Fractal Matter sat down to talk with Christopher Golden and Tom Sniegoski as they prepare to launch their new series Talent from Boom Studios. We touched on that book and a lot of their other work both individually and together ranging from Buffy to the Punisher.
For the newcomers tell us who you are?
TOM: I’m Tom Sniegoski . . . writer and lover of all things pertaining to monkeys, apes and such.
CHRIS: To borrow from Peter David, I’m a “writer of stuff.” Since my first published novel in 1994, I’ve written: adult horror, fantasy, and thrillers; teen horror and mysteries; young readers’ fantasy; non-fiction pop culture books; media tie-ins; video games; online animated series; and various comic book dabblings. Among the comic books I’ve done that I’m most proud of, aside from Talent, are The Crow: Waking Nightmares, two issues of Spider-Man Uunlimited, BPRD: Hollow Earth, and Batman: Realworlds (those last two, also with Sniegoski). Anyone who’d like to know more can check out (www.christophergolden.com)
Tom how do you pronounce your surname?
TOM: Sni . . . Goski. Two syllables.
How did you each get into writing?
CHRIS: I always wrote, but in college, I realized that this was what I wanted to do for a living. I started my first novel (Of Saints And Shadows) during my senior year, and worked on it for three more years before making my first publishing deal, for that book, and a sequel.
TOM: Believe it or not, I used to do much more drawing, but something clicked inside me during my junior year of high school, and I discovered that I was much better suited to writing than drawing.
A lot of both your work is in the horror/fantasy genre. What draws each of you to that?
TOM: I don’t know. I could probably say something along the lines that the real world is just so depressing and boring, that the fantastic allows for the perfect escape. The horror and fantasy genres have got it all locked up . . . thrills, chills, humour. You can tell pretty much any kind of story you like within the confines of these genres.
CHRIS: For me that’s where the good stories are. High stakes, high hopes, noble causes, good versus evil, tainted souls, temptations . . . all of that. Also, with horror, I always feel like it provides such hope. If you can believe in evil that powerful, then you can believe in a pure goodness that balances it. If you can believe in demons, even for a second, then you can believe in angels.
Tom You worked on revamping Vampirella – tell us about that?
TOM: That was a blast. I really loved working on that character, and getting a chance to revitalize her for the nineties. I’d always loved the old Warren black and white magazines, so it was a real blast getting to put my stamp on the character.
Have you read any of the more recent versions of the character?
TOM: Yeah, it’s sort of funny. They’ve discarded a bunch of the stuff I did with her, but at the same time, kept quite a bit as well. It’s almost as if the lovely folks over at Harris want to forget what editor Meloney Crawford Chadwick, and I did for reenergizing the character.
What is it about the character that lends itself to all these interpretations?
TOM: She’s just a really cool character that can be looked at from all sorts of different angles. You can do superhero stories, or horror stories, sci-fi stories, Christ, you could even do romance stories for Pete’s sake!
How did you pair up with Chris?
TOM: Chris was planning on doing some stuff with Harris Comics when Meloney Crawford Chadwick left as the editor of Vampirella, and the new powers that be wanted to shake things up. Basically they wanted Vampirella to be more of a T&A book and I didn’t want to write a book like that. Chris came on board to help me deconstruct what I’d built. We did that in Vampirella: Death and Destruction, and we’ve been writing together ever since.
CHRIS: I’d met Sniegoski a couple of times, apparently, but the first meeting I really remember was at a comics convention. Tom was writing every damn thing Harris Comics published at the time, and his editor, Meloney Chadwick, introduced us, saying she and I had been talking about my writing something for the company. Tom stared daggers at me. Seriously. Daggers. I smiled and said “Hey, you can’t write EVERYTHING Harris publishes.” Heh heh. I think he really hated me. But from there, we were sort of thrown together by circumstance with some stuff at Harris, and then started working together, and discovered we shared two halves of the same brain. Everything else that we’ve done together has come as a natural result of that first collaboration.
How did you come to work on Hellboy?
CHRIS: Jeez, it feels like a lifetime ago. When I first quit my job to write full time (when I’d made my first publishing deal), I did a lot of comic book industry journalism. During that time, I interviewed Mike Mignola, and while we were talking, I suggested that he start including Hellboy prose stories in the back of the comics, the way some of the seventies Marvel horror magazines did. Of course, I also suggested that I write them. Heh. I sent Mike Of Saints And Shadows and, eventually, that led to him suggesting that instead of prose backups in the comics, we do a full fledged Hellboy novel.
What’s the next Hellboy novel about?
CHRIS: Well, I’m not sure what you mean by “next.” I wrote the first two, The Lost Army and The Bones Of Giants. Now, Mike’s got a deal with Pocket Books to do a series of Hellboy novels, and I’m sort of an editorial coordinator on the series. Brian Hodge did On Earth As It Is In Hell and Tim Lebbon did Unnatural Selection. Next up is Tom’s The God Machine.
TOM: Just finished going over the page proofs. Looks good., and it’s pretty damn crazy if I do say so. It’ll be in stores this July.
CHRIS: And then there’s my next one, The Dragon Pool, which I’m writing now, and will be in stores in spring ’07. The Dragon Pool is set in Asia, and concerns missing children, ancient legends, an ugly, immortal dwarf, and Hellboy’s ex-girlfriend, Anastasia Bransfield, whom I introduced in The Lost Army. The best thing about it, to my mind, is that it predates that book, and features Hellboy’s discomfort when he has to hang out with his ex-girlfriend, and his DAD at the same time.
You’ve not only done the prose stories, but also a BPRD comic together?
CHRIS: Yep. The first BPRD miniseries. It was an experiment, at the time, and I think it came out extremely well. We loved working on that.
You co-created the Johann Kraus character for BPRD – how do you feel about how other writers have used him?
TOM: No complaints, especially since most of the time Mike has something to do with the writing. If anybody gets Johann, it’s Mike.
Talent?
TOM: Ah yes.
What’s the concept behind Talent?
CHRIS: Talent involves Nicholas Dane, the only (and impossible) survivor of a plane crash, who has somehow inherited the memories and abilities of all those who died in the crash, but must also fulfil their unfinished business in the world. Unfortunately, there are two very dark organizations out to find out why he survived, and to rectify that. There’s horror, intrigue, suspense, religion, and mysticism afoot.
TOM: It’s a very cool story.
CHRIS: Check it out. Trust me, you WON’T be disappointed.
Who are the villains in the book?
TOM: We’ve got some real beauties in the series.
CHRIS: There are all kinds of villains in the book, including a shadowy government operative, agents in his employ, a group of excommunicated, very powerful Roman Catholic clerics we call The Black Cardinals.
TOM: I’m not going to say much about them, but lets just say these are the shadowy figures in the background of government and religion that are responsible for shaping the direction of the world. Nasty guys, and one of them even has an equally nasty monkey.
Then there’s Payne & Able, really cool, yet nasty (are we seeing a pattern?) assassins that do the dirty work of The Cardinals. Think Michael Madsen and Lucy Liu when you see this deadly husband and wife team. Cool characters to write.
CHRIS: Payne and Abel, used to be married, but still have to work together, even though they’re divorced.
It’s a mini so self contained or plans for future stories?
CHRIS: There is definitely a conclusion at the end of the miniseries, but it was originally written as a pilot for television, so there are absolutely opportunities to continue the story. If the readers want more, we’ll do more. Hopefully they do.
TOM: Yeah, we could definitely do many more stories. Dane still has lots of unfinished business to take care of by the end of the first mini.
What did each of you bring to the book?
TOM: That’s the thing with Chris, and working together. We each bring 100% to whatever we’re working on. The way we work, most of the time, is that I go on over to his house and we sit at the computer and just bounce things around. Lots of times, by the time the book is finished, we don’t have a clue as to who came up with what. The stuff we do together is a real combination of all our skills as writers.
CHRIS: Lunch.
You’ve both collaborated with quite a few people. Anyone you look forward to working with again, and what is for you the easiest way to collaborate on a project?
TOM: I love collaborating with Chris, and I’ll do that anytime. I really enjoy working with Eric Powell. Devil Dinosaur, which we did last October for Marvel was one of the coolest things I’ve ever worked on. The artwork was freakin amazing. So yeah, I’d love to work with Eric again too . . . and I think we might be doing some Little Unholy Bastards back up stories for a Goon anthology sometime soon, so I might just get my wish.
CHRIS: Collaboration is almost always a case of playing tennis, writing a chapter and hitting it over the net, where your co-writer will edit it, write the next one, and hit it back. Sniegoski and I are still doing The Menagerie. Mignola and I are working together on Baltimore. I also have a plan to do a novel with Tim Lebbon, when we get the time, and Amber Benson and I are writing a new, original, dark fantasy novella called The Seven Whistlers.
You and Amber Benson did the Ghosts of Albion series initially for BBC online and now it’s turning into a book series. What’s the series about, and has much changed in transferring it into a book series?
CHRIS: Ghosts of Albion focuses on Tamara and William Swift, young and wealthy London siblings who have just inherited the magical abilities of their murdered grandfather, along with his duties as Protector of Albion—they’re now the magical defenders of the soul of England. Their allies include the ghosts of some of England’s most famous figures. The animated version that’s online is funnier and simpler than the book series, which is grittier and MUCH sexier. The first novel, Accursed, came out in November, and this September, you can pick up the second one, Witchery. Check out www.ghostsofalbion.net for more info, or to watch the animation, hear an audio book, or read free samples and an entire Ghosts Of Albion novella.
What or who influences your story ideas and/or your writing?
CHRIS: Everything. I read constantly. Stephen King, Larry McMurtry, John Irving, Walter Mosley, and all kinds of other things. Ideas come from everywhere, including dreams and jokes and pure inspiration.
TOM: I’m asked that all the time, and I really don’t have a good answer. I think it’s a little bit of everything: the newspapers, the nightly news, what you see going on around you when you’re walking the dog. I also get quite a bit of inspiration from the books and comics that I read, as well as the television and movies that I watch.
One of the most famous comics you’re known for is the original Marvel Knights Punisher. How did you come to be involved in that and how do you feel about it now?
TOM: Jimmy Palmiotti and Joe Quesada asked Chris and myself to pitch for the new Marvel Knights spin on the character. In fact it was Joe that flung the idea about Frank Castle being brought back as a kind of zombie that was the springboard for our entire take on the character. How do I feel about it now? Fine. I think the first mini series is really good, and I’m surprised that it hasn’t been collected, especially now with the success of Marvel Zombies and all. It’s a different take. When we first pitched this idea, nobody wanted to see another Punisher book. People were tired of the character. We attempted something different, and I really do think it worked, especially since we had the artwork of horror master Bernie Wrightson on the books. The second mini with Wolverine was a little less successful for me, though it did sell quite well, as did the first mini.
You’ve each written quite a few comics, is there any character you’ve not written yet that you would like to?
CHRIS: TONS. All of the Marvel monster characters from the seventies. Moon Knight. Green Arrow. The Thing (not the FF, just the Thing). Ghost Rider. Cloak and Dagger. I could name dozens more.
TOM: I’d love to write Batman, and the Fantastic Four. My geek dreams would be fulfilled if I had the chance to write those characters.
Is there a preference between writing comics v/s writing novels?
TOM: I love doing them both, but I think writing comics is more fun. Both are extremely rewarding though.
CHRIS: I love comics. I always will. I’ve only kept a toe in the industry for a good number of years, now. I haven’t been to a San Diego con in six or seven years. I miss it, to be honest, and I’m starting to take some steps to maybe address that. Talent, which I’m incredibly proud of, from BOOM! Studios, is the first of those steps. If I had to choose, though, I’m a novelist. It’s just the way my mind works.
Tom you are unique in that you got to write in the Bone Universe. How did that come about?
TOM: Stupid, Stupid Rat Tails was one of the proudest moments of my comic book writing career.
Jeff Smith called me up and asked me if I would be interested. As you can guess, it was real hard making that decision. Jeff felt that I had the sense of humour that he was looking for to tell the story of Big Johnson Bone, the founder of Boneville. It was a real honour getting to work on that book, and I think it came out amazing. Jeff and I still talk about doing more Big Johnson stories. It’s actually something I hope to do over the next year or so.Chris, what would you class as your most important work amongst all the things you’ve done?
CHRIS: Most important is an impossible classification. I’m a storyteller. I want to entertain and, hopefully, to touch the hearts of readers. In a lot of cases, I want to make them think as well. There are a lot of novels I’ve written that I’m exceptionally proud of-Strangewood, The Boys Are Back In Town, Wildwood Road, The Shadow Saga, The Ferryman, the Body of Evidence series, my current trilogy that begins with The Myth Hunters, and others-but it isn’t up to the author to decide whether what he or she does is “important.”
You’ve both written a lot in the Whedonverse. What attracts you to keep coming back?
CHRIS: Characters. I don’t really have any interest in Firefly. Not sure if that’s considered to be part of the “Whedonverse.” It’s more the Buffyverse that interests me. I haven’t done it in a while, but I’ve actually been flirting with the idea of doing a new Buffy story. I miss the characters very much. Their relationships, their sense of humor, their integrity, all of that. Joss did make the best toys.
TOM: Yeah, it’s all about the fun. Joss has created a really amazing group of characters, as well as playground to place them in.
How do you deal with continuity?
TOM: A good memory of the episodes helps, and If I don’t know it, I ask Chris and if he doesn’t remember, we go on line and ask the fans.
How was it working on the Chaos Bleeds computer games?
CHRIS: Good and bad. On the first Buffy game, we wrote the script based on an existing story that we had only a little influence over.
TOM: Chao Bleeds was our first chance to come up with the entire story, as well as dialogue. Really fun stuff, but a crap load of work.
CHRIS: We wrote it from top to bottom, the story, the script, every damn thing. But from the moment we set out the level design for the game, it was chipped away. Our original plans were bigger than what we ended up with. Levels were dropped. Even then, I still think the story remains intact. I’m pleased with what we were able to do. What I’m NOT pleased with is that the game just doesn’t play as well as the first one. I think that’s a shame. Every video game site and magazine raved about the first one. But that one took three years to do. They wouldn’ t put it out until it was perfect, which is a good goal. The second game, the fighting engine isn’t nearly as smooth as the first one. Same with the camera controls. It takes a LOT away from the game play, as far as I’m concerned. I still enjoy it, and I haven’t heard many complaints, but it bugs me enough that I’ve only played about halfway through it. Eventually I’ll finish, just because you can’t not play your way through the story. It’d be like writing a movie and not going to see it.
Can you tell us about your future plans for any upcoming novels or non-fiction titles?
TOM: Well, I’ve got a ton of stuff in the pipeline. Some of the most exciting involves my YA (Young Adult) books series that I did a few years ago, The Fallen; ABC Family Channel has just wrapped the first of three made for television movies based on these books. It’s all pretty exciting. I visited the set last September and it was amazing. The first movie is roughly scheduled to air sometime in the Fall of 2006. The other two are currently in the script writing stages.
As far as books go, I have four novels coming out this year. In July I have Hellboy: The God Machine, which came out pretty damn cool, if I do say so myself, and then two YA thrillers from Penguin Razorbill—Sleeper Code & Sleeper Agenda. Think the Bourne Identity meets the X-Files and you have a pretty good idea of the kind of books they are, and I’m happy to say that this series was just optioned by Warner Brothers. All very cool.
And the last thing I have coming out is with my frequent writing partner, Christopher Golden, and it is the third book in our Menagerie series for Ace Books. It’s called Stones Unturned, and really awesome. Fans of this series are going to be blown away by this one, and if you’re not fans of the series, I suggest that you all become fans. If you dig Hellboy, Lovecraftian Horror with a smattering of dark humour, these are the ones for you. The first book is The Nimble Man, and the second is, Tears of the Furies. Go out and buy them, you won’t be disappointed. Would I steer you wrong?
And as far as stuff I’m working on, I’ve got a middle grade book series—Billy Hooten: Owlboy, which is probably one of the craziest things I’ve ever written coming out in, I believe, Summer of 2007. I’ve just turned in the first book, and will be starting to write the second shortly. This series will be particularly interesting for comic fans because it’ll feature a cover, and interior artwork, by Eisner Award winner, and writer and creator of the Goon, Eric Powell. Should be an absolute blast. It’s about a twelve-year old boy who discovers that it’s his destiny to become the superhero guardian (Owlboy) of this underground city of monsters that’s located beneath the cemetery, next door to his house. It’s really fun stuff. I’m also working on the fourth book in the Menagerie series (Crashing Paradise) as well as writing the first book in a new supernatural mystery series—A Kiss Before the Apocalypse.
Whew! I’m exhausted.
CHRIS: Sniegoski and I are writing the fourth book of our series The Menagerie right now. The third book, Stones Uunturned, hits stores in September. At the moment, I’m finishing up an incredibly cool project with Mike Mignola. It’s an alternate history, gothic, vampire hunter novel called Baltimore, or, The Steadfast Tin Soldier and The Vampire. Mike came up with the concept and much of the plot, then we fleshed it out together. I’m writing the novel and adding all the texture of the thing, and Mike is doing TONS of illustrations for it; at least one hundred, but I suspect many more. The second book of The Veil trilogy will hit early next year. That one’s called The Borderkind.
What’s the Veil series about?
CHRIS: Oliver Bascombe is an attorney from a very wealthy old New England family. He’s struggled all his life with his controlling father, made worse after his mother’s death when he and his sister were just children. Oliver never wanted this life, never wanted to be an attorney. He wanted to be an actor. He loves myth and story, and remembers a time when he believed in magic. But he’s become everything his father wanted him to be. He’s very much in love with his fiancee, but the problem is, her father is also one of the founders of the law firm they all work for, old New England money, and marrying her is the final surrender to becoming the man his own father wants him to be. Oliver loves her, but he doesn’t want to become that. The night before the wedding brings the first snowfall of the year, a real doozy. That night, from the blizzard, there comes a creature made of ice, wounded and in need of his help. It’s Frost. Jack Frost. He’s being hunted by a monster called The Falconer, and if Oliver does not help him he will die. Numb with disbelief, Oliver doesn’t know what to do, but he ends up helping . . . and is dragged through the Veil into another world, where ancient “lost” civilizations still exist, where Amelia Earhardt opened a bar and started a family, where every bit of legend and folklore is real. The thing is, Frost is one of a special breed, called Borderkind, who can move back and forth across the Veil. But humans are NEVER supposed to do that. Those who slip through, the Lost Ones, are touched by the Veil’s magic and can never return. However because Frost brought Oliver through, he CAN go back. And that makes him an Intruder. A fugitive. So while Frost is trying to figure out why the Myth Hunters are slaughtering the Borderkind and who’s behind that conspiracy, Oliver is being hunted himself, and also has a death warrant sworn out for him throughout the Two Kingdoms beyond the Veil. And that’s only the beginning. When an ancient horror is released after centuries and slips back into the human world, Oliver’s loved ones are in terrible danger, and the more he learns about this new world the more he realizes that no one can be fully trusted and nothing is what it seems.
What’s the geekiest thing you have in the house?
TOM: My house is like a geek museum. Everywhere you look there are geek items. Thank god my wife doesn’t mind. If I had to pick one thing . . . I’d have to pick two. In my office I have an exact replica of Hellboy’s gun, the Peacemaker, which is pretty awesome and gets some real stares from strangers who come into the house. The other item is this absolutely gigantic statue of King Kong fighting a T-Rex that rests heavily on a cabinet as you come into the living room. It’s huge, and I absolutely love it. It was a present to myself after getting some of my first Hollywood option money.
CHRIS: Me.
TOM: That’s it for us thanks for listening!