Interview by Julian Shendelman
A CONVERSATION WITH WARREN R. BASLA, Author of The Blade of Milan (Winged Victory)

The Blade of Milan, set in 13th-century Italy, follows Rebecca Guarna as she carves her way free of a gritty past and into an action-packed world of deception. Author Warren R. Basla creates a page-turning adventure for readers looking to escape into a dangerous, action thriller from the safety of their couch. Basla’s 20-year career as an educator shines throughout the novel’s brisk, contemporary narrative grounded in a well-researched historical setting. In this interview, writer Julian Shendelman and Basla discuss his love for bringing history to life and the decision to independently publish his debut novel. 

Julian Shendelman: How would you describe The Blade of Milan’s genre, and where does it fit on the bookshelf?

Warren R. Basla: Historical thriller! In my opinion, The Blade of Milan would sit on a shelf between Nicked by M.T. Anderson, which is a medieval heist, and the stylized action of Oliver Bowden’s Assassin’s Creed book series. Historical fiction offers a rich fabric to tell stories with vibrant settings. I enjoy exploring what is real and what could be assumed in recorded and unrecorded history.

Julian: The novel moves quickly. Is the brisk pacing a trait of historical thriller or something you’re adding to the genre?

Warren: The thriller element and brisk pacing is something I wanted to bring into the historical fiction to make the writing feel striking and cinematic. I prefer writing lean, lively prose with short chapters and scenes that move quickly, making my novel less conventional than typical historical fiction while still being grounded in historical context.

Julian: With a novel set in the thirteenth century, you must have done a lot of research. How do you decide which parts are compelling for the reader versus what stays as background scaffolding?

Warren: It was important for me to give readers a strong sense of place: when were buildings constructed? When did landscapes become recognizable to modern visitors? Also, I wanted to focus on social norms and expectations to ground plot decisions in reality. The goal was to immerse readers without slowing them down with history textbook details; I’ve already done the homework, so readers don’t have to be bogged down by it.

Julian: When we meet your main character, Rebecca, she is living in a brothel. Was it hard to find information about the lives of women or sex workers at that time?

Warren: It’s well documented that sex work provided tax revenue for communes in medieval Europe. There are well-documented travel guides through medieval Europe, texts about everyday life, and historical records showing brothels also functioned as inns for travelers. The research showed these were normal parts of life, documented by pilgrims, merchants, and judicial systems tracking revenue sources.

Julian: What materials did you create as scaffolding for your writing that didn’t make it into the final text?

Warren: I needed to create a list of period-accurate character names. Also, calculating time and distance between cities for horseback travel was essential. Another fascinating piece of research was learning how medieval Europeans talked about time (sext, terce hour, none hour). Understanding these rules of the world was important for atmosphere even if not heavily detailed in the text.

Julian: Was Rebecca Guarna always at the center of your conception, or did she emerge as you were writing?

Warren: Rebecca was the central point of writing this book. She was originally a main character in a previous novel I drafted during the pandemic, but I had to put that away for the time being as I needed to develop different skills to complete the manuscript. Rebecca intrigued me because she bottles up emotion so well, providing unlimited story fuel. I also poured some of myself into her—my own arrogance, frustration, and search for purpose in my early twenties. Telling a tight story focused on Rebecca’s origin story felt natural.

Julian: Rebecca gets swept up into a league of assassins sworn to protect the pope’s interests, which holds a certain irony given her religious beliefs. Do you feel Rebecca’s atheism is driven by her experiences of abuse, or did that come from something else?

Warren: Her questioning of faith persists throughout the book. While unusual for medieval Europeans to be straight-up atheists, there was extreme superstition, and people likely questioned social norms around religion as an institution. Rebecca begins her story asking why hypocrisy in institutions like the Catholic Church exists, and her personal challenges make her feel distant from the love, hope, and faith values that are part and parcel of Catholicism.

Julian: How do you balance the realism of historical misogyny with having creative control over the world you’re building?

Warren: Leaning into inequities in society that permeated every level of existence was a central focus in my writing process. While many women in medieval Italy went into convents, got married, or worked in brothels, many also led trade guilds, were brewers, or formed early medical professions. Everyone gets dealt a random hand at life, though. Rebecca’s journey is about navigating her particular existence while acknowledging that some women were dealt great hands, if born into elite families, while others not so much. There is a twinge of feminism in showing an independent, free-thinking young woman trying to buck a system where she was dealt a difficult hand. I think it works.

Julian: What is it about this moment in history that captivates your attention?

Warren: The novel is set in 1285, which is right at the end of a thousand years of Crusades, the last one being in 1292. Europe is on the brink of a massive multi-republic, socio-political change. The Pope sat in Rome and the Holy Roman Emperor in Austria—both competing for economic control and followers. The Mongol Empire was at its zenith, with the Silk Road connecting ideas, goods, and people from one end of the world to the other. It’s a few decades before the Black Death ravaged Europe. So much history is recorded, deliberately not recorded, or simply lost, providing great settings for fiction about what life would be like for individuals like Rebecca.

Julian: Can you tell me about your writing and editing process? 

Warren: The ten-month collaborative process was intensive but a treat. I wrote a fast 100-page draft that two beta readers “ripped to shreds,” pointing out logic holes and lack of connection with Rebecca. This helped me write a full draft addressing their questions and understanding how to best tell this story. Then a third beta reader provided insights on structure and character arc. My professional editor did the developmental and copy editing, reinforcing the feeling that my story was well told. Once the graphic designer came on board, it all came together. He read the full book to nail the tone of the cover to the story, resulting in a final product I love. 

Julian: At what moment did you decide the story was done?

Warren: After three and a half drafts—with months between each for fresh perspective—I felt like I said what I wanted to say. Continuing would just be adding paint to the canvas without illuminating anything new. Having a professional editor confirm this told me my instinct was correct. I did need to complete three rounds of proofreading with the physical book, but that was for quality control.

Julian: Why did you choose to self-publish?

Warren: Two main reasons: time and agency. The book was done in March 2025. I knew I said what I wanted to say, so I was ready to get it out into the world. I learned that the traditional publishing process could take two to three years for my novel to reach readers, and my story might be edited into something that I didn’t recognize. Self-publishing allowed me to produce it in six months. I chose the editors and designer I collaborated with and felt like a partner in the process. Now that the book has a release date of November 18, I’m promoting it, which I’m comfortable with due to my professional work as a director of development at a small education non-profit. I’m responsible for telling stories to raise awareness. There were plenty of marketing techniques that segued nicely into this part of my writer’s journey.

Julian: How did self-publishing help you retain agency and creative control?

Warren: With traditional publishing, you get opinions from agents, publishers, and editors, potentially resulting in a “Frankenstein” product after many compromises. There’s nothing wrong with trad publishing, but I wanted to stand behind the final product knowing exactly what it is. People in my writing group have had heated debates about character motivations and decisions, which tells me I made the right choice. That deep engagement shows me I did something right with my writing, and I’d rather people be frustrated or upset than not care at all.

Julian: What do you want people to take away from the story?

Warren: I want readers to feel empowered—that while many difficult decisions are made for us, how we show up to make choices is on our shoulders. Agency was an important component. If you’ve felt the lively, dangerous adventure with a high-stakes thrill ride from the safety of your couch, then The Blade of Milan was time well spent. Ultimately, I want you to be entertained.

Julian: What advice do you have for other writers?

Warren: My two pieces of advice: first, if you have an idea you can’t shake, that’s the story you should write. Your mind is clearly fixated on it for a reason. Second, lean into the community. Invite people into the process—writers’ groups, beta readers, even just telling people you’re writing. This opens dialogue and connects you with the lived experiences of other people that can shade what you include in your story. Connecting with other people is essential.

Julian: What’s next for you in terms of writing projects?

Warren: Oh, more historical fiction novels! Specifically, I’m drafting a heist in the same world and time period as The Blade of Milan. I serve as an Advisory Board member with Blue Stoop, a literary non-profit that serves as a “home” for Philly writers. They offer amazing courses. I’m taking an Intro to Writing Comics class this fall. As a huge graphic novel and comic book fan, I love how the medium covers such a wide range of themes, from fighting fascism to being comfortable in your own skin. My sister, who is an immensely talented artist, and I plan to collaborate on a limited run combining my writing with her art.

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The Blade of Milan was released November 18, 2025, and is available from all major booksellers. 

Warren R. Basla holds an MS in Global & International Education and BA in Cultural Anthropology from Drexel University. He has been a youth advocate for over 15 years in Philadelphia and is currently a director of development at an education non-profit. Warren provides fundraising guidance to Blue Stoop as an Advisory Board member. The Blade of Milan is his debut novel. 

Julian Shendelman is a literary community organizer. He co-directs Blue Stoop, a hub for Philly Writers and runs Collective Lit. Julian has been published by Philadelphia Stories, Cleaver Magazine, Thirty West, and others. He is passionate about building strong communities, having organized with the Bay Area Trans Writers Workshop and The People’s Fridge.

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