Partial eclipse

I'm off to Hungary next week for a brother's wedding. Spent a weekend in Budapest for my stag do five years ago, have drunk some good Tokay and I've also seen Countess Dracula, but otherwise don't know a great deal about the country.

So my soon-to-be sister-in-law leant me Egri csillagok – or, in English, Eclipse of the Crescent Moon, A tale of the siege of Eger, 1552 – by Géza Gárdonyi. First serialised in the Pesti Hirlap newspaper from Christmas 1899, the edition I read was translated into English by George F Cushing in 1991.

Wikipedia summarises the five sections of the book, which begins with two children, Gergely and Éva, being kidnapped by some villainous Turks. Gergely is clever and he and Éva escape. Years later, when Buda has been taken by the Turks, they meet up again and get married, have some adventures before getting caught up in Eger as it's besieged by an army of 200,000.

It's a rich and patriotic story, full of incident and fun characters. The Hungarian heroes are a lesson in most noble bravery; they're resourceful, canny and honest. Báliant Török, for example, finds dealing with the dishonest Turks hard work: “I'm not used to hiding my thoughts from other people,” (p. 182). Szalkay, meanwhile, knows who to shake hands with: “His practised eye told him [Miklós Réz] was not a gentleman,” (p. 425). During the siege itself there's a merry discussion of cutlery and recipes (pp. 426-7), and plenty of good-natured jokes.

When one naughty fellow, Hegedüs, is caught trying to negotiate with the enemy, he gets an unquestionably fair trial: Zoltay is even relieved of his duties as a judge for flaring up in anger. As Hegedüs swings from a gibbet we're left under no doubt that this is a sterling, civilised bunch.

There aren't a lot of shades of grey. The Turks are variously greedy, cruel, cowardly, sneaky, dishonest and hypocritical (yet apparently still better to live under than the Austrians). In general, it reminded me a lot of The Horse and his Boy. If I'd understood Edward Said's impenetrable prose (I think he's sort of saying the same things as Tusk Tusk), I might dare to call it Orientalist.

It's not as if the Turks can do anything right: they're mocked if they break their vow of abstinence of alcohol, and mocked if they stick with it. The new bey is described as,

“a coward and a fool ... Can someone brought up on water be anything else?”

Géza Gárdonyi, Eclipse of the Crescent Moon, p. 271.

(It's a little like the Russians of the 1950s, as described in Edward Wilson's novel, The Envoy. The Russians won't trust those who aren't boozers, so spies learn to line their stomachs by drinking olive oil.)

When our heroes dare visit the Turk's own lands, there's a lot of wide-eyed pointing and gawping. As with the boozing, the Turk's odd behaviour gives clues to Hungarian norms:

“Constantinople is a paradise for dogs. There are no courtyards here, or if there is anything like that, it is on the roof of the house, so there is no room anywhere for dogs. Those red-haired, fox-like creatures swarm in hundreds through the streets in some parts. The Turks do not disturb them; indeed, when one or other of them has a litter of puppies, they throw down rags or a bit of rush-matting by the gate to help them. Those dogs keep Constantinople clean and tidy. Each morning the Turks empty the square tin dustbins beside their gate. The dogs eat the contents. They devour everything except iron and glass. And the dogs are not ugly or wild either. You can pat any of them, and they will wag their tail with delight. There is not one of them that is not glad to be stroked.”

Ibid., p. 254.

So in Hungary the dogs are wild and ugly, and shooed out of sight. No wonder its such a surprise to find them being friendly. I assume as well as eating the rubbish, the dogs helped keep down the plague.

Yet the book also pokes fun at the ignorance of its heroes. There's a glimpse of a map depicting,

“the three continents. (At that time scholars had not yet mapped out the land of Columbus; there was merely a rumour that the Portuguese had discovered a hitherto unknown continent. But nobody knew how much truth there was in it. And even Columbus had not yet even dreamt of Australia.)”

Ibid., p.110.

That's in Part II, set in 1541 – 50 years after Columbus stumbled into America. I wonder how long it took for word to get round?

Or there's the moment our heroes are shocked to hear from one spy of the bey's habit of drinking ink:

“'What?'
'Ink. He drinks ink like we do wine, sir. Morning, noon and night he drinks nothing but ink.'
'Come off it! It can't be ink.'
'Oh, but it is ink, sir, good genuine black ink. They make it out of some kind of bean, and it's so bitter that I was still spitting it out the day after when I tasted it. And in Turkish the name of the bean is kahve.'”

Ibid., 349.

For all the book protests, the Hungarians and Turks don't half overlap. The stealing of children – as seen in Part I – is a reasonably common occurrence, and there are numerous instances of people who've swapped sides and / or forgotten their heritage. Though the author prefers not to point it out, there are examples of noble Turks and of lazy, good-for-nothing Hungarians.

Further muddying the water, the Hungarian and Turkish languages are also very similar, as Jancsi explains:

“'Well, for example: elma = alma [apple], benim = enyim [mine], baba = papa, papuch = papucs [slippers], daduk = duda [bagpipes] chagana...'
'Csákány [axe]!' cried Eva, clapping.”

Ibid., pp. 227-8.

This suggests the cultures have been mixing for centuries. I gather Hungarian is a Uralic language and shares roots with Finnish and Estonian, while a chum in the pub says its also been linked as far as Japanese.

(T Majlath compares Hungarian and Japanese words, but is also keen to state that these are only “similarities” ... “Nowhere do I claim that Magyar (Hungarian) is related to Basque, Etruscan, Japanese, Sanskrit, Sumerian, or Martian or whatever. I wouldn't dare to make such claims which are, after all, the sole prerogatives of Indo-European.”)

There are plenty of fun observations throughout. Zoltay is described as “a jolly man without a beard, so he was unmarried,” (p. 301). Later there's an example of a Christian not quite living the spirit of his order.

“The office of bishop isn't only an ecclesiastical post, but a military one, too. Every bishop has his own troops. And every bishop is also a captain.”

Ibid., p. 360.

When we get to the siege itself, there's plenty to be said on tactics, experience and intelligence in war. There's stuff about when best to fire on the enemy and how to check if they're trying to mine under the castle.

“Get the drummers to put their drums on the ground too and spread peas on them ... Go round all the sentries and tell them to examine the drums and dishes [of water] each time they pass them. As soon as there's any movement of water in the dishes or peas and shot on the drums, they're to report immediately.”

Ibid., p. 450.

You also feel the historical moment, as new technologies threaten the old ways of warfare. On page 325, Cecey declares that, “A good bow is worth more than any rifle.” Yet 50 pages later we're told that gunfire is in the Hungarians' blood:

“Ever since the discovery of gunpowder, Eger more than any other place in the world had resounded to the noise of firing. Even today spring festivals, firemen's parties, elections, choir celebrations, garden parties and public performances are inconceivable without being preceded by gunfire. The gun is a substitute for the poster. Sometimes there are posters too, but all the same they do not dispense with the gun. In the fortress there are always a few mortars lying around in the grass. Anyone who likes fires them. So how could the folk of Eger feel afraid?”

Ibid., p. 367.

As the siege continues, these folk of Eger have to roll their sleeves up. It's a great bit of patriotic fervour – like the ordinary citizens who help Spider-Man or Batman. It's also thrillingly blood-thirsty:

“Mrs Gáspár Koscis, a sturdy figure, drenches an approaching aga with a long bear so thoroughly with boiling water that when he makes a grab at his beard it comes away in his hand. Another woman seizes a flaming log from the nearby fire and strikes a Turk in the face with it so that sparks fly fly from it in all directions. The other women repulse the pagans with weapons.
'Jesus, help us!'
'Strike them! Strike them!' roars the smith from Felnémet.
He rushes with his hammer in among the women. Three Turks are fighting there back to back. He strikes one so hard on the head that his brains spatter out his nose and ears.”

Ibid., pp. 536-7.

The all-important differences between the Hungarians and Turks also play their part:

“Actually it was the soup that beat off the attack. The Turks had got used to fire, sword and pike, but knew hot soup only in spoons. As the boiling paprika-spiced liquid poured down the first ladder, the men seemed to be swept off it. The swarm of men at the foot of the ladders also jumped away. Some clutched at their hands, others their faces, others their necks. Covering their heads with their shields they backed away from the walls cursing.”

Ibid p. 478.

As the odds continue to stack up against our plucky heroes, it gets ever more gripping. Who lives? Who dies? Who will the siege?

George Cushing's introduction talks about Gárdonyi's research and what bits of the story he's invented, and I'm looking forward to seeing the real castle for myself next week. But I'm also impressed by how Gárdonyi scoffs his cake and keeps it for the historical record. Because while we get a happy ending for Gergely and Eva, satisfying the romantic feel of the thing, the real history sits heavy on them; they've only won a reprieve.

But way, way back it's let us know Gergely's not so brilliant future. One reason for Gergely visiting Constantinople in Part III is so the author can let us in on what's to befall him.

“When you've grown into a fine bearded man and a gentleman, that's where the wicked Turks will entice you into a trap and clap your hands and feet in irons! And only death will release you from them...”

Ibid., pp. 228-9.

And again later:

“Poor young hero! You bright star of the Hungarian galaxy, you will never turn grey on this earth! With what expression, I wonder, would you look into the mirror of the future if some divine hand displayed it for you, and you were to see yourself in captive's chains in this very spot, and you were to see the Turkish hangman knotting the rope for you round that rusty lamp-bracket!...”

Ibid., p. 272.

It's a nice cheat round the problem of historical fiction, where the author struggles to make us care about what's going to happen to characters who must be long dead.

"There are more rules with sci-fi"

Another one: Titan interview me about my Primeval book.

"Mozart and an army of vampires"

The Den of Geek site has interviewed me about writing Doctor Who and Primeval tie-in stuff: part one and part two.

A grey day

This afternoon I was in drizzly, grey Greenwich to discuss a potential project. I lived in Greenwich 2002-04 and got married in the Queen's House. For a couple of years I used to pass through the royal park pretty much every day. There were birthday picnics (and lightsabre fights) on the grass, and a good few parties and nights in the pubs... Happy days - but so long ago.

Nosed around a bit feeling wistful, fell in to Halcyon Books on Greenwich South Street (which the Dr and I fell into on our very first date) and - sighing - lugged myself home.

On the way back I finished David Simon's Homicide: A Year on the Killing Streets. It's a massive, meticulous and extraordinary story, packed with lucidity and detail. Baltimore Sun reporter Simon follows a homicide department all through 1988. A small band of put-upon, grumpy and very smart guys fight a tide of stupid, stupid violence.

Simon explains the context, the pressures, the morbid dark humour that helps the cops through it, the toll it takes... There are pages on what takes place in an autopsy or in a court room, the personalities as well as the procedures. It's grueling and sometimes appalling to read, yet utterly compelling.

In a 2006 afterword, Simon lets us know what became of the men involved - and of him, as the book got turned into a TV show ("Homicide: Life on the Streets"), and Simon started writing for the telly (his next book, The Corner, then led to The Wire). Over 600 pages he's made all kinds of clever connections, and here on why he stopped being a journalist in the 1990s, is also the inspiration for much of the dour tone of The Wire:

"Some of the best reporters the Baltimore Sun had were marginalized, then bought out, shipped out and replaced with twenty-four-year-old acolytes, who, if they did nothing else, would never make the mistake of having an honest argument with newsroom management. In a time of growth, when the chance to truly enhance the institution was at hand, the new regime of the Sun hired about as much talent as they dispatched ... I came to realize that there was something emblematic here: that in postmodern America, whatever institution you serve or are served by - a police department or a newspaper, a political party or a church, Enron or Worldcom - you will eventually be betrayed.

It seemed very Greek the more I thought about it. The stuff of Aeschylus and Sophocles, except the gods were not Olympian but corporate and institutional. In every sense, ours seems a world in which individual human beings - be they trained detectives or knowledgeable reporters, hardened corner boys or third-generation longshoreman or smuggled eastern European sex workers - are destined to matter less and less."

David Simon, Homicide: A Year on the Killing Streets, pp. 634-5.

"Some rather difficult words"

Douglas, Alexander, Scott, Helen, Alexandra, Mabel and Mhairi from Kinross Primary School have reviewed the Slitheen Excursion for the BBC's official Doctor Who website and given it an average of 9 out of 10. Hooray!

Porn for kids

To the BFI Southbank last night to see Coraline in eye-popping 3D. Eye-popping then replacing with buttons…

Coraline Jones moves to an old pink house in the middle of nowhere. While her parents are enslaved to their keyboards and deadlines, Coraline starts to explore. There’s the deep, deep well up the hill, the amazing mouse-circus ringmaster (Ian McShane) who lives upstairs, and the two mad old actresses (French and Saunders) living in the basement. And in Coraline’s own living room there’s a small door. Which leads to another old pink house where everything’s the same but much better… At least that’s how it seems at first.

It’s a wild ride, packed with jokes and scares and cleverness. Apart from a bit with a needle, the 3D is used sparingly to add texture to scenes rather than being all in your face. The Dr suspected you wouldn’t lose much without it, but I think the fact you’re not overtly conscious of the effect is really one of the film’s strengths. As with any special effect, the best ones are when you don’t notice it’s a trick.

That’s important because I assume the 3D is there as a hook to get people into cinemas and not squirreling pirate versions to watch on widescreen almost-cinema TV. It’d be easy to go overboard and showy.

There was a lively Q&A afterwards with Neil Gaiman (what wrote the book the film’s based on), Henry Selick (what adapted and directed it) and John Hodgman (voice of the Father and Other Father, and off the Daily Show and Flight of the Conchords). I liked that Selick started wary with his answers for fear of giving us spoilers.

Apparently Gaiman sent Selick the book long before it was published – and even before illustrator Dave McKean got to see it – having loved his previous work. That means the film has been in gestation for something like nine years. Also, Gaiman’s note on an early version of the script was that it was too faithful an adaptation. It’s a while since I read the book, but the film seems bigger, more visual, less inside Coraline’s own head. There are more set pieces and principal characters.

Answering a question from the audience, Gaiman explained that there are things you can do in a book which just don’t translate to the screen. If he describes the Other Mother as “not-quite-the-same” as the real one, the reader does all the work in realising the difference. Selick has got to realise his own vision, show us what she looks like.

But I also think a book, or a narrated story, means you’re much more inside the protagonist’s head, and the tension and excitement is as much from what they’re thinking. In film you’re rarely privy to a character’s thoughts – telling us what they’re thinking is cheating. As viewers, we stand outside the action, our emotions plucked by action not thoughts.

In book and film Coraline struggles to make herself listened to; even a boy her own age in the film doesn’t give what she says any heed. That creates problems where you’d normally smuggle exposition into the dialogue.

Gaiman says the staged version has faced the same problem, with their Coraline saying as dialogue much more of the descriptive bits of the book. If I remember by A-levels correctly, there are dramatic conventions for this sort of thing. This isn’t cheating, though there are dramatic conventions for a character addressing the audience directly. A soliloquy speaks the truth – or at least the truth as the character sees it.

I don’t think Coraline narrating more of the film would have worked. It would have placed us self-consciously outside the action, at a distance and safe from anything that befalls her. As it is, we’re right up there with her, experience things as she does, part of the 3D world ourselves.

It certainly draws you in; the Dr – the wuss puss – found a lot of it scary. Gaiman said he’s interested in the response in the UK since things like the New York Times review of Coraline dwelt on justifying the very idea of kids’ film being scary. Almost as if, said Gaiman, he was pushing “porn for kids”. Over here, he went on, we know full well that the best telly is watched from behind the sofa (he then body-swerved a question on whether he’d be writing Doctor Who).

It’s difficult judging how scary you can be: Coraline makes monsters from familiar sureties like your parents and friends and neighbours. Coraline’s own house and bedroom and dolls are warped into nightmares. Yet at the same time it’s colourful and fun, Coraline helped along the way with good and true friends, embracing the strangeness of the real world while battling the monsters.

The child who is not listened to reminded me a little of David McKee’s Not Now, Bernard. Being careful what you wish for is the basis for many a scary fairy tale. Yet the child’s vivid imagination reworking the world around them is a bit like Pan’s Labyrinth – a film Gaiman himself admits wasn’t always suitable for a 12 year-old. Just because something is told through the eyes of a child doesn’t mean it is for kids.

Having tried to write scary stuff myself, and struggled to get that balance right, I’m fascinated by this kind of thing (see Scott on his three year-old’s response to Primeval). Just as with grown-ups, different kids will accept and engage with different things. One man’s meat is another’s monster. There’s stuff I was terrified of as kid (Worzel Gummidge, David Collings as Mawdryn…) that I knew at the time no one else was scared of…

It’s good that kids’ stories challenge and scare them, and that they overcome those fears. I guess the trick is in ensuring – trying to ensure – that you challenge, not abuse.

Look now

To the Dulwich Picture Gallery yesterday to see Sickert in Venice. Walter Sickert (1860-1942) made three long trips to Venice in 1895-96, 1900 and 1901. The captioning explains that he repeatedly painted the famous bits – St Mark's Basilica, the Rialto Bridge etc. – because he thought they might sell.

Yet, as Richard Dorment noted in the Telegraph, it's immediately reminiscent of Monet's haystacks or Rouen Cathedral, where the same subject is painted again and again with different light effects and mood.

“But unlike Monet, after painting the whole building, Sickert then zooms in like a film director to make dramatic close-up studies of details like the golden horses on the roof.”

Richard Dorment, “Sickert in Venice at the Dulwich Picture Gallery – review”, The Telegraph, 20 April 2009.

I think there's a more telling influence on these extreme and cropped close-ups: Sicket is aping (and may well have been reliant on) photographs. The immediacy of the photograph had a huge impact on painting. First, there was no longer a need to strive so hard to capture a perfect image; painters were free to explore mood and sensation – the impression left by a scene.

Photography also made painters break up the strictness of composition. In the old days if you were painting a picture of a house, you'd put the house centrally in the frame, maybe foregrounded by its owner, maybe showing off the grounds. Sickert has images of the Basilica and other Venetian buildings that might have been snapped on a phone. It's not just (as Dorment suggests) that he's focused on particular architectural details. Instead, not getting the whole building into the frame makes it seem larger, more looming.

Sickert clearly used photographs as the basis of many of his pictures. The captions explain where he produced multiple outlines of a picture using carbon paper, working them up in paint so they had different lighting and effects. The exhibition shows a number of his works in progress – sketches, canvases divided into grids, scribbled notes and observations.

The Dr was fascinated by a portrait of Israel Zangwill, author of the novel “Children of the Ghetto” (1892), and later the play “The Melting Pot” (1908), with Zangwell in front of the Venetian ghetto. The background seems based on another small picture in the exhibition,

“so thinly painted on its panel that the wood-grain shows through, depicting the built-up warren of Venice’s old Ghetto. Sickert orients the facade of the buildings parallel to the picture-plane — something he does quite frequently, actually — but here, the lack of ornament and superabundance of windows creates a strange, grid-like pattern, scraped out in the thinnest layers of golds and bronzes. It’s a magical little painting. If it didn’t so clearly recall this distinctive Venice neighbourhood, it could easily be mistaken for an abstract composition, and a strong one at that. All of which goes some way towards explaining why the best of these paintings have the quality they do. Even at his moodiest or most workmanlike, Sickert rarely ignored the imperatives of formal persuasiveness. There are moments when one can almost feel the artist losing himself in the abstract challenges thrown up by colour and form, treated as ends in themselves.”

Fugitive Ink, “‘Sickert in Venice’ at the Dulwich Picture Gallery”, 5 May 2009.

Of course there weren't postcards of either the ghetto or Zangwill's portrait.

I was also surprised by his models – the Venetian prostitutes, La Giuseppina and La Carolina. They're more often than not clothed, lounging about talking, doing nothing very provocative. There's a fascination with their madly piled-up hair, but also with them doing humdrum, ordinary things like sitting about and chatting. They're prostitutes and yet they're not doing anything rude (well, sometimes they're sat fully clothed on a bed); they're exotically Italian and yet not doing anything wild.

Short Trips recollections

Boo! the range of Doctor Who short-story anthologies, Short Trips, comes to an end this month. Yay! it ends with a MASSIVE BIG SALE and new best-of volume, Re:Collections, featuring one story from each of the 28 volumes published in the last six-and-a-half years. I’ve chosen and written introductions for stories from the three Short Trips books I edited. Excitingly, another editor chose one of my stories as one of his favourites.

I owe Short Trips a lot. My first professionally published (i.e. paid for) work of fiction appeared in the very first volume and I got to contribute 16 more stories to the range – I think that’s more Doctor Who short stories than anyone else has had published. Woo me!

In an effort to get you to try the MASSIVE BIG SALE, here’s the ones I wrote plus some exciting top facts:

1. “The Switching” in 1. Zodiac (December 2002), edited by Jacqueline Rayner

• An adventure of the Third Doctor and Jo Grant, with the Brigadier, Captain Yates, Sergeant Benton and the Master
• Body-swap stories are a bit of a cliché in sci-fi shows, but I stole this from the Buffy episode “Who are you” (February 2000), in which Buffy swaps bodies with bad, bad girl Faith, and none of Buffy’s friends notice
• My other pitches included a first Doctor story where he met his evil son, and a third Doctor, aliens-invading-Earth story, because they’re cross the Beatles split up
• I had a lot of help from writer Jonathan Morris – which I rewarded in my next story

2. “Curriculum Vitae” in 2. Companions (March 2003), ed. Jacqueline Rayner

• An adventure of Polly, with a reference to the seventh Doctor and Ace, and a cameo from someone who might be Tegan
• A story in Julian Barnes’ “The History of the World in 10½ Chapters” (1989) about a former astronaut made me wonder if the Doctor’s former companions had trouble with booze and religion and relationships
• Music industry supremo John Eliot Maurice is a tribute to Jonny Morris, who used to work for Mute
• Companions also features “A Long Night” by Alison Lawson, a lovely story about Barbara Wright’s mum Joan, who I borrowed for my first Doctor Who novel, The Time Travellers (November 2005)

3. “An Overture Too Early” in 4. The Muses (September 2003), ed. Jacqueline Rayner

• An adventure of the third Doctor and Sarah-Jane Smith, with the Brigadier and Sergeant Benton and another of the Doctor’s companions but it is a surprise
• This was a late replacement for someone else’s story falling through (no, I don’t know who)
• I had just a week to think up, have approved and then write a 7,000 word story about the third Doctor and music
• The idea came while shuttling between two freelance jobs on the Tube, and recognising a tune on another passenger’s Walkman, but not being able to place it
• This story led to two further commissions: my writing of the Brigadier got me The Coup (December 2004); and the story itself led to editing 18. Time Signature (below)

4. “A Good Life” in 5. Steel Skies (December 2003), ed. John Binns

• An adventure of the eighth Doctor and Charlotte Pollard
• This reused elements of my first pitch to Big Finish when they invited unsolicited submissions, for a Doctor Who audio called “Killing Demons”
• I wanted to show a side of Charley we wouldn’t glean from her audio adventures – hence she’s not nearly as chirpy as usual

5. “The Immortals” in 6. Past Tense (April 2004), ed. Ian Farrington

• An adventure of the fifth Doctor, Adric, Nyssa and Tegan
• I originally pitched this as a first Doctor, Ian, Barbara and Vicki story – and it would have included elements I later used in The Time Travellers
• I came up with the story after reading “Longbow” by Robert Hardy – who, of course, played Peter Davison’s elder brother in All Creatures Great and Small
• Mang is my favourite name from Kipling’s Jungle Book – it’s the name of the bat
  

6. “Categorical Imperative” in 9. Monsters (August 2004), ed. Ian Farrington

• An adventure of the fourth Doctor and Sarah Jane Smith, with the first Doctor and Susan Foreman, the second Doctor and Jamie McCrimmon (we don’t see the second Doctor but I assume he’s there, too), the third Doctor and Jo Grant, the fifth Doctor and Tegan, the sixth Doctor and Peri, the seventh Doctor and Ace, and the eighth Doctor and Charlotte Pollard
• This story was inspired by a line from the Doctor’s line in Genesis of the Daleks (March-April 1975): “If someone who knew the future pointed out a child to you and told you it would grow up evil, to be a dictator who would destroy millions of lives – could you kill that child?”
• The version I originally submitted included a brief cameo by the newly cast ninth Doctor. I took my cue from Jonny Morris, who snuck a glimpse of Christopher Eccleston into The Tomorrow Windows. But Big Finish aren’t allowed to make even oblique reference to the New Series, so my effort had to be cut. Here’s what I originally wrote:
  
  “Sarah sighed. He was being difficult again. Who else could she have meant, anyway? That little guy in the straw hat? Actually, she thought, he could be a Doctor too. She looked up and down the queue again. Quite a lot of them weren’t dressed like royalty. Every five or six places in the line was some dandy or eccentric. A young man in a beige coat, a sprig of greenery in the lapel. A Byronic sort with a flashy silver cravat. A wiry man with a gaunt, hawk-like face. They all had that same steely look about them, that righteous determination.”
  
  Later, it’s Rose who offers Ann a top-up of coffee.
  

• The Doctor Who – the complete adventures website makes a bold stab at identifying where the different Doctors are in their lives in this story
• If I’d been clever, I’d have had the eighth Doctor and Charley’s bit lead directly into “A Good Life” (above), but I only thought of that after the story was published
  

7. “Last Christmas” in 11. A Christmas Treasury (December 2004), ed. Paul Cornell

• An adventure of the seventh Doctor
• I pitched three stories to Paul for this anthology – this one, one that I wrote up a year later as “Christmas on the Moon” (below) and one about a cleaner in a hospital on Christmas Eve, who helps the seventh Doctor and Ace
• All three ideas, I think, aimed to emulate the New Adventures Doctor Who books of the 1990s – the first time I’d try to write in that style since my teens
• In my head, it takes place in the Richard I on Royal Hill, Greenwich – my favourite pub when I lived round the corner
  

8. “How You Get There” in 13. A Day in the Life (June 2005), ed. Ian Farrington

• An adventure of the seventh Doctor and Bernice Summerfield
• I used to get the 185 bus which features in this story; It goes through Camberwell, near the housing estate which doubled as Rose Tyler’s home
• Endwell is named after the road that the Big Finish production office used to be on
• The climax takes place in the tower at Millbank, also used as Tobias Vaughn’s base in The Invasion (November-December 1968)
• Excitingly, Ian Farrington chose this as his favourite of the book for Re:Collections
  

9. “Christmas on the Moon” in 15. History of Christmas (December 2005), ed. me

• An adventure of the sixth Doctor and Evelyn Smythe
• I originally pitched the idea for this story to Paul Cornell for A Christmas Treasury (above)
• I didn’t pay myself for this story, but I liked the idea so much I wrote it as a free bonus
• Astronauts Gire and Jackson are named after mates from university
• This is the first Doctor Who I wrote after seeing the New Series (I was already well into The Time Travellers when the series began, and had to deliver it before the broadcast of Dalek)
• Hoping the book might be picked up by new fans who only knew the ninth Doctor, I wrote the back-flap biog of the previous Doctors – which was then used on all the other Short Trips books (Gary Russell added it to the previous Short Trips book, 14. Solar System, and came up with the “An Adventure of…” tag under each story title)
  

10. “Incongruous Details” in 17. Centenarian (July 2006), ed. Ian Farrington

• An adventure of the sixth Doctor with Emily Chaudry and Will Hoffman
• Ian Farrington asked me to write this story, picking up from the cliffhanger at the end of Joe Lidster’s story in 13. A Day in the Life; it features two of the characters we created for the UNIT series
• This story is set in May 1940, though the blitzing of London didn’t happen until much later (this was a set-up for the third instalment of the story)
• It also sees the debut of the Mim, the sponge-like shape-changing creatures I created for the Bernice Summerfield range (and which were inspired by a thing on QI about how you can liquidise a living sponge and it will put itself back together)
  

11. “DS al Fine” in 18. Time Signature (October 2006), ed. me

• An adventure of the eighth Doctor with the sixth Doctor and Sergeant Benton
• This story ties up all the threads running through Time Signature – which are all a follow-up to “An Overture Too Early” (above)
• Inspired by Russell T Davies’ brief for the first series of the new Doctor Who, I provided all the authors with a one-paragraph brief which they could then build their stories around
• The story changed at the last minute when one of the other authors dropped out of writing a fourth Doctor story; I brought back the character Eddie Robson created for his story to bridge the gap
• The one-paragraph brief for the missing story was:
  
  “The fourth Doctor hears the tune again, and runs in to Black Rose and White Tulip. He still doesn't know who they are, or what the tune is that they're after. But for them, this is before they've recovered the tune, so in effect the Doctor has told them where to find Isaac.”
  

12. “The Best Joke I Ever Told” in 19. Dalek Empire (December 2006), ed. Nicholas Briggs with me

• An adventure of the sixth Doctor with Melanie Bush
• This story features the planet Guria, created by Nick Briggs for his Dalek Empire series – he says the name is a coincidence
• It was inspired after I nattered to Nev Fountain about his putting Doctor Who in-jokes into his scripts for Dead Ringers
  

13. “The Eighth Wonder of the World” – available as a free PDF – in 19. Dalek Empire (December 2006), ed. Nicholas Briggs with me

• An adventure of the sixth Doctor with Evelyn Smythe
• This story is full of classical references and in-jokes nicked from the Dr’s research; I’ve done the same thing with The Slitheen Excursion
• The book Evelyn has just read about the discovery of the Mausoleum of Halicarnassus is probably From The Harpy Tomb to the Wonders of Ephesus
  

14. “There’s Something About Mary” in 21. Snapshots (June 2007) ed. Joseph Lidster

• An adventure of the fifth Doctor, the sixth Doctor and the seventh Doctor, with UNIT
• This story is set in Preston and Reading – I was a student at both
• The music video Mary is entranced by as a child is Little Wonder by David Bowie; the fantasto-brilliant bass player with the horns and hoof-boots is Gail Ann Dorsey
  

15. “The Great Escapes” in 23. Defining Patterns (March 2008), ed. Ian Farrington

• An adventure of Lucie Miller (with the eighth Doctor somewhere in the wings)
• The original idea for this was a way of doing a two-hander Bernice Summerfield play; I almost used the same idea as the opening bit of The Pirate Loop
• Joe Lidster’s comment on the first draft: “Not much to say really - it's lovely. I was hoping Dr Who was going to be hiding inside one of the robots!”
  

(I briefly considered trying to abide by my own rules for 26. How the Doctor Changed my Life (September 2008), ed. me, but decided instead to include the original competition rules and my feedback to entrants.)

16. “Do You Smell Carrots?” in 27. Christmas Around the World (December 2008), ed. Xanna Eve Chown

• An adventure of the first Doctor and Steven Taylor and the fifth Doctor
• This story is set in Reading, and follows much of my route into town when I lived there
• I originally pitched it as being set in late 1999 – when I left to move to London
• Originally, the snowmen would have sheltered in the almost finished Oracle shopping centre; being set in 1982 I had to ask a couple of Reading residents for their memories of what was different
• Steven Taylor’s piloting skills also get a mention in The Drowned World
  

17. “Pass It On” in 28. Indefinable Magic (March 2009), ed. Neil Corry

• An adventure of the second Doctor and the sixth Doctor
• I sent Neil four ideas, and he asked for either this one or “the son of Doctor Who” – which I originally pitched for 1. Zodiac (above)
• I also didn’t specify which Doctor it was in the pitch; Neil chose the second Doctor, who I’d always avoided before because I find him difficult (this is something I discuss in my introductions for Re:Collections)
  

I also pitched for 7. Life Science and 25. Transmissions, but not well enough to get in. You can learn a whole devil more about the Short Trips range on Wikipedia. And get bargains galore in the MASSIVE BIG SALE.

“I'm asleep half the time in history...”

To the Young Vic last night for You Can See The Hills (running until 9 May). Written and directed by Matthew Dunster, it's just over two hours watching William Ash (from the capsule with Martha Jones in 42) sit in a chair, telling tales of his school days in Oldham. There's the time he got hit by a teacher, the time his ex claimed she was pregnant, and love and death and drugs and torture...

Ash is outstanding. It's awe-inspiring enough that he he can remember the script (see Ken Levine's blogs on how to memorise scripts: part one; part two; part three).

But it's not like it could work if Ash'd read from an autocue – this is more than just telling a story. The script itself is rich and vivid, putting us right at the heart of the action and feeling. It keeps turning about, one moment rude and funny, the next appalling and tragic. Ash tells the story, impersonating the friends and girls and parents when they need to speak. The lighting and occasional moments of music also add to the spell. It's a conjuring trick: a memoir so simply, so effectively brought to life.

It's interesting to compare the similarly confessional and rude New Boy. This is a much more violent story, but it's also much less about the actions of the narrator. Some of the most effective, telling moments in You Can See The Hills are things happening to other people, with Ash on the periphery. There's the girl doing heroin, the boy with the violent dad and the time Ash doesn't intervene when two boys bully a girl in front of a jeering crowd.

Both plays are narrated by boys who are scared and selfish and horny. But New Boy is about the things Nicholas Hoult's character does; You Can See The Hills seems more about Ash's lack of achievements.



(This is my 800th post on this blog.)

Good at finding keys

The clever Red Scharlach - who made my badger pirate icon - has made a whole bunch more Doctor Who icons to steal. I am especially pleased to see, way down at the bottom, three of Iris Wildthyme (nos. 63-65) and my own creations Amy and her wicked sister Zara (nos. 66-68).

Witching hours

I’ve seen a lot of blue sky in the small hours recently. On Thursday, I was on the 05.44 train into town to get to Watford by half seven. There, Danny Stack was busy marshalling truck-loads of equipment and volunteers for the making of his short film.

Me and Codename Moose spent the day running – something I’ve not done before. It meant having my own walkie-talkie and making lots of tea for actors. I also had to go back into Soho to pick up 16mm film cores, cans, labels and black bags. And I asked three different people to delay mowing their lawns for ten minutes while we finished a scene. Fun, educational and exhausting – didn’t get home until just after 10 pm.

Next day, Codename Moose and I met up at Liverpool Street for the trek to Stansted and then Tallinn, where the in-between brother was having his stag do. There were two other stag parties on our planes there and back – I pity the civilians lumped with us.

Tallinn’s a pretty place, indulging the medieval theme for the tourists. Codename Moose says that under the USSR the buildings in these eastern European countries had to be uniform grey, which is why they’re now embracing such pretty pastel shades today.

Surprisingly, there was quite a lot of drinking over the weekend. Drank medieval drinks in the Olde Hansa (they did not know what we meant by the incantation “vodka and coke”), watched the Liverpool game in the pub with no name, danced on stage in the Hollywood club and even had a pint in the Depeche Mode bar. No, really. I took pictures so I’d believe it.

While there's a smoking ban in operation, the bars and restaurants all had smoking rooms, clouded and stinking and alluring. My eyes are still sore.

The main event was the Lada racing on Saturday – which, rather fittingly, the Best Man won. The Ladas were battered, stiff-geared and protesting, the back wheels slipping out underneath you twisted round the clogged, muddy track. I lost to the senior brother (though, er, he did cheat), but felt I did okay. In the finale R. smacked into A., smashing the window, showering her in glass and denting the door so hard it wouldn’t open again. R. could only get out of his own car by climbing out the window. Proper, solid boy fun.

Hungover on Saturday, Codename Moose and I ventured out into the sunshine to climb up the tower of St Olav’s church. I also went pootling round yesterday so see what my map called Fat Margaret’s Tower. Then there was lunch and more boozing – but I was bowed out of any more than one cinnamon beer and let the boys explore new frontiers of inebriation without me.

Bundle of things to get done and fast now: need to finish a script by Monday, got another one waiting behind that, and a bundle of other stuff I’m still waiting to here on. And this morning I received copies of my Primeval novel, Fire and Water – perfect timing as it’s set between last Saturday’s thrilling fungus monster and this Saturday’s… well, wait and see. But my book foreshadows some of it.

No Gary Mitchell

Went to see the new Star Trek this morning and golly it is good. Smart and exciting and often very funny, and I’ll avoid spoilers in what follows.

Jim Kirk is a bit of a tearaway in the Iowa of the future. But his dad was a hero in Star Fleet and he’s encouraged to sign up himself. As he meets some new chums – “Bones” McCoy and a girl whose surname’s Uhura – he’s got to battle the guy who sets his exams, an alien dork name of Spock…

Oh, and then there’s a big battle in space. With a dude called Nero – which is, m’colleague tells me, the Finnish word for “genius”.

I used to really resent Star Trek as the sort of popular, beefy schoolground bully to Doctor Who’s weedy victim. I even wrote my undergraduate dissertation on Star Trek: First Contact and the 1996 Doctor Who TV Movie (basically: both try to make a long-running television series accessible to a wider audience by making them darker and more violent, with varying success). In them days I’d argue – a lot – that Doctor Who at least had people running up and down corridors, rather than walking and being pompous. But most of all what I begrudged was Star Trek being really quite good.

(My favourite episode of TNG, which used to scandalise its fans, is that one from the final year where they turned down the lights and turn the regular cast into monsters. Ryker’s a Neanderthal, Howlin’ Mad Murdoch’s a spider, and Worf is some kind of were-buffalo chasing the increasingly gibbonish Picard. It occurs to me now it the episode of Trek that’s probably most like Doctor Who.)

But recently this childhood injustice has been turned about. Voyager and Enterprise seemed – from as much as I could watch of them – to tediously go where no one else has bothered before, with ratings and credibility ejected into space. While Doctor Who, this side of the pond at least, is now all big and much beloved of the cheerleaders.

There’s a small part of me that wants to crow at this reversal. But the heroes of both franchises have a thing about extending a hand to their adversaries. And so not only was I hoping to enjoy the new film, but I even did some research.

“Where No Man Has Gone Before” is the second pilot episode, ignoring the not-broadcast-til-later pilot which didn’t even have Captain Kirk in it. It’s a bold, exciting story in which Kirk’s best mate of 15 years – no, not Spock but the not wholly sci-fi sounding Gary Mitchell – is infected with some kind of space alien something that gives him shiny eyes. Gary starts being able to control stuff with his mind and, since he seems to like causing mayhem, James, er, R. Kirk has to take him down.

There are lots of surprises, even though I thought I knew my Trek. It’s a visually dazzling episode, full of neat effects and coloured costumes. The multiracial crew is really quite radical – Kirk calls the heads of department at one point, who include a woman, an old doctor and Mr Sulu, without it being remarked on. Yet at the same time, Gary Mitchell is surprisingly rude to the blonde psychologist – effectively tugging her pigtails because really he thinks she’s nice.

It’s also odd not to see the expected regulars – Scotty and Spock are there, but no Bones, Chekov or Uhura. (There was some talk about Uhura at a panel at Gallifrey earlier this year and her positive role as a Black person on telly. I love the idea of Dr King slumped in front of Star Trek; and perhaps his wife asking if he couldn’t find anything useful to do…).

Kirk is also surprisingly terse, ready to shoot his pal the moment he’s taken over. He hardly needs Spock to enforce logic – he’s a steely guy in command, as ruthless as Connery’s Bond. Life in Star Fleet is sexy but also obviously dangerous: they seem quite used to losing their comrades. I suppose the production crew and most of the actors would have served in the army, and for all its brightly coloured sense of fun, the Enterprise is a submarine out in uncharted waters.

There’s no Gary Mitchell in the new movie, and there’s no patented ripped shirt for Kirk. And yet I can easily believe the crew in the cinema will grow up to have that more-than 40 year-old adventure. There’s no walking pompously up and down corridors discussing the new political regime of the planet Ng'othruok, either. Trek has damn gone and got its groove back.

I’ll post some more (when the film is out next month and I’ve seen it with Scott) on what it does that’s a bit like Russell’s reboot of Doctor Who.

Meanwhile, my chums Will and Nimbos have both blogged about making “Pressure Valve”, their own sci-fi movie, which they did in 48 hours as part of a Sci-Fi London dare:

Day tripper

It has been a weekend of day-trips to far-flung places, when I should have been writing a script. After work on Friday we ventured north to the Victoria Stakes in Muswell Hill, requiring a combination of tube and bus.

A man on the W7 provided a running commentary on the weather, and volunteered solo versions of When The Saints Go Marching In, Raindrops Keep Falling on My Head and, er, Electric Ladyland, for as long as he could remember the lyrics. I drank lots of Black Sheep and forgot quite how long it would take to get home. Apparently I stank of warm beer all night.

On Saturday we made our way to Cambridge where some chums led us round some pubs. In the St Radegund - apparently the smallest pub in Cambridge - the Dr was much excited by the signs for Milton Brewery's Nero, but it wasn't on. So I had a rather nice pint of Icarus instead. I've always had an affinity for the mythic Icarus.

By the time we'd had tea and caught the stopping train home, it was getting a bit late. So I didn't quite get, as I'd hoped, to see Primeval on ITVplayer.

Today we were due to meet J. and R. and E., over from America and seeing the Science Museum. Being a bit early meant we could pop into see rooms 88a and 90 of the V&A where there's a small exhibition (until 22 November) of stuff relating to and by Owen Jones, author of the Grammar of Ornament (1856 and still in print). There are splendid abstract designs for wallpaper and furnishings, photos of the real Alhambra alongside Jones' ideas for the Alhambra court in the Crystal Palace, and his designs for an even bigger and bolder exhibition greenhouse never built in St Cloud, Muswell Hill.

Jones didn't like to base his designs on nature, feeling that disrupted the flatness of his surfaces. Instead he's much influenced by Islamic geometric shapes and tessellating trickery. Of one 1860 design (D. 817-1897), the sign says "The geometry and rigid layout may remind some viewers of school chemistry textbooks", and neatly places this next to Odell's 1951 wallpaper design for the Festival of Britain, based on the molecular structure of boric acid.

We sandwiched in the sunshine behind the Albert Memorial with J. and E. and R. (who'd never see the thing before), then got a cab across to the South Bank where we left them to the Eye. Instead, the Dr and I tried the Hayward Gallery and Mark Wallinger's Russian linesman exhibition (on until 4 May, then moving to Leeds and Swansea).

It's basically a museum of cool stuff: Wallinger's own TARDIS in all its reflective glory (I wanted to give it a hug); eerie photos of death masks of the Romantic poets; a corridor that climbs up a wall; stereoscopic photographs; footage of Berlin as it was and is now, the locations playing out side-by-side. The idea, if I understood it, is to showcase stuff on the boundaries of our perception, or at least that makes you thing, "Woah, cool!"

Also got a look round Annette Messager's The Messengers (until 25 May) for free, full of nightmarish conjoinments of stuffed toys and taxidermy, and body-like things inflating and shambling. The shop was full of much cool stuff too; though it only had three postcards from the Wallinger exhibition, and charged a fair old whack for everything else.

Was £5 for a glass of wine outside, but it seemed wrong to ignore the nice sunshine. And so home and to the script - and perhaps Primeval. New desk arrives on Wednesday, so I'm knocking this out on the floor. The photo, right, is me tocking away the first paragraph of this post. Which is like on the boundaries of our perceptions or something. Or, perhaps, it's not.

Calcium deficiency

YOU could win a copy of my The Slitheen Excursion in Digital Spy’s competition, which runs til noon on Sunday. They’ve also posted up a breathless interview with me on the writing of the book.

There are also now signed copies of the book in London’s Forbidden Planet – Colin Brake and I spent a happy 20 minutes scrawling in our books, then went for a sausage sandwich and beer.

My book seems to have split readers on the internet – some think it’s the worst New Series book ever, others think it good fun. It earns a middling 6 out of 10 from Richard McGinlay:

“Guerrier … has fun with the period setting, reinterpreting certain legends and archaeological evidence to give them a Doctor Who spin … The plot of The Slitheen Excursion seems to run out of steam towards the end of the book, and, like ancient Greece itself, the ending seems to last for ages. Nevertheless, this enjoyable excursion should help to tide you over between television specials.”

Richard McGinlay, “Book review: The Slitheen Excursion”, Sci-fi-online.com.

Maddeningly, there’s a stupid mistake on pages 185 and 197 where I put “silicon” where it should have been “calcium”. My kind bosses are going to correct this in time for the next edition, so no one will ever know as long as I don’t mention it anywhere.

Bother.

Some links

Hooray for the Internet and its fascinating contents. The paperback edition of Ben Goldacre’s Bad Science includes an extraordinary new chapter on “vitamin pill salesman Matthias Rath”, also posted on the Internet for free:

Sadly I was unable to write about him at the time that book was initially published, as he was suing my ass in the High Court … It is a very serious story about the dangers of pseudoscience, as I hope you’ll see, and it was also a pretty unpleasant episode, not just for me, but also for the many other people he’s tried to sue, including Medecins Sans Frontieres and more. If you’re ever looking for a warning sign that you’re on the wrong side of an argument, suing Medecins Sans Frontieres is probably a pretty good clue."

Ben Goldacre, “The doctor will sue you now”, or “Matthias Rath – steal this chaper”, BadScience.net, 9 April 2009.

I’ve not got or read the book yet but have heard many Good Things and have followed Ben’s column in the Guardian for eons. Hope to get it for my birthday, when I’ve got through my Christmas books. Ben was also on Newswipe last night discussing press coverage of MMR.

Must admit I’d thought that old news; but it’s why we need to continue to be vigilant. And Graham Linehan has posted on the jaw-dropping behaviour from The Daily Mail in having it both ways on the HPV vaccine.

Graham has also posted the most wonderful link to a transcript of a story conference between Lucas, Spielberg and Kasdan in the early, murky days of Raiders of the Last Ark. Just WOW.

On page 97 we learn that “slimy pirates” Kinglsey Shacklebolt and Presuming Ed were going to be Lithuanian. Which is my tortuous link to this:

“Who imagined that in 2009, the world's governments would be declaring a new War on Pirates? As you read this, the British Royal Navy - backed by the ships of more than two dozen nations, from the US to China - is sailing into Somalian waters to take on men we still picture as parrot-on-the-shoulder pantomime villains. They will soon be fighting Somalian ships and even chasing the pirates onto land, into one of the most broken countries on earth. But behind the arrr-me-hearties oddness of this tale, there is an untold scandal. The people our governments are labeling as "one of the great menace of our times" have an extraordinary story to tell -- and some justice on their side.”

Johann Hari, “You are being lied to about pirates”, The Huffington Post 12 April 2009.

And on a much more silly level, Alex alerted me to the existence of this rude Doctor Who Easter egg. And I, of course, responded with this.

Primeval competition

Those nice people at Titan Books are offering YOU a chance to win a copy of my forthcoming Primeval novel Fire and Water plus some Primeval toys. The competition is only open to those in the UK and closes on 7 May.

It also includes the new blurb for the book - at least, I've not seen it out in public before:

When strange anomalies in time start to appear Professor Cutter and his team have to help track down and capture a multitude of dangerous prehistoric creatures from Earth's distant past and terrifying future...

At a safari park in South Africa, rangers are disappearing and strange creatures have been seen battling with lions and rhinos. As the team investigates they are drawn into a dark conspiracy which could have terrible consequences... Back at home as torrential rain pours down over the city, an enormous anomaly opens up in East London...

In this brand new original never-seen-on-TV Primeval adventure the team confront anomaly crises both in rain-swept London and on the hot South African plains...

(I'm also reliably informed by Nimbos that the toy of Helen Cutter works well as a Bernice Summerfield.)

Research gig

Simon's Holub has posted up his lovely, lovely artwork for my July Doctor Who audio, The Drowned World.

Out this week is the Doctor Who DVD The Cybermen Collection, which includes on disc 2 a half-hour documentary, Best Cybermen Moments. Written and presented by Matthew Sweet, directed and edited by Thomas Guerrier, it also sports some important research genius from me - and is my first proper, formal credit in such a capacity. Woo!

Tom and Matthew have worked wonders. And there's already a glowing review:

"It's very good indeed ... Far from being new-series centric, it's a near-full overview with lots of lovely, intelligently chosen clips from classic stories, and even a brief reading from a novelisation to kick things off .... It lacks other talking heads, but where it scores most is in Sweet taking a thematic approach to discussing the Cybermen critically, rather than a story-by-story approach. Sweet is respectful and irreverent in equal measure, an entertaining host ... I'm not saying it's necessarily full of revelations for die-hards, but it's as good as the better extras on the classic Who range..."

Cliff Chapman, Doctor Who: The Cyberman Collection DVD review, Den of Geek.

The same site has some very nice things to say about my Judgement of Isskar, reviewed by Stephen Bray an episode at a time: episode one; episode two; episode three; episode four.

Is that all we've got?

I have now been married for five years and one day. On Thursday, I followed the Dr to Brighton to see the Egyptian bits in the free Brighton Museum. Then we had lunch with one chum and drinks in the R-Bar with another. I took photos of the urinals.

On Friday I transcribed 10,000 words of interview and then wrote a magazine feature which I'll speak more of in due course. Started about 10 in the morning, finished about half one in the small hours. At the same time, the Dr and R. were busy unpacking the bookcase and then painting it. The Dr ended up with paint all over herself, while R. remained pristine.

Yesterday we made the epic trek to Windsor - via closed tube lines and very slow trains - where we were marking our anniversary at the Oakley Court Hotel, the house used in Dracula and the Rocky Horror Picture Show. Converted into a hotel and - why?!? - a golf course in 1979, the mad, mid-Victorian gothery of the main house now sports two gallumphing great wings of guest bedrooms that strive to be as little in-keeping as possible. But we mooched around, took photos and drank gin before watching splendid Doctor Who.

The Dr has Views on a "Fucking aristo nicking stuff from a public museum," and was much appalled by the Doctor hammering at Athelstan's goblet. I was more impressed by the 200, which goes from Oxford Street to Victoria via Brixton, with a big tunnel along the way. But hooray for a wild and wondrous adventure. As we ventured into Windsor to fill our heads with food, we spotted a real 200 bus... That's one hell of a route.

This morning the hotel had problems with hot water and a weird queueing system for breakfast. It took the shine off our stay a bit, but the manager let us off our previous evening's gins.

Thence by cab to Cookham for a mooch round the Stanley Spencer gallery. And, with the day grey and us feeling hungover, the long, slow journey home.

Sponge or stone

“I’ve never seen Star Wars” is fascinating. Originally on Radio 4 and now on the telly, each episode sees Marcus Brigstocke get some celeb to try five things they’ve never done before. So, for example, Paul Daniels reads The Female Eunuch, Clive Anderson tries judo and watches Withnail and I; John Humphreys listens to the work of his colleague Chris Moyles… They then score each new experience out of 10.

It’s a deceptively simple idea by creator Bill Dare, yet - perhaps more than similarish formats like Desert Island Discs or Room 101 – is surprisingly revealing about the celebs who take part.

The thing is, the more they throw themselves into the thing they're doing, the more fun and funny they are. Newsreader Emily Maitlis punches her way through her first video game; John Humphreys tries moonwalking and is so impressed by Michael Jackson that he says he’ll be going to see him in concert…

It’s also often surprising. Maitlis denied that The Godfather and gangster stuff generally is all about family – as its adherents sometimes claim. The wives and kids, she said, are shut out of the room. Instead it’s about the tough guys’ conflicting egos. And there’s little to like or admire about these men.

Maitlis also admitted skimming through The Satanic Verses looking for the controversial, offensive bits. (Like, she said, skimming Lady Chatterley for the rude bits.) On what’s a light-hearted, low-fi comedo-entertainment show, Brigstocke then concisely explains the theological history of the implicit allusion. The audience titters nervously, less out of awkwardness as at having learnt something rather profound.

The celebs don’t have to enjoy the things they’re given to read or see or do, but it’s their attitude to trying new things that is so revelatory. You warm to the ones who give it a go willingly, and who have to think about how their scores.

Then there are the ones who seem to have made their minds up beforehand. Sandi Toskvig doesn’t bother to see the end of her first football match, and has little to contribute but that she found it boring. What does it say about Rory McGrath as a writer of comedy that he’d never seen Fawlty Towers – and then didn’t think it any good? Or that as he explained what it did all wrong, the audience didn’t laugh?

It’s easy to decide what you think of something before you’ve given it a chance. I can think of a whole bunch of stuff that won me over once I’d learned to be less of a prick. And I also realise who odd, how disquieting, it is when people are proud of the things they’ve not seen or read or experienced.

(Relatedly, the Guardian had a bloke tell us what happens in Star Wars without having seen it.)

Something something eggs

I seem to keep saying this: it's all been a bit manic of late. Sort of finished a big thing as-yet unnannounced on Friday and sent it round the houses for corrections and approval. Then sped up to Victoria to get more material for the very thing I'd just finished. Had a beer with P. in the grotty pub in the station, where we swapped gossip and discussed Government policy.

Then home for fish, chips and mushy peas in front of Quantum of Solace. Much more intelligible and splendid second time round; perhaps the smaller screen size helps, perhaps it's 'cos I already know where it's heading. But the edit is still so frenetic it's an effort to keep up.

On Saturday, with the typing done, I dismantled my office in preparation for the new floor. This took pretty much all day, and ripped two holes in my trousers. I unscrewed and delegged the fitted, too-low desk but it wouldn't come away from the wall. It seemed to have been fitted with a combination of glue and magick. Decided I'd wait for the expert: at least if the builder should pull the whole wall down, I won't be the one feeling silly.

The Dr arrived back from a day's teaching to marvel at my efforts. We then schlepped round to M. and N.'s house for a nice fish tea. Some excitement at the mussels still being alive when we arrived. I imagined them shrieking "Help me!" like that bit at the end of The Fly.

Having done the shifting chores on Saturday, earned an unusual lie-in on Sunday. The Dr even brought me tea and Jaffa Cakes in bed, where I idly glanced through the paper. Margaret Drabble thinks writing a spell against depression, and workaholicism and alcoholism go often hand-in-hand. I suspect there's something in that; not sure it's something good.

Then up, and amid the mess of office furniture and files now heaped around our living room, I laptopped a rewrite of a pitch and did some general edits on Friday's writing. Still a few bits to add and tweak, but the end is nearly in sight. Then perhaps there might be an announcement.

Will also be able to announce something else next week, the first in a new foray for me. How exciting this mystery must make my tawdry existence sound.

Then to St John's in Smith Square to hear the Exmoor Singers do Bach's St Matthew's Passion. (The apostrophication like Coppola's Bram Stoker's Dracula, but with less monsters and more singing.) My chum (+ neighbour + boss) G. was one of the singers, and even got a line of his own. We saved our whooping for the final applause.

Psychonomy was also in attendance, and without a programme for the first half was making up his own words. Apparently they featured Nick Griffin and something perhaps about eggs. In part two, he could follow the words in German and clunkily translated English. He didn't think much of the arias, but otherwise thought it Good.

Me and the Dr have been to a few versions of the thing; for my own future reference, the Dr would like the aria after Peter's denial to be playing when she snuffs it.

Erbarme dich, mein Gott,
um meiner Zähren willen!
Schaue hier, Herz und Auge
weint vor dir bitterlich.
Erbarme dich, mein Gott.

(Touch my willy, God,
Or I will cry!
See here, My heart and eyes
Want to drink buttermilk.
Touch my willy, God.)

Passion According to Saint Matthew, BWV 244 (1727)
Translation S. Guerrier (2009)

Beers after, and then home to thick slabs of cheese on toast. I left the Dr watching EastEnders and No. 1 Ladies' Detective Agency and fell to bed about half-midnight.

Up this morning to wash and shave in time for the arrival of S. the builder. He sussed the issue of the desk in five seconds, and undrilled some screws I'd not even noticed. With a clunk the desk was severed from its moorings. We'll need to replaster and paint, but we should have a wooden floor down by the time I get back tonight. Then I'll need to source a new desk. One that might actually fit me.

Life is manic and also a bit expensive. So you'll have to wait for the apoplectic rant about Clive Staples ****ing Lewis. Consider it a blessing.

Meet the meerkats!

I am thrilled - thrilled! - to see the new issue of Doctor Who Adventures (#108, 26 March 2009). The cover boasts my space-pirate meerkats!

(I first saw them in Sainsburys when I went to get more cat food; a rack of different mags all Jade Goody, and then, on the far left, one that was Not The Same.)

"Good Old Days" is my second strip for DWA. John Ross has worked wonders bringing my tortuously complex scripts into being. Hooray, too, to colourist Alan Craddock and letterer Paul Vyse. It's a huge tick on the list of childhood ambitions to be a proper, published writer of comics.

And also, the issue comes with a free time-watch and two glittering badges. Squee!

Floored

Here for the record is a picture of my new living room, showing the shelves built last month and the floor put in on Friday. Hooray to S. our handy workman, who's done such a splendid job.

(Compare to these pics from the beginning of February).

I've now got to shlep the stacked furniture back in there; it's currently all heaped around me in the office.

Bedroom was done Tuesday/Wednesday. The office needs doing next; but I've got a thing to finish writing before I can take my old desk and bits apart, so it might not be till later this week. And then we need new carpets on the stairs and landings. Hoping they do something acrylic that won't be eaten by moths and magic that won't clog with cat hair.

Am feeling grown up and tired and poor.

Dinosaur chasey-chase

Tomorrow sees the neck-and-neck launching of seasons three of Robin Hood and Primeval. I’ve written forthcoming spin-off merchandise for both (Fire and Water due out in about five weeks; The Siege out in June), but I’m dead excited about both shows. I mean, tomorrow’s Primeval has dinosaurs chasing through the British Museum! And then next week’s is by my gay lover. What is not to love?

(A small boy on a train a few months back described Primeval as “dinosaur chasey-chase”, and I couldn’t have put it better. Doctor Who, is of course “monster chasey-chase”, James Bond “spy chasey-chase”, Star Wars “Jedi chasey-chase”…)

I’ve just proofed my Primeval novel, and received my 20 copies of The Slitheen Excursion this morning. Yesterday, we recorded The Drowned World, where I had to record my death twice but everyone else was magnificent. Making these things is easy: you just employ tremendously talented people to paper over my wobbly writing.

There are currently all sorts of whispers of exciting things which I might be up for writing. And something I’m struggling to finish is due an announcement soon.

But none of this is why I’ve been so tardy on this blog. Sometimes you hit Life; sometimes Life hits you. Jehosophat I am tired. So of course I’m going dancing tonight.

Angry young men

To the first night of New Boy at the Trafalgar Studios last night, starring Nicholas Hoult off of Skins and About a Boy. It’s co-produced by my boss and features one of the girls I created, so I’m rather compelled to have liked it.

But blimey, that wasn’t hard. From the moment it starts – with the knotty problem of whether the labia are inside or outside the vagina – it’s a rude, funny and painfully well-observed tale of teenage sex and inner terror. Hoult plays Mark, with the lion’s share of the lines as he pours out the crises of his friendship with the new boy at school, Barry (Gregg Lowe).

They’re both still virgins when they meet, but Barry’s so pretty Mark thinks it will be a cinch to get him laid. Barry is soon working his way through the local girls’ school and has designs on his French teacher. Mark, meanwhile, has earned the interest of Barry’s sister – who knows it’s Barry he’s really in love with.

It’s a relatively short, fast-moving play, with plenty crammed in about confused and angry teenage feelings, and the clumsy stumbling into being an adult. In some ways it feels like a series of sketches strung together by Mark addressing the audience – and never quite getting why things never quite go as he’d want.

Half-way through the play gets a new lease of life when Mel Giedroyc (yes, of Mel and Sue) walks on. It’s a small, intimate theatre and you realise quite how much you’ve been drawn in as a voyeur to Mark’s story when she addresses you directly. She got her own applause for her first extraordinary scene, as did my mate Ciara Janson for her stint as a receptionist.

Ciara and Phil Matthews play an impressive range of different roles – some gags depend on us knowing which of several people they’re being. Top marks to Russell Labey for directing and writing (adapted from a novel by William Sutcliffe). And hello to Frankie who I met in the pub later, who commanded the noise and the lighting.

New Boy is on until 11 April and if you miss it you are a silly person.

Top of the pulps?

How exciting – readers of Unreality SF think the Prisoner’s Dilemma one of the best 10 tie-in stories of 2008-09. There’s now a vote for the best one, so go vote for me. Closing date is 22 March.

(The site’s own review of the story thinks the story “a bit disjointed” and seems to like my daft interview at the end with the actors and director the best of it. Pah.)

I’m very busy on something as-yet-unannounced which I can’t wait to shout about. But am taking tonight off to go watch New Boy with the boss and the tracer twin who isn’t already on stage.

Moran has written sizeable, wise advice for budding writers. He enthuses about reading widely.

Of no interest to anyone, my current reads are: Matter by Iain M Banks (re-reading for a thing I’m very late writing); Blood and Guts by Richard Hollingham (hot damn it is full of top and grisly facts); Something Borrowed by Paul Magrs (still reading this to the Dr) and The Screwtape Letters by CS Lewis (because it fitted in my pocket on Saturday; read it as a believer back in my pre-teens and now find it enthralling for very different reasons…).

I’ve recently finished The Graveyard Book by Neil Gaiman (goth fun, the usual sort of thing) and Eclipse of the Crescent Moon by Geza Gardonyi, translated by George F Gushing (old-skool, Orientalist adventure, full of odd details). And I’m watching Red Riding, Stewart Lee’s Comedy Vehicle and the 50 year-old first series of The Twilight Zone (on DVD) at the moment, too.

Hope to blog on ‘em all when there’s a let up in the feverish beavering.

Destined for closure

The new issue of The DFC has some very sad news: it's closing in two issue's time. What a shame.

As I blogged last year, it's the first original, non-tie-in comic to launch since the short-lived Wildcat in 1988. For the past 41 weeks it has boasted no tie-ins to TV or movies or computer games, no cover-mounted freebies, no advertising. Just a mad squodge of new comic-strips through your letterbox to look forward to every Friday. Says the announcement:

"We're really sorry that we have to stop so suddenly, and that your stories are going to be interrupted. But we haven't been able to find the funding to cover the cost of creating more comics."

They promise there'll be ways to "find out what happens next in all the stories", but that's not quite the same.

My favourite strip is probably Fish-Head Steve by Jamie Smart, about a village of people who all have strange heads. But the range of styles and stories had been extraordinary: from the dark and scary Mezolith to the kooky Bodkin and the Bear, from the beautifully drawn sci-fi epic The Spider Moon to the strange adventure of Sneaky - cleverest Elephant in the world.

It's a been a fantastic ride for the last 41 weeks. I've had concerns about some of it: a couple of strips that left me cold, and sometimes the structure of strips has been odd, episodes not adding anything to what we've already learnt or finishing on what are hardly cliffhangers. But on the whole it's been a brilliant, fresh and vibrant read.

And, obviously, I learn it's closing the day after I sent them a submission.

How to make a banana look EXACTLY like a penguin

Bananas are good. They contain zinc. And can be made to look EXACTLY like penguins. Here's how:

Step one.
Take a banana, any banana. In these enlightened times, a straight one works just as fine as a bent one. Hold the banana with the stalk bit pointing up, the curve of the banana pointing away from you. Almost as if the banana is a longbow and you're about to fire it.


Step two.
Grasp the stalk and yank it backwards. The skin around the front of the stalk should crack easily. Pulling on the stalk, you should be able to peel backwards, down the outer, long curve of the banana. Ideally, you should have about a third of the circumference of the banana attached to the stalk, two-thirds still gripping the soft flesh. You might need to tear a bit to make that work. This is within the rules.


Step three.
Now confront the two-thirds of skin gripping the inner curve of the banana. Split it down the middle, to about half the length of the banana. Let the flaps flap. I'm sure your flaps will be much more evenly distributed than mine; no matter. Can you see what it is yet?

Step four.
Now flip the stalky flap back up, so it rests on the top of the banana. Say, that stalk looks EXACTLY like a penguin's beak. And those side flaps are EXACTLY like it's wings. Hot damn and hot diggedy, you've achieved alchemy! And must be burnt as witch.

Amaze your friends! Baffle your enemies! And chuck some money at Comic Relief.

"A guilty secret"

The splendid fellows at Doctor Who podcast Radio Free Skaro have posted up an MP3 interview with me, conducted at the Gallifrey convention in LA last month. Hear me stumble my way towards the articulate without ever quite getting there.

Who stocks the Guardian?

So what to to make of Watchmen? I loved the comic in my teens (though not as much as I loved V For Vendetta), and recall the bloke who wrote Batman (1989) and Terry Gilliam both saying it could never be filmed. It's complex and strange, packed full of incident and the juxtaposition of repeated images. So any film would surely just be not quite as good as the source. Which is what's happened whenever they've put Alan Moore's other great comics on screen.

And yet for the most part I think Watchmen works as a movie. It's complex and strange and I keep picking over it like with the gap between my teeth. There's an awful lot that I like – Rorshach's mask and his performance, the opening titles, the look and feel of Archie. But there's also much that is bothersome...

Spoilers

obviously

follow

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both

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comic

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the

film...

The choice in any adaptation is what to keep and what to cut out. Director Zack Snyder has slavishly kept close to the source: it's evident Dave Gibbons' artwork has been used to storyboard the film, and whole sections of the film's dialogue are lifted from the comic's balloons.

I'm surprised by how much of the comic makes it into the film. In fact, it feels too long at two-and-a-half hours. They could have cut back more.

The change to the ending in the comic keeps things simpler, and cuts out a whole sub-plot about pirate comics and a writer off making a movie. Veidt setting up Dr Manhattan works better than the comic's faked alien menace anyway. It makes Manhattan's slow separation from humanity part of the plot rather than an intriguing aside.

But my major concern is not with what's been taken out but added. In the comic, the murder of the Comedian is shown in the first four pages, in flashback, pressed in between panels of the cops looking round over the dead man's flat. Eddie Blake doesn't have a chance to fight back.

In the movie, there's a whole martial arts sequence like out of any superhero movie. Blake goes out fighting, punching through bricks and the kitchen cabinets, revealing super-human speed and strength. It misses something fundamental about what the comic's doing: grounding the outlandish events and characters in a grubby, mundane reality. These heroes are (for the most part) ordinary mortals. They're as fallible, flawed and falling apart as the rest of us.

The film's costumed heroes sport the same PVC chic as the comic-book movies since Batman in '89. They fight in the same ways as other comic-book movies, and there are the same fast CGI pull-backs to reveal huge buildings and landscapes. As a result it feels like a response to those movies: more about the X-Men of the 21st century than the 1980s.

That's not helped by the music. I know a few people who love the film's music, but I found the choices of tune just odd. It doesn't give any sense of the period: Bob Dylan and Jimi Hendrix both suggest the 60s. “All along the watchtower” is used in Withnail & I to a much better effect.

While the comic had a very particular sense of its period – an alternative, awful “now” - the film is a mish-mash of the nostalgic and contemporary, and neither quite feels right. If only it could have felt more like the brilliant title sequence, showing American history with the added bonus of heroes. Well, brilliant but for one little grumble.

The sequence shows assassination of JFK and then shows the Comedian wielding the rifle. It's a crass realisation of what in the comic is just an aside, the Comedian boasting to some mates at a party.

Too often the film favours the crass and simplistic over the more intriguing and complex. Laurie tells her mother she loves her, while in the comic those words never need to be said because its implicit in the scene.

The Dr was concerned by the not-quite-brilliant qualities of the actresses playing Laurie and her mum. But there’s no subtlety in their dialogue to play off: they seem awkward and stupid for stating the bleeding obvious.

More than that, special effects movies mean playing to green curtains and ping-pong balls on sticks. The film's editor can be more thrilled by the assembly of the disparate elements of the shot than the quality of performance. Just as Dr Manhattan sees human beings and their feelings as merely some tricky jigsaw. (See also the affect on Star Wars once technology let George Lucas build his empire whatever way he liked.)

It also doesn't help how “false” a lot of the film feels. The comic is grounded in realism: heroes who get dementia and drunk, who get old and die. There's something still strange and disturbing about superheroes being drafted into the war in Vietnam. In the film, the Nam sequences felt especially contrived, more Photoshop than photo realism.

There's been some mocking of the prosthetics and President Nixon's nose. The film makes more of him – and Kissinger – than the comic does, which diminishes his impact. He's a weird caricature in the film, a credible world leader bent under terrible pressure when we glimpse him in the comic – where he never says a word. There's nothing in the comic I can think of that Nixon's estate might want to sue.

The film also gets in a gag about Americans not accepting a cowboy into the White House. To do this they fudge a better gag in the comic, where it's Robert Redford standing for election in 1988. Would Reagan have been well enough to stand in ’88? And surely the point about Redford is he offers an alternative to the hard-line Republicanism Nixon represents in this world. The film throws out the political reality in favour of a cheap gag.

Likewise, Ozymandias says in the film that he's “not a comic book villain”, when that's plainly what he is. In the comic its “republic serial villain” because in a world where there are real superheroes, they don’t feature in comics. Again, the film loses out by putting things so bluntly.

The comic is violent but this is more so: there are extended and bigger fight scenes, a man having his arms cut off where he's just quickly stabbed in the comic, Dr Manhattan not just disintegrating people but spattering them all over the ceiling.

While the comic shows sex and bosoms and a full frontal blue willy, in the film it feels much more like titillation. Like some of the swearing in the first series of Torchwood (or when I took over Benny) this desperate effort to appear more adult just makes it seem more adolescent. The sex scene between Dan and Laurie should have felt more like the one in Don't Look Now: no soft focus, unglamorous, tender.

But the film also pulls its punches. The scenes of devastated New York are much bloodier in the comic. Even the “clean” nuclear explosion would leave people burned and horribly disfigured. Perhaps this film plays to a modern audience's subconscious horror of 9/11 (I was surprised not to see the Twin Towers collapse in that final attack), but it didn’t seem horrific enough. We need to be utterly appalled by what Veidt has done for the moral conundrum of the last scenes to carry any weight. It's not enough in the film that one of those killed in New York is Rorschach's psychologist. The comic introduces a whole load of familiar faces, and we don't even know their names.

It's a bold film full of flickers of brilliance. This great long post suggests I didn't enjoy it when I largely did. But I keep thinking how it might have been done differently. How the same cast and crew made a better version. Just in a world not that different from our own...

Come dancing

All over London there are posters for incredible India, exhorting you to "dance with the locals."

Did we learn nothing from Siegfried and Roy? They're not dancing, they're having a scrap. That's what cats do.

Or has incredible India got hold of some lipstick tigers?