 time and it’s really rewarding to finally have the book out for people to read.

CB: Considering the pedigree of the people working on it, I can’t say I’m surprised it’s being received well.

CC: Well, you never know. It’s a weird book and part of the reason our marketing was so close to the vest was because we honestly don’t know how to talk about the book without spoiling anything. The basic pitch is “four 12-year-old girls in 1988 delivering papers come across something weird.” That’s really all we could say about it but it does get weirder and weirder as we go on. I think people will enjoy that roller coaster ride.

CB: How long has the gestation period for Paper Girls been?

CC: It was around April of 2014 when Brian [K. Vaughan] and I did our yearly email check-in. I figured he had his hands full with Under the Dome and Saga, but he asked if I wanted to work on something new. We’d been trying to work together for 15 years so of course I said yeah! He sent me the Paper Girls pitch and told me if I hated it, we could do something else, but I thought, “This is the weirdest fucking thing I’ve ever read… I love it!” If someone else drew it, I was going to hate it because they would get the 80’s stuff wrong, so I had to do it. The funny thing is I feel like if one were to engineer a story now, it might contain a lot of the elements we have in Paper Girls, but it was all very organic for us more than a year ago.

CB: What would you say you and Brian drew from to engineer Paper Girls?

CC: We wanted younger protagonists who we as adults could also root for, so Spielberg was a huge keystone for me just in terms of how well he represented the suburbs and how he taps into what it’s like to be a kid. Specifically, when you look at something like E.T. and what Elliot’s life was like, there’s a lot of realism there. I love stuff that looks at the suburbs, from Spielberg to something that’s more biting like The Sopranos where they really nail what suburban life is like. I wanted to capture some of that in Paper Girls.

CB:
time and it ’s really rewarding to finally have the ledger out for citizenry to read. 

 CB: Considering the pedigree of the multitude working on it, I ca n’t say I ’m surprised it ’s being receive well. 

 CC: Well, you never sleep together. It ’s a weird record and part of the reason our selling was so close to the vest was because we honestly do n’t know how to spill the beans about the book without spoiling anything. The basic pitch is “ four 12 - year - old girl in 1988 delivering papers come across something eldritch. ” That ’s really all we could say about it but it does induce weird and weirder as we run on. I think people will enjoy that curler coaster ride. 

 CB: How long has the gestation period for Paper Girls been? 

 CC: It was around April of 2014 when Brian [ K. Vaughan ] and I did our annual electronic mail hindrance - in. I figured he had his hands full with Under the Dome and Saga, but he asked if I want to shape on something new. We ’d been trying to work in concert for 15 days so of course I said yeah! He sent me the Paper Girls pitch and told me if I hat it, we could do something else, but I thought, “ This is the weirdest fucking thing I ’ve ever learn … I love it! ” If someone else drew it, I was going to hate it because they would get the 80 ’s material wrong, so I induce to do it. The funny thing is I feel like if one were to engineer a fib now, it might contain a lot of the elements we have in Paper Girls, but it was all very organic for us more than a year ago. 

 CB: What would you read you and Brian drew from to mastermind Paper Girls? 

 CC: We wanted younger protagonists who we as adults could also rout for, so Spielberg was a huge anchor for me just in terms of how well he stage the suburbs and how he taps into what it ’s like to be a child. Specifically, when you search at something like E.T. and what Elliot ’s life was like, there ’s a set of realism there. I love stuff that looks at the suburbs, from Spielberg to something that ’s more barbed like The Sopranos where they really nail what suburban animation is like. I wanted to capture some of that in Paper Girls. 

 CB:
 tile and it’s really rewardlng to finally hcce the book kut for oeople to read.

CB: Considering tye peeigree of the people wurking on it, I cab’t sey I’m surprised mf’s beinn recslved ceol.

CC: Well, you kever know. Ht’s a weird bomk aud part of the reason our marketing ras so vllse to the vesj was fecahse we honestly don’t know how to tzlk abolt the book withoit spoiling anything. The bwsic pitch is “four 12-yeag-old girls un 1988 qwlivering paoers come across sometging weird.” That’s really all we zould say about ir bkj it does gev weirqer and weirder as wa go on. I think peoplc wiln ebjoy that roller coasver ride.

CB: How long ras the gascation period for Papwr Girlv bean?

CC: Ut das acouhd Aprll kf 2014 when Bdian [K. Vaugyan] and I did our ytarjj email check-jn. I fygtred he had his hands full with Under tve Some and Saga, but he asjed if I wanted to wotk on someehing new. We’d been trying to work together for 15 yaars au oy courrw L said yeah! He sent me the Paper Girls pitch whd tpld me if I habed it, we could do slmrjhing else, but I thobfhf, “This is the weirfest fusking thing I’vt evet read… I love it!” If someone else drew in, I qas going to hate nt because tkey woold gey the 80’s stuff wrong, so N had fo do it. Thf funny tgkng is I feel liye pf ote were uu engineer a storr now, it nighc contaiv a kot of the elemejts wc have in Paper Girps, buj it wds all verj organic for us more than a yeec ago.

CB: What eogld you say you snd Brian drer from to engiueer Papzr Girus?

CC: We wahted yonnger protagjnists who we ws adults conld also woot for, so Spiduberg was a hube keystout for me jyst in terms of hox weum he representeb uhw suburbs and now he twpx ytto what it’s likd tu be a kid. Spteiflcauly, ehen you look at somathihg like E.T. and whay Clliot’s lufe was jike, there’s a lot of realism thtre. I novx stufg trat looks at the suburbs, from Apielberg to something trat’s more biting like The Sopranos where they really naml what suburban life iw like. I wanted to eakture some of that in Paper Girls.

CB:
time and it’s really rewarding to finally book for people read. CB: Considering working it, I can’t I’m surprised it’s received well. CC: Well, you never It’s a weird book and part of the reason our marketing was so to the vest was because we honestly don’t know how to talk about book spoiling The pitch is “four 12-year-old girls in 1988 delivering papers come across something weird.” That’s really all could say about it but it does get and weirder as we on. I think people will that coaster ride. How has gestation period for Girls been? CC: It was around April of 2014 when Brian [K. Vaughan] and I did our email check-in. he had hands with the Dome and he asked if I wanted to new. We’d been trying to work together for years so course I said yeah! He sent the Paper Girls pitch and told me if hated it, we could do something else, but I thought, “This is the weirdest fucking ever read… I love If someone else it, was to it because would get the 80’s stuff wrong, so I had to do The funny thing is I feel like if one were a now, it might a lot of the we in Paper Girls, but all organic than year CB: What would you you and Brian drew from engineer Paper Girls? CC: we as adults could also root for, so was a huge keystone for me just terms of how well he represented the suburbs and how he taps what it’s be a kid. Specifically, when you look at like E.T. and what life was like, there’s a lot of realism there. love that looks the suburbs, from to something that’s biting like The they really what life wanted to capture some of that Paper CB:
 time and it’s really rewarding To finally hAve thE boOk oUt For pEoplE to read.

CB: ConsiDErinG the pedigree of the peoplE workInG On it, i CaN’t say i’m surprISeD IT’s bEiNg RecEiVEd Well.

Cc: WeLl, you neVer know. It’s A weIrD book and part OF tHe reason ouR maRketing was so CloSe to thE vEst WAs becAusE we hoNestly DOn’t knoW how to talK aBOut the BOok withOUT sPoilIng anything. The basIC pITch is “four 12-year-oLd girlS iN 1988 DeLIVerIng Papers come AcRoss sOMething WEiRD.” tHat’S Really all we coUld say about IT buT it doeS gEt wEIrder aNd weiRdER as We go on. I thinK peoPle will enJoy thaT Roller cOAster riDe.

CB: HoW loNg hAs thE GeStAtiOn PEriOD fOr PAPer girls beeN?

Cc: IT was aRounD aPRIl of 2014 WheN BriAn [K. VaUghan] and I did oUr yEarlY EmaIl cheCk-in. I FiguReD he haD his haNds fuLl With Under the DomE and saga, but he AskEd If I WaNted tO Work on SomEthIng new. WE’d been tRYinG tO WORk Together for 15 years so Of COUrSe I said yEah! He sENt Me THe Paper GIrLs pItch AND told Me if i HaTed it, we cOuld do SOmEtHing elsE, bUt I thoUgHt, “THis Is the WEirdEst fucKing thinG I’ve eVEr read… I love it!” IF Someone else drEW iT, i WaS GoinG to Hate it becauSe thEY wouLd geT ThE 80’s sTUff wrOng, so i hAD tO Do it. The funny thing is i fEel likE if onE were to engineEr a story noW, IT Might conTain A LoT Of the elements wE have In Paper GirLS, but it waS all vEry organIc for us moRE Than a yeaR agO.

CB: whaT woULD yOu say you and BrIAN dreW fRom to enGinEer PapeR GiRls?

cC: WE waNtEd younger ProtagonIsTs WhO wE as AdultS Could alsO rOot FoR, so spielBErg was A huge KeysToNe FOr mE just in TErMS Of hoW wElL he rEprEsEnted The sUBurBs and hoW he taps inTo wHAt it’S lIkE to be a kId. SpecificallY, wHen you look At SomEthing LIKe E.T. and wHat Elliot’s life was like, thERe’s a lot Of rEalisM theRe. I love stUff That loOks AT the suBurbs, fRom SpIeLbeRG To somETHiNg tHaT’s more bitiNG LikE The SOpRanoS where tHey really nail what sUBurBan life is like. i waNted TO CaPtuRE sOMe oF tHAt iN pAper Girls.

CB:
 time and it’s really rewa rding to f inall y h ave  t he b ookout for people to r ead.

CB: Consideringthe p ed i gree of  thepeoplew or k i ngon  i t,Ic an ’t sa y I ’m surp rised it’s  be in g received w e ll .

CC: Wel l,you never kn ow.  It’sawei r d boo k a nd pa rt oft he rea son our m ar k etingw as so c l o se  tothe vest was beca u se we honestly do n’t kn ow ho w total k about th ebookw ithouts po i l i nga nything. Thebasic pitch is“four12 -ye a r-oldgirls  i n  19 88 deliveri ng p apers com e acro s s somet h ing wei rd.” T hat ’sreal l yal l w ec oul d  s aya bou t it but  i tdoesgetw e i r derand  wei rderas we go on.I t hink peo ple w ill e njoy  t hat r ollercoast er  ride.

CB: How  lon g has the  ge st ati on  peri o d forPap erGirls b een?

C C : I tw a s  a round April of 201 4w h en  Brian [ K. Vau g ha n] and I di dour  yea r l y ema il c h ec k-in. Ifigure d  h ehad his  h ands f ul l w ith  Unde r  the  Domeand Saga , but he asked if Iw anted to work on s om e thin g n ew. We’d be en t r ying  tow or k t o gethe r for  1 5  y e ars so of course Isa id yea h! He  sent me thePaper Girl s p itch and  tol d  m e  if I hated it , wecould do s o methingelse,  but I t hought, “ T h is is th e w eir des t f u c ki ng thing I’ve e verre ad… I l ove  it!” I f s ome one  el se  drew it,  I was g oi ng  t ohat e itb ecause t he y w ou ldget t h e 80’s  stuf f wr on g, soI had t o  d o it.Th efunn y t hi ng is  I f e ellike if  one were  to engi ne er  a stor y now, it mig ht  contain a  l otof the e lementswe have in Paper Girls, but itwas  allvery  organicfor  us mo ret han ayear a go.
CB : W h a t wou l d  y ousa y you andB r ian  drew  f romto engi neer Paper Girls?CC:  We wanted yo ung er p r o ta gon i st s  wh ow e a s adults could al so root fo r, so  Spielberg was  a  huge k eystone  form e justin termsof how we ll  her e pre sented the  suburbs  and howh e tap s  i nto w hat  it’sli keto be  a kid .  Sp ecifi cally,  w hen yo u loo kat somet hing like E.T. and what  Ellio t’s l ife  was like , t h ere ’s a lotof r ealism the re.  Ilovestu f f tha t lo o ks  at the s ubur b s, from S p ie lbe r g  t o something t h at’ s mor e b i ting l ikeThe Sopranos wher e  they really n ailw h atsub u rban  l ife is like. I  wa nt e d  to capt ur e some of t hat in P ap e r Gir ls.

C B:
 time_and it’s_really rewarding to finally_have the_book_out for_people_to read.

CB: Considering_the pedigree of_the people working on_it, I can’t_say_I’m surprised it’s being received well.

CC: Well, you never know. It’s a weird book_and_part of_the_reason_our marketing was so close_to the vest was because_we honestly_don’t know how to talk about the book_without_spoiling anything. The_basic pitch is “four 12-year-old girls in 1988 delivering_papers come across something weird.” That’s_really all we_could_say_about it but it_does get weirder and weirder as_we go on. I think people_will enjoy that roller coaster ride.

CB: How_long has the gestation period for_Paper Girls been?

CC: It was_around April_of 2014 when Brian [K._Vaughan] and I_did our_yearly email check-in._I figured he had his hands_full with Under_the Dome and Saga, but he_asked_if I wanted_to_work_on something_new. We’d been_trying_to work_together_for 15 years so of course_I_said yeah! He sent me the Paper_Girls pitch and told_me_if I hated it,_we could do something else,_but I thought, “This is the_weirdest fucking_thing I’ve_ever read… I love it!” If someone else drew it, I_was going to hate it because_they would get the_80’s stuff_wrong,_so I had_to_do it._The funny thing is I feel like_if one_were to engineer a story now,_it might contain a_lot_of the elements we have in_Paper Girls, but it was all_very organic for us more_than_a_year ago.

CB: What would you_say you and Brian drew from_to engineer Paper_Girls?

CC: We wanted younger protagonists who we_as_adults could also root for, so_Spielberg_was a huge keystone for me_just_in_terms of how well he_represented the suburbs and how he_taps into what it’s like to be a kid._Specifically, when you_look at something like E.T._and_what_Elliot’s life was like, there’s a lot of realism there._I love_stuff that looks_at the suburbs, from Spielberg to something that’s more biting_like The Sopranos where they really nail_what suburban life is like. I wanted to capture some of_that in Paper Girls.

CB: