but my layouts are used.

Doug: Exactly how does the editor/writer/artist set-up at DC work?

Fourteen-year-old Jim Shooter with his sister.

Jim: The DC machine works a little different for me than for normal writers, but . . . Mr. Weisinger will call me and either give me an idea or ask me for one. Either way, I will end up sending him a synopsis, usually with a cover sketch. He will call again and approve or reject it. With an approval comes suggestions, comments, and helpful information. Then I write the story and draw the panels. Usually I send two pages or so a day, so Mr. Weisinger can edit it as I go along and keep the artist supplied with material. From the artist, of course, it goes to be lettered, inked, and colored.

Doug: Whose gem was Sharp Shooter, by the way?

Jim: Mr. Weisinger, I think. Possibly his assistant, Nelson Bridwell.

Doug: Who are your favorite comic book writers and artists?

Jim: [Joe] Kubert, Wood, Infantino, Swan, and many others whose names escape me. I can’t narrow the list to one or two. Of the few writers I know, I’d say that Edmond Hamilton had a way with plot that few could equal.

Doug: Oh yes, the old Legion writer. He’s a prominent science fiction writer too. Any other DC comics you’d like to try to write?

Jim: Maybe Doom Patrol and Metal Men and several others of our lesser-known efforts.

Doug: How long do you plan to stay at DC, and what do you plan to get into after that?

Jim: I plan to stay at DC at least through college. I’d like to get into science fiction writing or maybe commercial art on a higher plane. I’m also interested in science.¹

Doug: What is your favorite DC comic?

Jim: Legion of Super-Heroes–it has unlimited potential. It is not bogged down by time or by place criteria. My imagination can run wild—all in all, a writer’s dream.

Doug: Do you wish credits would be given in the Legion?

Jim: I understand they soon will be.

Doug: Do you think the comic TV shows (Marvel and DC) will help or hurt the comics?

Jim: I think the worst the TV shows can do is spark interest in comics. I’ve only seen a couple, and they look like harmless TV distortions of what we write—a little simplified, maybe.

Doug: Do you read other comics?

Jim: Not really—I wouldn’t say never and make it a law, but I can’t remember the last time I read a competitor’s magazine. I read what comes my way, which is what Infantino sends me. (He’s the one in charge of keeping everyone posted.)

Doug: Do you plan to go to New York?

Jim: While in college (NYU) hopefully. That’s next year.

Doug: What’s your advice to the potential comics pro?

Jim: It’s a good profession, but I wouldn’t want to spend my whole life there. I consider it a springboard from which you can go almost anywhere—serious writing, TV, advertising, et cetera. Don’t get bogged