• Ferg Handley Interview Page 1
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First Published:
20 August 2009

Last Modified:
20 August 2009

G.I. Handley: Rise of the Writer

Edinburgh based writer Ferg Handley has written for a wide range of British comics since the mid-1990s covering subjects as diverse as football, war and superheroes. With the recent launch of the UK tie-in comic GI Joe for which Ferg writes the comic strip, Jeremy Briggs spoke to him about this new title as well as the rest of his varied career.

PERSONNEL FILE

downthetubes: Living in Edinburgh you have referenced the city in several of your stories from Spider-Man to Commando. Are you originally from Scotland?

Ferg Handley: Sort of. I was born in Chichester, Sussex, and my dad was from Manchester but my mum's from Edinburgh so we moved to Scotland when I was two. So, I grew up in Edinburgh, moved to London when I was twenty, then back to Edinburgh in 1998.

downthetubes: What sort of comics did you read growing up and did you have a particular?

Ferg: I've loved comics since an early age. I can remember having a Fantastic Four annual when I was about six - I'm not sure if I understood it all, but the artwork made a tremendous impression. I picked up so many of the traditional British titles as a kid, such as Beano, Dandy, Topper, Beezer, Buster. I especially remember the annuals and the holiday specials, probably because they were re-read a lot.

Then there were the adventure based titles, such as Wizard and Tiger. Loved them, and being published weekly, they always seemed to be around. Commando books too (funnily enough); I was always fascinated by the covers, and the stories always seemed to satisfy and I can remember being about 9 years old and imagining the writer at work, which now seems like a self-fulfilling prophecy.

Plus, there was the Mighty World Of Marvel, and the spin-off titles which followed. That's when I really got hooked on superhero material. The great thing about them was being able to follow the development of the Marvel universe, so it feels like I grew up with it. So, I'd say my faves were Mighty World Of Marvel (and spin-offs, especially when Spider-Man or the Avengers were involved), and Commando.

downthetubes: Is there a writing or storytelling tradition in your family?

Ferg: Both my parents were in showbiz (they retired into pub management once I was born). My dad did a lot of theatre work, and although he grown up in the backstreets of Salford, he self-educated himself. He was a great storyteller, and I thrived on them. In fact, he won an essay writing competition in 1926, and the prize was a gold medal and a bursary to Grammar school, which in those days, led onto a university education. Unfortunately, the family were so poor, he had to go out and work instead.

In later life, this must have been a factor in his encouraging me to be a writer plus, when we were watching TV or a movie, my dad always had a suitable anecdote or story (sometimes, more interesting than the actual programme).

Going further back, my paternal grandfather grew up in an orphanage; he somehow managed to memorise a lot of Dickens and suchlike, which he'd narrate to my dad and the rest of his kids, so I'd say that was an influence too. My mother's family were also very poor, but in later life, my grandmother was an avid reader of non-fiction, as was her own father.

downthetubes: Was writing something that you always wanted to do or was it something that you moved into?

Ferg: Yes, I think I was always interested in writing. Getting third prize (for Scotland) in an essay contest in my first year of secondary was a boost. But apart from that, I found most creative writing (or composition as it was called) a bit of a chore, as it was mostly homework - and I never found the subject matters that inspiring until my English Higher exam when I went out on a limb during the exam and did a horror story which seemed to go down well.

But when I expressed an interest in writing at career interviews at school, they tended to change the subject and push me in other directions, such as retail or the Civil Service. That was maybe for the best, as I ended up having a reasonably colourful life before I settled into my writing career. Then, once I'd finished my MA dissertation, which was on comic books and ideology, I began to realise that I'd love to write them. Eventually, I signed up for some classes at the Cartoon Art Trust in London, which was my real introduction to the industry.

downthetubes: What sort of classes did you take at the Cartoon Art Trust?

Ferg: They were essentially writing classes, which involved working up scripts with the teacher, Win Wiacek, providing feedback. After a while, the sessions became more like informal workshops, and Win was able to supply plenty of industry-specific advice. And it was Win who pointed me in the direction of Commando.

COMMANDO

downthetubes: What then was your first professional sale?

Ferg: It was a Commando book, #3102, entitled Lucky Lenny, published in December 1997 with interior art by Keith Shone and cover by Ian Kennedy. I think I scripted around nine months earlier, and being my first one, I was asked to do it in several sections.

downthetubes: Since then you have become one of the most prolific Commando writers. Was there a point when it suddenly clicked and you found that the Commando writing style worked for you or does it remain a challenge?

Ferg: In a sense, both. I've written over 250 Commando titles, and I got into the rhythm of it quite early on. However, I use different style for, say, comedy or historical ones, and it can take a few frames to get into it properly. I always find the first few panels take a while but I've developed a system where I do three sections of 15 frames a day, over three days, bringing it up to the 135 frames total.

In a sense, getting the synopsis right is the biggest challenge. Mine are very detailed, and some have run to almost 4,000 words. So once that's nailed down, it makes the actual scripting easier. Other writers prefer a shorter, looser synopsis though.

Strangely enough, broadband has slowed down the actual scripting process. In the old dial-up days, I'd do my research and have a pile of books to hand. Now, I check out technical and background stuff while scripting, and that slows down the writing - especially when the laptop's running slowly!

I read a lot of military history books, which always gives me story ideas. We tend to use British, American or Australian characters if possible, so sometimes we lever them into other scenarios, which can be a challenge (reporters and military observers are two old standbys).

downthetubes: You came to Commando during George Low's tenure as editor and have continued to write for the title now that Calum Laird is in charge. Did you find much difference between their editorial styles?

Ferg: On the whole, the transition has been fairly seamless. Calum worked in the department beforehand, so he was familiar with the process. As with George, he does like discussing ideas with me, over the phone and by email, and I find that a great way to develop stories. Also, George and Calum both have a great knowledge and understanding of the subject material, which is a real help. Plus, Scott Montgomery has been sub-editing the title for both Calum and George, so that helped the transition.

There are subtle differences though. Calum isn't a fan of flashbacks, so I've cut down on them considerably during his tenure, and Calum tends to prefer World War 1 and World War 2 material. I did a lot more 'historical' stories for George, but less so now - partly because we are only generating four new titles a month, instead of six.

downthetubes: From the reader's perspective, Calum's biggest change was the introduction of the credit grenade which meant that for the first time the title credited its writers as well as the cover and interior artists.

Whilst previously some artists had signed their work, the writers had always remained anonymous. Did you like the idea that readers now know your name and can tally writers' names against the stories?

Ferg: Yes, I prefer being credited. That way, friends find it easier to pick up my titles, and yes, I think it's good that the readers can now identify the creators. The artists put in so much good work, they deserve their names in lights.

downthetubes: Living relatively close to DC Thomson's offices in Dundee, do you visit the editorial office for discussions or to see the artwork or is the life of a writer a more solitary one?

Ferg: Yes, I do get up to Dundee when I can. Sometimes, it's straight to the pub, so I don't always make it into the offices and other editors, such as Morris Heggie (former Dandy editor) and Bill McLoughlin (former Football Picture Library), usually attend, so they're great sessions. Now that he's retired, George Low pops down to Edinburgh for a drink with me, a couple of times a year. Trust me, I don't do a lot of work the following day (its not easy writing whilst sobbing in a darkened room).

downthetubes: You have been interviewed several times about Commando, both on the official website and on the Swedish Where Eagles Dare fan site so perhaps we could take a different tack and talk about the creation of a single issue.

One of your recent issues was number 4211, Storm Over Spain, set during the Spanish Civil War. Since most non-readers consider that Commando only deals with World War Two, was this story idea a hard one to sell to the editorial team?

Ferg: No, it wasn't hard to sell. The Civil War was very close to World War Two, and had similar themes (good guys against the fascists and so on). When I learned that thousands of Germans fought for the International Brigades - a risky business, considering German politics of the era - I was straight on the phone to Calum, whose interest was immediately piqued (one of the leads is a young German volunteer). Having a mysterious British character helped set up the story and also provide a bit of British 'interest'.

I've written Civil War stories before, so the key to this one was finding a different angle, hence the German hero and setting it during wintertime was a bit different, as a lot of Civil War material tends to be set in the sun and heat. Plus, my dad worked for the International Brigades (fund-raising), so I've always been fascinated by that conflict. My degree was in Politics, and I tended to specialise in the build-up to World War 2, so I had a decent background in the Civil War.

downthetubes: With a personal connection like that to the Spanish Civil War, did you have any other relatives who served in the military who may have inspired you when writing other stories?

Ferg: Yes, quite a lot. My dad's brother, Guardsman Charles Handley was killed in Tunisia in 1943, serving with the Irish Guards. American friendly fire was blamed, so that has become a recurring theme in my Commandos. My paternal grandfather's brother, Private Thomas Handley, was killed at Gallipoli (Royal Lancaster Regiment).

From what I gather from my research, it seems his unit had been in a battle of attrition with the Turks for several days; the survivors on both sides were exhausted and parched, so - whether by accident or design - they ended up charging one another, and that was pretty much that. So, the Gallipoli campaign has inspired several of my stories. My paternal grandfather, Ralph, was in the Cycle Corps at the Somme. But the expected breakthrough didn't transpire, so I'm afraid he was unable to unleash his 'wheels of terror' on the German rear.

My second cousin, Corporal Edward Hines, was killed in Korea (Black Watch), victim of an ambush. In later life, when retired and living in Spain, my dad ended up friends with his CO, who sent the patrol out that day. That sort of coincidence does pop up in Commando books, so it's good to know we're not forcing things too much. So, no officers in the family tree!

With all these deaths, it's no surprise I'm essentially anti-war (believe it or not, I do try to avoid glorifying war in Commando books, and my heart's always been with conscripts who had no choice but to serve). My maternal grandfather, David McKintyre, served in peacetime with the Seaforths. He didn't see any action, but became the regimental boxing champion.

My maternal grandmother was fascinated by history, especially family stuff. I don't know of any servicemen on her side of the family (except for my grandfather), but she did have some ancient photos of her ancestors, who ran guns during the American Civil War! So, that helped inspired the odd sequence in Commando books too. Last but definitely not least, my dad - Ralph Scott Handley - was a navigator\air gunner in Bomber Command during World War Two. He was a great storyteller, and some of his tales have been incorporated into stories.

downthetubes: Returning to Storm Over Spain, how long did the story take to write and how much additional research did you need to do yourself?

Ferg: It took the usual three days to script, and maybe a day spent researching the actual battles mentioned in the story, as well as other background.

downthetubes: Was there much changed editorially with this story or, since you have written so many Commandos now, was it a smooth progression?

Ferg: The scripts are subbed months after I've written them, so unless I refer back to the script, I don't tend to notice the changes. Scott reckons they don't make many changes to mine, partly because I put so much detail into the synopsis. In fact, for the past few years, I've developed a system where I do a short (say, 300 word) synopsis; I then do a frame by frame breakdown, just a short note or two on each frame, which Calum and Scott look at before approval. So, they know exactly what they're getting, apart from actual dialogue. It's mainly getting rid of 'Americanisms' which creep into my writing -though, like today, Brits were influenced by American movies, especially during World War 2 (and we had American servicemen based here), so it's possibly authentic, but just doesn't quite scan right in print.

downthetubes: How far ahead of publication do you normally deliver your scripts?

Ferg: Sometimes, it can take over a year. But recently, I did one set around D-Day (#4209, Terror On The Battlefield), to help commemorate the 65th anniversary, and that was a rush job. Calum needed it fast, so I turned it around in five days, start to finish, and it hit the shelves about six months later.

downthetubes: The internal artist assigned to Storm Over Spain was Ricardo Garijo, who has illustrated other stories written by you. Do you have any contact with him and what level of visual detail would you put into your scripts for him?

Ferg: I wrote this one knowing that Ricardo would be the artist; in fact, I asked for him. A couple of years ago, I came across his website and contacted him (he lives in Tandil, near Buenos Aires - which featured in #4139, Rebel Army, which I deliberately used as a setting for him). We have since become good friends (although we haven't met) and e-mail each other regularly. Ricardo's parents were both involved in the Spanish Civil War, so in a sense, I scripted it for him.

I put the same visual detail into all my Commando scripts. Firstly, I've learned to keep the descriptions simple, as a lot of the artists are overseas, and we don't want things 'lost in translation'. I tend to put in a lot of detail, but advise the artist to omit things if they can't fit them in - it's better for the artist to have the overall picture, then interpret it his way. For example, I usually name the members of a squad, so the artist can do thumbnails and keep an eye on them; otherwise, they have to count back and see how many men are left alive by the end, for example. The editorial staff also supply referencess for the artist, but I put in as many internet links as possible and an artist like Ricardo has been drawing Commando for so long, he has his own reference material.

downthetubes: The cover, showing Stuka dive bombers of the German Condor Legion attacking a castle, was by Commando cover maestro Ian Kennedy. With the planes having the insignia of Nationalist Spain, rather than the more normal Luftwaffe crosses, it makes for a striking image. Do you have any input to the cover or the choice of artist?

Ferg: Not really, but if I come across a particularly striking image while scripting, I'll suggest it as a cover option to Calum. I scripted one recently, which had its finale at the very end of World War 1 - as in 11am on 11th November. A clock got blew up in the process, and Calum and I hit on together as a great cover image (in fact, the clock was just a 'macguffin', until we realised it was symbolic).

downthetubes: Generally Commando stories are self contained but with Ramsey's Raiders you have written one of the longest ongoing series that Commando have done. How did the Raiders concept originate and was it originally planned as a multiple issue series?

Ferg: George Low suggested the series and it was originally meant to be about six issues long. George gave a few notes on possible characters which I worked up. The key was to give each of them their own voice and back story and each issue was to focus on a particular team member but the ideas kept on coming, so we decided to make the series much longer. The readers gave a positive response so we decided to bring them back, post-World War 2, in Korea and Malaya.

The final episode in Malaya was the last Commando I scripted for George so there was a certain subtext to the end comments. The real-life Derek Jarvis is one of my oldest friends and he once managed a pub called the Queen's Arms in Edinburgh (he was never a soldier though), so it was fun putting the Jarv character through his paces in the script. I guess Fitz, the Irish sniper, was my own avatar in the series.

It's tempting to bring the team back again, but I'm afraid their adventures are now over (especially the dead ones, natch). However, Monty and Oz did pop in a recent Commando set in World War 2, which sharp-eyed readers may have spotted. We've discussed doing prequels, but I can't really see them happening.

downthetubes: One of the requests that appears time and again in the CommandoMag website is for a Carlton Commando book that reprints the Raiders issues. Would you like to see such a book and since you have written more Raiders stories than would fit into one volume, are there any obvious stories that could be left out?

Ferg: Yes, I'd love to see them collected. I wouldn't get any royalties, but it'd be good to have their adventures sitting on bookshop shelves (comics are only in shops for a limited period, and once they're gone, they're gone). But I'd hate to see any of them omitted. Although they were stand-alone stories, for the most part, each one contributed to the overall arc.

downthetubes: Commando has never used any of the legacy characters from DC Thomson's other war comics such as pilot Matt Braddock VC or Royal Marine Union Jack Jackson. Given the chance to write about one of these characters, for Commando or elsewhere, is there a particular favourite one that you would choose or would you find it easier to create your own new character?

Ferg: Yes, that would definitely appeal. I loved Garth Ennis' treatment of Battler Britton, and it'd be great fun updating old characters. Wolf Of Kabul would be one I'd be interested inÉthough I doubt that's likely, what with what's going on out there right now. I've suggested doing sequels to some of the famous Commando books, such as #1 March Or Die. We'll see how that plays out.

There are certain characters I've used in Commando that I'd love to write again - especially Samuel Watts and Nate Bridges from the aforementioned Rebel Army story, but sequels tend to follow hot on the heels of the originals, so maybe that boat has already sailed.

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