Virgin Comics/Sci Fi: Stuart Moore InterviewAugust 1, 2007
Stuart Moore has been a writer, a book editor, and an award-winning comics editor. His recent writing includes New Avengers/Transformers (Marvel Comics), Firestorm (DC Comics), the original science-fiction series Para (Penny-Farthing Press) and Earthlight (Tokyopop), a graphic novel adaptation of the bestselling fantasy novel Redwall (Penguin/Philomel), and the prose novels American Meat and Reality Bites (Games Workshop). At DC Comics, Stuart was a founding editor of the Vertigo imprint, where he won the Will Eisner award for Best Editor 1996 and the Don Thompson Award for Favorite Editor 1999; recently he has accepted an editorial role shepherding the new Virgin Comics/SciFi Channel comics imprint. Stuart has also contributed to prose and comics anthologies, including the acclaimed Postcards (Villard/Random House), The Nightmare Factory (HarperCollins/Fox Atomic), and Star Trek: Constellations (Pocket Books). He lives in Brooklyn, New York.
Tell us a little about the Virgin Comics/SCI-FI imprint. What’s the idea behind it, and what sort of things can we expect?
It’s a joint venture between the two companies. The goal is to produce real science-fiction comics — miniseries, mostly, to start — that have the potential to work as television series as well. SciFi is very committed and involved, and Virgin’s pouring a lot into this. It’s very exciting.
Who are the types of writers and artists you are aiming to bring into the imprint?
We’re reaching out to a mixture of comics and television writers. It’s a fascinating process because we all have to agree on a project before it goes ahead. We have one book set so far, which will be announced at Comicon San Diego, written by a prominent and acclaimed comics writer.
Do you think your role as editor of the line will affect your writing career?
I try to learn from every job I do. I’ve learned a tremendous amount about writing from my editorial work, and yes, I hope that will continue.
It’s funny: Comics in general has moved closer to television in recent years, reaching out to TV writers, which is great. But in television, if you’re a (story) editor, you’re expected to be a writer as well — in fact, you’re usually the head writer of a series. In comics, those roles have been very tightly segregated. I don’t see why that should be, necessarily. You can be both — it’s mostly a matter of finding enough hours in the day. Comics didn’t used to be that way; Stan Lee edited virtually everything he wrote. I’d like to see a little loosening up of all that, across the field. I think it’d be good for creativity in general.