STORYTELLER

I’m often asked by fans and prospective writers about my storytelling. Why I write. How I write. How I created various characters. What are the tricks of the trade? Where do I get my inspiration from? How do I get over writer’s block and so on Read more

I’m often asked by fans and prospective writers about my storytelling. Why I write. How I write. How I created various characters. What are the tricks of the trade? Where do I get my inspiration from? How do I get over writer’s block and so on Read more

Basing a character on someone in real life is just a starter, a jumping on point. Thus my version of Judge Dredd, notably in my Cursed Earth saga, is based on one of my old teachers – the grim and manic Brother James. Similarly, Torquemada, the sinister dictator in Nemesis the Warlock is inspired by another old teacher – the notorious Brother Solomon, whose crimes are recorded on various websites, including my own Read more

In comics, characters often don’t make any kind of emotional journey and that is their strength and their weakness. We like the reassuring cosiness of characters who never change, who are the same year after year, and often don’t seem to have any kind of private life Read more

The inciting incident is the key to storytelling. It should take place as early as possible in the story, that’s certainly what film script editors prefer, and – in dramas at least, it should take the protagonist and the reader to a dark and powerful place. Here are some good inciting incidents – and one weak one Read more

The inciting incident is the key to storytelling. It should take place as early as possible in the story, that’s certainly what film script editors prefer, and – in dramas at least, it should take the protagonist and the reader to a dark and powerful place. Here are some good inciting incidents – and one weak one Read more

The finale is ‘fed’ by the theme of the story, played out over three acts. One side winning, then the other, until, by the end of the third act, the situation seems to have completely spiralled out of control so we’re on the edge of our seats, desperate to see the final outcome. Then comes the twist, which profoundly illuminates the theme Read more

Theme is everything in a story. It’s what drives the character and the plot. If the theme of Judge Dredd changed and he suddenly veered off in an entirely new direction, there would be uproar from fans. Yes, he can change location: space; the world of the Dark Judges; the moon – but he has to remain true to the theme of grim, monosyllabic, future justice. Sláine is pagan, but if he suddenly became ‘New Agey’, my readers would hate it Read more

I’ve noticed that many writers deny they’re motivated by anything other than just the desire to make money. In British comics (certainly pre-2000AD), speed-writing was the norm and you were seen as a freak if you took time and care over your storytelling. Payment rates were deliberately kept low by publishers, to encourage writers to knock out stories as fast as possible Read more

I’ve heard successful authors talk about how they struggled through numerous drafts over several years before they were happy with their final book. I would submit this was because they weren’t totally in touch with their muse and therefore not following her directions Read more

From the day John Wagner – the writer-creator of Judge Dredd – and I worked together on Romeo at D.C. Thomson, Dundee, I knew we were kindred spirits. We shared the same cynical and satirical sense of humour. Thus we used to wander the corridors of D. C. Thomson wearing green visors, on which was emblazoned in white Letraset the word ‘Hack’ Read more

By ‘artist collaborations’ I don’t mean where the artist simply draws a writer’s story, including some details and designs of their own, but is essentially following the script. I’m talking about where the artist is keen to be involved in the storytelling process and adds significantly to the story with his own ideas and potentially changes its direction and tone Read more

Research in comics was a dirty word. Seen as largely unnecessary, an indulgence, and an obstacle to the high-speed method of writing comics: the only way writers could make money – as they had no rights to their own creations. When I started 2000AD, I needed a library of science fiction: books on space, the latest inventions, and so on. To reclaim my expenses, I had to get them signed off by the managing editor. He looked at my various book claims with barely concealed hostility and scepticism, like I was pulling some kind of scam Read more

Several readers have asked me about world-building and how I go about it. I guess this is because my stories in 2000 AD and elsewhere are known for having fully realised worlds. Judge Dredd was one of my first challenges. Carlos’s magical Mega-City One in its first visualisation in Prog 2 has never been beaten. I don’t know if anyone else feels the same way, but I think that’s a great pity Read more

Of all the forms of writing and editing, comics are often the toughest. At first glance, this sounds most unlikely, given their downmarket origins and their often low standard, but it’s true. First, there are considerable restrictions of space. In British comics, weekly episodes often featured over two, three or six pages. For a story to make sense, to be paced correctly, and to appeal to the reader sufficiently for him or her to buy the next episode means it must have an excellent and tight structure Read more

What kind of villains are you interested in and where do you find them? In 2000AD, the greatest villains are undoubtedly Judge Death and Torquemada. Creating a dark version of a hero, like Dredd, is definitely a good way to go. Not only Judge Death but also Rico Dredd came from flipping a hero over to his dark side. In a similar way Blue Eyes and Grim Reaper are dark versions of my hero American Reaper, who appeared in the Judge Dredd Megazine Read more

Girls’ comics are tremendously important: they were hugely successful and are fondly remembered today so I really should write down what they were all about. Writing them was a craft and sometimes even an art – usually learnt by trial and error – and I guess I’m concerned (and certainly my muse is) that the somewhat specialised knowledge of how they were produced could be lost Read more

‘How to’ books invariably tell you the principles of writing and then assure you that if you follow them, publishing doors will open for you. They won’t. How to actually sell your work is invariably neglected, so new writers have to figure it out for themselves and all too often they get it horribly wrong because they don’t really understand the current state of the market and how it works Read more

I do think there is a case for knowing your villain personally or at least carefully researching him. An obvious villain was/is Aleister Crowley. But great writers have beaten us to him. He appears as Mocata in Dennis Wheatley’s The Devil Rides Out. And Oliver Haddo in The Magician by Somerset Maughan. And doubtless many more novels beside. But he does feature in Requiem as Black Sabbat and I think Olivier has depicted him beautifully Read more

I can still remember the exact moment on 2000AD when I knew I would have to change my writing style and adapt for an older, vocal fan market that Tharg was increasingly favoring, rather than the core comic audience. It was on Sláine: The King and it’s probably one of the reasons why that story is particularly popular with fans today. Yet I felt uneasy at the change of direction and where the comic was going Read more

I’m taking a three-week break now, but there are a number of topics I hope to cover when I come back, or in a future collected edition of Storyteller. I feel they are important, so I can’t resist giving a few pointers on each of them just now Read more

If you’ve ever wondered what it was like to create a comic like 2000AD, now is your chance to find out. To experience the highs, the lows, the creative jamming with artists, the excitement of breakthroughs and the disappointments when things go wrong. Then the satisfaction of solving those problems, getting the art right, the stories right, the thrill of seeing amazing new artwork, and the knowledge that we are facilitating great new talent who, otherwise, might be stuck in some boring job Read more