You said the percentage of whole effort an editor take a role is different from project to project, then how about your case? I mean, what percentage of the plot did you give ideas when you work on Deadpool ongoing?

Gerry and I talk a lot on the phone. When we’re planning ahead on things, it’s kind of blue skies. Maybe one of us will bring an idea, or maybe we will talk about stuff until an idea pops up. 

But, honestly..ideas are easy. Sure, I have contributed plenty of ideas to the Deadpool plot, but throwing out a crazy idea is easy—writing it so it works is the hard part, and that’s why the writers get the credit.

Here’s an example: when it came time to plan our Original Sin crossover, we had to think of what we could reveal about Deadpool. We tossed around ideas—important people he could have assassinated, that sort of thing. I was the one who suggested we reveal he killed his own family. Gerry, at first, said “No way!” feeling that if Wade did that, the readers would never forgive him! But then he thought about it for a while and realized he could make it work. Me just throwing out that idea was easy, but Gerry making it the emotional issue it was is the real magic. (Which is not to leave out Scott Koblish’s AWESOME work on that issue for the art).

On the other side, a number of the miniseries I’ve done with Cullen Bunn have been, conceptually, editorial driven. We came to Cullen with the “idea” of  Deadpool Kills the Marvel Universe, Night of the Living Deadpool,  Deadpool vs. Carnage…but they were incredibly rough ideas, not stories—in some cases not much more than a title. He turned them into the great stories we ended up with.