How I Write - Conn Iggulden

A former English teacher, Conn Iggulden is now a prolific and immensely successful historical novelist. Along with his Emperor series about Julius Caesar and his Conqueror novels on the life of Genghis Khan he also co-author (with brother Hal) of the publishing sensation The Dangerous Book For Boys. So what's his secret?

When I was younger, I was convinced that writing was something you did in a sort of white heat of inspiration. Great unplanned tracts would issue from my pen, or an early word processor, with nothing but cigarettes to keep me going. Part of me still thinks that. The problem is that it’s quite difficult to get into that kind of mood, especially if you are tired.

About 12 years ago, I wrote a poem in that blur of creativity, then another one on the same topic, but as coldly and as skilfully as I could. One was art and the other, craft. When I’d finished, I couldn’t decide which I liked best, so put them in a drawer for a long time. I found them again years later and couldn’t remember which was which. I’d discovered, almost by accident, that it is possible to match the creative impulse with sheer graft – or that my poetry wasn’t that good, one or the other.

As a result, I plan my books. I resisted the idea for a long time, even when I read a quote from Dickens saying that another man was ‘still enough of an amateur to believe you don’t have to plan.’ The creativity is still there, of course, but I like to know the last line before I begin the first. It is the difference between rambling and structure. For me, it may be the difference between being published and not being published.

I tend to write in the small hours and I smoke more when I’m writing than at any other time. I do give up smoking occasionally and I can live without them, but not write without them, which is a bit of a problem. I also inhale espressos, usually in the form of about sixteen to a large mug. It isn’t healthy, but there’s still a part of me that thinks any form of creativity should be at the expense of your health. If it doesn’t hurt you, it probably isn’t any good. Ludicrous, I know.

Writing historical fiction, I do have some of the plot laid out for me. I can hardly omit Julius Caesar’s great battles, or the fact that Genghis Khan killed his own brother. Given that skeleton of events, I can concentrate on characters – the acid test of fiction. If the reader doesn’t care about the characters, the book is worthless. It can be a difficult task with ruthless devils like Genghis, but that’s the job. I write the sort of books I enjoy reading and so far, others seem to like them as well. I’ve always enjoyed a good story and thankfully, history is a collection of good ones.

Finally, I’d like to thank (and annoy) all the history teachers out there. Thank you for losing sight of the great tales, the glory and the magic of history. While you earnestly discuss the difference between tertiary and secondary sources, I have a career.