Andrew Aydin quotes:

Most students graduate from high school knowing nine words about the civil rights movement: Rosa Parks, Martin Luther King, and "I Have a Dream." And that's it!

We chose to frame "March" around the inauguration of Barack Obama because it was such an important moment in the story of the Civil Rights Movement. It wasn't the fulfillment of Dr. [Martin Luther] King's dream, but it was a major down payment.

You cannot understand the politics of today without understanding the Civil Rights Movement and the role it played in our society.

I went on to write my graduate thesis on the ["Montgomery Story"] comic book itself. It was the first long-form history that was ever written about it. And it's how I found out Martin Luther King actually helped edit "Martin Luther King and the Montgomery Story."

So March: Book One was the first book I ever wrote. And it was the most terrifying process I've ever been through.

Nothing surprised me more, and meant more to me, than seeing an entire class of ninth graders mob Congressman [John] Lewis at a book festival.

I think ['March'] is not just for the Black Lives Matter movement. It's for everyone. We all have to understand what happened then, so we can understand what's happening now.

I hope March is a guide for today's activists. It took raw courage for young people to volunteer to go to Mississippi in the summer of 1964, and unrelenting faith in the power of democracy to organize such a massive campaign.

We don't want to just tell [students] who the people are, we don't want to just tell them what happened - we want to show the process by which it formed itself.

The parts of the [Civil Right] Movement we recognize so well now were not born from a single decision, but were a complicated and messy evolution of ideas and spirits, coming together after a long, hard struggle to triumph in moments when the odds seemed the longest.

People forget that many of the aspects of the Selma campaign were laid out in response to the church bombing in Birmingham.

We were trying to show that you should be hopeful, you should be optimistic, but you have to be consistent and persistent, because it's not the struggle of a day, a week, a month, or a year. It's the struggle of a lifetime. And so you're going to have to put in 40 or 50 years to reach that high-water mark.

I spent 10 years in professional politics and eight writing comics, and so I look at it from both sides. I don't understand the logic in being frustrated with a system, so you choose to be a part of the reason why the system is so frustrating. If everybody voted, it wouldn't be this way.

"March" was inspired by "Martin Luther King and the Montgomery Story." I actually first heard about that comic from John Lewis, who told me that it played an important role in the movement. And so once he told me about that, it made me start thinking, "Well, why doesn't John Lewis write his own comic book?".

My father was a Muslim immigrant; when Donald Trump started talking about banning Muslim immigrants from this country, I grew my beard out. My mother hated it. She never wanted me to look particularly "Muslim." She thought if I grew my beard out that people would know, right? "Don't make it hard for yourself. Don't let people know."

I think this ['March']is essential reading to understand the Black Lives Matter movement. I think it's also essential reading for the Black Lives Matter movement, so that they understand the political context that they're engaging in.

In so many ways, forces unleashed in response to the Movement have come to dominate our politics, and technology is allowing the same injustices to be seen anew.

We're [also] trying to talk to a generation who grew up on the Internet. They're digital natives, and, essentially, they speak through sequential storytelling. I mean, a good comic-book panel is not that much different than a meme.

It's important to realize that the series actually grows with the reader. "March: Book One" is a great introduction for kids as young as eight or nine years old. But then they grow with the reader. Book Two is bigger, Book Three is even bigger. And they grow more violent and more confrontational.

If voting wasn't important, why would they be spending so much time and so much energy trying to stop you from doing it?

I think people who agree with Donald Trump have repeatedly made the case that he should be able to say whatever he wants to say, it's time someone did that. But as we go and speak to the kids, the young people who are reading March, we see the fear, we hear them tell us how scared they are.

For me, it was a mission on the hill to sensitize people, because they don't know Muslim immigrants. And for the most part, a lot of us just keep our heads down. But if I can engage someone in conversation, someone who maybe does support Donald Trump, or at least isn't speaking out against him, and I can show him the fear that I have, then maybe I can turn that tide.

What crystallized the importance of speaking out like that - of making nonviolence not just a tool or a tactic, but a way of life - was in San Diego [at Comic-Con]. One of the young girls who marched with us was wearing a hijab, and she came up to me afterward because I talked about my beard, and I talked about why I was doing it, and she came up and she gave me a hug, and she was crying. And she said, "Thank you. You have no idea how the other students treat me because they're shown that this is OK by Donald Trump. Thank you for speaking out."

I spent almost two years working on this book ['March'] before we ever had a publisher, before we ever had a title. And when you're reading it, and you're writing it, and you're ingesting it, sometimes a single word just comes up over and over and over again. And if you're trying to capture the essence of what it is you're trying to tell, you don't have a whole lot of space.

One of the biggest challenges for us is that people have different accounts. People say different things happened at different times, and when you're trying to sort through all that, how do you decide what's right?

You have such a sacred responsibility when you touch John Lewis's story, when you touch the story of the movement. You don't want to leave anything out, but you want to tell a good story so the people will read it and they're engaged and they don't fall apart with extraneous details.