I walk them to school every day, and then I’m kind of a Johnny Lunchpail: I write during normal working hours, from 9 to 6, which is very strange, because when I started out I would write from, like, midnight to 8 a.m. It begins much earlier than I would like, because I have two young children.

With the latest collection of Saga hitting stands today, we caught up with Vaughan to talk about the injustices of the comics industry, his theories about the popularity of comics adaptations, and why he’s writing more stories about people who aren’t straight, white men. Oh, and he also wrote for the TV shows Lost and Under the Dome. In the aughts, he won widespread acclaim and a rack of awards for inventive stories like Y: The Last Man (which imagined a world where all men abruptly died, except for the protagonist), Ex Machina (about a superpowered mayor of New York City), and Runaways (in which a group of kids finds out their parents are supervillains and go on the lam).Īfter those all wrapped up, he moved on to one of the best series currently in publication, the quirky space opera Saga (penciled by Fiona Staples), and filled out his slate with a story about a futuristic Canadian-American war called We Stand on Guard (penciled by Steve Skroce) and his latest title, the surreal sci-fi thriller Paper Girls. He started scripting comics in the late 1990s, burst into the industry’s top tier a few years later, and hasn’t exited the spotlight since. Writers in any medium would kill for a creative streak as long as Brian K.

Saga, Book One by Brian K. Vaughan