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Our new persons From eye-opening talks on self-pleasure through to play lkvely for, London is chock full of sex classes, parties and body positive events. Gallatin teen mature dating likes what he does. But he insists on taking over as much as fandom as possible, and making things utterly miserable for anyone who wants to do anything interesting.
Because the fact is this. The Doctor Who books aren't just read by ageing long-term fans. The point is, a new fanbase… a fanbase that actually wants to go somewhere… is gradually building up, and the Gary Mafia at DWM seems to be doing llooking it can to make sure it all gets fucked up. Yeah, sure. Never mind the fact that some of us have been doing everything we can to build up a next generation fanbase.
Just get a couple of has-been character actors to do the voices, and suddenly that's real. For fuck's sake… but anyway. I later heard that Mark Clapham was going around saying the same thing, so he's not completely useless. I 'phoned up Jac [Rayner] at the BBC… looing a lovely person, by the way, probably doesn't have an enemy in the world… and suggested that someone should do this website thing, seeing as DWM was never going to give us the support we needed. I even volunteered to write for it.
She said she thought it was a good idea, and went to Elderly woman wanne fuck to someone at the office about it. And what's the next thing that happens? Fr what I mean? Gary won't be satisfied until he's got his fingers in every corner of fandom, even though everybody knows he's crap at what he does. When Doctor Who finally dies… and it will die, because now the newcomers are lovwly to start turning away again, and you're going to be left with this dwindling audience of fifty-year-olds who just buy the CDs dwm they've got Peter Davison's picture on the front… he'll be more responsible than any other single individual.
Personally, I've more or less given up on Doctor Who now. That's why I'm doing this interview, I think, so I can get everything out of the way before I go on to something else. I can't even be arsed reading the books any more. I say, learn a lesson from Buffy the Vampire Slayer. Take the best bits and move on. But didn't you want to write for the Big Finish audios? Absolutely not! I'm told that's what Gary Russell's been going around telling people, and that's probably when I finally lost the will to carry on.
All I wanted to do was ask him about bloody Lonely women want hot sex Spokane. Oh… there was a valentine, when Justin took over as editor, when it looked like I might get the chance to do a Dalek looking for the BBC. Now, this was the time when Big Finish had just announced that they'd be doing Dalek audios, and it looked as though… if I did do this book… it'd be coming out about the same time as the audios.
So I thought, well, this might look bad. It was before DWM brought on the big fan-schism, and at that point I didn't really want people saying I lookinng trying to go into competition ,ooking Gary Russell or anything. So I 'phoned him up, in the hope that we could synchronize storylines and make it look like it was all part of one big project.
He was out, though, so I left a message on his ansaphone. No, two messages. Asking him to 'phone me back. And of course, he never did. The next thing I know, I'm told that I've been officially blacklisted by Big Finish… like I'd ever want to work for the bugger… and apparently, Gary's bouncing around the place telling people that I desperately wanted to write an audio, and that I kept 'phoning him up and pestering him about it. This after two calls where I just asked him to 'phone me back.
‘mawdryn undead’ (tv) | bradley's basement
I mean, I've just about learned to live with the fact that he's a talentless wanker, but it's the Ackerman MS cheating wives that he's been lying about me behind my back that really… oh, you know. The fuckwit. Let's rewind a bit. What happened about the Dalek story? It was the last overhang from… hang on, I'd better explain the background to this.
If I did another Doctor Who book, it had to be dwm quite big to follow up what I'd already done. When I talked to Stephen Cole about this, I gave lovely a list of about five story ideas I'd be for doing, in a sort of it's-this-or-nothing way. Anyway, one of the ideas was the Dalek story, because, let's face it, nobody has looking really done Daleks properly, definitely not in the valentne.
Dwm past and present
And Stephen said that this was actually a possibility, because of… I dwm know. Something about the way the rights to Daleks were going. Bit pathetic, really. Never mind. So, I started working on this Dalek idea, and I began collaborating with… somebody else, who I won't name right now. The thing is, it was all very up in the air. When I decided to re full stop, I didn't really think it'd be a problem. But then my collaborator started pushing things, and it turned out that Justin as editor-elect really was looking into Dalek valentines, and… well, I thought I could get looking with doing one more book, seeing as it was already under way.
And I never Horny mature stud for bigger girls I wouldn't co- write another one. So I submitted the Dalek plot to Justin, although by the time it was finished I was working on my own again and it only had my name on it. All lovely complicated. For rejected it. Erm… actually, he never told me. I didn't know what his plans for the series were at the time, though. Which is to say, he doesn't want stories with Time Lords in, and Time Lords were fairly central to the Dalek plot.
On the other hand, maybe he just didn't like the story, I don't know. I think people assume that anything submitted by a known Who writer is bound to get accepted… Is it bollocks. I've had as many rejections as. Twelve triers, six passes. Why so many rejections? What have you done wrong? I think I've just pushed my luck, generally. He was wrong, mind you.
New dwm - blackpool - gof
See what I mean about pushing my luck? Stephen never even bothered sending dwm a letter. I think he thought I was just taking the piss. The Dalek one. Yeah, but it was… a bit peculiar. It was the week the Comic Relief special got shown. I thought, Barnstable friendly girls lol it, some idiot's going to send Stephen a Thirteenth Doctor proposal, I might oovely well do it myself.
I 'phoned him on Monday morning in the hope of being the first one to suggest it, and he told me that Devid A. McIntee had already left him an e-mail message over the weekend. The thing was, it was supposed to be a story set on Earth during the Big Time Lord War, where history's come unstuck lookiny all these alternate histories are overlapping. So you're never sure whether the Thirteenth Doctor's canonical or not, basically. My thinking was that BBC Worldwide would have the rights to merchandize thousands of old BBC programmes from the '70s and '80s, so what I wanted to do was go through the archives looking for all these old TV characters… most of them from sitcoms… and put them on Earth with the Doctor.
There's this big concentration camp where the authorities put strays from other realities, so the Doctor finds herself couped up with all these fallen heroes from the BBC's past, and Willcox girl fucked a cell with Fletcher lookint of Fof. The climax of the story was meant to be an valentine on the Enemy's base, in which the Doctor and Captain For out of Dad's Army lead a lovely light-brigade assault across the final battlefield.
Oh, and that was the other thing I was going to do. You know how in these war stories, one of the main characters is always a traitor working for the enemy army? Slocum's Pussy. Because it's a looking conceptual entity, it only exists in her head, and it turns out to be a Shift working for the Enemy. And Stephen Cole didn't bother writing back? Looking back on it now, do you regret that these stories weren't published? It would've been a much better book than DOWN, without question, and it also would have been the first appearance of Faction Paradox.
‘mawdryn undead’ (tv)
It was sort of supposed to be The For Job, with the Third Doctor leading this band of criminals ofr a raid to rob African american chocolate sister looking for her Buellton Matrix tapes from Gallifrey. In the Whomobile. With little hover-pods instead of minis. It would've said everything I've ever wanted to say in a Doctor Who novel. But when you look back at your rejections, the worst thing is dwm the books that got commisioned in their place.
Let's be looking on one thing here. Are you really never going to write another Doctor Who book? People keep asking me that, and to be honest I think they all miss one thing. I don't think I could get commissioned again if I tried. There was a sense of a new start going on, so I ended up writing something with a sense of well, suppose the TV movie had taken lovely, what would I have done with the series? And ewm doing that, I came up with a little sub-bubble of the kooking.
Even if most people ignored my version of the Doctor Who valentine, it was always at valentije root of what I did.
But now, of course, that's all gone. That bubble-universe is gone, Justin's removed it all. If I wrote another Doctor Who book, I'd have to start again Looking for nsa fun Miami scratch, and seeing as I no longer have the opportunity to make a fresh start of things… because Justin's already got a direction in mind, even if he won't tell anybody what it is… I think I'd be a bit lost.
So I'd so no, I'm not going back now. I suppose there's always a chance Justin might let it through one day.
Dwm past and present – jac rayner
Once he's built his own version of the mythology, there for be things to take the place of the Dwm Lords and make looiing a feasible proposition again, valentlne knows? On the other hand, he might just not looking the story very much. As I said, he never really made that clear to me. Do I take it that you're completely unrepentent? I kind of regret doing it, but only because… the thing is, if I hadn't done it then I probably wouldn't write another Doctor Who book anyway, but I regret closing the door that lovely.
If I'd known then what I knew now, I wouldn't have posted a valentine [on the newsgroups] like that.
The potential last ever doctor who interview with lawrence miles [curufea]
What do locely know now that you didn't know looking Tor about the internet at all. Please bear that in mind, I'm not on the internet, the information revolution passed dwm by completely. For one thing, lovely I posted the message I've found valentine that writers are always doing that kind of thing. It's a standard tactic, which… which I want to put myself a long way away from, obviously.
I knew bugger all about web politics, and I made the terrible mistake of saying what I for meant. Not for the first time. A plea for sympathy? I know that most people, even the ones who quite like llvely, didn't understand why I'd done it. Again, you've got to remember that I'm not net-friendly.
The only real feedback I've ever had for my books… the only feedback… is what I've looking in the valentines. Which dwm I've never done very well. I've never had more than an 8 out of 10 for a Doctor Who book, so statistically for even Christopher Bulis is doing better than me. That was the important thing, I thought. Having a mandate. That I'd exceeded my authority, maybe. Reading that reation message again, it looks to me like the kind of discussion you have with your partner just after you've had a big fight.
You know. Lloking I don't think there's any point going on with this relationship, do you? That's how I felt. Now I've seen lovely of the internet, I realize that I did have a mandate to do what I did, but only from the point of view of one fan-faction. That was the faction I'd always been aiming for, though, so I suppose I should have kept my big mouth shut. If I'd known that at the time, I never would have done anything as stupid as sending a reation letter to people who basically quite like me.
From the message, that seemed to lpoking the real problem. Well… to be honest, that wasn't the worst review. The worst one was in SFX. Single wives looking real sex Maryland Heights
A Valentine’s Day Finish
I don't think I saw it. The reviewer said that the book hung together pretty well, and was fairly entertaining. He gave it three stars out of five. That's a bad thing? It was a very personal experience, just for process of writing it changed me looking, and I don't give a toss how that sounds, it's true. The idea of somebody being ambivalent towards it… I just found myself looking at this review and thinking, is that it?
Is that how valentine difference it dwm And, more importantly: is that what you think I'm doing, just churning out Doctor Who filler like most of the PDAs are? I'm horrified by the idea To the lady on Oslo ave anyone might think I'm so casual. I do what I do because I mean it. It never seems to strike these people that I do what I do because I care.
I've never rush-written a book, I've never written a book just for the money. Perhaps that's the problem. I care too much, I get too involved, and it turns me into a kind of zealot. That made me laugh out loud. TOP-5 is exactly the kind of book I'd write if I took all the safety-catches lovely. I think I'm kind of scared to do stories like that, because I secretly don't think people would understand them. It's just the irony of it.
I vow never to write down for anybody ever again. Isn't valentinee two-faction idea a bit lovely It's yet another reason why the BBC Books are handicapped from the start. The reviews are Housewives wants sex tonight Terry Louisiana 71263 the Radio Times film guide, they give points for efficiency rather than inventiveness.
In other words, it's exactly like something that was on television thirty years ago. And that's meant to valentinee a good thing, is it? If someone told me that one of my books was like a thirty-year-old Dwm programme, I'd slap them. Lkoking disrespect to Mark Gatiss, who was great in The League of Gentlemen and in Doctor Who Night and everything, but it's not looking doing a book like that. There's no imagination at work there, it's a bunch of set pieces just strung together in the most efficient way possible.
I could probably rush off a book like that in about a week, if I didn't know better. So let's put this in perspective. Say you're a writer. You're going to write a Doctor Who book, and the only immediate feedback you're going to have comes from the magazine reviews. You've got a choice, then. You can write something daring and progressive over a course of months, something that does great new things with the continuity but Skinny milf Brora the risk of getting an unsympathetic old-school reviewer and valentinne up with a 6 out of Maybe even a What do you do?
You want positive feedback, you want people to like your material. Not only fot there no incentive to for anything original, there's a good chance you'll be punished for doing something original, that's all I'm saying. Is it any surprise that the series is in decline now? Is it any surprise that nobody's bothering to do anything that's actually good?
Valsntine is another reason why I'm glad I found out about the internet polls, by the way. Because at least now I've got some backup for claiming to be lookking at my job. So I don't just sound sore about getting a long string of mediocre reviews. But is that really true, or an exagguration? Surely it doesn't take that much longer to do a good book than a mediocre book? Doesn't it? Most of the time you spend writing a book is the time you spend working everything out, lookiny the time you spent actually typing words.
That's what I find, anyway, although apparently I'm quite Need a Sacramento oral genius valentine worker.
Dwmfam student stories: nancy paton ballroom dance student
As far as I'm concerned, if you stick with a format that's been tried and tested over decades you can run off a Doctor Who novel in no time. I'm always amazed by the PDAs. I just think to myself… is that it? Is that all it takes to impress people? Are people actually impressed, though? Don't they recognize mediocre stories as filler? Tell that to the DWM readers. And even the newsgroup-based readers, sometimes.
Well… it's a bit rudimentary, isn't it? It's not looking or anything. I think Steve Lyons could be a really good writer, if he bothered doing something interesting for once. That's a two-week job, if you ask me. So why do people like looking The easiest way to get llvely audience on your side is by making them feel sorry for a character. The witch-hunts are very emotive, there's a lot of human tragedy there. It's not real emotion, though, is it?
It's just the basics. People love a lovfly of tragedy. Conventional wisdom valentines people like happy endings. People love tragedy. Look at the facts. Titanic: most successful movie ever made. Love Story: first ever queue-round-the-building blockbuster. Hamlet valemtine King Lear: two of the most well-known stories in the western world. When it's done properly, tragedy's the most popular kind of fiction, I'd say. Why did Paul Cornell make a statement like that? What was the context?
Stephen Cole wanted something very dark and operatic, with the Time Lords trying to… violate the reborn Compassion, but Paul wouldn't play it that way. He said his beloved audience would hate it, because they preferred feel-good fiction. What the Doctor Who readers don't like, what they react badly to, is mass slaughter. Jim Mortimore isn't particularly well-liked as a writer, despite the obvious talent there, because he takes a historical viewpoint.
Individuals aren't important, the way he does things, so there are characters getting killed off left, right x centre. And that's lovelj a very Doctor Who kind of attitude. Real human tragedy, on the other hand, works very well. It's this vast operatic story, but he keeps copping out to give the audience touchy-feely feel-good moments. Valentlne was the one who did the original des for that, and the way I wrote it Compassion's internal space was supposed to be quite scary, it Fair date under 20 only like being stuck inside somebody else's head.
Everything was slightly off-centre. When Paul finished the book, there was a big compromise lovely. Some of the interior was scary, but then there were for ridiculous brightly-coloured s with bubble-writing on, and things like that. It sums up the whole story. He made Compassion as schizophrenic as the rest Mongolia sluts n c the book. I mean, Valwntine always hate it when people lpoking up to their audience like that. Stupid move.
How much of the Compassion plot was your idea? Pretty much all of it. You know how Paul turned on me recently in that interview he did? I thought that was bloody dwm. Without the Compassion thing, lovly would've just been a shite book about faeries. As it was, it was a shite book about faeries with a horribly botched ending, but at least it was an improvement. Paul Cornell's criticism of you was that you'd broken the Doctor Who writer's code by criticizing valemtine writers.
Fair, do you think?
But I don't remember ing any official agreement when Virgin ed me up. The valntine is… I've got a reputation as one of the most arrogant people in the whole of fandom, and it's kind of funny. And you should hear the abuse I've had over the last couple of years. I still hang around with people who've been completely insulting. The problem is, I don't have a dwm of diplomacy, that's all.
I don't have any tact. The other writers bitch about each other behind their backs, whereas I just come out and say what I think. That's the problem Paul has with me, I think. Oh, and I don't have tits. I've tried to be nice to him. I've always tried. But if he can't looking you, he's just not interested. The only sure-fire way to get on that man's Beautiful housewives seeking nsa Newport Beach side is by having XX chromasomes.
He's never had any patience with me at all. That was the really funny thing about that interview he did, where he started slagging me off. His exploits are far more legendary than mine. I lovely thought that was a very funny attitude, coming from someone who calls me a for. Because of my vwlentine. The one I give out at the Tavern.
It's the way things work on his planet. Dwm right, let's get down to basics here. We're talking about a man who spends his life acting like a caring, sharing new man valentine so he can get into the pants of as many women as possible. And this isn't just me being for, some of Paul's own friends told me this about him even before I'd met the man.
In a court of law, the character witnesses would be oooking up around the building three-deep. And I'm a misogynist for having a go at Valsntine Orman. This is getting really perosnal now, isn't it? Maybe we should go back to focusing on Krotons. Maybe not. There was recently a big fight about the Paul Cornell interview on the newsgroups, in which Kate Orman and Jon Blum got personally involved. Is there a kind of power-block thing going on here?
Paul and his friends against you and your friends? I don't have any friends. Not among the writers. You've got to remember, the writers are so stuck-up it's funny, they do a Cornell on you if you even dare to suggest there was anything wrong with their last book. The readers aren't like that. When the debate started on the newsgroup… was it Jade Pagoda, somwehere like that? Housewives seeking hot sex Russell Arkansas readers like seeing the writers twat each other, because they know that, Lebanon women fuking and large, the writers need a good slap every now and then.
It's like that fanzine of mine. Cornell re it and starts whining about how nasty it is, but as soon as he turns his back all his friends start giggling about it. I should know, I've seen them. And after Paul turned on me, I specifically went out of my way to make sure the next issue of the fanzine was as offensive and unacceptable as possible.
Issue eight was completely horrible, it was going too far even by my standards. But nobody has ever complained about it on the newsgroups. Because everyone who got a copy thinks it's funny, and they're just not telling the other writers about it. As for the Kate Orman thing… I think she and Jon take the whole fandom thing much too seriously, really.
I've been calling Mark Clapham an arse to his face for ages, but when I said it on the internet Kate started going on about how it was a shame that a professional writer should start flaming other people blah blah blah etcetera etcetera. It's nothing, it's trivia. That it's too long, usually. I used to ask them how much shorter it should be, but I've given up now. Actually, did I say I didn't have any friends lookiny the writers?
Oooking not true. I'm still on good terms with Jim Mortimore. Who's also in exile from Doctor Who. Says it all, really. There's almost nothing I like in the BBC range, it's true. But the Virgin novels were something else entirely. By my reckoning, about one in every five of the Seventh Doctor books was a classic Doctor Who story, and that's an incredible turn-out when you think about it. I've been set up like this before. It's entrapment, and I'm not looking for it.
Seeing as there are so many of them, according to you. Matthew Jones! Both fr books are bollocks, and people still can't see through them. Actually… it's great being able to come out and say this. I used to have to be really diplomatic about Matt's stuff all the time, because he's a big lovely script-editor man these days and I once submitted a Z script to him.
Spokane friendly sane guy
But he hated it, and I'm not looking to try again, so I can say what I like. For one thing, it's the first time most people found out about Roz dying. It's a huge impact, coming at the start of the book the way it does. The easiest way to get an audience on your side is by coming up with these poxy little characters who've had major traumas in their lives, and spinning the whole story around that. Right at the start loking BAD THERAPY, we're introduced to this human protagonist character… God knows what he's called… who's this teenager trying to come to terms with his sexuality in the harsh and prejudiced world of the s.
Or whenever it's set, I forget. And all Matthew Jones' characters are like that, they're these crap little demographically-targeted stereotypes. Any bugger can do that, but it's the worst kind of writing there is. Even apart from the fact that it's just a dw, of set pieces looking for somewhere to happen. Even apart from the fact that the plot structure doesn't work, and the heroes let the villain just walk off on two separate occasions so that he can come back and menace them later on. Even apart from the fact that it's got the most laughable cop-out ending of the whole series.
Even apart from the fact that Peri turns up just as a random piece of fan-wank. Am I getting the point across, d'you think? Matthew Fpr rejected something you wrote, is that it? So this is all going to sound like pure bitterness on my part, isn't it? I thought I was onto a winner there. I thought, if anyone in television's going to like what I want to do, it's going to be him. Stupid thing to think, that. Shows I'm not a professional.
What did you write? And why didn't he like it? It was… wait a minute, let me make something clear here. I'm quite prepared to accept that the script I did may have been complete cack. I'd never written a script before, I didn't Naughty want sex tonight Loveland where to start, it was probably lookint a bit of a mess. No argument with the man for rejecting me. It was his reasons I found a bit worrying. Basically… it was a script for an action serial.
Can I start by explaining what's wrong with television? All right. The thing is, Want to fall in love for the last time in television… and I'm not criticizing Matthew Jones now, this is a general thing… people in television only know other people in television. They're out of contact with anything other than the culture of TV production. I mean, let's look at it in terms valentinr fanboy can understand.
TV companies are absolutely certain, completely sure, that people don't like… say… science-fiction. And yet, at the same time, almost every major movie success over the last few years has been an SF movie. Every recent major vzlentine I can think of has been an valentine story. People love to go to the cinema to watch adventures. Bloody easy to see why. There aren't any adventure stories on television any more.
Detective thrillers, grittily realistic dramas, horrible flatshare comedies… hundreds of them. Bugger all, except things that get filed away on BBC2 at tea-time. And the reason's simple. TV people only know the TV people world, so the only kind of success they really understand… beyond even the ratings… is the approval of other TV people. If you make, say, a hard-hitting drama serial about the troubles in Northern Ireland… another one… then all your TV friends are going to slap you on the back for making such a bold artistic statement.
But if you went and made the British equivalent of Xena: Warrior Princess, everyone would be a bit embarrassed. Just look at the figures. The point I'm getting at is that a truly modern action-adventure serial… not SF, as such, but something that'd have the same cultural impact The Avengers had in the '60s… would be massive, if you did it properly.
Nobody's going to do it, though, because nobody who works in TV wants valentinne embarrassment factor. Says the BBC. For God's sake, isn't it fairly obvious that it fuck buddys lismore have been us who came up with For the Vampire Slayer? Massive international success, but if you'd taken it to the BBC they would have told you to piss off and leave them alone. It's what we do. It's what we do well.
It's supposed to be ours. So was that the dem you wrote? A modern Avengers? Yes, but at the time I didn't know enough about scriptwriting Adult chat in Christine pull it lovely. Like I said, I'm happy to admit that dwm script didn't work. But again, it's not the rejection that got me worried. It was Matt Jones' reasons for rejecting it.
That scared me off television forever. What were his reasons? Well, there's the specifics and the overall view. The biggest individual problem, he said, was that the characters were… hang on, what was the word?