We have often been asked by those who missed The HAVOC Files 2 the first time around if we’d ever reprint it. After much discussion, we decided doing so would present us with a couple of challenges and opportunities. One, at least one story in the original collection was set in the ‘future’ (Ashes of the Inferno), with information that, at the time, hadn’t been locked down. The author of the story in question, Andy Frankham-Allen, realised it would be the perfect chance to update that story so it better fit the narrative revealed since early 2016. Two, another story has since been released as part of a full-length novella, and thus it seemed redundant to print it again in this format. So, faced with this, I made the decision to instead replace it with a couple of short stories only previously available in digital format.

We have a few digital-only stories, plus some still unreleased short stories, so we had a fair few to pick from. We decided on James Middleditch’s Piece of Mind, and Chris Thomas’ Vampires of the Night (both originally planned for the cancelled HAVOC Files 5), two vastly different stories, one dealing with Professor Edward Travers, and one dealing with the Brigadier and Sally Wright. Coupled with the chance to fix previous errors that crept into the other stories, The HAVOC Files 2 is quite a different experience now. Still contains everything in the original, but with bonus material for those wishing to double-dip, and loads of fresh material for those who missed the original version. All wrapped up in the wonderful new cover design, with, once again, Adrian Salmon’s brilliant artwork!

When Lethbridge-Stewart range editor Andy Frankham-Allan reached out to me and asked if I was interested in being a part of the latest run of Lethbridge-Stewart books, I was, of course, surprised, ecstatic and to be honest, a little daunted. Writing my Travers & Wells novella had been a relatively smooth affair, but a 40,000 word novella is a different beast to a full novel. There were a few times during the writing process where I wondered whether I had bitten off more than I could chew but, thankfully, Andy talked me off the ledge and here we are!

The Dominators, in particular Vaar, was originally planned to return in 2017 but sadly that novel fell through, and then it was planned for 2018 with a different author, but the cessation of the ongoing narrative put it on hold once again. The Dominators are, of course, the main antagonists behind the Travers & Wells range, as seen in the short story, Time and Again. But the idea of bringing Vaar back as a gangster in 1970s London has been on the backburner for a couple of years, and when it was decided that The Laughing Gnome would be set in the various decades of Lethbridge-Stewart’s association with Doctor Who, it seemed the time was right to finally do a Gangster Dominator story.

I’d long had a story idea lurking around in the back of my head for a while about alien knowledge that looks like black magic, with Nazis thrown into the mix, which I readily adapted to this new storyline. The setting was the key for me, and early ‘70s Britain, with its Satanic rituals in cemeteries, and the tabloid coverage of it, seemed the place to be. There’s something about the grit and grime of the 1970s that is inherently appealing, against the rather slick and superficial modern day we’re forced to endure. 1970s London is set, is a case in point. I’ve strived for verisimilitude for the most part – sideburns, flares, corduroy, The Sweeney, end of empire ennui, three-day weeks, uncollected rubbish, criminal gangs, Soho are all there, but so are an alien warlord on the make and a lurking Nazi.

I really enjoyed writing for Anne Travers and Bill Bishop in my short story for Candy Jar, Eve of the Fomorians, so it was a pleasure to return to them in far different circumstances. And the chance to have Lethbridge-Stewart front and centre in the novel was something I could barely have thought possible. He was a lot of fun to write, in what is effectively a dual role. I hope that in my hands, the stoic, upright soldier with a twinkle in his eye still shines strongly through.

As this range is a journey through the Brigadier’s association with Doctor Who (each book is set in a decade that featured him on the television series), setting a book during the UNIT era was a forgone conclusion. Of course, UNIT and the Doctor do not appear, but there are plenty of fan-pleasing nods to that era.

Illustrating Dominator Vaar as a cross between Al Capone and Reggie Kray was probably the best thing I’ve ever been asked to do by Candy Jar Books; I mean how can you go wrong? Once I’d settled on the central image, which included a menacing Golem from the story, I worked out the car chase. This being the ‘action scene’ of the cover, it needed to be dramatic and exciting, breaking out of the design template. Finally, I created a suitably seedy London street at night (think Soho), resplendent with neon lights and noir shadows. Eagle-eyed viewers might even spot that a certain film, which was doing the rounds at the time the book is set, is showing at the private cinema club.

“When Shaun told me that Candy Jar would be giving away something every day for twenty-five days I thought he was mad. I said, “You’ll regret it by day seventeen”, and indeed he did. However, I do feel that he has pulled it off, just! To be honest, I have actually enjoyed many of the freebies, particularly the Eileen Younghusband documentary. So, I am really pleased that he has chosen Companions as the Christmas Day giveaway. It deserves to be out there again. For six months I watched every episode of Doctor Who, and the book, in my opinion, encapsulates what is great to be the Doctor’s best friend. And Christmas is certainly a good time to celebrate this.

It’s a Christmas tradition that we give away some short stories to our loyal readers, and this year I thought why don’t we go the whole hog and really spoil everybody? I feel that, despite Andy’s reservations, the giveaways have been successful. I have certainly received many emails from readers who have been looking forward to each day. Perhaps this is something we might repeat in the future. Time can only tell.

It’s a Christmas tradition that we give away some short stories to our loyal readers, and this year I thought, why don’t we go the whole hog and really spoil everybody? We have enough unseen material, as well as some hidden gems in our back catalogue, to fill Santa’s sack several times over. Whatever your tastes, and whether you’ve been naughty or nice, we have something just for you.

In our series, the Brig has gone from a beloved, but somewhat forgotten part of Doctor Who history, to an alive and kicking, vital part of the ever-expanding canon. Here at Candy Jar, we’re fans first and foremost, and we’re forever grateful to our readers for embarking on this journey with us. We wanted to give a little something back to everyone who has helped make the series possible. We hope that it will make this a Candy Jar Christmas to remember!

When I first heard of Reeltime’s forthcoming film, Anomaly, which would see Beverley returning to the role of Kate, I contacted Keith Barnfather. Initially it was simply to express my interest in Kate’s return, and how I’d be open to us working together to cross-pollinate our two ranges. Keith was very open to the idea, and before we knew it the conversation turned to prose and the idea of doing a sequel to Downtime. It took a while to work out when to set it, and after watching Dæmos Rising it became clear the book needed to be set after that film. The only proviso Keith gave me was that I needed to “set up” Anomaly.

All background details from Downtime will be treated the same way one treats background detail in a normal standalone novel; the reader will be told everything they need to know for the story to work. Of course, further insight can be gained by picking up Downtime, but it won’t be essential. Children of the New World is its own story. The basic idea came to me fairly quickly, but it wasn’t until I rewatched both films and had a chance to look through Marc Platt’s novelisation that the main plot point presented itself. I was determined to write a solid standalone tale, but one that was a logical continuation of Downtime, while at the same time bringing Kate and Gordy fully into the fold with the Brigadier’s extended family. The chance of having the Brigadier’s two grandsons together was too good to pass up, and that quickly became the crux of the plot.

Great to be asked to draw a cover for the new look Lethbridge-Stewart range! Andy and I had a lot of fun with this cover; as soon as he told me what the book was like, I knew the kind of thing I wanted to do. He gave me an open brief to redesign the Yeti, to make it more of a simian creature, and less like the way they’re previous been depicted in Doctor Who. I wanted to incorporate silver into the design, initially as a kind of harness, before we settled on a fearsome face mask, to suggest the controlling intelligence and to make it clear these are not the Yeti fans have previously seen.

Did you ever think you saw something, just out of the corner of your eye? It happens to me all the time and it freaks me out quite a bit. So, when I got the chance to add my own monster to the Lucy Wilson universe, I knew it had to be a monster that you couldn't always see. I also wanted it to be a clown because, if there's something that freaks me out more than things I can't see then it's something I can see – clowns. Of course, that's not all I added – there are plenty of other surprises in there that I hope people will really enjoy. It's been great fun adding my own strange and spooky elements to Lucy's world and I hope to back very, very soon.

There will be a range of books for sale on the day, but we also wanted to provide fans with a chance to ask the authors any questions they may have. Whether they’re about the writing process, the worlds they have created or what their favourite colour is!

When I was told of the story arc for this anniversary series, I immediately knew what I wanted to do: a straight spy thriller, with no sci-fi or fantasy elements other than the framing story and elements of the wider Whoniverse. At the same time, I had the idea for the opening scene, and it’s more or less exactly as you read it in the finished book! It’s rare that ideas come so fully-formed so quickly, but it’s wonderful when they do. I intended The Danger Men to be a homage to James Bond, Jason Bourne, Mission: Impossible and the works of John Le Carre, spoofing some elements yet taking the story deadly seriously. For example, women are always throwing themselves at James Bond, and the same happens to Bill Bishop in this book, but, of course, because he’s a gent and loyal to Anne he cannot reciprocate, leading to complications and comedy.

Ever since his first appearance in the first Lethbridge-Stewart novel, Bill has proven very popular with our readers. Up to now the books have been led by either the Brigadier or Anne, so the decision was made that, during this contained series of novel and under the steady hand of Nick Walters, we could take the risk of allowing one of our series-originated characters to take the lead. Bill was the only choice for that, really, easily being the most popular and the most connected to both the Brigadier and Anne – especially Anne, seeing as they got engaged during the course or the series and have been shown to be married by the 1990s. Of course, both the Brigadier and Anne make cameo appearances, and their presence is felt throughout. It is still every bit a Lethbridge-Stewart novel!

The story arc title, The Laughing Gnome, was inspired by David Bowie, of course. It’s set in 1999 so there are a lot of references to contemporary pop, rock and indie, in chapter titles for example, and the naming of operations by Department M, which subverts the conventions of naming such things after works of high culture in Le Carre and Deighton novels. There is, however, one group, one very famous group spanning the eighties and nineties, who are still going now, who inspired the majority of the character names and references. Stella Van Steiner, Dieter Allegro, Otto Di Catania – I’ll let you guess who! We plan to do a soundtrack for the book, containing all the songs referenced therein, which should be available on Spotify soon. Such things as pop music references are great fun of course but only the icing on the cake. The Danger Men is, I hope, a fast-moving, thrilling, funny and sometimes alarming spy caper with loads of twists and turns. It’s also a study of identity – Bill has to take on various aliases in his mission, and the more he takes on the further he feels isolated from his true self. So, underneath all the fun is all this existential musing on the nature of existence.

It was a very pleasant surprise to be asked back to do another cover for the series. When I read what the story was about, was thrilled - it was a perfect opportunity do a cover influenced by some of the period film posters I enjoy. I was thinking I would approach this in a slightly different style to my last one, a bit more painterly. The only problem was not to make it too pulpy in look, which is when I hit upon the idea of the computer screen type, which immediately gave the piece a sense of time.

Lucy and Hobo are lovely characters to write for. They aren't superheroes, they're just youngsters who rely on their wits and their courage, and have to fight off fears of insecurity. Are they seeing more than is there? And, if not, can two teens save the world – again? Plus, of course, I’ve introduced another of my odd aliens.

John has written two Lethbridge-Stewart books for us, The Grandfather Infestation and The Life of Evans, both of which have been very popular. I always wanted him to tackle a Lucy Wilson story. He’s very adept at focusing on character and I wanted something that was dark and moody, and John, as I expected, did not disappoint.

It seems that people are really embracing Lucy and Hobo. We will be launching Curse of the Mirror Clowns by Chris Lynch at the Turn Left Doctor Who Convention in Cardiff on 1st December in Cardiff. Chris will there talking about the book, as well as Simon A Forward, Alyson Leeds, Andy Frankham-Allen and myself.

Turn Left also features Louise Jameson, Matthew Waterhouse, film actress Sarah Douglas, illustrator and painter Chris Achilléos, former Doctor Who Script Editor Andrew Cartmel, and music composer Mark Ayres.

Following the success of the first Lethbridge-Stewart Short Story Competition, Candy Jar is having a second round with another competition. As with the first one, it will be open to previously unpublished writers, although this time it will be open to those both in and outside the UK.

Head of Publishing, Shaun Russell, says:
Andy adds:

The winning entry will receive a Kindle Fire and Lethbridge-Stewart or The Lucy Wilson Mysteries publishing deal. All shortlisted entries will be published in The Lethbridge-Stewart Short Story Collection Vol 2.

The winner of the first short story competition was announced earlier this year as Sean Alexander from Holyhead, north Wales with his story, Boys Don’t Cry. Following the competition, Sean is now working with Andy Frankham-Allen on a new Lethbridge-Stewart novel for the 2019/2020 range.

With the opportunity to secure a publishing deal through entering the brand-new writing competition, and a much wider scope for creativity, this is an exciting opportunity for any writer or fan of the Lethbridge-Stewart world.

The entry fee is £5. To enter visit the Candy Jar website.

Please include:
Your name, age, email, address and telephone number.

Submissions can be entered until the end of November 2018.

I was quite stunned to be asked if I would write a book as part of the upcoming 50th Anniversary series. It was both an exciting and fairly intimidating prospect, having never written a novel before, but I knew it was an opportunity I didn’t want to pass up. The scenario that Andy gave me was too interesting to refuse.

Alyson’s short story needed very little work, and since then I’ve called upon her military knowledge for other books, so it was an easy call to invite her to join the line-up for The Laughing Gnome. For someone who’s done little professional prose writing, she turns in a very solid piece of work, which is every editor’s dream. As we are celebrating fifty years of the Brigadier, it was forgone conclusion that we would go back to the beginning, his first appearance in Doctor Who – The Web of Fear, as written by Mervyn Haisman and Henry Lincoln. Like all the authors for this range, I gave Alyson the basic premise; put Dame Anne into the missing two weeks mentioned in The Web of Fear – during a small briefing scene between Colonel Lethbridge-Stewart, Captain Knight and the Doctor – and finally show just what did happen when the mist started spreading across London, and add to that the idea that Dame Anne will be faced with the notion that she could, theoretically, changed things to ensure her father is never possessed by the Great Intelligence! Alyson jumped at the chance, and soon had an outline ready to go.

The London Event, indeed The Web of Fear, was the making of Lethbridge-Stewart, but was never just his story. There’s an awful lot that goes on off camera there; the slow advance of the mist and Web, the escalation of the crisis, and the total evacuation of London – no mean feat! Introducing an older, experienced Anne who has known both joy and loss over the years into that scenario presented some interesting questions. After everything she’s been through with HAVOC, you would think Anne would know better than to try and change the past; but when faced with the chance to save a loved one from a truly horrible fate, who’s to say to what lengths she might go? It also presented a chance to explore a little further the relationship between the Travers family and the Silversteins. I always felt bad for Mr Silverstein, getting bumped off simply for being unlucky enough to own the Yeti, and revisiting this point in time allowed me to touch on the repercussions that his death would have on those closest to him.

The Web of Fear is rightly regarded one of the gems of Doctor Who in the ’60s. It’s brilliantly written and well directed and has aged very well. When Candy Jar asked me to illustrate a cover depicting another story set during the same period I was really thrilled, especially when they asked me to show London deserted and covered in web (which was not seen in the original story but mentioned). It took a number of roughs to do justice to the idea, but when I saw some images of London in smog I knew the direction to take.