The TARDIS Tales Treasury

The newly-published TARDIS Tales Treasury is a collection of all of the published comic strips by the funny and talented Graham Muir. Graham is a New Zealander who is well-known in local Doctor Who fandom for writing and drawing a long-running humorous comic strip called TARDIS Tales, which often mercilessly poked fun at various aspects of the television series.

The strip's main character was not the Doctor himself (who nevertheless usually appeared in one or more of his incarnations), but rather Saucer, a smart-talking, laid-back, super-intelligent chicken not adverse to ridding himself of bothersome characters in the final frame with a knock-out punch or a blast from a sub-machine gun.

TARDIS Tales made its debut appearance in 1988 in the pages of Time Space Visualiser (TSV), the New Zealand Doctor Who Fan Club zine. The strip was a well-established regular feature by the time I took on the editorship of the publication for the second time in 1991.

When I became editor I gave the zine a major revamp, changing almost every aspect, but the only feature that I was happy to retain unaltered was TARDIS Tales. I admired Graham's talent and passion for the strip and recognised that his creation had a strong following with readers. I don't recall my exact words all these years later, but I'm fairly sure that my directive to him would have been along the lines of, "keep doing what you're doing, it's great."

Excerpt from TARDIS Tales: The U.N.I.T. Reunion (1992)

TARDIS Tales finally bowed out of TSV six years later. Such was the clamour from fans for new material that Graham was subsequently  persuaded to create a handful of spin-off strips for Telos and Reverse the Polarity!, a couple of Christchurch-based fanzines.

The TARDIS Tales Treasury collects all of Graham's fanzine strips, along with his artwork and some fascinating previously unseen examples of his early unpublished work, under one cover. For the first time Graham's strips are presented at 1:1 scale. I produced TSV's physical masters (in the days before digital publishing) at A4 size, with the printed copies reduced to A5-sized pages. Graham drew his strips at A4 but until now many readers have never seen TARDIS Tales at full size.

But wait, there's more! In addition to the strips and artwork there is also a substantial 'behind-the-scenes' history and examination of the strip, occupying most of the first 75 pages of this 200-page book. Written by Alex Ballingall, the book's editor, compiler and designer, the text section comprehensively chronicles Graham's cartoon work from its beginnings when Muir was doodling during his school days up to the latest (and last?) TARDIS Tales strip completed especially for the Treasury in 2010.

The paperback book is handsomely presented with a full-colour cover by Graham that is a fitting homage to The Dr Who Annual from 1968.

The book has been a long time in development. It was over a decade ago that I first organised a set of copies of the strips from the TSV print masters for this project. I later contributed comments for inclusion in the 'behind-the-scenes' sections and more recently an afterword. Thanks to Alex's perseverance the book has at last been published. 

I am most impressed with the look of the finished, printed book, and it clearly shows that Alex has devoted a lot of time and attention to getting it just right. 

Leafing through this volume I am now inspired to showcase more of TSV's 'back-catalogue' in this format.

Well done, Alex and Graham!

The TARDIS Tales Treasury is available to order here:
http://www.lulu.com/shop/graham-muir/the-tardis-tales-treasury/paperback/product-20381010.html

The Book has Arrived!

I collect Doctor Who books. I have hundreds of the things carefully arranged on floor-to-ceiling shelves around the walls of my study. I love receiving each new title, but the arrival of today's latest addition to the collection was far more exciting that usual. 

A box of author copies of my book, The Comic Strip Companion, including paperbacks and one hardback copy, arrived by courier this morning.

I was out at the time, enduring a uncomfortable hour-long session at the dentist. I arrived home with a numb mouth to be greeted by my wife Rochelle with the news that FedEx had called by to drop off a box for me.

Excitement overcame the drowsy after-effects of of dental surgery as I cut open the package and handled for the very first time actual, physical copies of my book. It really existed!

I'm in New Zealand; Telos, my publisher, is in the UK. I've spent the last week hearing from enthusiastic  overseas readers who've received the book, whilst all the time I've been eagerly awaiting my own as the books made their way around the globe. 

I knew that the book had been printed and distributed. It's just that until I held the finished published copies in my hands it didn't feel completely real to me. Just feeling the solid weight of the limited edition hardback with its glossy cover, or leafing through the only slightly more manageable paperback, is an indescribably satisfying feeling. 

Entirely coincidentally, the book has arrived in my hands almost exactly five years after signing the contract (on 26 September 2007), and one year after delivering the manuscript (on 21 September 2011).

(Author's expression in these photos due to numb upper lip...)

The Comic Strip Companion Sampler

I'm delighted to offer a set of sample pages from The Comic Strip Companion: The Unofficial and Unauthorised Guide to Doctor Who in Comics: 1964–1979.

As someone who often buys books online, I'm a great believer in the value of offering a preview of the contents and I've frequently decided to purchase on the strength of reading sample pages.

The PDF sampler is downloadable from the link below. It includes the contents pages, the first story entry, and one of the 'interlude' articles.

This should provide a taste of what the book's about and how I've approached writing about the comic strips.

The Comic Strip Companion Sampler

Thank you to David J Howe at Telos Publishing Ltd for arranging the sample.

Limited Hardback Edition

The plan was that The Comic Strip Companion would only be available in paperback but, when it was first made available to pre-order in June this year, a number of fans expressed their preference for a hardback version. Telos do not always produce hardback editions for their titles but, in response to popular demand, one is now being produced for my book.

The limited hardback edition (I'm told that over half the allocation has already been pre-ordered), features a different cover design to the paperback version. David J Howe at Telos wanted something special for the cover so sought out an artist who worked on the original comic strips to create a new painting especially for the book. I'm simply delighted that Bill Mevin has painted the cover.

Bill Mevin's association with Doctor Who comics dates back to the mid-1960s. He was the second artist to work on the the Doctor Who strip in TV Comic, over a six-month period from October 1965 through to April 1966, and was the first to illustrate each of the strip's weekly instalments as full colour paintings (his predecessor, Neville Main, had drawn the weekly strip in black and white). Mevin's cover painting features William Hartnell's Doctor, which is appropriate as his Doctor was current at the time that Mevin was working on the strip.

Both editions of the book are 608 pages (yes, considerably longer than as originally advertised!) with an eight-pages in colour displaying a number of the comic covers from the 1960s and 1970s.

The book was sent off to the printers yesterday. Now there's a wait of around six weeks until it is due to be released at the end of September. Oh the anticipation!

TSV and Time Unincorporated

Time, Unincorporated is a series of books published by US-based Mad Norwegian Press reprinting collections of Doctor Who fanzine articles. Volume 1, issued last year, collected the writings of prolific fanzine contributor and author Lance Parkin. Volume 2, issued earlier this year, is a collection of essays broadly themed around the classic series by a various writers.

I recently purchased a copy of Volume 2 and have been dipping into it over the last week. Some of the material has a ring of familiarity. This is because over a third of the essays originated in the pages of Enlightenment, a rather wonderful long-running Canadian fanzine that I’ve been following for many years. Up until recently, Enlightenment was edited by Graeme Burk, who also, perhaps unsurprisingly, co-edited the second volume of Time, Unincorporated. I’ve corresponded with Graeme online a number of times over the years but we’ve never actually met.

Even though I’ve previously read some of the articles, I’ve thoroughly enjoyed this great collection of intelligent and thoughtful writing, which also includes pieces from other fanzines such as Shockeye’s Kitchen, Dark Circus and Shooty Dog Thing. Although it is purportedly a collection of fanzine articles, over a third of the 74 essays have never been printed within the pages of a fanzine. There are a number of pieces from the Doctor Who Ratings Guide website and others were written especially for this book. I have no problem with this, though I do think that the inclusion of two chapters from the recent book Time and Relative Dissertations in Space (published 2007) is unwarranted. I’m sure that like myself, many other readers will have purchased both titles, rendering such duplication redundant.

The Time, Unincorporated series is of interest to me both as an enthusiastic supporter of fanzines and as a fanzine editor. So far the series has not featured anything from my own publication, Time Space Visualiser, but that is not a reflection on the quality of material. The omission is in fact due to future plans for the series. To quote from the foreword to Time, Unincorporated Volume 2:

Outside the UK, one of the most influential zines published over the past twenty years is TSV (Time Space Visualiser), the fanzine of the New Zealand Doctor Who Fan Club, but it’s hoped that TSV will get a future volume of Time, Unincorporated all to itself.

That's very flattering to have my fanzine described in such glowing terms. It was not until I bought a copy of the book and read the foreword that I realised that plans (however tentative) for this future volume had now been made public.

Publisher Lars Pearson first ran the idea past me of putting out a TSV themed volume of Time, Unincorporated back in 2008. Soon after that Graeme asked if he could publish material from TSV in the volumes he was compiling. These two approaches seemed to me to be at odds with each other. Naturally Graeme would have wanted to pick out the best and most interesting pieces from TSV’s back catalogue, leaving the later TSV specific volume lacking some of its showpieces.

We did not get as far as discussing the individual items under consideration for reprinting, but Lars, Graeme and myself all agreed to hold back all TSV material for its own volume. In retrospect I can see that this decision denied Volume 2 of some of its potential diversity. The reason that there is so much material from Enlightenment in that book I think is at least partly attributable to the withdrawal from consideration of anything from TSV.

There are many more volumes planned in the Time, Unincorporated series, and Lars has indicated that the TSV volume will be some way down the track. So, as yet, I’ve made little progress with this project. I have at least made a start on assembling a list of contents.
It has been interesting to look back through past issues and select pieces that I believe are deserving of a place in the collection.

For copyright reasons, the book will not feature fiction or artwork, so the collection with be comprised of articles and longer story reviews. There are several pieces that have reappeared in other publications which may count against their inclusion. In addition, I will need to seek permission from each and everyone of the writers whose material I want to use. I have kept in contact with many past contributors, but I daresay there will be some individuals who will require a bit of detective work to track down.

I think too, that just as Graeme has done in his volume, I may commission some original pieces for the collection so that, even for someone familiar with all 76 past issues of TSV, there will still be something new and interesting to discover in the book.

Priest and Prestige

I first encountered the work of British science fiction author Christopher Priest in 1987 when I purchased a secondhand copy of his novel A Dream of Wessex in the Old Book Cellar on Albert Street, Auckland. That shop has sadly long since disappeared, but my admiration for Priest's writing has endured for more than two decades.

I have all of Christopher Priest's novels and short story collections, and own as many as four different editions of each book. In my defence I'll point out that Priest does sometimes revise his work in later editions so a certain degree of duplication is essential to keeping up a full set of his work (that's my excuse anyway, and I'm sticking to it).

Priest's books have sat untouched on my shelf for a few years now, not through any disillusionment, I hasten to add, but simply because he hasn't put out anything new to re-engage my interest in recent years; his most recent novel The Separation was published in 2002. I renewed my interest in Priest's writing when, whilst recently scanning my bookshelves for something to read, I pulled out The Separation (I only own one copy of this particular title!).

The Separation is a complex and compelling epic story following the lives of twin brothers who experience very different versions of the events of World War II. The novel presents conflicting, overlapping versions of reality and the reader is left to make sense of which bits are 'real' and which are illusory. It is a distillation of the recurring themes of identity, of mirrored experiences and of perceptions of reality which appear in many of Priest's books and short stories, and mark him out as, in my view, a simply outstanding writer.

While still engrossed in re-reading The Separation I was inspired to find out if there was any news of Priest's next novel, so I looked up his website. I'd discovered and bookmarked this a few years back but hadn't visited it in a while. I was pleasantly suprised to discover that in the interim Priest had established his own imprint, GrimGrin Studio, and had so far published four of his own books which were available to purchase via mail order.

I promptly sent off an enquiry email to Priest, with a heady mixture of awe and delight at the fact that I was communicating directly with someone whose work I had admired from afar for such a long time. I received a very pleasant and informative reply from the man himself, telling me all about his new and upcoming books. I sent off my paypal order last week and yesterday received four very handsome editions, all signed and personalised.

I've already finished reading one of those four books, The Magic: the story of a film. It is a fascinating insight into both the novel and the film versions of The Prestige. Even if you've never heard of Christopher Priest it's likely that you will be aware of this box-office-topping 2006 film directed by Christopher Nolan, with its all-star cast of Hugh Jackman, Christian Bale, Michael Caine, David Bowie and Scarlett Johansson.

The novel on which The Prestige is based was published in 1995, eleven years before the film's release. In The Magic Priest begins by revealing his inspirations and the writing process. I was astonished to learn that he wrote the novel as three drafts, each a complete re-write with no cutting and pasting from the previous version.

The narrative then moves on to various bids for the film rights, with Priest opting in 2000 to take a chance on the then little-known director Christopher Nolan. Nolan is best known today as the director of the incredibly successful Batman Begins and The Dark Knight, but back then all Priest had to go on was Nolan's low-budget, independent film The Following. Priest had no input on the screenplay for The Prestige, which was written by Nolan's brother Jonathan. He was keep so far out of the loop during the long period between the initial optioning of the film rights and the film's eventual release six years later, that incredibly his only source of information about the film was what he could glean from the internet via Google Alerts.

In his descriptions of going to see the film, at first at the press screening and twice more at the cinema, Priest appears to be an anonymous observer in the crowd; his only concern after the initial screenining is to dash off to his train, and is later able to eavesdrop apparently without fear of being recognised as cinema goers discuss the film.

The last few chapters of The Magic are given over to an analysis of how the film differs from the novel and Priest's views on what worked and what was less successful in the screen version. He might be forgiven for coming across as a little bitter at some of the decisions taken with the material, but it is a balanced, well-considered appraisal.

The two stage magicians, Borden and Angier, central to the story of The Prestige are rivals each seeking to comprehend the secret behind the other's 'vanishing man' act. It strikes me that there seems to be a slight metatextual echo of this in The Magic. It is a stretch to describe the two Christophers, Priest and Nolan, as rivals, but certainly there is an element of a clash in the British author and the Hollywood director's respective visions of the story in different mediums, but when Priest admits in The Magic that he is unable to figure out how Nolan achieved certain shots this seems to mirror something of the magicians' inability to discern exactly how the other's prestige is achieved.

The Magic leaves me wanting to re-read The Prestige, something I'm certain I'll do quite soon now that I have embarked on my re-read of Priest's oeuvre (right now, I'm mid-way through The Extremes), but I also want to re-watch the DVD of The Prestige. I was disappointed by the film the first time I saw it, feeling that it wasn't a patch on the novel, but having read Priest's own views on the film's strengths and weaknesses, I'm keen to give it another go.

120,000 words

As of tonight I've hit two targets in the writing of my book, The Comic Strip Companion.

I've just completed another chapter - that's eleven in total I've written now (another six to go before the book's finished). I've also just passed the 120,000 word mark. This is a significant personal milestone.

When I started writing the manuscript last year I estimated that the entire book would be 120,000 words long. The contract I signed with the publisher stipulated a 100,000 word minimum; I thought at the time that 20,000 words over this would be a comfortable margin.

It has long since become apparent to me that this was an hugely overly conservative estimate, and I now expect that the book will end up being somewhere around 185,000 words.

The process of writing the book has been governed by setting targets and planning ahead. I have mapped the book out on an Excel spreadsheet and I update this each day. My aim has been to write about at least one complete comic strip story each day, though of late my writing time has been reduced to three days a week due to other commitments.

I wanted to complete the latest chapter before taking a few days off over Christmas, and I've managed this with a few hours to spare; next week it'll be time to open another Word document and start work on another chapter, every day a step closer to completion!

Getting back into the Groove

Today has been a day of shifting gears and getting back on track.

For many months now, I've been writing The Comic Strip Companion, a book about every Doctor Who comic strip created in the 1960s and 1970s (and yes, there are a lot of them).

I had to lay the book to one side to tackle another, quite different writing job. I can't say much about that other piece of writing yet (I'll blog about it when it's been announced), but I will say that this was a hugely different discipline to writing the book, and I found it enormously challenging to get into the right headspace for the duration. That's now done and delivered.

So, after about a month of doing very little on the book, I've just resumed work on it.

Time to take stock. Where am I at with this? A few facts and figures might help. When I left off in mid-August, I'd completed the first drafts of nine chapters, which between them cover 87 comic strip stories. My total word count when I left off was 98,116 words (Believe me, I was sorely tempted to push on to the next chapter to break that psychological 100,000 barrier!).

I've another five chapters to write, plus three appendicies which are each probably going to be long enough to be considered chapters in their own right - so there's still a lot left to do.

Today, rather than launching straight into a new chapter, I decided to get back into the mindset by revising Chapter Six (which covers the comic strips published in 1970). The revisions included adding in a whole new subsection, and trimming down some overly wordy bits.

Having completed this revision, I took the plunge and sent this newly polished chapter out to a test audience for feedback and comments. I held off doing this until now because I didn't want the distraction of replies while I was working on the Other Project. Now it's time to start soliciting and receiving that constructive criticism. I've emailed a group of seven readers, and just hours later, I've already received my first feedback which has already got me thinking about making a few tweaks to the format. I'll hold off doing that though until I see what the others have to say.

Campaign

The Crusade is not the only 'lost' Doctor Who story featuring the First Doctor that I’ve helped rescue from oblivion. I also had a hand in the restoration of author Jim Mortimore’s self-published novel, Campaign.

Jim’s novel has a fairly turbulent background. Campaign was originally commissioned by BBC Books as a purely historical adventure set in various time periods during the life of Alexander the Great, but the book Jim delivered was late, underlength, and differed radically from the original synopsis, becoming a mind-bending adventure about multiple realities set largely within the confines of the TARDIS and, for the most part, only tangentially dealt with Alexander’s life. The book was cancelled so Jim took it upon himself to self-publish the book for charity in 2000.

The limited-run paperback proved popular with fans, garnering many online rave reviews, and consequently completely sold out of its limited print run.

In late August 2006 I was browsing the Outpost Gallifrey Doctor Who discussion forum, and read a thread about how copies of Campaign, which was by now long out of print, was changing hands for large sums of money on Ebay. My only prior contact with Jim Mortimore was when I had bought copies of Campaign off him years earlier, but I dropped in an email suggesting that he take a look at the TSV website where David Bishop’s Who Killed Kennedy novel had been reissued as an ebook free for all to read and accompanied by new supplementary material including a chapter-by-chapter commentary. I proposed that if he was interested, we could perhaps do something similar for Campaign.

Jim responded positively, writing “THAT is a brilliant idea. What do you need from me?” and started bombarding me via email with some highly creative suggestions including randomised alternative endings, a complete rewrite of the manuscript, an interactive slideshow, and especially composed music (Jim’s also a musician) to accompany the book. None of this eventuated, but it demonstrates just how enthusiastic Jim was initially about the project.

We soon struck a major setback; when I’d worked on the Who Killed Kennedy ebook David Bishop had been able to supply me with an electronic copy of his complete manuscript which made things fairly straightforward. After some time spent searching his files Jim confessed that he couldn’t find a copy of his manuscript; it had apparently been lost forever in a PC crash a couple of years earlier.

I could sympathise with Jim’s predicament; I lost many years worth of TSV files in my own disastrous computer hard drive failure in 1998, and subsequently spent ages painstakingly restoring these by scanning pages of the print master copies. Scanning a copy of the book was the only practical solution that would enable the continuation of the Campaign ebook project. I scanned the first few chapters from my own copy, but as anyone who has ever tried to do this with a paperback book will attest to, this is very tricky and results in both poor quality scans and a book with a wrecked spine.

Jim sent me a defaced copy of the book that I could use instead. The only way in which it was 'defaced' was that Jim had written a dedication on the title page and then scribbled it out. I didn’t allow myself to think about how much the book could still have fetched on ebay, as I took a sharp knife and sliced away the spine. The result was a set of perfectly flat pages that made scanning considerably easier, if still very time-consuming, but on 26 January 2007 I scanned the entire thing from end to end, and tidied up as many of the text recognition errors as I could find to create a Word document of the complete novel.

Jim was delighted to once again have an electronic copy of his novel, and told me he was going to set about restoring it to its original layout and also begin work on the supplementary features. I told him to take as much time as he needed, and in June 2007 he emailed me three documents. The first was an article tracing the history of the book from his initial idea through to its final cancellation; the second a chapter-by-chapter commentary, and the third a collection of reviews of the book harvested from various internet sites. These items were, in total, almost as long as the novel itself.

I had three main concerns about the content of these three articles. Firstly, Jim had included a great deal of the private email correspondence between himself and various individuals at BBC Books, some of which pertained to a dispute over the book’s commissioning and contract. I was naturally worried that if this material was published on the TSV website we could potentially invite legal action from the individuals concerned. Secondly, Jim hadn’t held back in his use of swear words in his commentary and while this was clearly genuine and heartfelt, I was mindful of the broad age range of fans reading at the TSV website, and felt the swearing needed to be toned down. Lastly, I wasn’t comfortable with a wholesale reproduction of all of the reviews from other sources, especially if these could still be found elsewhere online.

I put this feedback to Jim and he agreed to try to seek the necessary permissions. I didn’t hear much from Jim for several months. He finally got back to me in November, saying that the permissions would not be forthcoming and conceding that a rewrite was therefore required. Jim asked me to edit out what I thought needed to be removed, but by early February 2008 I still hadn’t found time to do this as I was by now working on a book project of my own and had little time to spare. I suggested to Jim that I pass the project on to Jamas Enright. Jamas is a long time TSV contributor who has done some excellent work proof reading the online reissues of TSV. Jamas admired Campaign, and his online review of the book was among Jim’s collection of critiques from the internet.

Coincidentally, in February 2008, the Doctor Who Forum’s Campaign discussion thread has a comment from a member with the user name ‘fridaydalek’, saying “Anyone know if Mr Mortimore plans / can be persuaded to release an ebook? Who Killed Kennedy is available in this format.” This was uncannily close to the truth of what had been in the planning stages for over a year, but no hint of this had been disclosed to more than a select group of people directly involved with the project. Another user responded saying that this couldn’t happen because Jim had been threatened by the BBC’s legal department. Jim was quick to post a reply himself saying that this wasn’t true, he’d never had any such contact from the BBC over Campaign.

Jamas began working with Jim on editing the Campaign supplementary material in early March, but another setback came in later that month when Jim emailed both Jamas and myself out of the blue to say that he was pulling the ebook project and was instead going to publish the book with all of the controversial emails intact. I was understandably most disappointed at this sudden about face. I challenged Jim on his reasons, and his explanation was that although he was fine with the work Jamas had put in, he was sick of the way he had been treated by BBC Books and wanted the whole unexpurgated truth to come out. The trigger for this was an experience he’d just had with Big Finish over a Doctor Who audio play that he’d been commissioned to write and was then cancelled. Jim said, “The fact is I’m sick of being kicked in the arse for doing what people ask, and having no recourse but to allow them to make it out to be my fault when their lack of professionalism sends the whole sorry mess spiralling down the pan.”

A month later, Jim emailed again to say that he’d reconsidered, and was now happy for the ebook to appear online, with Jamas’s edits intact. Jim wrote: “Why? I hear you mumbling, in weary abandonment. You were right. You guys put a f**kload of work into this and this book would not now exist without you. That means a *lot* to me. Far more than any stupid gripe with a f**kwitted editor.”

Campaign - the ebook version – was published online by TSV website editor Alden Bates on Monday 28 April, the day before I flew out to the UK for a five week holiday. I made a tentative arrangement with Jim to meet up for a beer in London to celebrate the relaunching of Campaign, but circumstances alas prevented me from finding a suitable time to do this.

Jim went ahead and got new editions of his book published in hardback, with all of the supplementary material in the back. Jim promised copies of this new edition for myself, Jamas and Alden as a thank you for the work we’d each put into the project. In August the books were finally posted to us and turned up in the mailbox just a couple of days ago.

The new edition is a heavy substantial hardback printed on good quality paper with a glossy, full colour dustjacket. I’m name-checked in the book’s introduction, and it’s a pleasure to not only be associated with such a good-looking tome, but also to finally have a copy of the book I helped in some small way to make possible, almost two years to the day after I first suggested to the author that it ought to be reissued.

The online version of Campaign can be found here.

Taking the Plunge

Today is my first day as a freelance writer.

After a full six and a quarter years working at the head office of Noel Leeming Group, yesterday was my final day as an employee of that company. It was both rather sad and also rather liberating at the same time. I was acutely aware over the course of the day that I was performing for the very last time each of the daily routines I’d done many hundreds of times over. I felt the weight of so much personal history and experience invested in that location, and in those tasks, gradually lifting from my shoulders.

I was very touched by the genuinely unexpected and welcome send-off by many of my friends and colleagues at NLG. I’d been there so long that I don’t think there was a single person at my morning tea send-off who had been working for the company when I joined way back in January 2002. As I said in my farewell speech, it is the people whom I’ll miss most of all. I’m hoping to keep in contact with some of them.

I left under entirely amicable circumstances; my position was dissolved due to some minor restructuring by the company, but this wasn’t unexpected as two and a half years ago I was advised that my job would eventually be reviewed and altered in some fashion. I was offered - and readily accepted - redundancy.

This was rather good timing as for a while now I’ve been considering devoting more time to what up until now has been my 'secondary career' as a writer. Regular, paid employment was too appealing to give up voluntarily and I needed a push to propel me outside of this comfortable stability.

I haven’t mentioned anything on this blog until now about my paid writing commissions because they've yet to be publicly announced by the respective publishers, and it’s bad form to disclose too much beforehand, but I will say that one is a guidebook about Doctor Who comic strips of the 1960s and 1970s that I’ve been working on in my evenings and weekends for most of the last year, and the other (a far more recent commission), I cannot say anything about yet as I’ve been asked to keep this confidential.

Both jobs will undoubtedly keep me busy as a full-time writer for a least the next several months, and there is the prospect of more work to follow, with a second, follow-up volume about the comic strips under commission and possibly also another writing job to follow on from the first one I cannot talk about yet, contingent on how my first piece turns out.

I’m under no illusion that these jobs will earn me enough to keep writing fulltime long-term; I will no doubt need to seek out a new job so that I don’t end up draining all of my savings, but for most of the rest of 2008 it is my intention to live the life of a fulltime, freelance writer. It’s something I’ve dreamed of doing ever since I was a teenager and I’m excited and just a little daunted at the realisation that this day has finally arrived.

The Unquiet Dictionary

I love well-researched reference books about television series. My shelves are full of them. The latest and perhaps best book about New Doctor Who is The Encyclopedia by Gary Russell. It is as the title indicates, a lexicon of every person, alien race, location, device and more featured or mentioned in the new series. Some of the entries are a little questionable (I'm not sure, for example that Kylie Minogue deserves an entry of her own simply on the merit that the Doctor quoted a line from one of her songs; or why it is that the Master's alter egois always referred to as "Harry Saxon" and not "Harold Saxon").

The book does however render entirely redundant a project that was once in development for TSV. The plan was to publish a Ninth Doctor Dictionary encyclopedia covering the 2005 series as part of an issue or possibly as a special supplement. TSV editor Adam McGechan masterminded the project and assigned each of the ten stories to a different writer. I selected The Unquiet Dead, which remains one of my favourite episodes from the first series. I worked on this in October 2005, and the Dictionary was planned to appear in TSV 72, then in issue 73, and thereafter it was shelved indefinitely. I'm not sure why, but perhaps it was to do with the difficulties inherent in coordinating and consolidating the work of ten writers, each with their own style and views about what should and should not be included.

After receiving my copy of Gary Russell's Encyclopedia, I unearthed my old notes for The Unquiet Dead entries and compared them to Gary's book. Interestingly there were a number of items I had entries for that do not appear in the book, including: Bleak House; Cardiff and Methyr Guardian, The; Cardiff Children’s Hospital; Christmas; Gloucester Chambers; Hillman, J, Milliners; Llandaff; Llwyd, Mr Fred & Mrs Frederick; Martin Chuzzlewit; Shakespeare; Snow Storm; Temperance Court and Tilly of St Leonards.

Here, published anywhere for the first time, are my notes (with thanks to David Ronayne, who provided some detailed and very useful notes that informed this revised draft).

The Unquiet Dead

1860: The Doctor picked this year for Rose's first visit to the past and claimed to not to know what happened in 1860. The TARDIS however arrived in 1869.

1869: The Doctor and Rose visited Cardiff on 24 December of this year.

Bad Wolf: When Gwyneth looked into Rose's mind she saw ‘the big bad wolf’. This was the earliest reference to Bad Wolf that Rose was aware of.

Barbarella: The Doctor likened Rose to Barbarella, meaning that her modern day clothes were inappropriate for the 1860s. [Barbarella was a sometimes scantily clad science fiction heroine who appeared in 1960s comics and a movie of the same name].

Bishop: Sneed did the Bishop a favour once, making his nephew look like a cherub even though he'd been dead in the weir for a fortnight. Sneed considered getting the bishop to do an exorcism.

Bleak House: [1852-1853] A novel by Charles Dickens, mentioned by the Doctor.

Boston Tea Party: The Doctor was present at the Boston Tea Party [16 December 1773], where he ‘pushed boxes’.

Brecon: A town north of Cardiff. The Doctor likened the rift to a blocked road between Brecon and Cardiff.

Butetown: An area of Cardiff where Madame Mortlock held her séances.

Cardiff: The Doctor and Rose visited this Welsh city on 24 December 1869.

Cardiff and Methyr Guardian, The: [Incorporating Glamorgan, Monmouth and Brecon Gazette] A Cardiff newspaper. The Doctor purchased a copy of the 24 December 1869 edition.

Cardiff Children’s Hospital: Charles Dickens’ performance at the Taliesin Lodge was to honour this hospital.

Christmas: The Doctor and Rose spent Christmas Eve in Cardiff, 1869. Charles Dickens’s novel A Christmas Carol was set at Christmas. Dickens considered Christmas not the best time to be alone, and planned to make amends with his family on Christmas Day.

Christmas Carol, A: [1843] A ghost story written by Charles Dickens, featuring the characters of Marley and Scrooge. Dickens performed a reading from this story at the Taliesin Lodge.

Dickens, Charles: [1812-1870] The famous author of works including A Christmas Carol, Bleak House, Martin Chuzzlewit, Oliver Twist, Great Expectations, The Signalman and The Mystery of Edwin Drood. He travelled alone from London to perform readings from his works, including A Christmas Carol, for free at the Taliesin Lodge in Cardiff on 24 December 1869. Dickens claimed to be weary of life and missed his family, from whom he was estranged, having been ‘clumsy with family matters’. He considered himself too old to cause any more trouble, thought his imagination had grown stale, and wondered if he had thought everything he'd ever think. He refused to believe in supernatural events and fantastical illusions, striving to unmask them as tricks. He dedicated his life’s work to fighting injustices and social causes, and hoped that he was a force for good. He was flattered by the Doctor’s appreciation of his work. His experiences in the Doctor's company showed him that instead of thinking he knew everything had barely started, and this reinvigorated him. He was inspired to write about his experiences. Dickens learned from the Doctor that his books last forever. He planned to take the mail-coach back to London to spend Christmas with his family and to try to make amends to them. Dickens died in 1870 and never got to tell his story about blue ghosts.

Doctor, The: He claims not to know what happened in 1860. He witnessed the fall of Troy, World War Five and the Boston Tea Party. He was a big fan of Charles Dickens, having read all of his works, regarding him as a brilliant genius. He considered himself responsible for Rose, blamed himself for getting her into dangerous situations and was very glad to have met her. He liked two sugars in his tea. He considered his clothes suitable for the time period though he changed his jumper. He had different moral views to Rose and had no problem with alien beings reusing the bodies of the dead, likening it to recycling or organ donation. He carried enough local money to purchase a newspaper in 1869 Cardiff.

Gelth: Ghostly alien creatures that lived in gas and attained physical form by inhabiting recently deceased human bodies. The Gelth apparently once had physical bodies but these wasted away as a result of the Time War and they were trapped in a gaseous state. Because they were weak they only inhabited bodies for a short time and then returned to living in gas pipes. When human bodies decomposed they produced gas, providing perfect vehicles for the Gelth. The dead when possessed by the Gelth retained some of the motivations of their former selves. The Gelth used the rift in Cardiff to cross over from the other side of the universe. As the rift widened, the Gelth grow stronger, but only a few could pass through and they needed Gwyneth to form a bridge across the rift so that they could all cross over. The Doctor offered to help the Gelth inhabit human bodies temporarily until he could take them somewhere where they could build proper bodies. The Gelth claimed to be facing extinction as there was very few of them left, however this was a lie to gain the Doctor’s cooperation – there were actually a few billion Gelth and all in need of corpses. The Gelth intended to invade by killing the human race and making the bodies vessels for the Gelth. The Gelth were drawn out of their human hosts when the air around them was flooded with gas. They were destroyed when the gas exploded.

Gloucester Chambers: The name of a building across the square from the Taliesin Lodge in Cardiff.

God Rest Ye Merry Gentlemen: Traditional Christmas carol sung by carollers on Christmas Eve 1869 outside the Taliesin lodge in Cardiff.

Great Expectations: [1860-1861] A novel written by Charles Dickens that the Doctor admired.

Gwyneth: A young servant girl, orphaned at the age of twelve when both her parents died from the flu. She was taken in by Sneed who pays her eight pounds a year, which she considered very generous. She went to school once a week, every Sunday but hated it. One week she didn't go and instead ran down the Heath on her own. She admitted to liking the butcher's boy, who came by every Tuesday. She quickly befriended Rose. Gwyneth had the ability to read minds since she was a little girl, but she didn’t like to use it as her mother told her to hide it. Every night she heard voices in her head. She believed she would be with her parents again one day in heaven. Her powers had developed because she grew up on top of the rift and they were getting stronger all the time. She consulted with spiritualists and mediums to try to understand her ability. She attended séances held by Madame Mortlock. Gwyneth’s powers were a key to the rift, enabling her to form a psychic bridge between dimensions. She believed that the alien Gelth were actually angels sent by her mother on a holy mission. She was killed when she formed the bridge that enables the Gelth to cross over, but in death - and possessed by the Gelth - she still retained enough of her own will for at least five minutes to realise that she had been deceived and destroyed the Gelth by striking a match that ignited the gas and in doing so saved the world.

J. Hillman, Milliners: A Cardiff company that sold locally-produced hard-wearing extra quality silk hats, advertised in 1869.

Little Nell: A Charles Dickens character [from The Old Curiosity Shop, 1840-1841] whose death scene the Doctor found amusing.

Llandaff: Sneed and Company Undertakers were located in this area of Cardiff.

Llwyd, Mr Fred & Mrs Frederick: Names that were listed on a poster advertising events in the Taliesin Lodge.

London: Rose and Charles Dickens were both from London. Gwyneth had never been to London but had seen it in drawings. Gwyneth saw visions of Rose’s modern day London. Dickens planned to return to London by mail coach.

Marley: A ghost in Charles Dickens’ A Christmas Carol, mentioned in his reading at the Taliesin Lodge

Martin Chuzzlewit: [1843-1844] A novel written by Charles Dickens. The Doctor disliked the section of the novel set in America.

Mortlock, Madame: A spiritual medium in Butetown, Cardiff, from whom Gwyneth learned how to hold a séance.

The Mystery of Edwin Drood: [1870] An unfinished novel by Charles Dickens in which, lacking an ending, the mystery of Edwin Drood’s disappearance remained unresolved.

The Mystery of Edwin Drood and the Blue Elementals: Charles Dickens' proposed revised title for his unfinished novel. He had planned to make Edwin Drood's uncle the boy’s killer, but after his experiences with the Gelth, he intended changing the book to feature supernatural events. Dickens never got to write this version, as he died in 1870.

Naples: The Doctor attempted to land the TARDIS in this city, but instead arrived in Cardiff.

Oliver Twist: [1837-1839] A novel written by Charles Dickens that the Doctor admired.

Mrs Peace: Redpath's grandmother, who died aged 86 shortly before Christmas 1869. Before she died she planned to see Charles Dickens at the Taliesin Lodge. Her body was interred at Sneed and Company undertakers where it was inhabited by the Gelth. She then killed her grandson Redpath and attended Dickens’ performance.

Redpath: The grandson of Mrs Peace, he was killed by her reanimated corpse and was interred at Sneed and Company undertakers. His body was then inhabited by the Gelth.

Rift: A weak point in time and space, a connection between dimensions. Rifts were the cause of ghost stories most of the time. A rift was located in Cardiff and Sneed’s house in Temperance Court, Llandaff, centred right over the rift, causing supernatural events going back generations. The rift gave Gwyneth her psychic powers, and she was the key to opening the rift. The Gelth used the rift to pass between dimensions. The rift was closed when Gwyneth destroyed the Gelth.

Samson: Sneed and Company’s horse, used to pull the hearse.

Scrooge: A character in Charles Dickens’ A Christmas Carol, mentioned in his reading at the Taliesin Lodge.

Shakespeare: Famous playwright mentioned by Charles Dickens, who also quoted from Shakespeare’s play Hamlet.

Shareen: Rose’s friend from school. They used to play truant together to go to the shops and look at boys.

Signalman, The: [1866] A short story written by Charles Dickens, featuring trains and a ghost. The Doctor thought it as terrifying and one of the best short stories ever written.

Sneed and Company: A nineteenth century firm of undertakers based in Temperance Court, Llandaff, and run by Gabriel Sneed. The company has been troubled by the dead coming back to life. This has been going on for about three months and these incidents include a sexton who almost walked into his own memorial service, and Mrs Peace, who killed her grandson and then attended to a performance by Charles Dickens.

Sneed, Gabriel: An elderly man who ran a undertakers called Sneed and Company, based at his house at 7 Temperance Court, Llandaff, Cardiff in 1869. He had to deal with many incidents with the dead coming back to life over the three months prior to meeting the Doctor, but was more concerned about what damage this might do to his reputation and his business than he was to learn why this might be happening. He was not above abducting strangers to keep these incidents hushed up, and appears to keep chloroform handy for this purpose. His only servant was Gwyneth, whom he took in when her parents died. He was aware of Gwyneth’s psychic ability and generally took supernatural events in his stride. He was killed by the Gelth and his body was then inhabited by them. [Note: Sneed's first name Gabriel was only revealed in the closing credits]

Snow Storm: Listed on a poster advertising events in the Taliesin Lodge.

Sonic Screwdriver: The Doctor used his sonic screwdriver when working under the TARDIS console.

Taliesin Lodge: A theatre in Cardiff where Charles Dickens gave a free performance to honour the Childrens Hospital, on Friday 24 December 1869, starting at 7.30pm.

TARDIS: The Doctor’s ship was unsteady when in flight, and somewhat unreliable, missing Naples 1860 and instead landing in Cardiff 1869. The TARDIS had many passages and rooms accessed via the control room. The TARDIS had a wardrobe, and from the control room it was first left, second right, third on the left, straight ahead, under the stairs, past the bins, fifth door on the left.

Temperance Court: Sneed and Company Undertakers were located at 7 Temperance Court, Llandaff, Cardiff. Sneed got the house cheap because it was said to be haunted by ghosts, going back for generations. Sneed however considered the ghost stories to be appropriate for his business as an undertaker. The house was located on a weak spot on the rift. The weakest part of the house, where the most ghosts were seen was the morgue. The house was destroyed by a gas explosion that kills the Gelth.

Tilly of St Leonards: Listed on a poster advertising events in the Taliesin Lodge.

Time War: The Gelth claimed to have lost their physical form in the Time War. During the war, the whole universe convulsed. The war was invisible to smaller species but devastating to higher forms such as the Gelth.

Troy: The Doctor was present at the fall of Troy.

Tyler, Rose: Rose was 19 years old. Her first journey into the past was to Cardiff in 1869. She dressed up in clothes from the TARDIS wardrobe. She hated her time at school, and would often play truant to go to the shops with her friend Shareen to look at boys. She liked boys to have ‘a good smile, nice bum’. Her father died years ago, but he was in her thoughts a lot lately. She had heard of the Time War. She didn't believe it was right to let aliens inhabit dead human bodies. She possibly carried a donor card. She initially believed that she couldn't die in the past, until the Doctor corrected her. She didn't blame the Doctor for exposing her to danger; she was glad to have met the Doctor, and was brave in the face of death.

World War Five: The Doctor witnessed World War Five taking place.

New New Adventure

I adore the Doctor Who New Adventures novels, published by Virgin between 1991 and 1997. These books picked up where Survival left off, as Sylvester McCoy's Doctor wandered off screen arm-in-arm with Ace, and took off in new and interesting directions. Like the TV series itself the quality varied wildly from book to book, but at their best the New Adventures easily surpassed the TV series.

Paul Cornell was one of the leading lights of the New Adventures; the first of many fan writers to break into series with the ground-breaking Timewyrm: Revelation. Cornell's fourth New Adventure, Human Nature, is widely considered to be the absolute pinnacle of the New Adventures. The novel sees the Doctor transform himself into the human John Smith, who unaware of his Time Lord origins, become a teacher at a English boy's school just prior to the First World War and fall in love with Joan Redfern until a hostile family of aliens disrupts his peaceful existence. Such is the power of this book that when I first read it I was actually desperate for the Doctor to stay with Joan at the end even though I knew that this couldn't happen.

I regarded the news that Cornell was adapting his novel for television with some trepidation. I wasn't too bothered about the implications for the series continuity as I'd long regarded the New Adventures as a separate branch from the TV episodes, rather I was worried that the TV story wouldn't do the novel justice and that the changes required to make this fit the new Doctor and companion would be to its detriment.

Last night I saw the first episode of this two-part story, and I was astonished at just how amazingly good it was. I've been rather disappointed by a few of the episodes this year but Human Nature rises head and shoulders above the rest. I was concerned that the Tenth Doctor was already too light and accessible to convincingly make the transition to a truly human character (one of the strengths of the novel had been that the Seventh Doctor had become increasing dark, manipulative and alien in the New Adventures so his 'humanisation' was a stark and wholly effective contrast), but David Tennant pulls off a nuanced performance as John Smith with consumate ease. The TV version also looks exactly right - it is as if the story I'd imagined back in 1995 when I read the novel has been lifted from my mind and plonked on the TV screen. It's a very uncanny experience but hugely satisfying all the same!

If this is what the new series can do with a classic New Adventures novel as its source, then perhaps more of these books should be brought to screen? What could the new series do with an adaptation of The Also People, The Dying Days, or even Russell T Davies' own Damaged Goods...?

Meanwhile I am really, really looking forward to next week's episode!

The Painted Bride

Stephen Gallagher's newest novel The Painted Bride has recently been published, and thanks to Amazon I have now added it to my bookshelves, ensuring that my collection of Gallagher novels is once again complete (for more on this see my Nightmare with Angel post).

As with all of Gallagher's writing, The Painted Bride is a compelling read. He's one of very few authors whose books I would describe as ‘unputdownable’. I started reading the book on the way home from work (unusually I happened to be catching the bus on the day it arrived in the mail), and I finished it at home later that evening. I never intended to get through it that quickly - it simply would not let me go.

The Painted Bride is not just a great read; it's also a beautifully presented book. It's a hardcover from Subterranean Press, limited to just 750 copies, all individually hand-numbered and signed by Gallagher, bound with textured cloth endpapers and wrapped in a suitably moody painted dustjacket by Edward Miller.

What's particularly significant for me about this book is that I've been waiting for it for nearly a decade. I used to be the customer orders manager for the Whitcoulls bookstore chain some years ago and I had access to a very useful electronic database called Bookfind which had rather thorough data on all published and upcoming books. Naturally I would regularly check up on forthcoming titles by my favourite authors. The Painted Bride would keep coming up under a search of Stephen Gallagher's works, with an ever further delayed release date.

To finally own a copy of this book after years of thwarted anticipation is the very definition of satisfaction for this fan of Gallagher's writing.

Nightmare, With Angel

I collect books by British thriller writer Stephen Gallagher. He has an extraordinarily compelling prose style and his novels are simply gripping. I own a complete collection of his books and buy each new title soon after it comes out.

Stephen Gallagher was once an author whose works could commonly be found in bookstores, but like other horror/thriller authors, he has somwhat fallen out of fashion with mainstream book publishers over the last decade, apparently due to the declining popularity of this particular genre of novels. These days Gallagher's books are published in relatively small quantities as signed, limited edition hardbacks.

Several years ago I was sorting out my overladen bookshelves and discovered to my annoyance that I was missing one of the books from my Gallagher collection, a 1992 novel called Nightmare, With Angel. I used to own this book. I remember buying it in paperback in 1993, so I suspect that I either loaned it to someone and it was never returned, or it got misplaced during several changes of residence in the mid-1990s.

No matter, I thought; I'd just pick up a replacement copy the next time I saw it in a bookstore. Of course I could have purchased one from Amazon or Ebay, but I didn't want to go to this expense for something I should be able to find relatively easily and cheaply in person. Or so I thought.

I browse new and secondhand bookshops fairly frequently, so over the last four or five years I've been looking for this Stephen Gallagher book I must have made hundreds of visits to various bookshops, always glancing over the 'G' section of the fiction range, and checking out the horror/thriller titles, if the shop happened to have a separate section. But I simply couldn't find the book anywhere. I'm not just talking about Auckland either; in that time I've been into bookshops in Wellington, Christchurch, Brisbane, Sydney, London, Blackpool, even the world-famous bookshop town Hay-on-Wye. I've seen various other Gallagher novels on the shelves - Oktober, Follower, Valley of Lights, Rain and Down River all crop up with depressing frequency, but no Nightmare, With Angel.

There was a moment early this year when I thought my quest was at an end. I visited a secondhand bookshop in Kaikoura which had a copy of the book in paperback but - cruel fate - it was in such shockingly poor condition (the bottom half of the back cover and last few pages had been torn off) that I simply couldn't bring myself to buy it. So the hunt went on.

Finally, last weekend my luck changed. Rochelle persuaded me to get up early on Saturday morning to go with her to the Variety Club book sale, a massive collection of secondhand books held each year at the Alexandra Park raceway in Epsom. I trawled through the sale, picking up a few books that interested me and was just about to finish looking when I glanced below one of the tables to one of the overflow boxes and there it was - a copy of Nightmare, With Angel, and a first edition hardback, no less. Honestly, after years of searching, time stood still for me for a moment. I simply couldn't believe my eyes. The book was in excellent condition, and what's more, when I took it up to the counter it cost me a grand total of 50 cents which hardly seemed right after all the years I’d been looking for this elusive novel.

My Stephen Gallagher collection is complete once more and my next challenge will be to kick the long ingrained habit of looking under 'G' in bookshops!