Robert Scott-Norton's Blog

I'm a fan of Joanna Penn. As a writer starting out in indie-publishing, it can be a crazy journey working out how to approach your writing as a business. This book is fairly brief but covers succinctly all the areas you need to consider when indie-publishing.

I'll be recommending it to my writers group.

Last night I reread some good advice on writing blocks. And then I read advice on how to write faster.

Today, I sorted my block and wrote the beats for three scenes. And I loved it.

That’s the good news. The bad news is that this is advice I already know. I know how to do this because it’s the same technique I’ve been using for the last two years. Only I stopped. I got caught in the editing mode but trying to create simultaneously, fixing holes in my story. These things don’t go well together.

I think I’ve just learnt a valuable lesson.

Things are going really well on The Infinity Mainframe edits. This is book 3 of the Tombs Rising series (all part of the Tombs Legacy) and I'm getting closer to releasing this alongside book 2 (The Remnant Deception) in the next couple of months.
It's taken a while to see the fruits of the last couple of years weaving these stories together but right now, I feel delighted that another big milestone is in sight.
And, it's a big book. Much bigger than I'd intended and despite working hard at keeping the story contained, characters keep demanding I tell more of their story. It's getting ridiculous. At this rate, I'll be having to create a whole new series just to keep these guys happy.
To catch up on book 1 of Tombs Rising, The Remnant Keeper, you can buy at Amazon UK or Amazon US (or wherever there's Amazon!)

After the last story comes a bit of a classic. This has so much to love about it.

I've seen it plenty of times and know the story well and it's a belter.

But, just as good as the story is the production values. For such a 'cheap' show as Doctor Who, they really tried their best to create some wonderful sets. And for the most part it works beautifully. These are shown off to their fullest when the production moves to Television Centre for episode 3 and the difference in camera work is obvious.

Performance wise, everyone is giving it their all. John Ringham as Tlotoxl is superb. A true three dimensional 'villain'. And that's worth pointing out. Who are the villains here? The Aztecs who are trying to protect their culture or Barbara, judging them by her own moral standards and attempting to undermine their way of life?

On DVD this is another cracking transfer with superb infotext that really brings the production to life. Surely, the next story has to be as good (clue, I know it isn't).


BARBARA: It's no good, Doctor, my mind's made up. This is the beginning of the end of the Sun God.
DOCTOR: What are you talking about?
BARBARA: Don't you see? If I could start the destruction of everything that's evil here, then everything that is good would survive when Cortes lands.
DOCTOR: But you can't rewrite history! Not one line!
SUSAN: Barbara, the high priests are coming.
DOCTOR: Barbara, one last appeal. What you are trying to do is utterly impossible. I know, believe me, I know.
BARBARA: Not Barbara, Yetaxa.

So, this was a bit of an odd one. I can't say I fully understand what was happening. The crew get separated from the TARDIS which seems to be fairly typical by now. And then they go on a quest. To find keys. For a computer.

But this computer is going to control people. And the Doctor's OK with this. At least, he is right until he's got them all and returned them, then he realises his mistake. Perhaps I've misunderstood but this just seems bonkers. I guess back in '64 viewers wouldn't be picking up on such banal ideas as motives and would be kept going by the rather urgent plot.

There's a fair bit to admire about this story. Nation's approach was ambitious requiring new sets each week. That must have irritated the designers no end. There's a rather good interview with Raymond Cusick, the designer, of these episodes on the DVD. Despite coming across as rather humourless, it was quite entertaining listening to how he'd manage to scrape enough materials together to make a set.

This is the first time the regulars start taking holidays. This means that the Doctor leaves the rest of the crew to fend for themselves whilst Hartnell took a break. Not a bad thing in itself as the cast are strong enough to carry the show without him. It does make a nice moment when he returns later in the story. I'm sure there would have been plenty of kids crying out for him to return.

Overall though, it's a charmless story. It would be a sad day when I next plonk this one in the DVD player.

DOCTOR: Yes, I can't imagine why Barbara left of her own free will.
SUSAN: No, surely she'd wait for us.
IAN: Of course she would.
DOCTOR: It seems there's only one conclusion. What ever it is that's behind that door must have taken her by force.
IAN: Let's get inside.
DOCTOR: No, no, no, no. Don't let us be precipitous.
IAN: Doctor, there's blood on this strap. That means she's hurt, maybe badly. We can't argue now. Let's get inside.
DOCTOR: Very well, but I say I'm sure it's a mistake.

1979-1982



I was four when PJ Hammond’s science-fiction fantasy series was first broadcast, and seven when it ended. What the hell was my mum doing letting me watch such a disturbing TV show? Perhaps, she’d become so used to my demands to watch Doctor Who that it just seemed to be the show the other channel were doing to compete. Perhaps, she had no idea what kind of show it was when we watched it together. Whatever the reason, I’m so grateful that this show formed part of my childhood because it was bloody fantastic.

Sapphire and Steel consisted of thirty-four episodes spread over four series and six adventures. This was a show that had fully embraced the episodic nature of good television and thrived on tremendous cliff-hangers. The main characters were beings from a different realm with supernatural powers. Their objectives although sometimes uncertain, were all about fighting back against the destructive nature of time.

Most people who remember the show will recall the adventure set at the railway station with the whistling soldier, or the story with the faceless character. But with such striking images as these stories evoked, it’s no wonder these stayed with me as well, far beyond childhood and into middle age.

And whilst not a show I’d cite as a main source of my inspiration for writing fiction, many of the show’s qualities have stayed with me and imbue my writing today.
Atmosphere is super important. The slow buildup of tension and suspension of disbelief is what grounded the show in its own world—made it so real despite the paranormal stuff that was happening. I can’t write without finding myself pulled into the shadows and leaving my characters wondering about the strange noises in the attic.
The supernatural abilities of the main characters were an obvious draw for a small child, but with our enduring love for superpowered characters, they are timeless. Steel with all of his aloofness was countered perfectly by the radiant Sapphire. Mysterious characters are a joy to write.

Taking bonkers ideas like face stealing and making it truly threatening has been the mainstay of great shows like The X-Files, Sapphire and Steel, and Doctor Who (especially Stephen Moffat’s version). Twisting reality is what I love most about fiction writing and it’s these shows I must doff a hat to.

With the fabulous Neil Cross penning a TV script we can only hope that the show returns to our screens very soon. I’ll be making sure my own kids are safely snuggled next to me on the sofa when it does.

Love this photo. Looks like they were having a great time. How relaxed does Carole Ann Ford look?
It's been a while since the last post, but this is 7 episodes long and I've not had the chance to post on each episode individually.
And so, to the first of the missing episodes—and it's a tragedy that it had to be this one. I've got this on audio but preferred to watch the Loose Cannon recon. It's superb. I watched an episode every few days and it never failed to entertain me.
It's often a bit hit and miss with the missing episodes but if you haven't watched any recons, a quick google search should prove fruitful.
Roof of the WorldThe TARDIS is quite badly affected by its environment. Is this a result of the damage of the last story?The Doctor feels more like the Doctor in this story and the regulars have gelled into a family unit.Marco's voice over really works. They were trying things out that must have been quite tricky in their facilities.I don't fathom why the ship wouldn't be warmer. Has he got no lanterns?How many days have passed since Totters Lane?We didn't study Marco Polo at school. Still never had the urge to look it up.Handy that Barbara's a history teacher.The Doctor's a bit clueless on this historical figure. In modern series, he'd be the one telling the audience.Susan is instantly more likeable with a girl her own age.The Doctor calls it the TARDIS. Ian doesn't then? Apparently not yet.Do they not realise they shouldn't tell Marco that it flies?The plot is about escaping from the situation rather than having an effect. The Doctor doesn't warn his companions about interfering in history.Marco's a bit cheeky giving away the Doctors ship.The Singing Sands
Tegana is a great underplayed villainIs the first holiday for Bill?Barbara is thinking of the TARDIS as home.Quite touching the scenes between Susan and Barbara. Susan really doesn't want her teacher to go.Must have been weird for viewers to not have the doctor in the episode.Why are Susan and Ping Cho concerned about Tegana?Why isn't the Doctor helping? Has he really stayed asleep the whole time? The TARDIS Must surely have been safer than the tent, but I can appreciate he might not be happy showing Marco the inside.What? The doctor IS in it? Now I'm confused. Why was he written out for most of the episode?​
Five hundred eyes

Tegana is still excellentWhat is the Doctor repairing?The educational aspect shines through. Ping Cho has a great speech. That must have been fun for her to learn.The pacing of this is slower.Barbara is captured again. Three times in four stories.
DOCTOR: Thank you. You saved our lives.POLO: I'm rather curious to know why you were wandering around the mountainside at night, but questions can wait until morning.DOCTOR: Oh, there were two, young man, that I would like to ask.POLO: Well, ask them.DOCTOR: What year is this and where are we, hmm?POLO: You do not know?DOCTOR: That is why I'm asking you.POLO: How long have you been travelling? It is twelve hundred and eighty nine and this is the Plain of Pamir, known to those who travel to Cathay as The Roof of the World.IAN: The Roof of the World?DOCTOR: Twelve hundred and eighty nine. Ah..

I think if I'd have watched this without the infotext option on the DVD I'd have been quite bored by this story. Incidentally, if you don't watch the stories with the infotext, you should give it a try.

I learnt lots about a story that I never really cared for.

I definitely watched this on VHS and the whole notion of the Fast Return Switch being stuck is one of those things you just know as a fan. Much of my opinions on this story really comes from the infotext and the documentaries on the DVD.


This is just odd.The actors are playing around with their parts, none of them quite agreeing in what way they should play things. Ian spends much of the time just bemused. Suffice to say, none of them are acting the way we've come to see their characters over the last 11 weeks. It's quite jarring.Susan suffers the most. Her character goes into some kind of meltdown and the scene when she's stabbing the bed is properly disturbing. No wonder the production team got a good telling off over that. "Look Mummy, I'm stabbing the cat just like Susan stabs the bed." Nice.And Carole Ann Ford is not a school girl any more in this: she's a creepy older woman. Scary.The Doctor is as unpleasant as ever. Not sure at what point children started to warm to the man, but his attitude to the teachers is again rather nasty.Not much of this makes sense. Melting clocks. Doors opening. Photos of countryside. It would have been more fun if the story had been about something invading the TARDIS as Susan feared.As a kid discovering black and white Doctor Who for the first time, I was fascinated to see more of the ship. I guess it stems from my first few episodes being around season 18 and 19, so Castrovalva is strong in my memory. I'd imagine all stories featured the TARDIS interior so heavily. So, it's something of a disappointment that they don't, and even more so when they do, and it looks as boring as this. Did they actually sleep on those pull on couches? Does that foam absorb their sleep drool? Who was sharing space with whom?Barbara's explanation for the ship's behaviour comes out of left field.
"That we have a measure of time as long as it lasts. Yes, of course. That explains the clock face. We had time taken away from us, and now it's being given back to us because it's running out."
Eh? Bonkers. I suspect she just wanted to sound clever.There are some beautiful shots here. The darkening behind the Doctor as he delivers his soliloquy is suitably atmospheric.Felt tip on the console. None of the production team or cast can agree as to why it's there, but it's probably to help Bill find the right control and should have been removed before filming.DOCTOR: Yes. The heart of the machine is under the column. IAN: Well what made it move? DOCTOR: The source of power. You see, when the column rises, it proves the extent of the power thrust. BARBARA: Then what would have happened if the column had come out completely? SUSAN: Well, the power would be free to escape. DOCTOR: Can it be possible then, that this is the end? IAN: The end? What are you talking about? DOCTOR: We have ten minutes to survive. BARBARA: Ten minutes? As little as that? DOCTOR: Maybe less. 

Seeing what was on the end of that plunger must have kept viewers anxious during that last week of 1963.

It's hard to grasp that feeling of anticipation because for most of us now looking back, the Dalek serial was unlikely to be the first story featuring the Daleks we'll have watched. As soon as we see the plunger we know what it is.

We don't see the Daleks in full until a little later when the Doctor, Susan, and Ian leave the room containing the Geiger counter and walk into a room full of them. And not much has changed between then and now. The Dalek designs famously have barely altered over fifty years, and this is a marvellous thing because they are just so ALIVE. Were the production team to have gone with some of the original cheaper suggestions for the Daleks, the show would probably died on its arse, but during this story the ratings continued to climb as Dalek fever hit the UK.

"The Dead Planet" 21-Dec-63 6.9 "The Survivors" 28-Dec-63 6.4 "The Escape" 04-Jan-64 8.9 "The Ambush" 11-Jan-64 9.9 "The Expedition" 18-Jan-64 9.9 "The Ordeal" 25-Jan-64 10.4 "The Rescue" 01-Feb-64 10.4
Word of mouth must have been tremendously powerful.The Doctor clearly is still being a jerk. In the first episode he lies about the fluid link, but in the remaining episodes we see him persuade the peaceful Thals to fight in his name. He doesn't seem that concerned about the repercussions of starting a conflict between these two races.At seven episodes, it's a little ploddy. I'm very used to the Peter Cushing movies and that rips through the story far more economically than here; particularly the cave scenes, God, I can't bear the cave scenes.The Doctor seems very eager to show the Daleks the TARDIS. We can retcon this now as some kind of trap, but even in isolation, this seems a dodgy thing to do. Actually, was their any explanation for how the Daleks were meant to get to the TARDIS? The Doctor knows at this point that they can't travel outside of the city.Placing this story in the Dalek's timeline is difficult. There's plenty of material outside of the TV show to explain where this is, but within the show—less so. Are we looking at far future Daleks or ones from the deep past?
BARBARA: Ian, do you think they really are just machines? IAN: What do you mean? BARBARA: Well, I was going to say, do you think there's someone inside them? (Susan laughs) IAN: That's a point. We haven't any idea what's inside them. BARBARA: I tried to think of how I could get away from them, but then I began to feel so weak and giddy. It's getting worse now. I think they must have drugged me in some way. IAN: It's not that. Barbara, we've got radiation sickness. All of us. The Doctor's pretty badly hit. BARBARA: Well, how do you know it's radiation? SUSAN: We found a Geiger counter. It seems that all the time we've been in the open, we've been exposed to it. BARBARA: Well, what's going to happen to us? DOCTOR: Well, unless, unless we get treatment, we shall die. Yes, we shall die.

I can’t remember.
Waking up, checking our empty sacks at the end of the bed.
The last Christmas dinner.
The tears because I didn’t get that K9 toy.
The wrapping paper I spent hours colouring in, only to have it ripped in seconds without a second thought.
Setting an extra place at the dinner table only for it to be put away again by Dad without a word.
I can’t remember.

I can remember.
Foil decorations streaming from corners.
Snow every year. Every year.
Watching that Doctor Who video over and over and
The Christmas cake. The thin marzipan. The icing that melts.
Jumpers from Gran. They itched.
Your excitement. Your smile. Your hug.
I can remember.