Interview with William King

Today we interview one of the Black Library fandom’s favourite authors, the legendary William King. He’s responsible for creating the iconic Gotrek, Felix and Thanquol characters in Warhammer Fantasy, and for writing the Ragnar series in Warhammer 40,000 and more recently the Tyrion and Teclis and Macharius series. He’s also written a number of stories in his own settings. William King

Your latest novel Bane of Malekith, the third in the Tyrion and Teclis trilogy, is out now. What was the writing process for the book? Can you describe how you go about working on a novel?

The second question is tricky to answer since the process varies from book to book. The Tyrion and Teclis trilogy was probably a unique case among all the books I have written. They were done one after the other in the space of about nine months and then revised in about another 5 months.

The trilogy was in many ways the easiest thing to write I have ever attempted. I set myself the goal of writing a minimum of 1000 words EVERY day come rain or shine and I pretty much stuck with that until the books were done. I even spent an hour writing in a Costa coffee house in Qatar in the middle of the night to keep up my unbroken run.

I spent many years brooding on the story which probably helped make things flow. I wrote the original outline for it way back in the early 90s in the first High Elf army book so I was pretty clear what I wanted to write. The characters themselves have been pretty strongly defined and mostly I just wanted to show how they became who they are today. I wanted them to be believable as heroes and still sympathetic.

Bane of MalekithAs for my usual writing process, it’s pretty simple. I almost always work from an outline – which is handy since Black Library requires me to send them one before they will issue a contract. This outline provides a guide for the actual writing. I don’t try to stick to it religiously. Some things that look great in the outline don’t actually work when you come to write them and conversely there are always things that take on a life of their own as they escape from your brain onto the page.

As I go through the first draft, I tend to stop and go back occasionally and rewrite things the light of what has happened since I wrote them. I put in foreshadowing, bits of stuff that I now know will be important to let the reader know about and so on.

Once I have written the first draft, I go over the book a number of times, trying to make sure everything is consistent. Sometimes there are large changes needed at this stage as flaws become evident. Eventually the thing is done, sent to the editors. More changes are often required at this stage. There is a backwards and forwards process until the book is done.

Are there any parts of the book that were a particular struggle to write, and any you are now especially pleased with?

As I said above this trilogy was probably the easiest thing I have ever written, with the possible exception of Daemonslayer, which was written after a similarly long gestation period. It was an enormously pleasurable experience. There are lots of things in the books I like – in particular the depictions of Aenarion, Caledor, Malekith and Morathi. In Bane of Malekith I like the way Malekith comes across. I also like the final set of duels between Tyrion and Urian and Malekith and Teclis. I am pleased with the opening chess game between Caledor and Death as well, which is, as I am sure many people will have spotted, a reference to Bergman’s The Seventh Seal.Gotrek and Felix

Do you have any particular literary influences or sources you draw inspiration from in your writing?

Robert E Howard, Roger Zelazny, Michael Moorcock and Tolkien all spring to mind. Less obviously Lawrence Block, George Orwell and, this is going to sound bizarre, Charles Dickens. He had a brilliant way with creating memorable characters.

Readers sometimes comment that you have a great ability to portray details of character or setting with just a few well-chosen words. Is this an element of your writing that you’ve consciously developed, or has it always come naturally?

See my comment about Dickens above. He has a knack for giving characters memorable mannerisms (Orwell comments on this in his essay on Dickens). It’s one of the things I try to do—like Gotrek running his thumb along the blade of his axe as he ponders violence. When creating a character I try and come up with three really memorable things—a look, a mannerism, an attitude and I build on it.

With settings, it’s the same. I try and find small details that will be convincing to the reader. I look for the sort of things that make me nod and think, yes, that’s how it would be.

How do you approach character development? Do you prefer to see how the characters evolve as the story progresses, or do you tend to plan out character arcs before starting to write?

I tend just to let the characters run from where they start. My basic philosophy of character creation is find characters you like and understand and then torture them. By this I mean cause them difficulties, take away their stuff, pick on their loved ones etc.

Again though, when I pause to think about things, I would need to add that this varies from book to book. Sometimes I have a definite aim in mind. With Tyrion and Teclis I wanted to show how they got to be heroes. With Gotrek and Felix and Grey Seer Thanquol, I just ran with what was happening in the stories and left the characters to their own devices. You can see what happened.

Writers seem to have different patterns when they’re involved in their writing. Is the writing process for you a lonely one or do you become more social?

I’ve never been the world’s most sociable man. I enjoy being on my own. I think it helps. On the other hand, it’s easy for me to say since I have a very supportive family.

You’ve been writing now for over twenty years. How have you found that the world of publishing has changed in that time?

It’s a different world now, completely and utterly. The single biggest change has come in the past five years with the rise of indie publishing and Amazon’s Kindle store. I have sold something like 40000 indie books in the past couple of years. The royalty rate on those books is something like 10 times as much as those on a conventionally published book so that’s a significant shift.

I think the whole industry is in turmoil. We’ve seen giant bookstore chains close shop and more and more people shift to e-readers. The process has only just started. That said, I do think Black Library is incredibly well-placed to weather the changes. It has its own loyal audience and control of at least part of its distribution chain

Fist of DemetriusCan you remember when you started writing, and do you have any advice for aspiring writers now?

I can remember it like it was yesterday but the world has changed so much that nothing I learned in terms of the business side of things would be useful today. On the other hand, some advice never goes out of fashion. Write what you love. Write the best stories you can. Read a lot. Write a lot. Don’t expect to be an overnight success. Learn to manage money. I know those all sound like clichés, but there’s a reason for that. They are all true and will most likely remain so for as long as people write books in the hope of selling them.

You did a lot of work on developing the Warhammer setting as a designer. Do you find that has made it easier or harder to write fiction set in the world, and has that changed over time?

It was easier when I started but it has gotten harder as the Warhammer world had been changed and expanded and so many more books have been written.

You’ve written in a variety of settings. Do you prefer working in an original setting of your own or with somebody else’s IP?

It depends! (You’ll notice a trend in my answers here as once again I sit on the fence.) In some ways writing in somebody else’s IP is easier because the world has already been created and you have very clear guidelines as to what is expected.

In some ways, writing your own stuff is easier because you don’t need to worry about what other writers may be doing. When I am writing my Kormak sword and sorcery novels or my Terrarch gunpowder fantasies, I am free to do pretty much as I please, up to and including blowing up the world if I want. I am pretty certain I could not get away with doing that (in Warhammer fantasy at least, in 40K there are a lot of worlds).

In Warhammer as more books are written by more writers, the number of things you can write about tends to narrow because somebody else may be doing something you would like to do.

Also, if I may introduce a note of crass commercialism into matters, if you are working in somebody else’s IP there is usually some certainty that there is a market for it and that you will be paid. If you are working on your own stuff, unless you are already a well-established writer, that is not a given.City of Strife

Who would you say is your favourite character among those you’ve written?

It’s really hard to make that choice, I like them all.  Gotrek and Felix come first but as a team!  If I absolutely had to pick just the one character, probably Grey Seer Thanquol. He was pure fun to write.

In your heart of hearts, do you prefer Dwarfs, or Elves?

Elves. Most of the time. Although I would probably rather go out drinking with dwarves.

After the conclusion of the Macharius trilogy, do you have plans for any more novels we should look out for?

There are some things being discussed but I am not allowed to talk about them at the present moment. Sorry about that!

Profound thanks to Mr King for taking the time to answer our questions! For more of his thoughts, see his blog at williamking.me

Interview with Chris Wraight

He’s written about the Iron Hands, the Space Wolves and the White Scars. Is it because he’s a nice guy that he writes about the meanest bastards in Warhammer 40k so well? Who knows! But Chris Wraight has spared some time to speak to the Bolthole.

Not pictured: The pile of slain foes that are Chris Wraight's seat.

Not pictured: The pile of slain foes that are Chris Wraight’s seat. Or the happy, not-a-seat fan he just met.

He2etic: What is the writing process like for you? If you were to describe the process in what word, what would it be?

Chris: One word: difficult. More words: It varies tremendously. I tried to make a commitment not to write weekends and evenings, which sometimes works but tends to fall over when a book is due in. On good days it’s a fantastic way to make a living: creative, exciting and challenging. On bad days it’s just very hard work.

The internet is both a blessing and a curse, of course. I’m always very touched when people get in touch to say they’ve enjoyed something; equally, it’s very easy to find people who hated it. My favourite part of the writer-thing is probably the live events, particularly the Weekenders. Real people is what it’s all about. To chat to someone who enjoyed a book is both a buzz and a privilege.

He2etic: What kind of music and musicians do you think best exemplify the Warhammer and Warhammer 40k universes?

Chris: When I’m writing I normally listen to film scores, partly because I’ve always liked them (ever since Danny Elfman’s music for Burton-era Batman), and partly because I think a good BL book ought to be fairly cinematic: the job of the books in some ways as giving Warhammer the big-screen treatment on the page, and a score gets me into the head-space for that. Hans Zimmer would definitely be the composer for a 40K movie, and that strikes me as no bad thing.

“Real people is what it’s all about. To chat to someone who enjoyed a book is both a buzz and a privilege.”

 

He2etic: How do you approach character development? Do you prefer to see how the character evolves as you go, or do you put more planning into it beforehand?

Scars (episode 1), by Chris Wraight.

Scars (episode 1), by Chris Wraight.

Chris: Most of the characters are fairly well planned out in advance, especially so when taking on established canon creatures like Bjorn or Schwarzhelm.

People have (rightly) high expectations that BL versions of the Codex characters will stay faithful, and while you can’t please everyone it’s important to at least try to produce something recognisable.

Secondary characters, in my experience, tend to change more during the writing process. The Blood Claws in Battle of the Fang weren’t even in the synopsis, so their stories evolved along with the fighting.

In my most recent book, Master of Dragons, there’s a minor character whose role changed several times as I was writing, ultimately in a way that I ended up liking very much. You’re constantly making decisions as things go along, which is one of the pleasures of story-telling.

He2etic: Were there any particular pieces of fiction that inspired you when writing of the Iron Hands?

Chris: Fiction? Not that I can think of. The imagery for the Hands came more from films, I think. Terminator was in my head quite a lot, and I had James Horner’s score for Aliens on loop when writing the hive-scenes.

Wrath of Iron, by Chris Wraight.

Wrath of Iron, by Chris Wraight.

He2etic: You’ve written books set in both Warhammer universes. Do you find yourself preferring one universe more than the other in anyway?

Chris: I find writing Fantasy comes a little easier, if I’m honest. I think that’s partly due to the fictional world being rooted in a historical real one, at least to some extent. In books like Iron Company, for example, it was fun to think about how real blackpowder weapons functioned, and then translate that to the fantasy environment.

The human characters in Fantasy are also recognisably placed in a pseudo-historical setting – early modern Germany (or Medieval France, etc.). They have similar, albeit altered, concerns to people in real-world settings, so there’s something to latch on to there.

40K is different. It’s such a vast and extreme backdrop that the leap of imagination needs to be bigger. I find Space Marines very difficult to characterise, as well as the general sense of colossal, mind-bending carnage that’s taking place all the time.

I don’t think I’ve ever got it quite right, though it’s always fun having a try. One day I’d love to try something non-Space Marine-centric in the 40K field, like an Inquisitor novel or an Imperial Navy saga, though the audience for such a thing might be… small.

“Stepping up to doing it professionally makes things a bit different – it’s no longer an indulgent business of doing it when you fancy it or when inspiration strikes – it’s a day job, and you need to get words on the page at a pretty consistent rate.”

 

He2etic: If you could cast anyone to play the roles of main characters in your work, who would you pick?

Sword of Vengeance, by Chris Wraight.

Sword of Vengeance, by Chris Wraight.

Chris: The best suggestion I ever had was for Sean Connery to play the Khan. To see the full majesty of this idea, just Google ‘Zardoz‘.

He2etic: Do you have any long term projects for writing? For example, do you intend to someday spin your own franchise or complete a long novel series?

Chris: Right now I’m concentrating wholly on BL stuff and have lots of ideas for stuff in that setting. Despite writing a handful of novels in both worlds, there’s so much to learn and it’s still very much work in progress. I’m lucky enough to have been given the chance to write some Heresy material recently, and that’s a whole new landscape to get immersed in and try to understand.

Both Warhammer franchises are such huge worlds that there’s still loads I’d love to have a crack at. My ultimate wishlist would be (for 40K) a trilogy on the fall of Iyanden, and (for Fantasy) the Great War against Chaos. I can dream, I guess :)

He2etic: Who are your favourite characters amongst both those you’ve written, and by other authors?

Chris: In terms of stuff I’ve done, I’m probably fondest of the Fantasy characters: Magnus Ironblood, Pieter Verstohlen, more recently Imladrik in the War of Vengeance series. In 40K/Heresy stuff, I loved writing for the White Scars and like Shiban very much, as well as Targutai Yesugei (who’s really Graham’s character, but he very nicely let me continue his story).

As regards other BL authors, the primarchs are the most compelling for me, Russ in Prospero Burns and Magnus in A Thousand Sons being particularly memorable and nicely drawn.

“You can’t write about the world, even in a fantasy sense, without having lived in it. Get out of the house, meet people, travel, experience new things – you can only tell stories if you have them.”

 

He2etic: Are there any books, movies, television series or even games that you think are mandatory viewing for struggling writers?

I liked Studio 60 on the Sunset Strip for that, and of course there’s The Shining (all work and no play, and all that). In terms of sheer story-telling perfection, you can’t go wrong with a good Pixar film. The Incredibles was wonderful – funny and clever, Up was heartbreaking. Jim Swallow told me once that every up and coming writer should watch and study the original Die Hard to see how to construct a tight, smart three-act action story. I did, and he’s right.

Blood of Asaheim, by Chris Wraight.

Blood of Asaheim, by Chris Wraight.

He2etic: Any advice for new authors?

Chris: I get asked this from time to time, and never really know what to say. That’s not because of being precious or protective, just because, like a lot of authors, I’m not entirely sure how I stumbled into this thing, have very little idea how I’m still here, and no clue at all how long it will last.

Neil Gaiman talks about the Imposter Syndrome, and he’s quite right. However, in the interests of saying something rather than nothing, I have two thoughts:

1. Read your favourite books again and find out how they do what they do. Good writing, to an extent, can be learned.

2. You can’t write about the world, even in a fantasy sense, without having lived in it. Get out of the house, meet people, travel, experience new things – you can only tell stories if you have them.

He2etic: Have you always written? Was it something that came with time?

Chris: I’ve always wanted to write, and have done so on and off since being at school. Stepping up to doing it professionally makes things a bit different – it’s no longer an indulgent business of doing it when you fancy it or when inspiration strikes – it’s a day job, and you need to get words on the page at a pretty consistent rate. Like all writers, I’ve been learning on the way – making mistakes, screwing up, occasionally getting the odd thing right.

Sword of Justice, by Chris Wraight.

Sword of Justice, by Chris Wraight.

Writing in a shared world brings its own challenges. You’d like to think that you can being original ideas into the setting, things that strike you as being cool or interesting, but you’ve always got to be careful not to step outside the mythos or mangle it into something else. We get a lot of help from the editors with this, of course, but in the final analysis it’s our name on the cover. All fun, though frequently terrifying.

He2etic: What does a typical writing day look like for you?

Chris: I try to keep something like normal working hours. That means starting the morning around 8 or 9, breaking for lunch, writing a bit more in the afternoon and then stopping around 6 or 7pm.

The rules are designed to prevent insanity setting in and total desocialisation, but they tend to get waived when a book’s due in or there’s too much on.

This year’s been very busy, as it turns out. That’s great for a freelancer, but I reckon I’ll need a break once the current book (Stormcaller) is delivered. There are only so many seven-day weeks you can pull before everything starts to look a little hazy…

He2etic: When it comes to reading, do you have any guilty pleasures? Stuff you know is trash but read anyway?

Chris: No, not really. My reading’s been pretty good over the last few months, and I’ve been enjoying the things I’ve picked out. Movies and TV, on the other hand, are a different matter. I have a strange liking for Columbo. And Bullseye. Go figure.

Thanks again to Chris Wraight for his time! Tune in next week for another interview on The Bolthole.

Author Interview – Chris Wraight

Monday, monday, monday. Another monday, another interview. Today it is Chris Wraight, long-time freelance writer for Black Library, who takes a stroll through these parts and talks about how he got started and his works: past, present and future.

As most of you know, and for those who don’t, Chris wrote the phenomenal Battle of The Fang novel for the Space Marine Battles series, and has also had great success in Warhammer Fantasy with his Warhammer Heroes novels and his Empire Army novels. Chris has also taken tentative steps into the Horus Heresy series with his short story Rebirth, featuring the Thousand Sons and by all accounts, 2012 looks like it is going to be a great year for him.

So here’s Chris himself!

Shadowhawk: How did you get started with writing for Black Library and what attracted you to the two Warhammer settings?

Chris: A long time ago, almost out of the blue, I submitted a short story for an open competition BL was running. I was invited to work it up for publication, with the result that it appeared in the Invasion! anthology. A couple of novels followed, about which it’s probably kindest to say that they, er, showed some potential. Thankfully the editors at Black Library persevered, and since Iron Company I’ve begun to feel quite a bit more at home in the Old World.

Shadowhawk: You are a veteran for Warhammer Fantasy with quite a few novels and short stories under your belt. Which format do you prefer over the other?

Chris: Novels are what it’s all about, really. Shorter fiction is less stressful to write and offers opportunities to do cool things, but in terms of author satisfaction there’s nothing quite like looking at the spine of a finished book sitting on your bookshelf. They’re tough to plot out and infuriatingly hard to finish, but absolutely worth it in the end.

Shadowhawk: Battle of the Fang, your Space Marine Battles novel featuring the Space Wolves and Thousand Sons is lauded as one of the best in the series. How did you approach the material and what inspired you to take on this particular event?

Chris: I was asked by Nick Kyme to draw up a proposal for Battle of the Fang. I believe the story was slated to be part of the Space Marine Battles series right from the start, but scheduling issues meant that it went without an author for quite a while. Since starting out with Black Library I’d always been keen to try writing 40K, and I’d previously been given a try-out with the short story Runes in one of the Space Marine anthologies, so when the chance came to work on the project I leapt at it.

In some ways, doing a Space Marine Battles book was an ideal first outing for a novel-length project, as the basic plot for it already existed. In most other respects, though, it was a hard story to write. The Space Wolves are about as popular a faction as any, and at the time of writing the book they hadn’t had a novel featuring them for a while. I knew that Prospero Burns would be out beforehand, which was bound to be a massive event. There were also elements of the story – such as the starting premise and Magnus turning up – that were very difficult to know how to handle. I spent a lot of time thinking about how to draw everything together (which made the book quite late), so it’s nice that many readers seem to have enjoyed the end result. You’re never going to satisfy everyone about every aspect of your take on something, particularly when some fans have a very clear idea about how certain events should pan out before even picking up the book, but the majority of the feedback has been encouraging.

Shadowhawk: How much inspiration did you draw from Dan’s Prospero Burns and Bill’s Ragnar novels? Did you communicate with either of them for this project?

Chris: I spoke to Dan a number of times while writing, and he was enormously helpful. Prospero Burns was finished off while I was about halfway through Battle of the Fang, and I made quite a few changes to the drafts to try to reflect his (incredible) reimagining of the Wolves. I also read, and re-read, the first four Space Wolf books, which were similarly useful in getting a feel for the Chapter. I’d like to think that while my Space Wolves incorporate concepts from both Bill’s and Dan’s treatment of them, they have a few features of their own too. One of the nice things about working in a shared universe, after all, is the chance you get to leave some ideas of your own out there.

Shadowhawk: Your next novel for Warhammer 40,000 is another Space Marine Battles novel, this time featuring the Iron Hands. You have previously written a short story for them in Hammer & Bolter. Why the Iron Hands?

Chris: No one else was doing them. J

Shadowhawk: Both the Iron Hands and the Space Wolves are non-traditional chapters who diverge quite a bit from the Codex Astartes and have some very strong ideologies of their own carried over from the days of the Great Crusade and the Horus Heresy. What has it been like to delve into their unique culture and their psyche?

Chris: The Space Wolves are a very popular and a very likeable Chapter: they’re dynamic, individual, and occupy a unique space in the 40K mythos. The Iron Hands are the opposite: they’re grim, agonised and gloomy. That makes the Wolves far easier to write about, since you have some of the material for creating characters to identify with. The Iron Hands are more difficult. In some ways, that’s a more satisfying challenge – making the unlikeable interesting. In Wrath of Iron, the Iron Hands don’t pull any punches – they’re not nice, they’re not nuanced and they’re not misunderstood. Just as some Traitor Legions embody a lot of admirable features, some Loyalists really are pretty screwed up, and the Iron Hands are about as badly damaged as they come. There are, however, stories to be told about how and why they came to be the way they are, and how they relate to the rest of the Imperium.

Shadowhawk: Ludwig Schwarzhelm and Kurt Helborg are getting their second outing in the upcoming novel Swords of the Emperor. These two are also among the first heroes of the Old World to be featured in the Warhammer Heroes novels. How did you get started with both of them?

Chris: Writing for Schwarzhelm and Helborg was great, as neither character had a huge amount of worked-out background already in print. I took the text in the Empire Army Book as the starting point, together with the fantastic artwork, and tried to give each of them proper personalities. They’re very different men: Schwarzhelm’s dour, reserved and only really good at a certain kind of fighting, whereas Helborg’s accomplished, brash and a more natural leader of men. Of all the projects I’ve written for Black Library, I probably enjoyed the two Swords books the most, mostly due to the freedom I felt I had with the story and characters.

Shadowhawk: What can you tell us about Swords of the Emperor itself?

Chris: Swords of the Emperor is an anthology containing the novels Sword of Justice and Sword of Vengeance. It will also contain the short stories ‘Feast of Horrors’ (featuring Schwarzhelm) and ‘Duty and Honour’ (starring Helborg). The second of those is new for the anthology, and sees Kurt in action in Bretonnia.

Shadowhawk: You have written extensively for the Empire before so how was the experience writing for the High Elves in your novella Dragonmage? Will there be any possible sequels to the story contained therein?

Chris: Writing Dragonmage was actually quite hard, as it turned out, and the novella ended up going through a couple of drafts. Nick Kyme, my editor for that one, had a lot of input into the finished result and improved it hugely. I guess the issue was largely down to switching between the Empire, which is a low fantasy setting, and the world of the High Elves, which is a bit more epic and mythical. It’s been good to read the feedback to the final product, though, which squeezed quite a lot of story into a relatively short package and seems to have gone down well. I don’t expect we’ll see a sequel, although I’ll be writing High Elves again as part of the War of Vengeance series. The first book in that sequence will be Nick’s The Great Betrayal. My follow-up has the provisional title Master of Dragons, and, as you’d expect, has a whole lot of fire-breathing, stuntie-crushing action planned for it.

Shadowhawk: Any plans to tackle the Horus Heresy? And what faction, event, character would you like to explore next?

Chris: Nothing that’s ready to talk about, I’m afraid. In terms of future projects in general, I’ve got High Elves, Space Wolves and White Scars all on the horizon.

Shadowhawk: With the Games Day 2011 Anthology, we got the first peak into Luthor Huss in your short story The March of Doom. The novel itself is coming out next month. Warrior Priests are not like the other soldiers of the Empire, so what was it like to get into the psyche of one?

Chris: I took the view that if Fantasy had Space Marines in it, then Huss would be one. Warrior Priests share the same asceticism, devotion and martial prowess – they even look a bit the same. Huss isn’t quite your average Warrior Priest, though; he’s a bit more extreme than most, and more interesting too. The tone set in The March of Doom is very much the same as that in Luthor Huss, so anyone who enjoyed the anthology story will hopefully like the novel too. Huss is a bit like Schwarzhelm, but with an added dose of religious fervour. He’s another one of those uncompromising, brutal characters that Warhammer seems to generate. As ever, the interest in such a character come from why someone would end up like that, and there’s a good deal too on the nature and limitations of faith.

Shadowhawk: Who and/or what has been the biggest influence on your writing?

Chris: Some of the influences you end up with aren’t that helpful. I think I’ve inherited a strong dose of Tolkienese from being obsessed with The Lord of the Rings as a child. I love Tolkien, but I don’t really want to write like him. I still do from time to time, unfortunately, but it’s something I’m working on. Otherwise, I admire a lot of different writers, most of whom have little in common with one another. Right now I’m reading a very good book by Margaret Atwood on science fiction, which is already giving me ideas.

Shadowhawk: Have any of your characters ever challenged you straight up or otherwise while writing them?

Chris: Lots do. I found writing Space Wolves very hard. Space Marines in general are hard. Elves are quite hard, too. Actually it’s all quite difficult, now I come to think about it.

Shadowhawk: What helps you get into the writing mindset?

Chris: Ah, that depends. Some days it all seems to work well, and I get up from the desk having typed several thousand words of stuff I’m quite pleased with; others, it’s a challenge getting anything on the page. I listen to a lot of film scores when I’m writing, partly to try to get into the right frame of mind. A good Black Library book should be a bit filmic, I think. For Wrath of Iron, that ended up being the OST from Christopher Nolan’s two Batman films. Suitably dour.

Shadowhawk: What are you looking forward to the most in terms of your own work for 2012?

Chris: Getting back to writing about dragons, and writing an encounter between two gentlemen, one of whom may or may not be Horus, the other of whom may or may not be the Khan.

Shadowhawk: Anything else happening this year you are absolutely stoked for?

Chris: Um. The Olympics?

Shadowhawk: If all your leading characters got into a cross-universe deathmatch, who would you root for and why?

Chris: A secondary character called Pieter Verstohlen, who first popped up in Sword of Justice. He wouldn’t last five minutes of course, but I’d hope he’d find a way to hang in there a bit longer than anyone expected. One day, if the stars align, he’ll get another novel. In fact, I’d love him to have a whole series (though don’t hold your breath for that).

*********

I hope you all enjoyed that interview folks. Coming later this week is the January (Black Library) Artwork Round-up and a blogpost on ePublishing, so stay tuned through the week!

Author Interview – William King

Another fine Monday morning and you all know what that means! That’s right, we have another author interview to tickle your fantasies today, this one with none other than William King, one of Black Library’s earliest authors.

For those of you who don’t know, Bill has written several successful novels for Black Library such as the Space Wolf novels featuring the young Blood Claw Ragnar Blackmane for Warhammer 40,000 and the Gotrek & Felix novels featuring, well, Gotrek & Felix. He also wrote two short stories for the mammoth anthology better known as Let the Galaxy Burn. And much more of course.

He is back with Black Library after a hiatus and as you will read on, he is back with a bang with no less than two planned trilogies and all the enthusiasm that you find in his earlier work.

So without further ado, here’s the man himself.

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