Martin Pasko is best known for writing Superman in the '70s with editor Julius Schwartz, reviving Swamp Thing in the '80s before Alan Moore took over, writing Gargoyles in the '90s, and heading up DC's special projects. He then worked on the TV adaptations Smallville and Birds Of Prey. As one of the older comic book veterans still writing regularly, he allowed Bleeding Cool to reproduce a post he wrote on Facebook over the issue of ageism in the industry.

He writes:

"I've been following a lot of comments in other threads about 'ageism,' which I'm not sure is the only factor in why passing down knowledge of craft from one generation to the next is such a problem in the comics business today.

I think the main problem is, rather, the redefinition of the role of the editor, for which horror I blame Jenette Kahn, reducing the editor to the role of talent-wrangler rather than teacher. Paul Levitz would explain it, as he did to me, by saying that, after 1985 or so, there was so much more money to be made as a freelancer that no one with any creative talent wanted to BE an editor. From which — now with no attribution to Paul — I conclude that we got stuck with all these clowns who didn't know what the fuck they were doing, because they got promoted to editors from running the Xerox machine, on the basis of what Flavors Of The Week they had in their contact lists.

I, on the other hand, got to work with editors who had TOTAL CRED: people like Marv Wolfman, Len Wein, Gerry Conway, Dennis O'Neil, Joe Orlando, and many others who had walked the walk. When THEY talked, I sat up and listened, and busted my ass to satisfy them … all the while confident that, if I fucked up, they could pick up their pencils and FIX it.

And, knowing that they COULD do that, I was secure that nothing I ever did for them would embarrass me in the finished product. That confidence — that relaxing, encouraging confidence — inspired me to work harder for them, not just to seek the approval of talents I so deeply admired, but also to spare them the trouble of spending too much time editing my stuff.

These guys inspired me to swing for the fences. Not sure I ever succeeded, but it was one helluva gratifying experience trying. And that's what a good editor — IF they themselves have creative credibility — is all about: inspiring their Talent to try to bring their 'A game.'"