Jamboree

"Jam", the film I saw at BAFTA a couple of weeks back, is now available on the internet for you to enjoy:



It's depressingly accomplished, with a stellar cast and high production values, plus a sparkling script by mate Lizzie Hopley. Support the team behind it by buying a credit on their full-length feature.

I've spent this morning reading other chums' short film scripts and making notes on my own. Now on to the Novel.

Spent the weekend scribbling. Braved the deluge to go see "A Day in the Death of Joe Egg" performed at the Brockley Jack. It's a funny, smart but my-god-depressing tale of a young couple in the Sixties struggling to stay cheery with a severely disabled child.

The Issues and achingly self-aware cleverness is very much of its time, and I've found other plays by Peter Nichols to be crushingly worthy. But the intimate theatre and some nimble direction kept this one zipping along. The play depends on small cast really showing off their Acting, and they pulled off that tricky feat of being heart-rendering and getting big laughs.

Last time I saw it, the ending was different, so this time it wasn't quite the tough-but-uplifting tale I thought the Dr might appreciate. In fact, it ended up pressing some emotional buttons to do with stuff we've been struggling through ourselves this year. Whoops. Had to buy her cider after, during which she our pals M. and K. laughed and called me a twat.

Lunched with the stunt-wife yesterday to celebrate his birthday, thence to R's housewarming, which included a tour of vacated offices and the promise of ghosts. Fun chat with chums - and sober, as I'm on antibiotics all this week. Then home to catch up on season one of "True Blood", which I'll blog about more when I get to the end of the first series.

But just when I think I've seen all the regular cast's bosoms, they introduce a new pretty girl and swiftly take her top off. Quality drama.

"I don't know what buttons I'm pressing."

The Relative Dimensions website has the first of a two-part interview with me - the second half will go up next week.

ETA: Part two of the interview.

ETA: There's also a new Blake's 7 blog post from me.

My hovercraft is full of eels

Gratuitous pimpage: here's a nice place to stay in Eger, Hungary, where you could also explore the fine castle and volcanic baths.

I never did write up my own splendid trip there in May, but I did read a book about its history.

Good day writing today; one outline agreed, got to pitch for something else, and have been working on the Novel. Now off to the doctor's. (Not the Dr's or the Doctor's.) And also have a cheque to pay in. Woo.

Noises off

There's now a trailer for my Blake's 7 CD, and my casting notes are blogged on the Blake's 7 website.

Busy on some other stuff, none of which can be spoken of yet. So I'll just shut up.

Victorian rhapsody

To the British Library last night for a “Late at the library” event. There was Victorian Values – a lively show by the Ministry of Burlesque. There was the chance to dress up and have pictures taken by Madame la Luz's Photographic Parlour. A splendid brass band played versions of “YMCA” and “Bohemian Rhapsody”. And there was a high proportion of slapped-up goth girls in the audience, bursting from their clothes. Though I, er, didn't really notice.


There seemed to be too audiences for the event – the goths affecting the age with barely corsetted flesh and those wanting to perambulate round the Points of View exhibition (free until 7 March 2010), which tells the history of photography through some rare and extraordinary images.

We ably straddled both factions. The exhibition is glorious – and free. There's film explaining the difference between the Daguerre and Fox Talbot methods, and a wealth of nineteenth century capturings from all round the world.

The Dr was thrilled by the archaeological specimens – including that famous shot by Corporal J McCartney of Charles Newton and the ropes round the lion of Cnidus, on which she wrote a book. I loved Philip Henry Delamotte's images from the construction of the Crystal Palace in Sydenham, including my beloved monsters.

There was also the splendid Victorian hippopotamus and an astonishing nineteenth century photographic atlas of the moon, and photography changing our understanding of family, history, science and our own time. The explanatory panels delved into the politics of photographing empire and criminals, and the assumptions made by the “reality” of the image. There were gems embedded all through the thing, and I will have to go again.

It perhaps dwelt too much on the process and practice of photography, with less on the way the ordinary punter might collect, display and use the images. And, of course, the shop was shut by the time we came out, so there was no chance of checking which images exist as postcards.

You're not my type

I'm now at the end of Season 2 of Battlestar Galactica, having not been entirely won over by the mini-series. Spoilers obviously follow.

Season One continues with more of the same – people in uniform being cross in dark corridors, having to make difficult decisions and being spectacularly stupid. The more it tries to convince us it's clever, with debates on politics and morality, the more tedious it becomes. “Speculative fiction” – the posh name for sci-fi – is a synonym of ponderous. But the dogfights and explosions are very exciting, and as the show continues there's some exemplary flourishes and twists.

The opening episode is a bold idea – the Cylons attack every 33 minutes, so no one has had any sleep. But why don't they organise shifts for the staff; and why don't they work in shifts anyway?

There's a nice moment when our heroes have to shoot down one of their own ships, but perhaps the story played it safe by showing us the ship is empty. How much more horrible to see innocent passengers on board, and having to shoot it down anyway? Apollo also acts like he's never shot anyone before, but he's an experienced pilot in the fleet.

Episode two displays an extraordinary fumble of infodump, telling us something outright in the story-so-far captions that we've not been told before. There are Cylons who don't know they're Cylons.

This becomes a major part of Season One, as our regulars are increasingly stupid. Boomer finds herself planting bombs all round the ship, and there are explosions killing people. But she and her boyfriend still don't think to mention this to anyone for weeks and weeks...

It's good to see Richard Hatch in episode three, and when he's cross at the new, young Apollo I assumed some kind of in-joke. The Dr, strolling in, thought this was all a bit 24, with terrorist stuff intercutting with the office politics round the President. And she's right: it's very like 24, with heroes “forced” to do terrible things by the writers, which are quickly forgotten by the next episode. Shocking Stuff happens all the time, but it doesn't always feel like the writers are quite keeping up.

By this point it's becoming clear that any plot hole or appalling coincidence can be lain at the feet of the Gods. The opening titles tell us the Cylons have a plan – a plea to the viewer to stick with the show, that it will all make some kind of sense. But it keeps feeling random. The Cylons can follow them, then they can't. It's like the Cylons attack just to keep it from being insufferably dull and pompous.

The fifth episode sees Starbuck stranded on a rock, and reminded me a bit of Dirk Benedict's last appearance as the character in Galactica 1980 (that episode, leaving him stranded, didn't have traumatise me as a kid). There's a brilliant idea that the Cylon ships are living beings themselves.

But there's also lots of stupid stuff too. There's the guy on Cylon-occupied Caprica (which I keep thinking of as COC) who doesn't want to be spotted yet still shouts to his friend. There's how often the Adama boys put everyone else at risk.

I'm also a bit bored by the sex. It's all a bit Hollywood and beautiful, too posed and plastic to convince. Imagine it done with the same dour realism as the uniforms and corridors. Balthar being a bit sordid or quick could give us an insight into his character.

Balthar's weird. We're meant to empathise with this guy who betrayed the human race and who continues to plot and scheme against his people. When we see him smashing the computer in episode seven, it's played as if it's funny. And why, when he knows Boomer is a Cylon, does he not tell anyone else? Surely he's putting himself and everyone else at risk. And in episode nine he's actively searching for Cylons...

In fact, by the end of season one I was beginning to lose patience. Balthar's “popularity” with the masses in inexplicable – he's twitchy and strange and uneven. Boomer decides to kill herself when Balthar's already “proved” that she's not a Cylon. There's the tedious boxing match in episode twelve, a montage so oddly cut together for a moment I thought Adama was in bed with his son. And there's the wild coincidence of Helo just happening to find the same arrow that Starbuck has crossed all of space for.

Yet, as with the mini-series, there's a whole bundle of things to keep watching for. Starbuck calls Balthar “Lee” at just the wrong moment. Richard Hatch becomes a regular character. There's the cynical doctor who smokes in his theatre.

And Season Two picks up pretty quickly. There's still a lot of coincidence, and people acting oddly and out of character because it suits the plot. But the moral dilemmas really pick up, and we start to see lots of sides to the characters. Sometimes it's a bit blunt – one mentions abortion a few times but seems to think its dealing with real issues, and the presidential stuff generally is pretty naïve about politics.

I'd have liked the episode where a journalist records a documentary about life on Galactica to have all been the documentary footage, and there's a weary sigh now every time Blonde Cylon turns up alongside Balthar.

But the Pegasus episodes are very exciting, and it suddenly feels like everything's moving. The ideas and dilemmas seem smart, and there are fewer stupid or lucky solutions. The last few episodes of Season Two are really very compelling – depending on what we know about characters and their relationships with one another. The body count remains high, but once it starts killing regular characters everything matters much more.

There are a handful of beautiful flourishes in this season which seem to have influenced new Doctor Who. There's the swaggering confidence of declaring “One Year Later” in the midst of your season finale. There's Roslin's nice president making steely, hard decisions – like Harriet Jones destroying the Sycorax. And in humanity struggling not to set a violent precedent for its own future, there's all that stuff about the Dr forging his mates into guns.

There's still stuff that's odd: the President-Elect can visit his Cylon lover - and deliver her a nuclear bomb - without anyone seeming to notice. And surely the plucky regulars who don't live by the rules might have turfed him out of office before that first year was up. And Adama's moustache is... well, I hope they rethink it for Season Three.

I loved the episode from the Cylons' perspective, though again I'd have preferred it without the cutting back to the normal stuff. How brilliant for Blondie to hallucinate her own Balthar! And Dean Stockwell's performance and character are superb.

Both cutting the cake and eating it

Neal Stephenson's Anathem is a typically robust brick of a novel, 937 pages packed with action, maths and top facts. It was a Christmas present, though the weight of thing put me off starting it until my long flight out to Florida.

At first, I thought it was running along the same lines as my great favourites A Canticle for Leibowitz and Riddley Walker: the people of a post-apocalyptic Earth struggling to put the world back together, making sense and science from the fragments left of the past. For the first 200 pages that's exactly what it is, detailing young Erasmus' life in a Concent, caught up in chores and philosophical discourse, and cut off from the world and his family outside.

But there's quickly hints of something going on in that external world which will will affect the young scholars – and might even lead to a fourth great Sack of the concents. Erasmus is soon on a peregrination into the dangerous exterior, trying to make unravel what's happening.

Without giving too much away, the quest and mystery are suitably thrilling, while allowing much discussion of Big Ideas. A lot of that discussion – on mathematical proofs, on etymology, on perception – is engrossing.

Admittedly, one chapter is more than 100 pages of one great conversation over dinner. It's broken up with trips to the kitchen (where people comment on the conversation), and notes on the food, but it left this reader rather weary. Especially since it's right in the midst of some very exciting stuff involving explosions and – hooray! – unexpected ninjas.

But generally, what makes this – and Stephenson's work as a whole – so compelling is the deft mix of the action and theory. There's the dizzying wheeze that our brains, by being able to imagine other worlds and circumstances, work at the level of quantum uncertainty – that we flicker between possible Narratives and even physically rewrite the past.

(See also the Telegraph's recent list of the top 10 weirdest bits of physics.)

There's a nice idea on page 102 that becomes integral to the plot: there are no new ideas, and the order's job is not to invent new philosophies but to tend, nurture and preserve the wisdom and insight (“upsight” in the book) of the past, like gardeners.

I also thought Stephenson's invented lexicon – the glossary lasts for 19 pages – might lose its appeal pretty quickly, but it's nicely woven through the story. Usually, we learn the meaning of a word just in time for it to become pertinent, so that the invented etymology is a kind of foreshadowing, adding layers and depth to the plot.

It's a gripping adventure, and there's loads I'm still picking over – the plot, its ramifications, even just some of the top facts. It's a geeky, lively, often funny book, full of great characters and moments. And it's got the best, most satisfying end of any of Stephenson's novels.

It's just a bit too long, with a wearying intensity that means it sometimes feels like homework – or, perhaps, as if we're part of the Concent ourselves. But then Stephenson's recent Baroque Cycle – which I loved – also demands a great deal of effort from the reader. This is not an author for the faint of heart; but he's also massively rewarding.

(See also Stephenson's lecture on the geeks inheriting the Earth and my thoughts on his novel, Cobweb.)

Making history

What a splendid episode of Doctor Who. Will leave a little space for spoilers in case you have not seen it...

[Incidentally, I have written a diary of writing Blake's 7. And here is a nice photograph of me with stars Benedict Cumberbatch and Carrie Dobro. It will thrill you to know that this was taken outside the offices of Innocent Smoothies, of which I am an acolyte. Om nom nom.

End of spoiler space, back to Doctor Who.]

Perhaps not scary in a make-you-jump way (though I'm told by parent-friends that their kids were traumatised), but disturbing-scary because you knew they were all going to die, and because the Doctor walks away. And then...

It reminded me of the bit in School Reunion where Sarah tells the Doctor he can't save her from getting old; it's a really bothering and grown-up idea that sometimes people can't be saved. Kept me awake last night mulling it over.

I also loved the Jerking Deaths when people aren't looking. And how brilliant to make the Doctor saving everyone sinister. I also liked him calling "fixed moments in time" just a theory, so we can ignore it when we want to.

Yes, of much interest to a mercenary hack like me is the gaps it leaves for other stories. Most importantly of all, I don't think it contradicts a key work of Ice Warrior history.

Also watched Sarah Jane and Mona Lisa's Revenge, and afterwards as I chopped parsnips tried to reconcile it with City of Death, in which that portrait of Lisa Gheradini spends 400 years bricked up in a cellar and has “This is a fake” written in felt-tip under Leonardo's brushwork. Why didn't she reach critical mass in the cellar?

This sort of thing is what passes for fun in my house when the Dr is out.

Both the Doctor Who and Sarah Jane stories note that Lisa didn't have any eyebrows, as was (probably) fashionable at the time. But they don't mention some other interesting things about that portrait. Lisa sits high up on a balcony, a mad fantasy landscape behind her. As the landscape recedes into the distance, it fades to blue-green murk, an early example of aerial perspective – that is, the affect of the Earth's atmosphere.

That fantastic background contrasts with the calm posture of the sitter. And that enigmatic smile isn't gas or not being able to sit still; the effect is created by shadows at the edges of the mouth and eyes, a technique called sfumato (that is, as if seen through a veil of smoke).

So I had embarked on a complicated theory involving as-yet-untold interventions by the Doctor, Leonardo seeing an alien world through a veil of smoke and learning about the Earth's atmosphere. And then Lizbee tweeted a fine, indeed handsome, answer which is all a lot easier on the brain:

“Only the one painting was made of living ink; Leonardo had enough for the first six? Figures the psycho one would be fireproof...”

Scenes from south London

To no less august a place than Kennington yesterday for a reading of “The Ride”, a fun new play by Andrew Cartmel. Blogging now and hoovering later while thinking of notes to give him.

A bunch of other chums were in attendance. Admired Ben Aaronovitch's rewrite beard and got to meet the writer Piers Beckley who bought me a pint of Spitfire. Lively chat on all things Grub Street, and thence out into the storm.

Bus home took an hour to get down the Walworth Road due to some kind of works. I read quite a lot of The Big Sleep. Three youths tore up a newspaper and threw it at people, scoring points on direct hits. A mother and her teenage daughter had an argument in the seat behind me, their voices and heavy sighs identical which made it hard to follow.

Home to chops with the Dr, then out again to see the gestalt that is Cavan Scott and Mark Wright, who had spent all day writing and so were collapsed of brain. Even more than usual. Dozy and comfy in seats by the fire, and last ones to leave.

Chores and pitches and begs-for-work today, all as a distraction from the Great Excitement of the Evening.

Then welcome

To a star-studded showing of the star-studded "Jam" last night, the short film written by my pal Lizzie Hopley and directo-produced by the clever teens behind www.buyacredit.com.



It's a fun film, in which Annette Badland and Patricia Hodge are competing to make the best jam, as judged by Frank Skinner. The cast includes Linda Bellingham, Paul Daniels and Debbie McGee, Stephen Fry, Gary Rhodes and Philip Schofield. And also, on the left-hand back row, two other chums of mine.

Having dabbled a bit in short films myself this year (I was a runner on "Origin", a crucial-to-the-plot copper in "Girl Number 9" and am trying to set up my own effort at the moment), was really impressed by the look of the thing, the money on screen, the comic timing and just what can be achieved for next-to no money. Damn them.

On the strength of this short, I'm keen to see what they can do with Clovis Dardentor, the feature film they're trying to set up, based on a little-known Jules Verne novel from 1896 and also adapted by Lizzie. You can help by buying a credit.

The event at BAFTA was packed with frighteningly young and pretty people. I hunched in a corner with a couple of folk I already knew, feeling old and ugly. But there was a free beer, and mostly I was just consumed with envy.

Three different kinds of archaeology

1. The Dr is engaged in an exciting project in experimental archaeology. London's own Petrie Museum of Egyptian Archaeology is going to make a pair of woolly socks based on the ancient originals they have on display, and using – as far as possible – the same methods.

You can follow the adventure on the Sock It! blog, and members of the public are invited to come along and help at special sessions on the last Saturday of each month.

2. Big Finish have announced a new run of Lost Stories. I've adapted an unmade 1968 Doctor Who story, “Prison in Space” by Dick Sharples, for release on CD in December 2010.

It's a fun story in itself and an interesting what-may-have-been – “Prison in Space” got as far as even casting Barrie Gosney in a role before it was cancelled. You can read a bit more about it's history at Shannon Sullivan's Lost Stories page.

ETA: You can now preorder the second series of Lost Stories - including mine - as a special discounted price.

3. The new issue of Doctor Who Magazine features a splendid review of my history of space-archaeologist Bernice Summerfield:

“The overall sense is that Benny's story – from its very beginning, and particularly when Big Finish took it over – was a labour of love: something that's also true of this book. A long time in the making, and absolutely worth the wait, this is the definitive story of one of Doctor Who's most enduring and well-loved characters. Essential.”

Matt Michael, The DWM Review, Doctor Who Magazine #415, 9 December 2009, p. 62

Hooray!

“He likes cats, but not from kindness”

For what might one day be a work thing, I asked m'colleague M to recommend Dirk Bogarde films from the early 60s. Am woefully ill-read in the man's work, so blimey: three compelling, peculiar movies.

In The Singer Not The Song (1961), Bogarde is an oddly well-spoken Mexican bandit. Anacleto preys on a small town until Irish priest John Mills walks in. Mills is determined to win Bogarde over to the side of the angels; Bogarde wants to drag Mills down to his own level.

It's a sumptuous film in full colour, filmed in southern Spain. The story is raunchily Catholic – about community and duty and salvation. There are small roles for Doctor Who later regulars Roger Delgado, Laurence Payne and Eileen Way. And it doesn't quite all come together.

Bogarde, who's grown up through the revolution to hate the church as part of the old regime, speaks in perfect English. Locha – daughter of a rich Mexican (Delgado) and his glamorous, American wife – speaks with a distinctly French lilt. And Bogarde's performance is... well, he doesn't seem all that bothered.

It was apparently the last film he shot in his seven-year contract for Rank. On the DVD extra, director Roy Ward Baker says there was an enmity on set between Bogarde and Mills. But Michael Brooke for ScreenOnline argues that it has the opposite effect on the film: charging it with homoerotic subtext. I'm not wholly convinced.

That's not, though, true of Bogarde's next film. In Victim (also 1961), Bogarde plays a top London lawyer with a pretty wife (Sylvia Syms), who finds himself open to blackmail for giving a gay young chap a lift home. This is six years before the decriminalisation of homosexuality, and the film is apparently the first mainstream effort to directly address the issue.

It takes a comparatively long time, though, for the film to name the love that dare not speak its name. Until then, its lots of people being worried and in a rush, not quite saying why. That sells us on the basic wheeze – that this is a thriller, with a villain to be spotted from the many rich characters – and means by the time we find out what it's about we're already hooked. I can see the producers worrying that audiences of the time might not flock if they knew the subject.

The film puts across a lot of points of view on the subject. In fact, there are several almost-soliloquies, where peripheral characters state their Opinion on the matter. It seems keen to encompass a range of views, but they puncture the thrill of the story, taking us out of the action.

It's beautifully played by Bogarde and Syms, with a nice turn from Alan MacNaughtan (who I recognised from Sandbaggers and To Serve Them All Our Days) and a whole world of people who would later be in Doctor Who.

The film is much written on elsewhere, mostly noting that it's a brave choice of role for Bogarde a) because he was mostly then known as a teen idol and 2) because he kept his own private life private.

But if I'm not misunderstanding, Bogarde's character is not a practising homosexual. He promises Syms that he hasn't broken his promise to her – that he only gave Boy Barrett a lift in his car a few times. An earlier, alluded-to dalliance at college doesn't seem to have been acted on either. And before we know what the film's about, we see Bogarde in a passionate snog with Syms.

Rather, Bogarde seems open to blackmail for a thought crime - “I wanted him!” he declares to Syms in a pivotal moment. The all-important photograph – which we ourselves never see – shows him sat next to Barrett. As is said in the film, the only thing to suggest anything untoward is that Barrett is crying.

If Bogarde weren't such the moral type, I could see him easily bluffing his way through – especially since the Establishment seem just as bent as he is, or don't care what he does in his own time. But it's an extraordinary film; a complex and involving thriller with a rich cast of possible villains and some neat twists along the way.

You can still hear Matthew Sweet's interview with Syms about the film on The Film Programme in July.

The Mind Benders (1963) is a bit like an English version of the Manchurian Candidate (1962) – though rather than Communist villains brainwashing a man to assassinate a Presidential candidate, here a chap's colleagues at Oxford make him perfectly beastly to his wife.

Again, there are some fun cameos to watch out for – Delgado again, a young Edward Fox, and Wendy Craig as the university bike.

The method for making Bogarde nasty is an eight-hour spell in a flotation tank. I'd half expected the plot to develop with Bogarde then exposed to extreme aromatherapy. But instead it does something just as extraordinary – and pulls back on the promise of a tragic ending to put everything right again. There's not a lot of apology from the chaps, but otherwise everyone ends up okay.

In all three films, Bogarde seems above the petty concerns of ordinary mortals; his gaze falls with equal withering on priests, bigots and women. He's gaunt, elegant, bequiffed – and eminently watchable for such striking and strange roles.

Geek heaven

So, that holiday in Florida then, in which I learned many top facts about the history of the NASA space programme. You have been warned.

First, I demonstrated my own unsuitability as a spaceman by missing my flight. I read 13.00 as 3 pm, and arrived at Gatwick at ten-to-twelve thinking I was heroically early. Saw my error the moment I looked at the departures board, and hot-footed it over to the Virgin Atlantic desk, who thought I’d still have time to make my flight. They then vanished for 15 minutes, trying to work out if I could be fast-tracked through security. Answer came there none.

The airport was extremely busy, it being half term. And the longer I waited the more obvious it was I wouldn’t be jetting off that afternoon. Got put on the same flight the next day at no extra charge, which seemed a pretty good compromise. Schlepped my luggage back home.

The flight the next day was packed, mostly with families spending half-term at Disney. They ran about and squealed. I read a couple of hundred pages of Anathem (still not finished it yet; it’s huge!) and watched Star Trek, the first ten minutes of Ice Age 3 – a world of unfunny whenever the characters spoke – and something else so dull I can't even remember. Didn’t sleep; I never do on planes, and my knees were pressed against the seat in front so I could never get comfy.

Arrived in Orlando eight hours later feeling itchy and stinky, and then spent an hour getting through customs. A nice man wanted to go through all my luggage, and was suspicious of the various Dr Who books I’d brought for the convention’s charity auction. But then he looked up the details of Hurricane Who on his computer, lit up that it was something to do with Torchwood, and let me go.

J and J were waiting to collect me, and with this delay were a little concerned that I might have got it wrong again. We drove to the hotel in Celebration, and after a shower and a change of clothes, I emerged in time for dinner at a place down the road. American food is often big and meaty, which can leave you feeling a bit like a blocked sink. But we found a splendid Japanese place where a man cooked noodles and juggled knives on the table in front of us, and I stocked up on lots of veg. A world of tired after the journey, I think I spent most of the meal just grinning.

On the Wednesday, a party of us made our way to Universal Studios, where we did the usual rides. Think the 3D simulator Simpsons was probably best. There was bar and meal in the evening, with more chums arriving ever moment.

On Thursday, K magnificently drove me out to Kennedy Space Center, while our chums gambolled off to Disney. We stopped off for provisions on the way; the only British papers available were the Sun, Express and Mail.

After an hour’s drive, we reached the edge of the vast swamp that is the Space Center, and I went into geek overdrive. There was an IMAX show and things to gawp at first, and I poddled about in a state of bliss.

The IMAX show included footage of a fake Moon landing, NASA happy to laugh at the conspiracy theory. There was also a tribute to those who’d died pioneering space travel which included the names of cosmonauts, given equal billing with the Apollo 1 astronauts and Challenger and Colombia. It wasn’t quite the Corporate NASA I’d been expecting – less flag-waving and triumphalist than a lot of coverage of this stuff.

We then clambered aboard our bus for the Then and Now tour through the beach-side missile launch sites that first put Americans into space – basically, those bits covered by The Right Stuff. We drove past the warehouses and hangers where things really happened, and where the film was really filmed.

Many on the tour had been in the area the previous day to see the launch of the Ares 1-x rocket – which I’d missed, dammit. There was much talk of the launch being like the good old days before the Space Shuttle (which Ares is replacing), when rockets rattled windows 20 miles away. I had to be content with spying the Shuttle Atlantis out on the pad, six miles away on the horizon. Cor.

We stopped off at the site of some of the early Mercury launches, and got to poke round inside the squat little buildings no more than 500 feet from the launch pad. Nowadays, the boffins sit three miles from a launch, but in the days of DC current, they couldn’t be further away. Even today, a rocket launch will rattle your windows 25-30 miles away, so this small, cramped bunker crammed with chain-smoking boffins would have been very noisy.

The squat little buildings have huge, heavy blast doors and 15 layers of laminate glass so thick the view outside is greenish. The wall-to-wall computers are bulky to cope with the rattling of a launch. They managed just 528 bytes, and I liked the built-in ashtrays. When there were software problems, they'd use a manual typewriter to rewrite the code and feed it in on spool tape.

Our guide was nicely open about the origins of American rocketry, showing us a rare example of a V2 engine while explaining what rockets like that had done to south London. He himself raised the dubious morality in pardoning the former Nazi Werhner von Braun; again, this wasn’t the kind of corporate history I’d quite expected. NASA seemed keen to challenge their own history, to ask the difficult questions.

In fact, it didn’t feel very on-message for what’s clearly a highly secure military base. Our map of the launch sites shows its original purpose as a missile base, and the garden – or graveyard – of old rockets was curtly unapologetic about the ballistic and nuclear capability.

The missile base on Florida's Cape Canaveral was chosen for three reasons: the generally good weather; on a “bad day” the launches would fall into the ocean not into populated areas; and it's relatively close to the equator, which means less effort to get into space because of the speed of the Earth's rotation.

As we stepped out on to the tarmac of Pad 34 the weather hit 94 degrees. The heat pressed against me as I walked round the tall concrete structure remaining, and the plaque to the Apollo 1 fire. We were warned not to step off the tarmac because of the alligators in the undergrowth. In fact, when the space shuttles come into land, it’s someone’s job to clear off the alligators sunbathing on the runway. All we saw today was a giant tortoise.

The tour finished with a visit to a Saturn V rocket – the ones that launched the Apollo missions – and some other cool stuff. We gaped at the vastness of this great firework and took pictures, then had to get back to the car and our evening’s commitments.

First there was the Cricketer’s Arms, where there was London Pride on tap. Drank myself into a happy corner, and woke up Friday not at all well. Still, manfully, made my first panel – where adrenalin and Alka Seltzer saw off the hangover.

The convention was good fun, and I didn’t do too badly at Just A Minute – though New Fans are so new they didn’t get a reference to the Curse of Fenric which deserved a massive laugh. Our efforts were apparently recorded for a podcast, God help you.

Saturday morning, we had a talk from Russell Romanella, Director of the International Space Station and Spacecraft Processing at Kennedy Space Center, which was a further world of geek joy. When Kennedy made his famous speech about getting to the Moon within the decade on 25 May 1961, the US only had 15 minutes experience in space – Alan Shepherd having become the first American in space just three weeks before. It’s a balls out moment for Kennedy; either we divert everything into doing this thing, or we don’t bother at all.

The talk was also up to date, with discussion of the Ares launch from just that week, and what the Augustine report to President Obama might mean for NASA’s current targets.

There were more panels and signings and being talked to, and I got to see Toby Hadoke's Moths Ate My Doctor Who Scarf for the sixth time.

Between my commitments, there were goth ducks and geckos to gawp at, and a pool to escape into. As always, talked rubbish, made new friends and molested the old ones.

After one last morning in the pool, I headed for the airport on Monday afternoon. Bloke next to me on the plane thought Moon was “rubbish”, but seemed quite taken by General Infantryman Joe. (Isn't that a dull name for a hero?)

Back to freezing cold London on Tuesday morning. There’s little more dispiriting than changing trains at East Croydon, especially when the train is cancelled and you have to wait an hour. So I fell into a taxi and home.

Slowly recovered from jetlag and the inevitable con lurgie. On Thursday went to posh singing in St Mary’s Undercroft, the chapel down below Westminster Hall in the Palace of Westminster. The Pugintastic furnishing and some of the tunes seemed a little arch-Catholic: an odd way to celebrate Guy Fawkes’ night. But the detailed programme included top facts.

On Saturday, there were more fireworks, this time in view of Alexandra Palace (from the Dr Who episode The Idiot’s Lantern, no less). We risked clambering out on to a chum’s roof to see the display, then clambered back in to drink too much and watch X-Factor.

Now steeped in work again: pitching for things, organising things, getting on with the writing. And hoping Virgin will fix my telly input in time for Doctor Who on Sunday. Will blog about Dirk Bogarde next.

Does Florida count as the "deep South"?

Just home from a lovely time showing off in Florida, and am now fighting through a deluge of emails before nap-time. Will report on my adventures with real, live spaceships another time.

Meanwhile, be sure to keep up with free thriller Girl Number 9, airing all this week at www.canyousaveher.com. Especially since that riot policeman three minutes into episode two looks a little familiar. Oh yes, see my carrying-a-battering-ram acting.


Mad Norwegian Press have announced I've got a Doctor Who essay in their forthcoming Time, Unincorporated, due out next year.

And my short story in the aforementioned Panda Book of Horror also now has a title - "The Party in Room Four".

SF Crowsnest says nice things about my Robin Hood audiobook, "The Siege", while my former employee Phil is disappointed that the Big Finish history of Bernice Summerfield focuses, er, on Bernice Summerfield and Big Finish. Bless 'im.

Got all sorts of bits of work awaiting my attention now. But first sleep.

Panda 'nother thing

Observe Books have announced I've got a story in their forthcoming Panda Book of Horror, which will be out next month. Which is nice. Or, rather, nasty.

Leaving out Muffit

Watched the Battlestar Galactica mini-series in one sitting last night, and have the series to follow. Yes, I am several years behind. And yes, Scott thinks I'm wasting my time because of how much he hates the final episode. But anyway.

It's a rather dour re-fit of the 1970s TV show which so incurred the wrath of George Lucas. It's odd: the original was clearly a show for the whole family, with the adventures of a kid and his robot dog as key to proceedings as the brave space pilots fighting evil robots. Boxey appears briefly in this new version, but barely gets a word in.

Instead, its dark and violent and girls take their clothes off. As I found writing Doctor Who stuff myself, trying so hard to be darker and more adult can just seem adolescent. That's not to say I don't like a bit of angsty, angry sci-fi hokum. There's an effort to make it more morally complex, but I'm not sure the mini-series is nearly as clever as it thinks.

The opening scene is immediately odd. On a spaceship filled with densely info-dumping captions, a guy falls asleep waiting for Cylons not to show up. And then – blimey – one does. And it's not a Cylon like we used to know them (though there's a nice glimpse of the old-skool versions). This one's a slinky, snoggy blonde. Who snogs him and blows up the spaceship.

This is apparently a declaration of war. Which is odd, since no mention of it is made again. The twelve colonies and one ancient old battleship all react in total surprise later on when the Cylons attack. So what was that introductory explosion all about? Or did they just think the opening was a bit dull without it?

Because a lot of the opening 45 minutes is pretty dull. It's got a lot of characters and planets to set up, but mostly it does that through earnest conversations in corridors. Though there's a multi-racial cast, it doesn't seem very multi-cultural – the soldiers, the civilians, a whole dozen planets, and there's little to suggest richness and contrast. It has the same bland feel as a Next Generation planet. Nice people living rather tidy lives and being very earnest.

There seems to be one, all-encompassing religion and one, all-encompassing and democratic government. It all might have rung more true with reference to internal disputes and wars, so that where you come from is important – even (perhaps more so) when it no longer exists.

When the Cylons do attack, the series rather pulls its punches. We see explosions as reported on the news, or in the distance or even from space. In the first wave of attacks, we see very few people die – and certainly none we've been given a chance to know. The emphasis is very much on the survivors – on that shared experience of not being the ones who died. I guess that's tapping into most people's experience of 9/11, but it creates a distance from the events. I didn't feel any great loss for these worlds and people.

Things hot up when some plucky human pilots take on the Cylons in dogfights. That was the exciting bit of the old show, and the first Really Cool Bit here is when the humans realise they're completely outmatched. The Cylons can just turn off the human's computers, leaving them dead weights in space. A character with lines realises he's going to die – and we see him burning up in the explosion. It's a shocking, vivid and unsettling. And just the right kind of thing to do.

As the scale of the attack starts getting felt, and we realise how few humans have survived, the tension really mounts. The Cylons attack the remaining, weak communities, and more people we've met start to die. As the humans squabble about who's in charge and whether they should fight or run, I found myself getting more and more involved. I stayed up till 1 a.m. to watch the whole thing, which must count for something.

There's a certain amount of clunky dialogue and character. There's not a lot of jokes. There's a tedious interest in duty and the chain of command. But there's some knotty, not-easy moral stuff about sacrificing people for the greater good. And I like the general wheeze that Commander Adama, ready for war for 50 years, must learn not to fight.

Making Starbuck a girl – but still a rough-and-tumble, cigar-chomping one – is a neat move, and the hastily elected President – a minor politician until the attack, and also dying of cancer – means, I hope, there'll be less of the tiresome military swagger of so many warships-in-space TV shows. We'll see. The mini-series worked best, I think, when it played against the Top Gun stuff, and went weirder and more morally complex than just Soldiers Being Brave.

I like how they're using the old-fashioned, chunky designs and computers of the old show as a plot point. The Cylons can sabotage anything more modern and networked. Nice cameo by the old TV theme tune, too, though I'd have then brought that back as an anthem later on, if only for the closing credits.

And I like what they've done with the Cylons themselves. They're tricksy and clever and pretty and cool. The final scene is a world of Woah Cool. I hope we'll learn more about why they're so cross with humanity. And I worry that the Bodysnatcher thing, with the baddies hidden amongst the goodies, will wear off pretty quickly. Was getting bored of Baltar's invisible friend towards the end – it didn't seem to lead anywhere.

So I'm keen to see more – and will report back – but not exactly wowed out of my brain. It seemed pretty run-of-the-mill hokey sci-fi most of the time, with flashes of something much better and more involving just under the surface. Glad I've finally seen it, and can see why it appeals, but it needs to improve if I'm going stick it to the end.

No handlebars and no brakes!

This week I have mostly been feeling like the eponymous Mark of Mark and his Monocycle, the classic work by David McKee, which no one else seems to have heard of. Basically, Mark finds a monocycle and antics ensue. I had a stripy top just like that, too.

My own freewheeling escapades began on Saturday with a trip down to Winchester. Had my picture taken by Joe Low, along with the two young winners of the Doctor Who story-writing competition set up by the Winchester Festival in the summer. Tried not to look too nervous or awkward. Bet they use the ones of me thumbs aloft.

It's odd being an authority on Doctor Who books at the library Discovery Centre; 25 years ago, that's where I borrowed Doctor Who books myself. They also had a swap-box for comics which was very heaven.

Then up to Manchester on Sunday for Novelcon in the award-winning Lass O'Gowrie. Met a whole bunch of splendid people I'd not met before – including Ade Salmon, who I employed for two years. The afternoon passed in a blur. Nicely had the steak-and-Black-Sheep pie with a pint of Black Sheep – which is a bit like having your pants and socks match. Saw the brother-in-law and his new new squeeze, and an old schoolmate of mine from pre-history. Wittered on about Dr Who books to anyone who'd listen, then dashed back home again.

Spent the next couple of days trying to finish a piece of writing, but the Dr did take me out to the launch of Science Fact, Science Fiction, Camden's Black history season. Maggie Aderin-Pocock gave a funny, lively talk about her desire to get out into space, and suggested something not so dissimilar to an idea I had rejected by CBBC earlier this year.

Then on Wednesday I shlepped up to Leeds to take part in the Morley Literature Festival, where me, Robert Shearman, Mark Morris and Mark Michalowski wrestled for the public's amused. Got back in time yesterday to make a talk on the uber-racist Robert Knox at the Petrie Museum. Big Finish had Knox played by Leslie Philips; I wonder who they'll get for the Pegg-Tennant movie?

Finished a draft of the writing thing this morning, and already got rewrites on something else. Am on Gold Usher duties for a wedding from this evening, and got three days of recording next week. So plenty to get on with, and then off to Orlando on Monday week for what might even be a bit of a holiday.

"In European countries this use of boys is scarcely possible"

To the Petrie Museum of Egyptian Archaeology last night for a sneaky peek at the "Framing the Archaeologist" exhibition. It's a series of photographs and related notes and diary extracts from Flinders Petrie's excavations in Egypt at the end of the nineteenth century, with the emphasis on the workers who lived locally.

The photographs and notes are also handily available on the Framing the Archaeologist blog, where you're invited to leave comments.

Some of the photos might have been taken this week, others - and the accompanying notes - are from another world. They reveal attitudes to race, to child labour, to archaeological practice which seem startling from our lofty position looking backward.

But they also change our sense of the ancient relics on display in the museum, around which the photographs are displayed. They are not just art objects behind glass with puzzling, technical descriptions typed beside them. They are the possessions of people, unearthed and pieced together by diligent, long-dead hands.

I was surprised by Image 5 - Muhd es Said, Muhd Jafur, Muhd Timras, the notes explaining how Petrie chose his child labour - over 20 years-old, he explains, the workers get "stupid" and "lazy". He also laments that boys aren't available to work in England because in the school holidays they must collect the harvest.

Image 6 - Ahmed Hafnawi and Muhd Hassan describes a girl who gave her name as "Muhammad" (her father's name), thinking Petrie employed only boys. No, he was an equal opportunities sort of guy.

Another favourite is Image 18 - Amy (Petrie's sister-in-law) buying antiquities.

It's cold outside

“'A fool always wants to shorten space and time; a wise man wants to lengthen both.'
John Ruskin – who had never tried to walk to the South Pole – quoted with some irony in Wilson's sledging journal, 11 December 1902”

David Crane, Scott of the Antarctic, p. 217

I bought David Crane's Scott of the Antarctic three years ago, when I visited Scott's ship Discovery in Dundee. Have finally got round to reading it.

Robert Falcon Scott's two trips to the Antarctic – first in 1901-04, then in 1910-12 – are remarkable Boy's Own adventures from an age of imperial confidence and conquest just a breath before the First World War. Constantly we're reminded that those who survived the trips South were then to face the trenches. Scott, like the Titanic which sank a month after his death, seems to prefigure the Great War as a bookend to the triumphant Victorian era. For Scott's sometime-friend JM Barrie, Scott seemed to embody the heroism of the day. Why, though, does he still resonate today?

Crane has access to diaries, letters and naval accounts, as well as the slew of books written by Scott himself and those who knew him. He provides an authoritative account that strives to paint Scott neither as hero nor villain, and addresses criticisms from those that have.

It's full of choice details, too. We know, for example, that in 1891, Nelson's Victory was moored on the Thames (p. 47). Or there's the way Scott's party adapted Mrs Beeton's Cookery Book.

“Recipes for the cooking of beef were used for the seal and those for duck and goose for skua and penguin.”

Ibid., p. 197n.

A letter from Scott's wife Kathleen while he's out stumbling toward the South Pole shows that tabloid tactics have not changed in the last 98 years.

“19 November [1911], Kathleen's [letter]:I worked all morning. Then a 'Daily Mirror' man came to see me and upset my greatly. He said if I would allow a photograph of the infant writing a letter asking for money for you to appear in the 'Mirror' he was convinced he could get four thousand pounds ... My dear, I do humbly beg your pardon if I have done wrong, but I said no. Not only can I not bear my weeny being bandied about in the half-penny press, but also I doubt greatly that any sum approaching four thousand pounds would be got. Dearest, I do hope you approve. I couldn't bear it, though.”

Ibid., p. 516.

That letter is given in an eerie, three-page sequence intercutting Scott's last diary entries with the letters his wife was still sending from England. The domestic worries contrast with the ordeal out in the snow, and Kathleen natters about friends she's had dinner with, no suggestion that Scott's not coming back. Scott himself, as Crane says, seems to have written himself out of the future of their son.

We, of course, know Scott's not going to make it; even if we didn't, Crane makes the reaction to Scott's death the subject of his first chapter. It's the same trick as in David Lean's Lawrence of Arabia; the legend first, then the real man. (Lawrence and Scott were near contemporaries and might well a good comparative study.)

There is, then, a peculiar, morbid tone to Scott's story, counting down the days to that last diary entry where Scott signs off, “It seems a pity, but I do not think I can write more.”

A decade before that penultimate sentence, Scott made his first journey to the Antarctic on Discovery, the people of Cape Town came out to see them.

“'Heard an amusing yarn of lady being asked why she was coming on board this ship,' Royds [Scott's First Lieutentant] noted, 'replied that in case of any disaster think how interesting it would be to know that she had actually spoken to and seen the officers!! Nice way of looking at things and not very bright for us.'”

Ibid., p. 128.

It's as if every move that Scott makes is moving him closer to death, as if it's all been destined. That's a danger with biography; in retrospect, where we end up is out starting point so of course the route to it makes perfect sense. But living through it, we're faced with choices and chances whose outcomes we cannot predict.

There are still plenty of gaps in our knowledge about Scott. Little is known about his early life. There are a few instances of his name in school registers and log books, some surviving notes to his mother. Crane assumes this means young Scott did little good or bad to distinguish himself from his generation – otherwise there'd be a record. Instead, Crane explains what's known of a typical life in the navy as a rough guide to the molding of Scott.

We've an insight into the Scott of 22 when he writes home in 1890, on the Amphion as it makes its way back from Honolulu. Scott and his bored shipmates have had a race to grow beards:

“'I was a bad last – a brilliant idea struck me that checking my hair proper, would help to “force” the beard, so I had my back cut with one of those patent horse-clipping arrangements; it didn't seem to do the least much good, but it gave me a very weird appearance.'”

Ibid., pp. 43-44.

There's something telling here in the bold plan, the fearless of embarrassment or failure, and the plan then not working. Later, there's little but teasing rumours about Scott's love life prior to his meeting his wife. Crane holds back from theorising, and admits:

“Biography can confidently offer profounder insights [into any life] only by pretending to a knowledge that it does not possess.”

Ibid., p. 348.

Again there are telling details in what we do know. Scott wanted a simple wedding, not in naval uniform. He seems to have feared any kind of bother on the day; a simple, straight-forward marriage attended by “enough admirals to stock the world's fleets” (p. 374) and a telegram from the king.Scott's letters to Kathleen – before and after the marriage – seem desperate to assure her of his feelings. This, I thought, suggested he either came across as cold or that she needed constant assurance. Kathleen's character is not the subject of the book, but I found the moments Crane devotes to her fascinating. She's tough, resourceful and independent. Other explorers – like Nansen – take her for dinner in Paris. And other women cannot stand her.

Scott himself says little in his diaries of the squabbles between the explorer's wives on their second journey south – the wives making the trip as far as New Zealand. Perhaps he's too polite to mention such things, perhaps he didn't even notice. There's a sense of a bullishly single-minded leader, striking out to his doom.

He had to be single-minded. The book reminded my of the Dr's study of archaeological adventures, where egos, national politics and luck are all as important reasons for going as the scientific needs. Scott's constantly weighed down by his own personal circumstances, and the need to provide for his mother, sisters and wife. Perhaps that explains his need to escape into an icy cold but all-male endeavour.

In fact, for trip two, the scientific needs get chucked over the shoulder as Scott discovers midway to the south that his old rival Amundsen is heading for the ice as well. You can practically hear the fiendish Norwegian twirling his moustache.

I can't help feeling that if Scott had been the one to suddenly announce he was also heading South that Crane and history would remember him for his wily pluck. Amundsen was better equipped, experienced and knows how to use his skis. I'm hardly betraying my country to say so.

In fact, the paucity of knowledge about what Scott was facing comes as quite a shock.

“On the eve of Discovery's voyage it was a commonplace that the world knew more of Mars than it did of Antarctica.”

Ibid., p. 315.

It's not just the cartography. Scott is woefully, dangerously ignorant of the value of dogs and mules in pulling sledges. The motorised equipped has not been properly tested, and the English don't know how to ski. Their knowledge of nutrition ultimately ruins the second expedition, and greatly imperils the first. Crane is good at explaining exactly what the cold did to the explorer's bodies. It's not for the squeamish.

Even for those in the crew not attempting the Pole, the rations were not adequate. Scott's diaries from the first trip South include his anguish at the “evil” of scurvy. As Crane explains:

“Behind this prickliness lay centuries of ignorant prejudice and an association in the popular and scientific mind with venereal diseases that time had done little to lessen. The irony of it was that for all practical purposes, science had left Scott in a worse position for combating scurvy than it had his predecessors a hundred years earlier. As early as the 1740s the young Scottish surgeon James Lind had demonstrated the curative powers of lemon juice, but after the virtual elimination of scurvy from Royal Navy ships, a shift from the use of lemon to the less effective West Indian lime had combined with the confusing evidence of polar expeditions to leave Lind and his remedy discredited.

The cause of scurvy is, in fact, a vitamin C deficiency, resulting in an inability of the body to produce collagen, a connective tissue that binds muscle and other structures together. Three years after Discovery's return Alex Holst and Theodor Frolich were close enough to an understanding to demonstrate that scurvy was a dietary problem with a dietary solution, and yet even then prejudice, professional jealousies and institutional resistance – those classic symptoms of scurvy's medical history – meant that there was still nothing like a consensus on its causes. 'I understand that scurvy is now believed to be ptomaine poisoning,' Scott could still write in 1905.”

Ibid., pp. 195-6.

Despite – perhaps because of – these fearsome shortcomings, this is a story of great heroism. Scott and Crane are both keen to underline the good qualities of the men, over any petty squabbles in their own accounts.

“It is a measure of the man that Royds – and Cherry, too – go on with it in spite of his fears, but the age that gave us the White Feather and shot men with shell shock had little time for such sensitivities.”

Ibid., p. 169.

There have also been criticisms of Scott's ultimate achievement, and though the second trip might have been overshadowed by Amundsen reaching the pole first, and then Scott's death, Crane is keen to bolster Scott's scientific achievements. Yes, science was secondary to the race for the pole, but Scott died with important rock samples on him, and he'd kept notes and observations till the end. His first journey is also of massive importance to Crane's case:

“The massive volumes of results and observations that came out under the auspices of the British Museum and the Royal Society over the next nine years are the unarguable legacy of Discovery's scientific work.”

Ibid., p. 308.

But none of this is what makes Scott such a hero, that makes him still a hero today when all the attitudes and world-view he was part of and stood for have long since gone their way. What makes Scott a hero is his death – and the way he and his men met it. The death of Oates, walking out into a blizzard with a dryly delivered quip worthy of James Bond, is all the more moving in context.

More than that, Scott's a hero because he failed. That, as George Orwell argued, is a uniquely British kind of heroism.

“English literature, like other literatures, is full of battle-poems, but it is worth noticing that the ones that have won for themselves a kind of popularity are always a tale of disasters and retreats. There is no popular poem about Trafalgar or Waterloo, for instance. Sir John Moore’s army at Corunna, fighting a desperate rearguard action before escaping overseas (just like Dunkirk!) has more appeal than a brilliant victory. The most stirring battle-poem in English is about a brigade of cavalry which charged in the wrong direction. And of the last war, the four names which have really engraved themselves on the popular memory are Mons, Ypres, Gallipoli and Passchendaele, every time a disaster. The names of the great battles that finally broke the German armies are simply unknown to the general public.”

George Orwell, “The Lion and the Unicorn”, Essays, pp. 142-143.

Scott might be a Victorian explorer, but what his adventures most made me think of were the Apollo missions to the Moon, just a half-century later. At least after reading this account, the lunar landings seem so much less risky compared to the journey's south, where the ice tore through the crew and their equipment and ship, slowly eating them away.

I've seen President Nixon's pre-recorded TV address had Armstrong and Aldrin not made it back off the lunar surface. Would they have been bigger heroes in the national and global consciousness for that failure? Or would they have quietly brushed under the carpet?

Now the science bit...

Here's my talk at the Royal Observatory from Tuesday night, which seemed to go down okay.

The use and abuse of science in Doctor Who

Hello.

As Marek said in his introduction, my name is Simon Guerrier and I write Doctor Who novels, short stories, audio plays and comic strips. I’ve also written similar things for Robin Hood, Primeval, Being Human and Blake’s 7. This talk is about some of what goes through my head when I’m writing.

What follows are my own thoughts. I can’t speak for how other writers do things, let alone for my bosses at the BBC or my various publishers. I’ll use examples from other people’s work, but that doesn’t mean I know what they were thinking when they wrote it.

The title is ‘the use and abuse of science in Doctor Who’, but I’m not going to list the times the show gets its physics right or wrong. Paul Parsons’ book The Science of Doctor Who far more ably explores the real scientific ideas behind many of the Doctor’s adventures.

Arthur C Clarke in his introduction to that book says Doctor Who is more 'fantasy' than science fiction; it's not really worried about getting the science right.

I think that's far more true of something like Star Trek, which is full of stuff like tachyon beams, baryon sweeps, quantum fluctuations and event horizons. I don't even know what those things are – they're just listed on the “Physics and Star Trek” page of Wikipedia. There isn't a “Physics and Doctor Who” page. I looked.

That doesn't mean Doctor Who isn't scientifically literate. It just does different things with science – which I'm going to mean real developments in physics, chemistry and biology. My original plan was to arrive here with the latest issue of New Scientist and explain how we could work up each of its headlines into a Doctor Who story.

We would take, for example, the lead feature on the cover. And I'd ask you all, 'How could this threaten the world?' and, 'How could the Doctor stop it?'

But I don't think we can do that. Here's the [then] current issue. There's a picture of a huge meteorite hanging above the earth, and it says in big letters, '72hrs until impact – what can we do?' That's a Doctor Who story right there.

Look, the cover also says, 'Free will – you do have it, after all'. Which will come as no surprise to those of you who've seen recent episodes like Turn Left or Father's Day – where we see what happens when history gets changed. It's also true of the 1970 story Inferno. Or, to be honest, any Doctor Who story where the Doctor encourages an ordinary supporting character to step up and make a difference.

Doctor Who gets its stories from everywhere, by asking the same questions. How could developments in transplant surgery threaten the world? That question gave birth to the Cybermen, way back in 1966, monsters who've volunteered to have their brains and emotions replaced with hard wearing metal and plastic. Ask the same question of new treatments to keep us young and slim and you get the Lazarus Experiment turning Mark Gatiss into some kind of giant scorpion, or the cute little Adipose, where the fat literally walks away.

Even when Doctor Who is stealing from sources that aren't science, it's still underpinned by science. It takes the 1959 Hammer film The Mummy and turns it into the the 1975 story Pyramids of Mars. In Doctor Who the Egyptian God is really an alien and his army of mummies are robots.

It also turned The Mummy into the 1967 story, Tomb of the Cybermen, with the story transposed to an archaeological dig in space. In the Hammer version, George Pastell plays Mehemet Bey, worshipper of Karnak, who pretends to be a friend of the archaeologists then entreats the risen Mummy to kill them. In the Doctor Who story Pastell plays much the same part, but here he's a member of the Brotherhood of Logicians.

It's the same story, but the trappings of superstition have been swapped for the trappings science. They're not walking corpses animated by ancient Egyptian magic, they're cybernetic men who've been in cryogenic sleep. It's a completely different thing. The trappings of science make the story more credible. Science is an authority with which we cannot argue.

This, though, is 'Bad Science', according to page one of the book by Ben Goldacre. He speaks on page 1 of people for whom 'science' – in quotes – is, wrongly, 'a monolith, a mystery, and an authority, rather than a method.'

I'll come back to that definition later.

But the writers of Pyramids of Mars and Tomb of the Cybermen would probably laugh at the criticism that they were guilty of bad science. For one thing, they'd say, they were only interesting in writing a good story.

Before we go any further, it would help to have an idea of what a good story is.

There’s a whole publishing industry on just this topic, which I’m glibly going to boil down to just one sentence:

People we want to spend time with want something they cannot get easily.

You can test the hypothesis by applying it to your own favourite stories. We don’t have to find these people heroic or noble, we just want to spend time with them. We might not like them were we to meet them in person, but from a safe distance as readers or viewers, we want to see how they do.

They might want to stop a war or monster. They might want a particular girl to notice them. They might realise the thing that they longed for to begin with isn’t really what they want at the end. But that's the core of your story. You go off and write it up. How do you know if it works?

If you tell a joke, you know it works because people laugh. You can tell the same joke a lot of different ways – which you will, depending on who you are telling. You might use a five-act structure, you might just skip to the punchline. What matters is the laugh. Whatever you've done, whatever technique you've used, if they don't laugh it isn't funny.

Writing stories, we don’t just want to make an audience laugh. We want to shock them, surprise them, make them nod and smile and cry. Good writing contrives to affect the reader. Think again of your favourite stories and how they made you feel.

I don’t mean to be cynical. There are lots of tricks in writing – ways to make the sentences more active and vivid, the sensations more affecting. But to entice and absorb the reader takes more than a few gimmicks; it takes craft and skill. Clever method alone will leave the reader cold.

This has traditionally been a criticism of science-fiction: that the stories hang on a neat scientific idea or a plot twist that makes the reader think but doesn’t make them feel. The ideas might be clever and interesting, they might make for good science, but the execution feels clinical. I know many people who say they don’t read science fiction specifically because that’s what they expect: sf is hard work rather a good story.

The best-loved science fiction stories tend to bridge this gap between the heart and mind. The neat idea might create a 'sense of wonder' – the universe is massive, we’re small and insignificant. Or the neat idea might play to our fears – civilisation crumbles as aliens invade or there’s a nuclear holocaust.

This still often means that the idea comes first in a lot of science fiction. The starting point is not people we want to spend time with want something they cannot get easily. The emphasis seems to be that an exciting thing happens, and here are the people it happens to.

Think of the 'characters' – in quotes – in a lot of big budget movies. Are the heroes of Transformers: Revenge of the Fallen and Twilight people we want to spend time with? Would Bella Swan hold our interest if she didn't hold hands with a vampire? Would Sam Witwicky be worth our time if his car hadn't just blown up the pyramids? Or are they only interesting because of the exciting events in which they get caught up?

Which of these two extremes is Doctor Who – characters we want to spend time with or ciphers to whom these things happen? You might argue that each episode of Doctor Who is based round an exciting thing happening in some new location. The TARDIS lands just in time for an alien invasion or the trial of some gadget that will overturn the laws of physics. We learn about what’s happening from a cross-section of people we’ve not met before, who are mostly killed off over the next 40 minutes.

These people are often well drawn and memorable. And Doctor Who is generally good at avoiding the cliché that we only learn something about a character’s back story if they’re about to die. But these are not generally ‘people we want to spend time with’ in the sense I used before. They’re there to add colour to the exciting thing that’s happening.

Here's a telling thing. In the whole 46-year history of Doctor Who, there are very few supporting characters who I think would support their own series. There’s Jago and Litefoot in the 1977 Tom Baker story, The Talons of Weng-Chiang. There’s Sally Sparrow in the 2007 story, Blink – with David Tennant and the walking statues.

That’s partly down to the quality of those stories. A recent reader survey in Doctor Who Magazine voted Talons the fourth and Blink the second best Doctor Who stories ever – fourth and second out of 200.

The quality of the writing means they're not merely supporting characters. They’re not just there to add colour to what’s going on in the stories; they’re people we want to spend time with. It’s a shame that at the end of Blink Sally Sparrow doesn’t join the Doctor for more adventures – she’s the companion he never quite had. Jago and Litefoot have just been reunited in an audio play for Big Finish; a story of their own, without the Doctor. It's part of Big Finish's ‘Companion Chronicles’ series, usually reserved for the companions who travelled with the Doctor for more than a few stories.

Companions are different from supporting characters. The Doctor and his companions are people we want to spend time with. They want to explore, and when there’s trouble they want to help. They can never do that easily.

The Doctor and his companions are the focus of the stories. Especially in the series as it’s been since 2005, the Exciting Things Happening in each episode tell us more about the Doctor and his companions than the other way round. There’s an alien invasion or some gadget that will overturn the laws of physics, but the hook of the episode is how the Doctor and his companions feel. I think that mix is what's given the recent series such a massive, broad appeal.

It's important to note that this attention on relationships and feelings does not come at the expense of other parts of the story. I've heard it said that while the Doctor's relationships remain difficult in the new series, the Events Happening are dealt with too easily. The Doctor just presses a button, or has some pseudo-science answer where he might as well wave a magic wand. New Doctor Who, I've heard more than one person say, is more interesting in holding hands than the story.

I don't think that's true; at least, it's not something that's new to the series since 2005. The old Doctors would just as often escape danger with a single bound. They would confuse the villain's computer which would blow up the villain's base, or variations on that theme. If you were lucky the villain would be killed by his own killing machine. Just as with the new series, there were a lot of supporting characters ready to sacrifice their lives.

The show has always needed to wrap its stories up neatly, with the Doctor at the heart of the answer. And I don't think that's very different from other shows. Star Trek, for all its credentials on Wikipedia, often wraps up its episodes in the last couple of minutes with the timely invention of some new technology or law of physics. Star Trek's scientific advisers might ensure the words used in the script sound scientifically accurate, but that's just using the trappings of science to validate the ending of the story.

All endings are contrived: a writer chooses if they’re happy or tragic, who lives and who dies. It feels more contrived in Victorian novels when a rich relative dies and leaves our heroine a fortune if we’ve not heard of that relative before. So writers seed clues and props that can be used in the solution. Ideally, the solution comes as a surprise but also seems, in retrospect, inevitable, even obvious.

There's a good example in Blink, second best Doctor Who story ever. The weeping angels look like statues, and we know they can only move if no one is looking at them. Sally and Larry hide from them in the TARDIS, but the TARDIS dematerialises, leaving Sally and Larry behind. They're surrounded by the angels. They can't look at all the angels at once. There's no way they can escape.

Except the angels stand perfectly still. We already know why: they can only move if no one is looking at them. And they're looking at each other.

The story uses only what we already know, it makes the Doctor central – he withdraws the TARDIS – and afterwards the solution seems so obvious. It's a trick, a contrivance, but it's perfectly done.

So what we want in a story is people we want to spend time with who want something they cannot get easily. We want the story to move us, to make us feel differently. And we want an ending that doesn't feel like it cheats.

So – and sorry if you were thinking this as well – where does science come into all that? The next bit is about stuff I've written, so sorry it's all a bit me, me, me.

First, if you're going to have science in your story, you should endeavour to get it right.

In 2005, I wrote my first Doctor Who novel, The Time Travellers, in which the first Doctor and his companions meet some scientists testing a time machine. In accepting my outline for the story, editor Justin Richards said I'd have to make sure I got the physics right.

You'll be sorry to hear I didn't invent time travel for the purposes of the book. I did read some books on quantum theory – including Brian Greene's The Elegant Universe. I also got a doctor of particle physics at the University of Manchester to look over my notes. He agreed I should use quantum entanglement. As he said – I love this quote:

The best thing with high energy physics is that you can do very weird things... and they are allowed!

He made notes on the book as I wrote it, as did a couple of mates with science degrees, and I hope they helped save me from any too galling mistakes. In return, I borrowed his name for the head of the time travel experiment in the book, and had him blown up by a nuclear bomb.

Trying to get the details right is important. It's not just about using the trappings of science. There are those who argue – the people who wrote the Physics and Star Trek Wikipedia page, for example – that this sort of thing even drives science forward, with well grounded science fiction stories acting as thought-experiments in which to test theories.

I'm not wholly convinced by this boast. A lot of SF ideas and technology would never work in the real world, at least not quite as described in the stories. Star Trek fans make much of how the series showed hand-held communicators in the mid-60s, decades before mobile phones. But you watch those old episodes of Star Trek now and it's striking how people hold their communicators – it's out in front, not up to their ear.

Doctor Who's guesses have been more off-target. The 1966 story The War Machines sees William Hartnell's Doctor battle a new super-computer called WOTAN. What makes WOTAN so utterly evil? He can speak to other computers down the telephone line. This was years before the ARPANET, the first fragile version of the web.

But even if grounding the story in real science does not advance science in itself, it can spread scientific ideas an theories. A 1982 story called Earthshock sees the Cybermen crash a spaceship into the Earth which wipes out the dinosaurs. A lot of Doctor Who fans at the time, including me, grew up thinking this was based on fact: that the Cretaceous-Tertiary extinction event that wiped out the dinosaurs 65 and a half million years ago was the result of some foreign body hitting the Earth.

This is generally the consensus opinion among scientists now. But this idea, called the Alvarez hypothesis, is a relatively new one and it took time to be accepted. It was first proposed by Luis and Walter Alvarez in 1980, and so would have been a New Scientist headline just when writer Eric Saward would have been pitching the idea what became Earthshock.

A radical new theory and its central to a tea-time family adventure series, the episode with the crash watched by 9.6 million viewers in the UK on first transmission. I think that's probably the nearest Doctor Who's come to Star Trek's communicator. Doctor Who, ahead of the game in cutting edge science. It doesn't happen very often.

And if nothing else, grounding the fiction in real science means you don't break the illusion of reality, so keep the audience caught up in the story. In fact, these details can add a sense of reality to the story, drawing the reader further in. George Orwell once wrote that,

"The outstanding, unmistakable mark of Dickens’s writing is the unnecessary detail."

Another benefit to the writer is that getting the science right means you have to consult with other people. Writing generally means lots of lonely hours sat in front of a computer plonking down the words, so finding people who can answer your questions helps to keep you sane.

I'm here today, away from my computer, as a result of asking Marek questions. I've written a story, Shadow of the Past, featuring Liz Shaw, the third Doctor's companion. Liz, we learn in her first TV story, has degrees in medicine and physics and her job is to investigate 'the strange, the unexplained'. I needed to make that part of the story; when a meteorite crashes in the Pennines at the start, she'd want to measure and test it.

I asked Marek what tests she might do. I also asked how much notice her friends at UNIT sometime in the 1970s or 80s might have of a meteorite crashing on Earth. Marek sent me back a long email which I pasted straight into the script. This talk is the least I could do.

Something else I've discovered: a real scientific concept is a great springboard for a monster. An episode of QI gave me an idea for a monster that I've then used several times. Stephen Fry explained that even if you liquidise a living sponge, it can put itself back together. Liquidise two spongers together and they separate themselves out. Imagine a monster like that? You'd never be able to kill it. But, since it's all made of nerve tissue, you could easily hurt it and incur its wrath.

My editor at the time, Gary Russell, suggested that this spongy monster should also have the power to change shape and mimic other people. Shape changers, he explained, are cheap to do on audio because they are not an additional voice. Thus were born the Mim, who feature in lots of my stuff. And when I wanted to destroy their planet, there was plenty of information available by googling on what might make sponges extinct.

Incidentally, QI seems to have got the stuff about the sponges from The Ancestor's Tale by Richard Dawkins. Dawkins details HV Wilson's 1907 experiments on sponges on page 500. You could mine Dawkins' book for monsters. It's packed with good stuff. There are the sea squirts that eat their own brains when they mature, or the starfish even Dawkins calls 'Martian' because they're so unlike other life forms on Earth. Doctor Who, incidentally, gets a name check on page 284. Anyway.

Even better, sometimes getting the science right can drive the story that follows. I've written a Blake's 7 audio play due out later this year, about the early life of Blake's friend Jenna Stannis. Jenna has grown up on a space station and thinks planets are a bit backward. My wheeze was to have a teenage Jenna race spaceships with a boy that she fancies.

Script editor Ben Aaronovitch liked the idea, but tossed back my first draft because I had avoided the physics. He explained that his vision for the show didn't include star drives and other made-up convenience. Our heroes can't just press a button to make their spaceships go. At his insistence, I had to go ask my clever friends about orbital mechanics and delta-v.

You can't race space ships in vacuum. If they're both the same shape and have the same thrust they'll be perfectly matched. So my race now takes place through an asteroid field, where the ships get pinged with dust and rocks, and the pilots need skill to keep themselves on a steady course. The dust rattling off the nose cone will also, I'm hoping, make it sound good on audio.

I worried how I'd explain the physics stuff to the listener without bogging down the story in explanation. So I've used the complexity of the physics as a plot point. They race without using their ships' computers, doing all the calculations in their heads. That means they're also trying to put each other off. So I've got an important plot reason for Jenna mentioning off-hand to the guy she's racing that she's not wearing a bra.

It's important, though, that the background research doesn't take over the story. One common complaint from scientists is that we writers are happy to get our science wrong, but would never dream of inaccurately referencing history or literature. We do that all the time.

In the 2005 Doctor Who story The Unquiet Dead, the Doctor meets Charles Dickens. Writer Mark Gatiss has clearly done his research and the Dickens here has a complicated love life and a scepticism for the supernatural. The real Dickens, however, had suffered a stroke about eighth months before the events of this story. The Doctor admittedly says that he'll die in the following year, but this Dickens isn't grey-faced and limping, as the sources suggest - that would be too depressing for a Saturday tea-time. The story fudges the details; it's a recognisable, well-drawn impression of Dickens, but not the man himself.

We could make the same case for the Victorian Cardiff seen in the story: it's an impression of the time, as much to do with the conventions of period drama on television as it is about the history.

Steven Moffat – the new Head Writer of Doctor Who, and the author of Blink – talked about just this issue earlier this month. He was speaking about his forthcoming new version of Sherlock Holmes, set in the present day. He said:

"The moment you do a period piece, you've got one of two approaches. You either funk it up a bit and try and pretend that the Victorian era was just like now, or you lavish detail on it. In either case you make the background the story. Now that is lovely [in] a story that's about Victorian England. The Sherlock Holmes stories are detective stories. The background should stand at the back and, frankly, the foreground, the great heroic stories of detection should be what it's about."

It doesn't just apply to period pieces. Think about the physics in a contemporary-set show. EastEnders, for example, doesn't bog itself down in detailing how the beer pumps work at the bar of the Queen Vic. They're just there in the background, and if whoever is serving needs to go change a barrel, we know it's for some important plot reason. They won't be at the bar to hear some piece of information, or they'll have a meeting with someone downstairs that no one else will see.

In a sci-fi show, if you don't explain the beer pumps, some people feel that you're cheating. In EastEnders, they're a background detail. They help us believe that we're watching events in a real pub. They can even play a part in the driving the story. But they're not what the story's about.

Sometimes Doctor Who does foreground the science. The Doctor's had scientific companions – doctors of physics and medicine. He's been up close to black holes and seen the invention of the steam train. In the Curse of Fenric, his companion Ace, who dropped out of school in the 1980s, knows more about logic and programming than the scientists working on the first computers.

But science needs to know its place in the story. We have to accept that Doctor Who is fiction, that for all it might source its monsters from real science, they're grown to suit the needs of the story.

And yet I think there's an important way in which Doctor Who uses and even promotes science. And I think it something Doctor Who has over many other shows and heroes. It's got the Doctor.

His attitude to science is crucial. He explicitly says he's a scientist several times in the first decade of the show. He also describes himself as a pioneer among his own people. He's a horologist and chronometrist – he likes clocks – he took a degree in medicine with Lister and he clearly knows all the loopholes of intergalactic law.

Sometimes that gives him an authority, but more often it explains what he does.

He's interested in everything, and with him, everything is interesting. Every Doctor Who episode grapples with the strange and scary. It loves subverting the normal and everyday. Even when the TARDIS lands in an ordinary, suburban street you know the monsters are lurking. Ipods and Sat Nav and shop window dummys suddenly mean something else.

Wherever he goes, the Doctor asks awkward questions. What's going on? What made it like that? What can we do to help? The core of a Doctor Who story is the surprise reversal of expectations. "It's Not What You Think, Doctor!" Or, "They're Not What They Seem!" Cue end titles.

The Doctor exposes the truth, disproving theories however ancient and guarded. He's not afraid to challenge assumptions. He can make himself unpopular by making people face difficult truths. And he wants us to look for ourselves. He teaches not just his companions but everyone he can to use their brains, to question, to work out what's really going on. That drive and courage is at the very heart of science.

Think of what happened to Galileo for suggesting the Earth circled round the Sun, not the other way round. A lot of science if counter-intuitive. Quantum physics and orbital mechanics defy the way we think the world should work. Ben Goldacre describes the results of the Cochrane Collaboration, a systematic review of medical research.

"This careful sifting of information has revealed huge gaps in knowledge, it has revealed that 'best practices' were sometimes murderously flawed, and simply by sifting methodically through pre-existing data, it has saved more lives than you could possibly imagine."

Ben Goldacre, Bad Science, p.98.

I said I'd return to Goldacre's definition of 'bad science'. He spoke of people for whom 'science' – in quotes – is 'a monolith, a mystery, and an authority, rather than a method.' These are the people caught up in the Doctor's adventures, who he teaches to see things differently. He makes them ask questions.

Here's Elton Pope at the end of the episode Love & Monsters, when his world's been turned upside down:"

When you're a kid, they tell you it's all grow up. Get a job. Get married. Get a house. Have a kid, and that's it. But the truth is, the world is so much stranger than that. It's so much darker. And so much madder. And so much better!"

Doctor Who might not always get its physics right, it might fudge the details, but it's intrinsically about a delight in the universe, in exploring, in asking questions. And that's why it's good science. Thank you.