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Interview with Ferg Handley - Part 1

Nov 24, 04:31 PM

Recently, we invited readers of commandomag.com to send us their questions for Ferg Handley, a veteran writer of Commando scripts. Thanks to all who submitted their questions. Ferg came back with some very interesting and in-depth replies; so many, in fact, that we’re splitting the interview into two sections!

Here’s Part One – Click here to read Part Two.

Click on any of the article’s images to see a larger version.

Before he answered your questions, Ferg spoke about how he approaches writing a script.

Well, firstly I need to come up with initial story idea; sometimes, the editor suggests something, or something’ll grab my attention when I’m researching a different story.

Recently, I was reading a book called ‘The Forgotten Soldier’ by Guy Sajer (the true story of a Wehrmacht soldier on the Eastern Front); at one stage, his unit was stranded at Memel on the Baltic coast, and there were hordes of foreign workers and Allied POWs roaming around… so I figured the Allied POW angle was interesting, and ended up getting a story out of it.

After the initial idea, I tend to chat things over with the editor, then I do a short synopsis. If that works okay, I then do a full-length synopsis (anywhere between 2,000-4,000 words), or even a rough frame-by-frame breakdown – that way, any changes can be made at this stage, rather than re-scripting. After that, it’s onto the script.

Speaking of scripts, are there any that have been influences on your writing?

Well, there’s Commando itself. When I first started writing Commando books, it was handy to look at other ones, for style and story content. In fact, one called ‘Division of the Dead’ was useful, because it was set on the Eastern Front, with a Russian hero… Realising I could draw on all aspects of war was really useful, and it meant I wasn’t just limited to WWII Brit and American stories.

Good war movies are also a big influence: ‘Cross Of Iron’, which shows things from a German point of view; anything with John Mills in it (‘Dunkirk’, etc); ‘The Thin Red Line’ was good for showing stresses on troops; ‘Windtalkers’ was also useful, as it showed Japanese front line defensive systems (as opposed to old movies, with Japanese troops just emerging from jungle).

Of course, modern war movies are pretty graphic in terms of violence and so on, which needs toned down for Commando (which are stories set in war, rather than war stories per se).
And of course, ‘Band Of Brothers’, which really showed the internal workings of a paratrooper company.

I’m always reading non-fiction books on war, and it’s unusual for me not to get at least one story out of a book. I don’t read much fiction these days (apart from comics), but I was always an avid reader of Sven Hassel’s books, and that maybe filters through when I’m writing about German troops (especially anti-Nazi ones).

As for comics, Garth Ennis has written some great stuff over the last ten years, and he’s a definite influence in terms of dialogue and characters. In fact, he’s a Commando fan, and I sense Commando is an influence on his war writing… so it’s like things have come full circle. I don’t really read any other writer’s war stuff (there’s not that much about these days), though I did enjoy Don Lomax’s ‘Vietnam Journal’. Lomax was a serving soldier in ‘Nam, and his work is a little rough-and-ready, but it has a real heart to it.

I’m also influenced by Frank Miller, especially his ‘Dark Knight’ and ‘Sin City’ stuff, but that doesn’t really come into my Commando writing, as it’s a totally different style.

And now, onto the questions from our readers:

Patrick asked – What is your favourite Commando?

That’s a real tough one, Patrick. I grew up reading Commando, but that was a long time ago now and although there were some classics, I can’t for the life of me remember any of the actual titles.

But if you’re asking about ones I’ve written personally, I’m fond of ‘Oath of Honour’ (4115), about a German cook and his horse…and over a series of flashbacks, we learn how the hero lost all his friends to the war, but was determined to get back home; ‘Over The Top’ (3174) – partly because of Ian Kennedy’s amazing cover art on it; ‘Prisoner Of War’ (4066) – in which a wily British sergeant makes life misery for a nasty head guard (always good to see bullies get their come-uppances).

But my personal favourite is a comedy one, ‘Billy’s Best Friend (3938), as I based the dog on my own Bullmastiff, Gizmo…a rather unwarlike hound!

Also from Patrick – Do you have a favourite part of history to draw from (WWI, WWII, Modern, etc)?

Must admit, I’m not really into modern history (Falklands, Gulf War) as a basis for Commando. But I have a real fascination for WWI and WWII, and most of my stories are drawn from those conflicts. Further back in time, I’m into Napoleonic era, plus Roman era and the so-called Dark Ages.

From Cpl. Charlie – Loved Rebel Army! Keep up the good work! Do you enjoy making up imaginative stories about Commando? And are your children fans of Commando?

Thanks for the kind words, Corp. No kids here, but yes, I LOVE making up Commando stories. The research is fascinating, and in its way, it helps me connect with the past. Plus, it’s part of the great British comics tradition, and I’m proud to be part of that.

From Tom Trill – Which subject do you like writing about mostly for?

I suppose in a sense, the wars themselves are the subjects, Tom. But in a broad sense, I do like writing about troops under pressure, and how they react to it (i.e. coping with the deaths of comrades). I like siege situations for that reason. Aircraft stories from WWI are always fun. And in ancient history ones (e.g. Roman era), I love putting in a bit of the supernatural, such as a magical talisman (sword or whatever).

From Fritz – What do you find easier, writing straight drama and action, or writing the more humourous type stories?

To be honest, Fritz, I find the humour ones really flow when I’m scripting. And the dafter the better!

From Becca – Do you come up with all your story ideas yourself and take them to the editor? Or does the editor give you an idea and ask you to write a story round it?

They are mainly my own ideas to start with, Becca. I tend to do a short description for Calum, the editor (or George Low, before he retired); we discuss them and build them up from there. Sometimes I just come up with a basic idea in a couple of sentences; other times, I note down more of the actual story.

Editorial input is important for me, and I’m lucky that the Commando staff are both enthusiastic about the title, and have a lot of background knowledge (technical and historical).

But yes, sometimes the editor will come up with a story. George Low would sometimes send me a well fleshed-out idea. And, for example, he suggested the ‘Ramsey’s Raiders’ series (though it was only meant to be six issues originally), then we worked up the characters.

And now and again, Calum will ask for a specific type of story… recently, he was short of aircraft stories, so I came up with scripts for him; and he’s good at suggesting ideas that are a bit different (such as using a Spitfire floatplane instead of a standard fighter).

From Aidan – What do you do if you get stuck for ideas?

Can’t say that’s been a problem, Aidan (yet… fingers crossed). I always like to have some ideas in my pending file, and usually, I can refer to them for a story. And after a while, I learned how to take a basic idea and craft it into a storyline.

From Eddie – Have you any tips or advice for someone hoping to start out as a comic writer?

First of all, make sure you can afford it, especially to start off with; there’s only a limited amount of UK titles (though many UK writers do get into US comics), and you need to be able to write a fair amount each month in order to survive.

Get published! Even if it’s a self-published A5 comic, or unpaid contributions to anthology titles (in the Small Press sector, for example). An editor needs to know you can write comics, and unlike the old system, where scripts were produced in-house, there’s not much in the way of on-the-job training. Having said that though, I have improved so much by working with editors.

And on the whole, it’s not a 9-5 job; be prepared to work strange hours and weekends. But if it works out, it’s one of the best jobs in the world… and at least folk’s eyes don’t glaze over when you tell them what you do, unlike some occupations (not that there’s anything wrong with IT or accounting…)

And be prepared to write anything, especially when starting out. A credit’s a credit, and it’s all about building up a decent body of work. I’ve got one friend who even ended up contributing to a Forestry magazine… doubt he envisaged that when he decided to get into the game!

Another one from Fritz – Is there one period in history that you haven’t done but would like to?

Out of the periods I haven’t covered, I’d like to write about the English Civil War (though I have touched on it now and again). The Peasants’ Revolt would be great, and also the vicious conquest of Britain by the Normans (by that, I mean the period directly after the battle of Hastings). American Civil War would be good as well (again, I’ve touched on that conflict, but not directly).

*Ferg answers more of your questions in Part Two of this article.