You’ve written a lot of Buffy/Angel comics over the years. Which is your favourite to write: novels or comics?
CG: I’m not sure if you mean just Whedonverse novels and comics or in general, but either way, novels. I’m passionate about comics, but writing scripts is a totally different discipline from writing novels. In a novel I can paint the entire picture, explore the minds of characters, and take as many pages as I like.
When writing comics, do you have to put the text to the already completed artwork, or does the artist work on that after your initial script has been written?
CG: It depends entirely upon which artist or publisher you’re working with. Sometimes you write an outline, even page by page, and the artist works from that and then you add the dialogue and captions. Other times you write what’s called “full script,” which is certainly my preference.
CG: Amber and I have many things we plan to write together eventually. Right now, there are no plans for more GHOSTS OF ALBION, but that’s up to the publisher, not us. If it was our choice, we certainly would be doing more novels in the series. I’m sure you’ll see something more of Tamara and William eventually.
How did you and Amber come up with the idea? Why did you choose to set it in Victorian England?
CG: I’d been toying with an idea for something else, though it was modern day. A friend of ours at the BBC contacted me, saying that his department (BBC interactive, their online group) was interested in us writing a Victorian-set supernatural animated series for them. They had read the Willow & Tara comics we had done together. Their ideas, however, were way too similar to Buffy and we weren’t interested in doing that. Amber and I talked and went back to them with a pitch for GHOSTS OF ALBION, which took the modern-day concept I’d been working on and mixed it with the Victorian setting the BBC wanted and a lot of mythological stuff Amber wanted to explore, and they went for it pretty much straight away.
CG: Define “go for.” :) Fortunately I don’t have to choose. I like them both.
Your YA novel Soulless is about mediums and spirits. What inspired this?
CG: I love zombie stories, but I’ve always been dissatisfied by the fact that so few of them have third acts. Comet goes by, zombies rise and eat people, the end. I wanted to set up a situation where a third act resolution was definitely possible, so I needed a different kind of trigger for the zombie uprising. I’ve always been fascinated by mediums. 99% of them I believe are full of shit, but I think the other 1%, while they may not actually be communicating with spirits, they BELIEVE they are. That’s pretty interesting to me. Self-delusion. That’s not what SOULLESS is about, of course, but it’s at the base of my interest in mediums.
You wrote the novelisation of Peter Jackson’s 2005 King Kong movie. Can you tell us a bit about the process of adapting a film script into a book?
CG: Gaaahhhh. Brain melt. Universal wouldn’t release the script. I had to fly to
You’ve also written books based in the Battlestar Galactica and X-Men worlds. Are you fans of both?
CG: When I’m offered media tie-in work, if I’m not a fan, I say no. So yes, of course.
What’s next for you?
CG: More novels, more comics, more scripts. Fans of my past YA work and of the Buffy novels I wrote will probably love THE WAKING, a trilogy I’m doing for
Thank you very much, Christopher! If you've never read a book by him, I HIGHLY recommend them. They're all brilliant!