Chris Wooding

Chris Wooding
Chris Woodingis a British writer born in Leicester, and now living in London. His first book, Crashing, which he wrote at the age of nineteen, was published in 1998 when he was twenty-one. Since then he has written many more, including The Haunting of Alaizabel Cray, which was silver runner-up for the Nestlé Smarties Book Prize, and Poison, which won the Lancashire Children's Book of the Year. He is also the author of three different, completed series; Broken Sky, an...
NationalityBritish
ProfessionChildren's Author
Date of Birth28 February 1977
On reflection,’ Crake said to Frey, as they huddled behind an upturned table, ‘this wasn’t one of your better plans.
There was a big horror boom in the '80s, and I liked its originality and what you could get away with.
Everything you write makes you better. But if you really need a tip, here's one: a good story begins in opposition to its ending. That means you work out how it finishes first, and then begin the story as far away from that point - in terms of character development - as you can.
'Malice' wasn't about horror to start with but an underground comic driven by the power of rumour. However, as nothing fuels a rumour like fear, I decided that it had to be a frightening comic.
I'm a graphic-novel guy. I can't handle the wait for monthly or bi-monthly comics; I need the story finished so I can buy the whole thing.
I have a great affection for comics, and I think that people underrate comics as a genre.
I hate SF books that think all you need to make a book is cool technology and mind-bending ideas without a decent plot or characters. And I hate when fantasy books are allowed to ramble off into five hundred page diatribes which don't advance the story one bit.
I wanted to write an adventure in the old-fashioned way, something to which I could apply the adjective 'rollicking' and not feel embarrassed. But I've never liked my heroes to be too heroic, so they ended up being a bunch of criminals instead.
We relate comics to the main super-heroes, but it's a great medium through which all sorts of stories are told.
Steampunk has been hovering around for a long while, and it's never really caught on in a big way.
I like writing comic pages, discovering the rhythm of the panels, learning how much you can and can't express. It's good to stretch myself as a writer instead of always doing prose work; I write screenplays for the same reason.
Real life is a story, too, only much more complicated. It’s still got a beginning, a middle, and an end. Everyone follows the same rules, you know. . . It’s just that there are more of them. Everyone has chapters and cliffhangers. Everyone has their journey to make. Some go far and wide and come back empty-handed; some don’t go anywhere and their journey makes them richest of all. Some tales have a moral and some don’t make any sense. Some will make you laugh, others make you cry. The world is a library, young Poison, and you’ll never get to read the same book twice.
Cynicism was a one-way path, and once taken the way back was lost forever.
We may seem the weakest and most insignificant of all the Realms, but our strength comes in other ways. We have what no other race has: imagination. Any one of us, even the lowliest, can create worlds within ourselves; we can people them with the most extraordinary creatures, the most amazing inventions, the most incredible things. We can live in those worlds ourselves, if we choose; and in our own worlds, we can be as we want to be. Imagination is as close as we will ever be to godhead, Poison, for in imagination, we can create wonders.