Best known for his Chronicles of Heraldria series and the Mythocide Universe, Marcus Jones’ is a fantasy author whose work has been published in the Bizarchives, Passage Press and Toadstool Magazine, with his poetry also being featured in Antelope Hill’s “Thinking About Rome” anthology.
We reached out to Marcus for an interview to learn about his history as a writer, his inspirations, and how he goes about building the worlds and storylines in his work.
How would you describe yourself as a writer?
A deep one to start with… I’d describe myself as a writer driven by imagination and a need to create. Stories constantly form in my mind, and writing gives me a way to explore them. It’s not about money—there isn’t any—it’s about world-building, storytelling, and the necessity of putting ideas into words.
My love of fantasy began with The Lord of the Rings, Moorcock, and role-playing games. The immersive worlds of those stories shaped me, and I want to bring that same depth to my own writing—where history, myth, and character all intertwine to create something that feels alive.
When did you first know you wanted to be a writer?
It went through a few phases. I’ve always loved making up stories. At school, I’d write about mad axe men and aliens—even when it barely fit the assignment. I also created RPG scenarios that no one would ever play, but I loved the process of building worlds and narratives.
Back then, I saw ‘real’ writers as a breed apart—almost like superheroes, born into the role. I never imagined I could be one myself. Then life took over. Work became the focus, and writing faded into the background—sublimated into reading, wargaming, and watching movies to keep my imagination active.
I always carried a notebook, jotting down ideas, but I never seriously considered getting anything published. This was long before self-publishing was an option, and the idea of becoming an author still felt distant, something for other people.
When my first child was born, I was responsible for the early morning feed. It left me with a few free hours before work—rather than going back to bed, I used that time to finally write down a story that had been building in my head for years. That was when began to see myself as a writer. Writers write, and I was finally writing, not just thinking about writing.
Who are some of your favorite authors? Is there one in particular that influences your writing?
For me, Tolkien is the godfather of fantasy. I first read The Lord of the Rings when I was about 11, and it has never left me. His world-building, mythology, and sheer depth set the standard for me.
“Writer’s write, and I was finally writing, not just thinking about writing.”
I was also a huge fan of Michael Moorcock—Elric, Corum, The Eternal Champion series etc. Teenage me didn’t realize he was subverting the sword-and-sorcery genre; I just loved the imagination, the action, and the sense of cosmic struggle.
There were plenty of Tolkien-esque epic fantasies in the ’80s, but none had the same impact as the original. That said, Steven Donaldson’s Chronicles of Thomas Covenant stood out. It felt more ‘grown-up’—I even had to look up words in the dictionary—which made me realize fantasy could be serious in a contemporary literary sense, not just pure escapism.
What were some of the inspirations for the Chronicles of Heraldria series?
The inspiration for The Chronicles of Heraldria goes back to my time working at an online gaming website in the late ’90s and early 2000s (yes, I’m old—lol). We were running MMORPG servers and creating scenarios for Baldur’s Gate, and I was deep into strategy games like Total War and Cossacks.
Marcus Jones (right) with Scott “Wino” Weinrich (left) of the band The Obsessed
At the time, I had an idea for an MMORPG where, instead of controlling a single character, players would command an army that evolved over time—something like Shadow of the Horned Rat in the Warhammer universe. I imagined a world that evolved through seasons, where new threats would emerge, expanding the game’s scope. I designed a continent, a timeline, mythologies, and factions, hoping to turn it into a game. Unfortunately, there were no takers—I even pitched it to Games Workshop, but they had just commissioned Warhammer Online (which, ironically, didn’t last long).
Even though the game never materialized, I was left with a rich world just waiting for stories. Naturally, the influences of Lord of the Rings, Moorcock, and the books I loved still shaped it, but The Chronicles of Heraldria became something of its own—born from a gaming idea but finding its true form in fiction.
What does your writing process look like when starting a new book or story?
Inspiration can come from anywhere—staring at a blank page, a random idea that pops into my head, a competition with a set theme, something I’ve read or watched and thought, “I could do better” or even just writing something to amuse a friend. Once I start, I try to sketch out a rough outline—beginning, middle, and end—but it’s just a skeleton. The real substance, the ‘meat,’ comes later.
I don’t generally write in a strict linear order. Instead, I develop different sections as ideas come to me, fleshing out scenes and characters until the story starts to connect. I use Scrivener, a word processor designed for authors, which makes it easy to organize scenes, shift things around, and keep track of notes and research. I’d highly recommend it to any writer—it’s great for managing large projects without getting lost in the chaos (other writing software is available).
Once the story finally makes sense to me I call it done (the first draft), then it’s on to editing—which is an entirely different beast.
What do you find most challenging about writing? What do you find the easiest?
For me, the easiest part is coming up with ideas. It always makes me laugh when people hear I’m a writer and say, ‘I have a great idea for a novel—you write it, and we’ll split the royalties!’ Sorry, but I’ve already got more ideas than I have time to write!
The most challenging? Like any job, it’s ‘bums on seats’—actually putting in the work once the initial excitement wears off. I call it a job, but at the end of the day, writing is a hobby for me, which makes it even harder to push through when I’m not ‘feeling it.’ The fun is fleeting; most of the process is a slog. But you have to remind yourself that it’s worth it in the end—when you finally see the finished story take shape. Holding a copy of your own book in your hands is quite a thrill.
How do you handle writer’s block?
I don’t really get writer’s block. I get writer’s procrastination, writer’s laziness, writer’s ‘pampered ass can’t be bothered today.’ If it gets really bad, I’ll start a new project—at least that way, I’m still writing.
What I do get is editor’s block—rereading the same chapter over and over, knowing it’s not right but not knowing how to fix it. That’s far more frustrating. As an independent writer, I don’t have the luxury of hiring a professional editor, but I would if I could afford it!
Feedback is like gold for writers, but it’s almost impossible to get while you’re working. Once the piece is done, it’s usually just, ‘That was good,’ or, ‘I didn’t like that,’ but nothing that helps you improve. It’s a very solitary process.
Do you have any advice for others looking to become a writer, particularly those in the dissident/pro-white sphere?
Don’t —seriously, don’t get into writing to make a living. It’s not worth it. These days, a ‘best seller’ might sell only a thousand copies. If you feel you have to write, though (like I do), here’s some good news and bad news.
The bad news? Mainstream publishing is essentially dead for anyone even slightly to the right of center. Unless you’re ticking all the ‘diversity’ boxes, forget about getting an agent, landing a contract, or seeing royalties. After years of trying to break into traditional publishing, I gave up. I won a few competitions, but agents and publishers would say things like, ‘This is good, but not what we’re looking for at the moment.’ Meanwhile, NK Jemisin was raking in Hugo awards, surpassing legendary authors like Heinlein, Herbert, and Asimov, writing about feelings in space…
The good news is that the market has adapted. There are growing numbers of independent publishers now who will look at your work and publish stories that people actually want to read, based on merit—not just those that tick all the boxes. The ‘Big Four’ are dying, with fewer people buying their books despite them being the only ones available in high street bookshops.
I’ll be forever grateful to ‘Big’ Dave Martel for publishing me in The Bizarchives and reigniting my passion for writing. Publishers like Antelope Hill, Passage Press, Man’s World Magazine—they hold competitions and publish winners. Aureus Press has Aegeon, which focuses on sci-fi by ‘our guys.’ Even more neutral publishers like Cirvosa, The Islander, and those in the ‘Iron Age’ scene are taking submissions and judging them on merit.
And if all else fails, you can do it yourself. Amazon’s KDP platform lets anyone publish and distribute their work worldwide. If you really need to write, there’s nothing stopping you!
