Allan Heinberg keeps busy writing the hip television show "The O.C.," but he still manages to squeeze in time for his real dream job writing comics.

The first issue of Heinberg’s "Young Avengers" series begins in February, making him the latest in a growing group of television writers who have made the jump from the small screen to the colored page.

"It’s not like we need the money, but it’s something that many of us just want to do," says Heinberg. "I get together with a bunch of TV writer friends at the comic shop. We don’t talk about our television shows, we talk about comics and what we enjoy."

It makes sense.

Like film writers and directors, television scribes are now writing comic books in record numbers. Heinberg explains that comics can be more satisfying.

Television writers constantly worry about what the studio’s budget will allow them to show on-screen.

Car chases are OK, but go easy on expensive spe cial effects, guys.

"In comics, we can do anything the mind al lows," he says.

"I can tell a story only limited by my imagina tion and never have to worry about special-ef fects budgets. Comics are very freeing for us."

Comic books are essentially movies or television shows captured on paper.

A good comic will convey a sense of motion to the reader as the eyes scan the page from left to right, down, and left to right again. Once a reader gets into the rhythm of a comic, he almost can see the characters move.

So who else is in the club?

Joss Whedon, creator of "Buffy the Vampire Slayer," "Angel" and both the television show and feature film "Firefly," is the writer of "The Astonishing X- Men" for Marvel. He also wrote the futuristic "Fray" series for Dark Horse Comics.

Chris Gage, writer on "Law & Order," has a five-issue miniseries on "Deadshot" coming from DC Comics early next year.

J. Michael Straczynski, creator and writer on "Babylon 5" and "Jeremiah," is the regular writer on "Amazing Spider-Man" and "Supreme Power" for Marvel and "Rising Stars" for Top Cow/ Image.

Sara "Samm" Barnes, who wrote episodes of "Jeremiah" and worked on Straczynski’s other television shows in various capacities, is writing the "Supreme Power" spinoff, "Doctor Spectrum," for Marvel.

Another Straczynski partner, Fiona Avery, who wrote episodes of "Babylon 5," "Crusade" and "Earth: Final Conflict," writes "No Honor" from Top Cow/ Image Comics. She also wrote "Rogue" for Marvel and an issue or two of "Amazing Spider- Man."

Briton Si Spencer cut his teeth on British television as a writer on "The Eastenders" and Neil Gaiman’s creepy TV show, "Neverwhere." It was a small jump for him to begin writing "The Books of Magick" for DC/ Vertigo.

A long career

in television

The comics/TV connection runs deep.

It’s hard to say where Jeph Loeb’s career started. The guy has done just about everything. His movie-writing credits go back to 1985 with "Teen Wolf." Since then, he has written movies such as "Burglar" and "Commando."

For television, he wrote "Model by Day" in 1994 and "Seven Little Monsters" in 2000. He is in production with a television version of the comic "Herobear and the Kid."

He’s also an occasional writer and the consulting producer of "Smallville."

While working in the film industry in the early 1990s, he met former DC president Jeanette Kahn, who liked his work and offered to let him try his hand in comics.

Loeb immediately asked to write the adventures of his hero, Superman, and was told no. After running down 15 "second choices," he accepted the only book available. In 1991, Loeb cut his comic teeth on "The Challengers of the Unknown" for DC.

Eventually, he got to work on "Superman," turning in one of the more offbeat series, "Superman for All Seasons." He since has become one of the hottest writers in comics, with yearlong Batman epics such as "The Long Halloween" and "Hush."

On the comic front, Loeb is a heavyweight.

He managed to top his own work in "Superman" and "Batman" comics by writing "World’s Finest Comics," which chronicles the adventures of Superman and Batman.

What’s hard to figure out is when he gets time to do everything. He is the executive producer of a new "Buffy the Vampire Slayer" animated series and supervising producer of "Smallville."

’An abiding

love of comics’

It was an even smaller step for Paul Dini to go from writer of "Batman Beyond," "Superman" and "Batman" animated series for television to the comics. He has paired up with one of the best artists in the business, painter Alex Ross, for a series of oversize comic projects about Superman, Batman, Captain Marvel and the Justice League.

On a smaller scale, Dini also has written "Usagi Yojimbo" (a samurai rabbit) for Dark Horse and his own creation, "Jingle Belle" (a Santa Claus pal), from Oni.

DC editor Dan DiDio says he seeks out TV writers for his company’s comics. He worked for CBS and ABC for 20 years in various capacities, so he knows a thing or two about television, too.

"I’m always amazed at the number of people who have an abiding love of comics," he said. "Chris Gage of ’Law & Order’ is one of them. His miniseries about the Batman villain Deadshot explores what happens when a man who has nothing to live for suddenly finds a reason to live. He learns he has children who are in danger, and it changes him."

Deadshot has been portrayed as a suicidal marksman who wishes he would be killed while committing a crime. Problem is, he’s too good, and he always is the one who walks away.

Brad Meltzer is another TV writer who has made the jump. His "Identity Crisis" project is one of the top-selling comics in the world. Meanwhile, his latest television show, "Jack and Bobby," is one of the buzz shows of the season. He’s also a novelist. "The Millionaires," "The Zero Game," "First Counsel" and other titles have made The New York Times’ best-seller list.

"I see a lot of people who were inspired by comics now in television and movies," said DC’s DiDio. "You can see the comic influences in their work. In some cases, they like to give back." He said the comic-book companies are becoming more flexible about letting writers work part time, something that has opened the door to busy TV writers.

"In the past, we always wanted writers to commit for long runs of stories," DiDio said. "We finally recognized their schedules and allowed them to write miniseries or smaller runs so they can get involved."

Marvel has sought

high-profile writers

Joe Quesade, DiDio’s counterpart at Marvel Comics, says bringing in high-profile writers was always a goal.

"It always helps to bring people from the bigger pond into comics," he said. "One of the main things I want to accomplish is to get rid of the stigma that comics are a child’s medium. They are just as viable, creative and intense as movies, television and novels. Comics also offer the writers a purity of vision. Their story can be told without breaking the special-effects budget. In comics, a man can fly.

"There is this generation of creators who are working in movies and television that grew up with comics," he said. "They were weaned on ’Dark Knight’ and ’Watchmen.’ "

Quesada could well be talking about Heinberg, who is giving comics prime-time exposure on "The O.C." by making one of the lead characters, Seth, a comics fan.

Seth can be seen reading DC Comics staples such as the "Legion of Super-Heroes" or waxing philosophic about "The Watchmen" and "The JSA" on the show, often to the confusion of the other characters.

In a classic episode, he tries to describe two people who don’t get along by saying, "She’s Green Arrow to her Hawkman. Wolverine to her Cyclops. Get it?"

Seth’s history teacher in the show is named "Mr. Bendis." That’s Heinberg’s tribute to former Clevelander Brian Bendis, writer of Marvel’s "Avengers," "Ultimate Spider-Man" and many other titles.

"I named Seth’s history teacher Mr. Bendis because I think Brian is such a great writer," he said. "Marvel called my agent and asked me if I was interested in pitching a series for them.

Heinberg pitched a series about neglected female superheroes in their off time, a superheroine ’Sex and the City.’ " But Marvel said no. Finally, Quesada offered him the writing spot on "Young Avengers," a project veiled in secrecy.

"Young Avengers" is described as a combination of "My So- Called Life" and superpowers. Heinberg still can’t talk about the identities of the characters, which are a mystery since there are no teenage versions of the Hulk, Thor, Iron Man or Captain America in the Marvel universe.

But what comic does Heinberg really want to write? Considering that he wrote for "Sex and the City" and "Gilmore Girls," it is not surprising that he wants to take a crack at DC’s "Wonder Woman."

The way editors at the major comic companies have opened their clubhouse doors to Hollywood, he might get his chance.