Monday, November 25, 2013

Fifty Years of Doctor Who: A Personal Journey

Fifty years ago last Saturday, I was settling down to watch the first episode of a new Sci-Fi series on BBC.  Just the day before, we'd been stunned by the news of Kennedy's assassination.  Strangely, I've always had vivid memories of both events (I fit the cliché — I even remember what programme we'd turned on for when we saw the newsflash) but it was only about a decade ago I discovered they'd been on consecutive days.  Twenty-four hours is a long time for a child.

I'd been vaguely miffed that a cartoon show I liked had been taken off for this new programme, but I was looking forward to it all the same.  I'd loved the Pathfinders series ITV had put on over the previous couple of years (Pathfinders into Space, Pathfinders to Mars, Pathfinders to Venus) and was hoping it would be as good.  I was pretty much hooked by the time the unearthly title music had faded away.

Doctor Who quickly became my favourite programme, though I can't actually claim to have watched every single episode from the Sixties.  There was no recording in those days, no iPlayer, no endless repeats on BBC3 (no BBC3, or even BBC2 at first) and sometimes I had to be out at Saturday teatime — usually for a treat, though it tended to be a close-run thing whether the treat was worth it. 

Still, I saw probably 95% of the episodes, many now lost: the first sight of the Dalek and the Cybermen (not to mention the recently returned Great Intelligence and Ice-Warriors), the comings and goings of companions, and the Doctor's first regeneration.  It's difficult to pick out a high point, but I think it might be the amazing (and largely lost) twelve-parter The Daleks Master Plan, memorable among other things for killing off two companions.

Not that I knew it as The Daleks Master Plan at the time.  For the first three years, only episode titles were ever given, and the stories were, Friends-style, The One With the Daleks Invading Earth or The One With the Voords.  This was The One With the Time Destructor.  Whatever it was called, though, I loved it.  I've seen the surviving episodes and reconstructions of the lost ones since, and as far as it's possible to tell it still holds up well.

Not all the stories from the Sixties have survived as well in reputation, but my experience of them was a bit different from people discovering them now.  Back then, they were slick and beautifully made, with totally convincing sets and effects.  I'm sure they've been tampered with since — the same as the way that, when puppet shows like Thunderbirds were shown back then, the strings were totally invisible and have only been added on modern copies.

Of course, nothing's really good or bad except in reference to its own time and context.  One story that has a poor reputation among fans is The Web Planet (aka The One With the Zarbi) but my experience of it was very different.  To an eleven-year-old watching it in the Sixties, it was absolutely awesome, and the story was one I remembered as a high point.  Even from a twenty-first-century perspective, I think it's a much better story than it's given credit for, although it does have serious holes in it.  Mainly to do with the Optera.

Another reason for negative views of some of these stories today is that most people now experience them by getting the DVD and watching straight through, or at most in two chunks for the longer stories.  They were never designed to be seen that way, and watching them in twenty-five-minute doses a week apart played up the excitement and tension.

What Doctor Who mostly did in the 60s was to play to its strengths.  An excellent example of the this is The Dead Planet, episode one of The Daleks.  It finishes with the iconic shot of the view down the Dalek eyestalk of Barbara cowering away in terror, but the episode as a whole consists of the four regular characters wandering around cardboard sets, handling awful props and talking a lot.  And it's an absolute master-class in how to build up tension with few resources.  I'm certainly not advocating making programmes exactly like that now, but I think it might not be a bad thing, in the days of effects-led storytelling, for the makers to take a step back and relearn some of the basics.

The Sixties version of Doctor Who was my childhood, and nothing can compete with childhood memories, but I continued to watch through the Seventies.  The images and the feelings they generated didn't stick so firmly in my memory in this era (I was busy growing up, going to university, getting a job and all the things associated with those processes) and when I started rewatching them I often found I'd totally forgotten excellent stories, but I watched faithfully throughout the Pertwee and Baker eras.

A few things stick in my memory.  I recall, in late 1975, while Pyramids of Mars was on, I was taking a course in Greek philosophy at university.  The lecturer was explaining one philosopher's attempt to "Platonise" Egyptian mythology and gave a brief account of the murder of Osiris by Set, or Sutekh — then gave a slight laugh and added, "Currently appearing on Doctor Who."

The Eighties were when I lost touch with the show.  There were a number of reasons for this, not least that I didn't have a TV for part of the decade.  Anyway, when they messed around with the schedules and put it on during a weekday evening, I wasn't usually in at the time.

In any case, I felt less motivated to make an effort.  I felt Tom Baker's last couple of series were noticeably slipping (a view I still hold, with certain honourable exceptions like City of Death and Logopolis); at the time, I didn't much like Peter Davison's Doctor (though I've revised my opinion there); and I wasn't very impressed with the current crop of companions.

In any case, I stopped watching, apart from an occasional catch-up that wasn't enough to get back into it.  I've now acquainted myself with Eighties Doctor Who, and my feeling now is that it was a very uneven period, but with plenty well worth watching and occasionally as good as any era.  I personally think that the very last classic series, in 1989, was probably the best since the high days of Tom Baker.

That was later, though.  I still had fond memories of the old stories, and I watched them on the rare occasions they were reshown, but nothing much more.  As I discussed in a previous piece, I'm not actually very good at "being a fan", and I've never really been into tie-ins, conventions or merchandise for anything, so I didn't have anything much to keep up with.  I watched the 1996 movie and felt (as I still do) that McGann and McCoy were brilliant, but overall it was a disappointment.

Then the channel UK Gold started running the classics (or maybe they'd been running them and that was when I got the channel — I can't remember).  Anyway, I watched loads of stories and taped quite a few, and for a while I just watched those ones over and over, before I eventually discovered the joys of cheap DVDs being sold online.  As of now, I have most of the stories and can vary my Who-watching a good deal more.

In the meantime, of course, the show was rebooted in 2005.  I wasn't sure what to expect, after the experience of the movie, but I loved it.  I have some quibbles, but they're more to do with how TV is generally made today rather than specific to Doctor Who — the tendency to be led by effects and action, as against the intelligent storytelling of the past (though Doctor Who's better than most at blending them), overuse (for me) of music, and an over-reliance on story arcs.

Nevertheless, I think Russell T. Davies, Stephen Moffett and the rest have done a wonderful job of updating the show without losing what always made it special — the way it balances fun and gravitas, action and intellect, scary monsters and social relevance.  Saturday's Fiftieth Anniversary Special, which had a really hard job living up to its hype, blew me away, managing to be at the same time a brilliant story and a fan's wet-dream of reappearances, in-references and in-jokes (they even got a reference in to the notorious UNIT dating controversy).  And the ending opened up a whole new vista of possibilities for the next fifty years.

So where now?  Although I'll be sorry to see the end of Matt Smith, who's become one of my favourite Doctors, I'll be fascinated to see what Peter Capaldi makes of the role.  For companions, I love Clara, but I hope when she does go they'll be more adventurous.  Although the string of primary companions we've had since 2005 have all been distinct and interesting characters, they've essentially all (or mostly) been twenty-something contemporary women.  I'd like to see an occasional one who isn't — someone from the past or future, or from another planet.  Maybe an alien.

Similarly, I'd love to see more variation in destinations for the TARDIS, particularly more historical settings that aren't nineteenth or twentieth century (seriously, the 1980s as historical?) and more well-realised planets.  Not just desolate planets with crashed spaceships, or barren rocks that aren't being pulled into black holes (much as I loved those stories) but living, complexly populated planets.  The twenty-first-century equivalents of Skaro, Marinus, Peladon, Tara or Androzani.

Whether or not they take my advice (and why wouldn't they? I keep telling myself till I believe it) I'll keep watching.  Maybe, if medical science keeps the pace it promises to, I'll just about still be around to watch the hundredth anniversary on the care home TV.

Tuesday, November 19, 2013

A NonNaNoWriMo Adventure

With an impeccable sense of bad timing, I started working on a new novel on the 7th November.  Actually, I didn't want to do it for NaNoWriMo (the annual challenge to write fifty thousand words of a novel between the 1st and 30th of November) because I've too much else going on this month to put myself under that kind pressure.  Still, I suppose it makes me a NaNoWriMov fellow-traveller of some kind, so I'll join everyone else in reporting on my progress.

I'm currently well on into chapter three, or around ten thousand words in, although that includes a couple of scenes based on trial versions I wrote a while back.  I've really no idea what length it's going to end up at, but most likely around 120-130,000, so I've still a long way to go.

I'm using the working title The Empire of Nandesh, but the only thing I can say for sure is that that isn't going to be the final title.  It refers to the evil empire of the immortal sorcerer-king Nandesh, which is central to the story, but I'd prefer a more allusive (or elusive, or illusive) title, and I'm trusting that, like a Pern dragon, it'll let me know its name.

This is part of my ongoing ennealogy.  I'm aiming to make it as stand-alone as I can, but it's inescapably a sequel to At An Uncertain Hour, dealing with some of the consequences of the Traveller's choices at the end of that book.  The Traveller is central to the story, though under the name Tollanis — a now-obsolete local word for traveller that's turned from a soubriquet to a name — and Nandesh is the son of his adversary the Demon Queen.  That's not a spoiler, by the way — it's revealed in the second chapter.

Like At An Uncertain Hour, this book is written non-sequentially and in first person.  Unlike it, though, it has four different first-person characters.  Yes, I'm sure you can tell I'm always on the lookout for ways of making writing easier.  So, for a brief, blurblike introduction to the main characters and their issues at the start:

Tollanis feels uncharacteristically dubious about helping to fight against the evil sorcerer-king Nandesh, and he's not too sure about his ally Kargor, either.

Nandesh, in among his plans to conquer the world, seems to have a personal grudge against Tollanis, although the two men have never met.

Fandis, Nandesh's lover and bitterest enemy, dreams of the day she can kill him, even while she spurs his ambition higher.

And, perhaps scariest of all, Tollanis's ward Lanza is a seriously frustrated teenager.

So why did I choose to write it like this?  I wanted from the start to split the point of view between protagonist and antagonist, since neither's role could really be understood without knowing about the other.  And, as in At An Uncertain Hour, third person really wouldn't give the level of immersion needed to roam at liberty through the characters' memories.

So, I needed two first-persons, which was scary enough, but as the ideas coagulated I realised I also needed Lanza's and Fandis's voices to tell the whole story.  Hence the somewhat unusual structure.

This probably makes it sound as if the whole novel's carefully planned and outlined, but in some ways I'm writing blind.  Not entirely.  The whole ennealogy actually goes back a long way in its basic concept.  At An Uncertain Hour was based on an outline of the Traveller's life I'd written years earlier, while The Winter Legend, the trilogy I've been working on in between, is something I've been writing versions of since 1969. 

The central events of this story — its "present", at least — go back to various pieces I wrote in the 70s, but a lot has changed since then.  Nandesh, in particular, had a different name, a different nature and a different background then, and his backstory is really the main motivator for the novel.  And Lanza is an entirely new character, wreaking havoc on a nice, orderly plot.

I'm looking forward to exploring all these people and showing how they got from there to here, but I'll have a number of non-POV characters to present, too, especially the aforementioned Kargor.  Kargor, sometimes known as Karaghr or Kari, has appeared as a young man in a series of stories, including the ebook The Temple of Taak-Resh, and he appears in the later but already-written trilogy The Winter Legend (first volume currently attempting to seduce an agent, the other two awaiting revision).  I enjoy writing Kargor, and I was delighted when a friend recently commented that he reminded him of Tom Hiddleston as Loki.  Perhaps a casting option for a film version — though I'll have to get on with it.

So, I know where I want the story to get to, and I have a number of scenes pretty much nailed down in my head, but the route it's going to take over the hundreds of years it covers will be a surprise.  I hope it'll be a good surprise — both to me and to my readers.

Sunday, November 10, 2013

Write What You Know?

Write what you know.  A maxim regularly proposed by people who don't write to people, especially young people, who want to write.  Possibly the most vilified, misapplied and misunderstood of all writing advice.

On the face of it, it seems like artistic sabotage, especially for a fantasy writer.  Followed literally, it would mean, unless you've had a life like Jack London or Joseph Conrad, all most of us would be able to write would be little, slice-of-life tales of social realism.  Not that there's anything wrong with stories of that kind if they're what interests you, but it isn't what all authors want to write — and, more to the point, it's not what all readers want to read.

It's especially bad advice to give a child who wants to write.  Again, the child might genuinely want to tell a story of someone of their own age going to school and living the same kind of life they do, but most will want something more exciting to write about.  In any case, the worst possible thing to do to a child-writer, or any child, is to clip the wings of their imagination.  Their work's highly unlikely to get published, whether they write school stories or improbable tales of international espionage, and it's far better for their future enthusiasm if they have fun doing it.

The literal interpretation would certainly rule out any fantasy.  How can anyone write about immortal sorcerers, wandering swordsmen or swordswomen, meetings with gods or commanding vast armies if they write only what they know?

But that's not all there is to it, of course.  Write what you know is possibly the worst-phrased maxim to mask genuinely good advice.

What lies behind it was expressed beautifully by the Anglo-Irish writer Lord Dunsany, who in the early 20th century virtually invented the fantasy short story as we know it.  Dunsany wrote exotic tales of Elfland, the edge of the world and the lands that lie beyond the fields we know, but he considered:

It is my belief that those sudden visionary pictures which are the true essence of any art arise like a flower from a seed that has fallen into the mind, sometimes in infancy, sometimes in later childhood, sometimes in adult years, but often as imperceptibly as any seed blown on the wind finds a home for itself in the earth at the end of its wandering.  Bricks without straw are more easily made than imagination without memories.

Half a century later, another great writer, Bob Dylan, said it more succinctly and far more colloquially:

Open up yer eyes an' ears an' yer influenced
an' there's nothing you can do about it

My own favourite image of this process is a vast cooking-pot.  Into the pot goes everything that happens to me, everything that happens around me, everything I hear about, every item from the news, everything I read, watch or listen to, everything I think or discuss with other people.  The pot simmers constantly over the heat and I stir it regularly.  When I write, I dip in a ladle and take a spoonful out.  Everything I threw in is there, but changed, blended into new forms and new combinations that bear little resemblance to the raw ingredients.  This is the stew that makes my stories.

So how does this work?  In At An Uncertain Hour, I had to write about a character who reluctantly takes on commanding the army of a great alliance for a thousand years to defeat an evil empire, even though what he really wants to do is wander the world on an enchanted ship.  Strange to say, I've never actually done any of that myself.  Hardly writing what I know.

On the other hand, like most of us, I've had to choose between fulfilling moral and social obligation and letting myself drift along doing what I love.  I've had to square up to taking on positions of authority — not commanding a vast army, but managing people at work or running performance clubs — in spite of doubts about whether I'm really a natural for it.  I've fulfilled duties while dreaming of being free and footloose.

In addition to this, of course, I've observed many other people in positions of authority (often over me), followed the news about public figures, read works of history and biography about great leaders and generals of the past.  All in all, I'm surprisingly qualified to write about this character.

The things we know above everything else are our feelings and emotions, and these are what we tap into and extrapolate to experiences we've never known and are never likely to know.  Suppose your character is being hauled before the King, wondering whether the sentence is going to be instant execution.  It's not only unlikely that this has happened to any modern writer — it would also be highly inadvisable to attempt to seek out the experience. 

On the other hand, you might well remember sometime having been called in to see the boss, wondering just how much trouble you're in, terrified that you're going to be out on your ear.  Resurrect that memory and remember just how you felt; then expand and transfer it, try to feel those emotions again but much, much more intensely, and apply them to how another person might feel.

Imagination = experience + extrapolation + empathy.  As simple as that.

All right, it isn't really simple, but it's a start.  Of course, there are practical issues as well: things a writer might simply not know.  I recall long ago hearing a writers' cautionary tale.  A sheltered Edwardian lady wrote a novel in which her hero went to an Oxbridge college and ended up rowing in the University Boat Race.  Now, the whole point of a rowing team is that they have to learn to keep in perfect synchronisation, otherwise chaos ensues; but this author, in her enthusiasm, wrote a sentence something to the effect of Everyone rowed fast, but {the hero} rowed faster.

The moral of the tale was supposed to be that she'd no business writing about something she had no experience of, but I take a completely different moral from it.  If she wanted to write about the Boat Race, fair enough, but she should have got hold of a good book about rowing techniques and read it cover to cover.  Ideally, she should also have found a nearby rowing club and gone to watch practice there.  Perhaps talked to some of the rowers (shocking for a nice lady, but she could have taken a chaperone) and memorised some of the phrases they used and the experiences they'd had.  That would have enabled her to write the episode not only without that obvious blunder, but with a depth of involvement that made it seem she must be an expert rower.

We're living in an age where, compared with that Edwardian lady, we have any information we need just the click of a button away.  It's not always quite that easy, of course, but we really have no excuse but laziness for not researching the things we put into our stories.

Anyway, research is fun.  It's an opportunity to learn things, gain new experiences.  It might even take our lives off in rich, unexpected directions.  At worst, it'll stand us in good stead in trivia quizzes.

Write what you know?  Perhaps it's time to abandon that misphrased saying and the inadvertent damage it can do, and bring out in its place the true meanings that it masks.  Write what you feel.  Write what excites you.  Write what you want to know.

Tuesday, November 5, 2013

Remember, Remember the Fifth of November

Remember, remember
The Fifth of November,
Gunpowder treason and plot.

We still remember the Fifth of November in Britain, even if it's only as an excuse to let off fireworks at any time from the beginning of October to Christmas, but many people know little about the event that sparked it all off.  The popular version is that a man called Guy Fawkes tried to blow up the Houses of Parliament, but was discovered at the last minute.  Although we celebrate the failure and burn Fawkes in effigy, there tends to be a sneaking admiration for him whenever politicians are being particularly aggravating.  Guy Fawkes has been described as the only man who ever entered Parliament with honest intention.

In fact, it was a lot more serious than that.  It's been suggested that, had the plot succeeded, it would have been as devastating to 17th century Britain as 9/11.  More so, in fact, as it would have taken out virtually the whole leadership of the country, as well as a lot of innocent bystanders.  And Fawkes wasn't even its instigator.

The plot was formed between a group of Catholic gentry from the Midlands — several were related to Shakespeare through his mother's family, the Ardens.  Under Elizabeth I, who died in 1603, Catholics had been forced to pay fines but had generally been left to get on with their religion, as long as they kept it behind closed doors.  She did become harsher after the Pope ordered that it was the duty of all English Catholics to assassinate her, but there was no wholesale persecution.

Nevertheless, it was far from an ideal situation for them, and many Catholics hoped for better when James VI of Scotland became James I of England.  He was the son of the Catholic Mary Queen of Scots, but his education had been supervised by the arch-Calvinist John Knox.  In fact, James rejected both extremes, sticking with Elizabeth's middle-of-the-road Church of England.

Early in 1604, a meeting was held between Robert Catesby, Thomas Wintour and John Wright, at which Catesby proposed his plan to blow up Parliament on the day the King was due to open it.  In the months that followed, a number of co-conspirators were recruited, including Guy Fawkes, also known as Guido Fawkes, a staunchly Catholic soldier who'd been fighting for the Spanish against the Dutch Protestants.

The plot was put on hold when the expected session of Parliament was postponed several times because of outbreaks of the Plague in London, but by the time the opening approached, on 5th November 1605, the plotters were ready.  The plan was to wipe out the King, his sons, the Privy Council, Lords, Bishops and Common — and, as collateral damage, anyone else who happened to be close by — and simultaneously raise a rebellion in the Midlands.  The rebels would seize James's daughter, Princess Elizabeth, and place her as their puppet on the throne.  Elizabeth was later Queen of Bohemia and known by evocative names like the Winter Queen and the Queen of Hearts; at nine years old, though, she presumably wouldn't have had much of a say.

The popular rebellion was probably nothing but wishful thinking, but the attack on Parliament could well have succeeded.  The problem was that several of the plotters had friends of relatives in Parliament, and one broke ranks and sent a warning to his brother-in-law that I say they shall receive a terrible blow this Parliament; and yet they shall not see who hurts them.

When news of this came to James, he took it very seriously.  It must have resonated with him — his father had been assassinated by being blown up — and he ordered the cellars to be searched, a tradition still carried out before the State Opening of Parliament, though only as a ceremonial relic.

The plotters had rented a disused undercroft beneath Parliament and built up a large number of barrels of gunpowder there, hidden under piles of firewood.  Fawkes, the gunpowder expert, had stayed to set the fuse before making his escape, while the rest had left London to prepare their rising.  Guy Fawkes was caught waiting to lay his fuse and arrested, while the rebellion fizzled out into a fight at Holbeche House in the West Midlands, at which most of the plotters were either killed or captured.  All the survivors confessed under torture and were hung, drawn and quartered.

There was some backlash against Catholics in the short term, with the Jesuits being generally blamed for the plot, although there's no evidence any Jesuit was directly involved.  In the long run, though, there was no increase of persecution of Catholics — in fact, their lot improved somewhat during James's reign, and he kept out of the Protestant Alliance in the Thirty Years War, although his daughter was centrally involved.

From the first anniversary of the plot, nationwide celebrations were held to give thanks for its failure, and this gradually evolved into lighting bonfires to burn effigies of Guy Fawkes, the main public hate-figure, or of the Pope.  This seems to have been a deft hijacking of the fires of Samhain, or Halloween, a few days earlier, at which an effigy of the Summer King was burnt on a bonfire, a possible descendent of an actual human sacrifice (as I discussed in more detail in my post last week).

Fireworks were let off as part of the celebrations from early on — they contain gunpowder, after all — and have now taken over as the main focus of the festival.  Until recently, it was common for children to take their "guy" around before burning it, asking for a penny for the guy, but this seems to have largely died out, and burning effigies in general is less common than it used to be.  Halloween rituals imported (or reimported) from America have largely taken over at this time of year.

It's easy to sympathise with the Gunpowder Plotters as persecuted men who only wanted religious freedom, but this is a naive view.  In modern terms, they were terrorists who were willing to accept any level of slaughter, of the innocent as well as their actual targets, and their objective was certainly not toleration and freedom.  It's probable they'd have treated Protestants a good deal worse than Elizabeth or James had treated them, and they'd almost certainly have snuffed out the early stirrings of parliamentary democracy which, by the end of the century, were to lead to a constitutional monarchy.  History would have been very different if Guy Fawkes had lit that fuse.

Some years ago, I wrote a poem called Guy Fawkes, which appeared in my self-published collection Lessons of History, which looks at him from all angles, from stuffed effigy to terrorist to sacrificial king.  I thought it would be good way to finish this piece.

Guy Fawkes

silly straw-stuffed face
crookedly amiable
cries in silent agony
as stuck-out tongues of fire
gently lick him
asking why
in his innocence
he is falsely condemned

archetypal anarchist
who so nearly carried out
what we dream of in anger
not that we would but
just suppose
and so we burn him now
for letting down our fantasy

king for the day
or a summer maybe
becomes a shield against
fear of age
of non-renewing
and this years hope turns to ash
so that next years hope can grow 
willing sacrifice
the cancer to be cut out
takes on himself
the fears of the world
dug into the soil
hung up on a tree
burnt into the skies
thank God it isnt me

he lives between our dreams
hiding behind our minds
he slips among shadows
of hopes and fears
and triumphs at last
as we feel the pain
of a stuffed nothing 
penny for the guy
penny for your thoughts