Birds of Prey

 

If the people of Britain thought the energy crisis was over, they were very wrong. Power cuts are returning, spreading from London and focusing on particularly vulnerable targets, almost as if by intention.

 

The Association has risen again and is stepping up its campaign to take power and enact its supremist ideology. Ian Gilmore, Rachel Jensen and even their son Dillon become embroiled in a plan to survive a plot for revenge. They must stand against old enemies as the spectres of past conflicts are raised and a new battle starts to spread through the streets of the capital.

 

For there are others who stand ready to face the Association too. But how far will they go and what weapons will they deploy? Gilmore, Jensen and their allies find that the monsters of the human race may be far more terrifying than anything from beyond it, and that this time, humanity will need saving from its own worst instincts.

 

Due to a change in circumstances, Robert felt he would be unable to commit the time needed. However, we agreed to look at it again a few months later, and sadly little had changed by time it came to move forward. Robert allowed me to use his outline and ideas for book two as a jumping on point for his replacement, but in the event I decided it was better to let whoever that was to just read the first book and take it in their own direction.

The prospect of writing for the Counter Measures series felt quite different to my prior work on the Lethbridge-Stewart range. I would say the tone is a bit darker and more morally complex, with the threats emerging from the behaviour of humans as much as anything from elsewhere, although influences of past invasions continue to play a big role in awakening our own worst instincts. Like Robert before me, the thought of following the narrative threads and themes of Remembrance of the Daleks was a jaw-dropping one. Robert produced such a thrilling follow-up in Birds of Passage, which itself left some intriguing strands dangling, that I had not one but two great stories to do justice to. The Remembrance novelisation, rightly heralded as a late highpoint for the Target range, contains such depth in its depiction of ’60s Britain and its racial landscape. I also revisited Andrew Cartmel’s Cat’s Cradle: Warhead and found a shockingly prescient and familiar dystopia in what had been his speculation about the early twenty-first century. Without wanting to be too negative, it’s worth remembering how close we all are to such breakdowns in order and certainty, so I tried to channel both of their concerns and the reflective moods of their novels in writing Birds of Prey.

James jumped at the chance before any sense of trepidation could set in, and once he’d finished his reading and research, he soon had an outline to me. There were only a few changes I wanted, in keeping with the goals Andrew Cartmel and I had set out for the series.

 

Storyline guidance from Andy was invaluable as always, in particular in providing the geographical focus of London and a core group of characters there. Real history and locations have been interwoven into this dark parallel past, and may change the way you see the parts of the capital on your next visit; a Birds of Prey Walking Tour is certainly possible! To move further into the London-based thriller genre, I also took inspiration from the original television version of Edge of Darkness with its rain-soaked pavements and its uncanny way of suggesting an impending apocalypse in otherwise very small scale events and moments. I hope all these ingredients have come together to be a testament to some of the best writers, their characters and themes. None of us really write in isolation, and to have been in their literary company for a while has been a privilege.

I’ve always been a huge fan of his work, and I knew I wanted something in a similar vein. I asked John to give us something Triffid-esque and he did exactly that. He’s created a nice blend of genres, mixing the best elements of storytelling that you’d find in the works of Robert Banks Stewart and Wyndham, giving it Peel’s own distinctive twist. And John is no stranger to twisting tales, make no mistake. He’s been writing prose fiction beyond Doctor Who continuously for over twenty-five years, and you don’t do that without being good.

Colin is a Doctor Who demi-god and I wouldn’t have felt comfortable changing his work. His realisation of the Grandfathers was perfect. Like all his Doctor Who artwork, Colin really understand what makes a good monster.

Like the Beast of Fang Rock, I read the book and choose my favourite scenes. I was excited to discover that The Grandfather Infestation is a jam-packed full of action, so it made illustrating it very fun indeed.

John’s first ever Lethbridge-Stewart book was The Grandfather Infestation. And what a book it is! And, over the years we’ve always tremendous feedback about it, receiving so many requests to release a new edition. But instead of doing a paperback with a new cover, we decided to do something a little more special. Like Beast of Fang Rock, Martin’s artwork really helps to bring this exciting book alive. And the Lucy story is the cherry on the cake, allowing us to introduce the alien Grandfathers to a new audience.

I very much wanted to try and bring the same approach to the creation of the show in 1963 as The Long Game did for the 1996-2003 period, The idea is to try and provide the same wider background and context to the events – so not just what happened, but why it happened. To give an idea of how BBC television drama worked at that time, the world into which Doctor Who was born, and also to flesh out some of the lives of people we normally only see as names on a list – the likes of Eric Maschwitz and Alice Frick, for example. Pull to Open tells the story from Maschwitz first asking the Script Department about science-fiction in the spring of 1962, to the Daleks first appearing at the end of 1963 – so it’s a book which pretty much entirely concentrates on the creation of the show. That is the story in this book, rather than simply being the start of the story as it sometimes is when told elsewhere. It’s a period which has long fascinated me, and I hope people enjoy reading about it as much as I have enjoyed researching and writing it!

It’s always nice to have John Peel back. He’s an old hand at novel writing, and without fail always delivers a strong first draft. More often than not, in fact, it requires little or no rewrites, usually a few touch-up edits. With the end in sight, we knew we had to prepare the way for Lethbridge-Stewart to become the Brigadier, and for his transfer from the Fifth to UNIT. To the end I worked alongside the authors of the final series to develop stories that would see the transition take place, show the fans why it was necessary for UNIT to be set-up to protect not just the UK, but the world itself. This book, like the previous Spheres of Influence, is a step towards that end…

We’d planned these final books some time ago, and I’d forgotten some of the smaller details, since obviously I had worked on many titles in the meantime. So it was a nice surprise when characters from bdw titleoth John's The Grandfather Infestation and On His Majesty’s National Service made an appearance. I hope it will be equally surprising and exciting for the long-time readers of the range, to see things coming full circle. It’s apt, I feel, that these characters in particular should return, tying John Peel’s contributions to the series in nice little bow.

I had tremendous fun while writing On His Majesty's National Service and introducing some new characters to the world of Lethbridge-Stewart, so when I was asked to write another entry in the series, I couldn't resist bringing some of them back again to help him out. Or are they helping him?”

I wanted to write something a bit different this time around, though, so I decided to avoid the customary alien invasion theme. This time around, the aliens aren't determined to conquer the Earth – but what they have in mind might be a greater disaster than a simple invasion. It was also fun working with Jonathan Blum (with a bit of assistance from Simon Forward) to find ways to link these final books together, to walk the path to UNIT…

The title often changes between first announcement and eventual release, and this one was no exception. Originally it was called United Nations, which would be followed up by Jonathan Blum’s Intelligence Taskforce. However, due to the need to turn Jon’s novel into two books (more on that when Jon’s book is due), I decided it made sense to assign both titles to Jon’s novels. Thus, John Peel’s needed a new title. It took a while, but I eventually suggested It Came from the Isle of Man to fit in with the B-movie influence behind the chapter titles contained within the book. John approved it immediately.

This cover was slightly different to my earlier ones in that rather than an idea of what the story elements were, I was given a passage of the novel to illustrate. The description of the sea monster is vivid and when I sat down to design it, I was influenced by one artist in particular. Way back when, when I was at school, a favourite artist of mine was Rowena Morrill, who sadly died a couple of years ago. She painted strange, fantasy hybrid creatures that had an otherworldly colour palette perfect for this subject, I felt. The scale of the creature is helped with the poor Minke victim, though I did move the ship closer than in the story for visual impact. Lethbridge-Stewart was always a hands-on sort and Andy asked for him to be in action mode. What better than showing him running into battle, urging his men forward? The breaking ice behind him hints at a location for the story, and there is a clue to another location for the keen Doctor Who fan.

I do like the Scots Guard hat (glengarry) so am pleased I was able to paint it. I find it can be quite tricky to get right in the way it sits on the head as the angles look wrong. Fortunately, I have one (too small for me, unfortunately) but it fits a polystyrene bust I have (don’t ask!). This allowed me to get it just right. I’m a big believer in reference material; you can guarantee that if you get something wrong someone will always notice. This caused quite the headache when trying to draw Lethbridge-Stewart’s service revolver, as I’d chosen an angle that I couldn’t find any reference of, so had to piece it together as best I could. I hope I’ve got it right!

I’ve been really fortunate with my association with the Lethbridge-Stewart books. I bought the first one and loved it; so much so that I felt the urge to create some fan art. Andy saw it and later offered me a try-out. So not only am I a fan, Andy give me the opportunity to become a part of it. It is sad for me to know this is my last cover as the series draws to a close, but what a ride it’s been! Massive thanks to Andy for creating such an enjoyable series of books, and for taking a chance on me. (I know he will want to edit this out, but I hope it stays)

The reaction we’ve had about the first book centred on the fact that it featured a strong female lead character, who our readers seem to have wholeheartedly embraced, working alongside classic Doctor Who characters such as Professor Travers and Brigadier Lethbridge-Stewart. The latest short story takes a new twist, and brings the iconic film actor and director, Orson Welles into the mix.

There’s a famous Spitting Image sketch from years ago,” Tom adds, “where they basically said that Orson Welles lived his career in reverse, starting with the remarkable success of Citizen Kane and ending with financing being more than scarce for anything he wanted to direct.

The Analysis Bureau did exactly what we wanted, launching a spin-off title from our Lethbridge-Stewart books, and has created a team of characters who not only exists in their own universe, but also embrace characters, both human and otherwise from the worlds of Doctor Who, who we have under license. It was only natural to bring them back as soon as we could.

Chris painted the image of Capaldi in time for the LFCC when he was invited to be a guest at the Heavy Metal stand as he knew Peter was attending. Capaldi was one of my favourite doctors and we both liked his gruffness and welcomed a return to an older representation of the Doctor. Chris remarked how much he enjoyed painting his characteristics – the eyes being particularly a feature as Capaldi’s look is quite striking. Chris liked to draw interesting, older faces as ‘they were a more interesting subject’ to paint.

Before Chris sadly passed away, we had been discussing doing something else, but this never came to pass. Since then, knowing that we had one more piece of artwork, I wanted to showcase this. We are now releasing this version of the book to celebrate his life.

After defending a space station from a Cyberman incursion, the Doctor and Jamie learn that young astrophysicist Zoe wishes to join them on their travels. To give her fair warning of the dangers she may face, the Doctor places the TARDIS outside time and space and uses a mind projector to share one of their most harrowing adventures…

And so, Jamie is forced to relive his encounter with the Daleks at their most evil and calculating. In a complex plot that dragged him from modern-day London to Victorian times and finally, to the Dalekworld of Skaro, he endured ordeals that tested his courage, strength – and his friendship with the doctor – to the limit. He presents his own version of some of those events to Zoe; events that still anger him.

And while fact and fiction blur inside the TARDIS, a malevolent force watches from outside. Soon, Jamie finds himself lured from the safety of the ship into dangers that could end Zoe’s travels before they begin – and all their lives, as well.

When Shaun asked me to pen a new story with Lucy and Hobo encountering the Borad and some animal hybrids at Bristol Zoo, it turned out to be a two-fold blessing. Not only did I get to spend more time with two characters I really love to write, but it gave me an excellent excuse to go to Bristol Zoo for ‘research’, just a few days before it closed down! The more I saw and learned about the Zoo and its history, the more clear it became that it was the perfect setting for a Lucy Wilson adventure. I hope I did such a special place justice.

First it was The Brigadier and the Bledoe Cadets paired with Lucy Wilson and the Bledoe Cadets and now… When it came time to discuss what our next crossover would be, Shaun suggested Lucy meeting up with Edward Travers and HG Wells. Then came the old ‘who to write it’, which almost always results in Shaun suggesting John Peel. I was on board with that, and knew John would be up for the challenge…

Writing the story was… interesting. The two books had to have separate plots that interlinked, and yet still made sense if read alone – which obviously took a bit of planning! And the last couple of chapters (the wrap-up) had to be the same, obviously, but told from two different perspectives. The only way I could imagine doing this was to write both books together as a single manuscript, so that I could be sure that the pacing worked out and the overlaps occurred at the same time in each tale, and then leave the two respective editors to disassemble the manuscript into two books. Hey, I wasn't going to do all of the work! I was expecting the process to be challenging, but because the editors and I had worked it out beforehand, it actually proved to be a lot smoother and easier than I had feared. And also a great deal more fun.

The main theme of the book is memories. Lucy has travelled to Melbourne, Australia, in 1985 but has lost most of her memories. She can’t remember where or when she came from, or even who she is. Particularly important are the lost memories of her grandfather, Brigadier Lethbridge-Stewart. In 1985, she befriends a boy named Matty who also has repressed memories. Weaving all those memories into the story as they begin to be reclaimed was the concept that inspired the novel.

 

Much of the book’s setting is based around my own teenage years. I grew up in the suburbs of Melbourne, Australia. The library and lifesaving club mentioned in the book were places that I used to ride my bike to. And, just like the characters in this book, in 1985 I attended Aussiecon 2, the 43rd World Science Fiction Convention, as Melbourne was the host city. It was heaps of fun, taking these elements from my formative years, and weaving them into Memories of the Future.

I was really excited when I was told that I’d be able to use UNIT. in Memories of the Future. I ended up giving UNIT. an Australian branch. In my mind, they are off having other adventures around Australia now that Lucy has returned to her own place and time.”

 

What better inspiration for a kid’s story than evil Koala Bears? I had so much fun stepping into the world of Lucy Wilson, and throwing her into a time travel adventure with one of Australia's greatest mythical monsters, the legendary drop bears!

It's Gremlins meets a tour through Australia's rich history – from a trip to the Pleistocene era through to the 2000 Sydney Olympics. It was an honour to follow up a wonderful story by George Ivanoff and I hope Rampage of the Drop Bears delights fans, young and old!

First it was The Laughing Gnome, and then Bloodlines… and now… When it came time to discuss what our next crossover would be, Shaun suggested Lucy meeting up with Edward Travers and HG Wells. It was a great idea, and made a nice change from her bumping into her grandad. First we had Lucy without Hobo, then we tried to shake things up with the last crossover by not actually having Lucy in it at all (sort of), so this time we knew we definitely wanted Lucy and Hobo. Then came the old ‘who to write it’, which almost always results in Shaun suggesting John Peel. I was on board with that, and knew John would be up for the challenge…

When I was just starting my writing career, Terry Nation offered me a lot of advice. One piece was this: ‘If an editor ever asks, “Can you write me this?” always say yes. Then panic. And then go away and work out how you'll do it.’ (He never took very much seriously.) But it was good advice, and made me accept some writing assignments I would otherwise have passed up. It was very applicable in this case, where I was asked to write two interlinked novels simultaneously and for different age groups – certainly nothing I would have attempted without being asked!

John has written plenty for us so far, but he hadn’t done a Travers & Wells, and as I knew it was time to start thinking ahead, and working just how many books I actually wanted the series to be, it seemed John was the perfect choice to just go away and get on with the writing while I worried about the future.

The characters were interesting – Professor Travers, explorer and scientist, matched with a young and somewhat naive Herbert George Wells – possessing great imagination, but very little actual experience. They're still learning to act as a team, and being thrown into bizarre and dangerous situations. And the challenge of writing something that would have the vague flavour of Wells' stories without actually copying him was intriguing. Writing the story was… interesting also. The two books had to have separate plots that interlinked, and yet still made sense if read alone – which obviously took a bit of planning! And the last couple of chapters (the wrap-up) had to be the same, obviously, but told from two different perspectives. The only way I could imagine doing this was to write both books together as a single manuscript, so that I could be sure that the pacing worked out and the overlaps occurred at the same time in each tale, and then leave the two respective editors to disassemble the manuscript into two books. Hey, I wasn't going to do all of the work! I was expecting the process to be challenging, but because the editors and I had worked it out beforehand, it actually proved to be a lot smoother and easier than I had feared. And also a great deal more fun.

Being presented with two books, one not a Lucy Wilson, was interesting. It took a bit of wrangling to work out how to edit them. Andy edited both first, with his main focus on the Travers & Wells story, and then I primarily focused on the Lucy Wilson story, making sure everything still linked. We tweaked things in places, playing around with the respective perspectives. I think we’ve all pulled it off, and as this crossover sets up a big shift in the Lucy Wilson books, I’m looking forward to seeing what people make of it.

A traveler in eternity, the Doctor has touched countless lives, bringing salvation to some and agony to others, but always making a difference. In these pages, a selection of Doctor Who fandom’s greatest writers, reveals the joys and pains a meeting with the Doctor, can bring.

 

Through galactic battles to sixties London, Temporal Logbook III: Changed Lives brings stories from Kevin Mason, R Morgan Crihfield, Matthew Kresal, Russell McGee, Luke Dyer, Greg Maughan, James Silvester, Hamish Crawford, Shaun Collins, Richard Peevers, James Hornby, Alison Winter, Paul Burns and Rob Nisbet.

‘Don’t you think commercial imperialism is as bad as military conquest?’