It’s people like you that spoil it for everyone else.

So I go away for a week to visit my girlfriend’s family and run with the bulls – I’m fine, thank you for asking – and manage to avoid most of the Torchwood spoilers.

Some of which will likely appear in this post. You have been warned.

So I come back, gulp down the lot, and check out some of the reaction on the Internets. Why not? See how everyone else likes it.

(Very good, I thought. Nice work from all three writers, the director, and the actors. Reminded me a lot of the classic British TV SF of the past in style – A For Andromeda, the various Quatermass series and so on.)

And what should I find on the Internet but a bunch of fucking half-wits yattering on about how the writers have destroyed their favourite series.

Now, let’s be clear here. I’m a fan myself. I go to conventions, I read tie-in books, I’m watching all of Doctor Who in order from the start. I. Like. Science. Fiction.

The clear difference here is that I don’t consider someone else’s work to belong to me.

It’s known in psychology as a sense of entitlement. I love this series, therefore it belongs to me. I love these characters, therefore a threat to them is a threat to me.

And there seems to be a particular contingent of this madness in SF fans. I don’t know why. Perhaps they’re just more vocal about it than the average EastEnders fan when, for example, Tiffany Mitchell suffered a tragic road accident on New Year’s Eve.

So when a well-loved character died in episode four of the latest series of Torchwood, these people were outraged. And they have made their displeasure known.

Some of the opinions which I’ve read have included “I’m never watching Torchwood again,” – quite a common one, this – and promising never to spend another penny on Torchwood merchandise.

Possibly my favourite has the line “Thanks for your contributions to this fandom” in it. This fandom. Not the television series. Apparently it’s all about the fandom, and the series just happens to be vaguely associated with it.

But you know what? Fair enough. You can’t please everyone all the time, and a bit of polite disagreement never hurt anyone.

And then there are the others. The name-calling, the accusations of homophobia, of deliberately trying to hurt fans. The stupidest of the dumb.

Let’s be clear: you have a right to think whatever you want, whether it has any basis in reality or not. You might, for example, claim that “George Lucas raped my childhood” when he released The Phantom Menace.

No. He did not. He made a bad film. And taking it personally is not going to do anything other than make you feel bad about yourself. Because then you are granting power over your own happiness to something that you have no control over.

Because you are not in charge.

“They’re alienating the fans! We’ve supported them all the way! We should be consulted/informed/listened to!”

No. You do not get that right.

You took it personally. You decided that your sense of well-being was bound up in the lives of characters you have no control over. You.

You did this to yourself.

And to then attack the writer? To say “You didn’t do this the way I wanted to, so you’re at fault”? To insult them? To lay the blame on them for you not liking something?

For the last few years, Torchwood writer James Moran has kept a blog. In it he shared his journey from aspiring to professional writer, sharing what he’s learned, trying to give a little bit back.

Because, you see, he’s a fan too.

And now, thanks to the comments from fools on the Internet, he’s having to scale back his presence. To be a little less open, a little less helpful to those who are also trying to learn, trying to enjoy.

And you did this.

You.

God preserve us from people like you.

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Letters From America: A good day, on the whole.

originally posted 8th March 2004

Draft Zero of the Enterprise spec is finished.

It’s not a First Draft. It’s not at that level yet. What it has, is enough words to fill fifty pages in screenplay format.

Now that the final “Fade out.” has been typed, I’ve printed it out and read it end-to-end for the first time.

The first act is pretty good, in my humble opinion. Unfortunately the other three-quarters of the script sucks big-style. Genuine queue-up-to-avoid-it type writing.

I read the whole thing for the first time a couple of hours ago. When writing the Zeroth Draft I try to not go back at all if I can avoid it – the temptation is too high to spend your life re-working the bits you know are wrong instead of finishing the damn piece.

But now, reading it end-to-end for the first time, I had my Editor hat on. And the *structure* is mostly there. It’s just the words that need changing.

If I was a showrunner who received this script, I’d fire the original writer and pass it on to the person on my team that was good at dialogue to straighten the damn thing out.

Unfortunately, I’m on my own here.

But I can see where the problems are. Looking at it now as a final piece, I can see what the original author is trying to do in the script. Despite the fact that everyone wears their hearts on their shoulders and baldly states their point-of-view.

So what I’ll be doing over the next couple of weeks is taking the scenes apart and attempting to re-build them with real characters instead of the cardboard cutouts currently serving duty as place-holders.

Then maybe it’ll be worth showing to someone else.

But having said all that, finishing Draft Zero is worth celebrating. It’s a cut-off point, a waystation, a milestone.

So I treated myself. Since I moved into this apartment building, I’ve had my eye upon the big switch in the elevator marked “Emergency Stop”, and I’ve been saving it for just the proper occasion.

Worth the wait.

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And sometimes it’s not too hard to decipher the code at all

As you may have heard, SciFi have recently taken the decision to rebrand as SyFy.

Why?

Well, the word SciFi (or scifi, or sci-fi) has been around since Forry Ackerman invented it in the 50s.

(Most serious SF buffs don’t like the term, considering it a bit gee-whizz, and prefer, well, SF instead.)

And as SciFi is a word in common use, that means you can’t trademark it. No brand extensions, no protectable spinoffs.

So they decided to rebrand, and this rebrand has the benefit of sounding exactly the same. Fair enough. It also has the advantage of moving away from the pure-geek connotations of SciFi among the general public.

I can’t say I have any particular feelings about it one way or the other.

But the interesting thing is this blog post from Landor, the branding agency who consulted with SciFi… er SyFy on the rebrand.

Now they don’t actually say the words “We begged them on our knees not to do it” anywhere in the article, but nevertheless it’s instructive to read.

The last paragraph is the meat of the matter:

“Yes, we worked with the Sci Fi Channel, and it hired us to consult on the project. However, Syfy was a name generated internally and pre-tested at the channel before our involvement. Once Landor was involved, we explored new names as part of the process, but it was the Channel’s call to go with Syfy.”

Note the specificity of the wording.

Generated internally.
Pre-tested at the channel before our involvement.
We explored new names.
It was the channel’s call to go with SyFy.

I’d love to have a look at Landor’s internal documents on the testing of this.

Because you don’t put this on a public-facing blog – even in code – unless you really want to move away from being associated with this rebrand, and fast.

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Unimportant Things

Tagged by John Soanes.

1) Put the link of the person who tagged you on your blog.
2) Write the rules.
3) Mention 6 things or habits of no real importance about you.
4) Tag 6 persons adding their links directly.
5) Alert the persons that you tagged them.

Two out of five ain’t bad. Let’s see if we can improve on that.

Thing The First

In my early twenties I contracted Bell’s Palsy. One of the nerves in my neck became inflamed, swelling and trapping the other, which resulted in complete paralysis of half of my face.

This led to such exciting symptoms as drooling and being unable to close one of my eyes properly (meaning I had to smush my face against the pillow to go to sleep).

The first symptom was a taste of iron in my mouth. The second was that, while out in a pub with an ex, she asked me if I was leering at her. After denying it, she told me to check my face in a mirror, which I promptly did, to discover half of it wasn’t working any more.

The diagnosis was that almost everyone gets completely better, and it just takes time. This proved to be true in my case, and the only remaining symptom is that when I eat spicy food, I cry – but only from one of my eyes.

Thing The Second

My first novel was written in a school exercise book, and went through several drafts.

(Well, I thought it was a novel at the time. It’s a novel in the same way that The Young Visiters is a novel. But I think Ms Ashford has a better style, if less ray guns.)

If you imagine the potboiling SF novels of the thirties with a dash of V, you’ll be in the right ballpark.

It came in six chapters, at the end of each our heroes were knocked unconscious.

I still have it somewhere.

No, you can’t read it.

Thing The Third

I’m cross-dominant.

Surprisingly, this isn’t a kinky sex thing, but means that while my dominant hand is my right (for throwing, catching, and so on), my dominant eye is my left.

This is not generally a problem in everyday life. However it’s a known problem in target shooting.

Should I ever wish to take up shooting – or alternatively, should I be forced to fight for survival in a terrifying post-apocalyptic world – I should try and shoulder the weapon on my left, rather than my right, in order to aim correctly.

Thing The Fourth

In primary school, I was in a school play.

Unfortunately, when I got onto stage, I was completely dry. Nothing. The line-thief had come and stolen everything from my brain.

I stumbled offstage very embarrassedly, and was so mortified I didn’t get on a stage again until university.

Which is a shame, because acting’s great. It’s fun, and as a writer you learn a lot.

And when you’re not a child, you know what? The other people working with you will help you out.

So it’s not scary at all.

Thing The Fifth

I adore cliffhangers.

This is probably a result of being raised on Doctor Who and 30s serials.

I love the way that they force you to wait for a resolution. How will our heroes escape? What’s going to happen next? Cliffhangers help your imagination to engage with a text in a way that a revelation ending doesn’t.

It makes me quite sad that no-one really does cliffhangers any more, except for the occasional two-parter in Doctor Who.

The first series of Alias was also notable for having a cliffhanger at the end of every episode.

Sadly, the Network made them stop it after the first series. Which made me sad.

Thing The Sixth

I dress to the left.

I tag, in alphabetical order by last name, Jason Arnopp, Phill Barron, Michelle Lipton, Christine Patton, Stuart Perry, and Danny Stack.

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Letters From America: Welcome to the 21st Century

originally sent on 24th February 2004

It’s finally happened.

Today, my Robotic Housemaid arrived.

OK, so unlike the robots we were promised in the 1950s it doesn’t do the dishes or make cocktails, but the Roomba is a fully-mechanised robot vacuum cleaner.

It’s about the size of a large dinner plate, and approximately four inches high. It has a little bumper on the front which tells it when it’s hit something, and a tiny dust collector which you need to empty after each room.

Some grainy pictures of the Roomba in action:
http://fatpigeons.com/pictures/2004/02/roomba1.jpg
http://fatpigeons.com/pictures/2004/02/roomba2.jpg
http://fatpigeons.com/pictures/2004/02/roomba3.jpg

You set it in the middle of the room and press a button. It sings a jaunty little tune, and then starts cleaning by circling around in a spiral. After a few minutes it starts zig-zagging its way across the room, vacuuming as it goes. After about half-an-hour, it stops and sings a different tune to let you know it’s finished.

An overnight charge from a wall-socket gives you about ten vacuuming cycles.

One thing it’s missing is the ability to run to a wall-socket and re-charge itself when the battery runs low. To be honest, I’m surprised they didn’t do this – it’s perfectly feasible with today’s technology and would mean I had to spend even less time worrying about vacuuming than I do at the moment. (You mean I have to actually plug it in to the wall every so often? I want my money back!)

I’m still trying to work out how it ensures it covers the entire floor. My guess is that it’s got some fairly simple rules that it applies locally, and just relies on the fact that over a long enough time it’s bound to have covered almost everything. Have you hit something? Turn forty-five degrees right and move on. Hit something again? You’re on a wall. Head along it for a while.

Every so often it stops and does what I’m currently thinking of as “seeking” behaviour – doing a half-a-dozen spiral turns before heading off again if it hasn’t hit anything.

It also has some quite smart programming to stop it getting trapped under tables – after it had tried turning through 360 degrees trying to get out from underneath a chair, it used a curving path to escape.

Not only is it cheaper than a cat (over the lifetime) it actually cleans your room for you. The perfect robotic pet.

Now – where’s my flying car, god-dammit.

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I am an oppressor

I’m just back from having a read over at the Guardian of Julie Bindel’s latest rant. Here’s a quick summary:

  1. Lesbianism can (and should) be a political choice
  2. All men are evil

Now, number one on that list, I happen to agree with. At least the “can” part.

Seems like a bit of a strange choice to me – why not just love whichever sex or sexes you happen to love, and not stress about it?

But I can see that if you dislike men and the patriarchy that much, you might want to restrict your relationships to women. Fair enough. Good for you.

But then we get to the second point. I’m taking evil as shorthand for violent oppressors here – please feel free to substitute the second phrase for the first if you feel it too strong. I don’t.

Here’s a few phrases to show why that’s the message I’ve taken from the article

“I also suspect that it is very difficult to spend your daily life fighting against male violence, only to share a bed with a man come the evening.”

Personal opinion, no evidence to back it up – but we’ll give her a pass on that one, as it’s obviously flagged as just her own thought.

“We live in a culture in which rape is still an everyday reality, and yet women are blamed for it, as it is viewed as an inevitable feature of heterosexual sex.”

Um. Hold on, you lost me there.

Rape is viewed as an inevitable feature of heterosexual sex? When did that happen? By who?

A vague generalisation without a source is useless.

As, for example: Piers Beckley is viewed as a better writer than Julie Bindel.

Without further evidence, it’s positively misleading.

“Domestic violence is still a chronic problem for countless women in relationships with men.”

And for women in relationships with women. And men in relationships with men.

Well, lookee here, it’s some academic research: Apparently 40% of women in this survey had experienced violence in a same-sex relationship. Or this research gives a figure of 22% for women experiencing domestic violence in same-sex relationships.

(There’s more research here, if you want it.)

Either way, it’s not the “none” implied by the article.

Assuming that domestic violence moves only one way – from men towards women – doesn’t help. Broken Rainbow provides help and support for LGBT people threatened by domestic violence.

“Domestic violence is still a chronic problem for countless women” is true. But when you add the words “in relationships with men”, it begins to look like wilful misinterpretation.

Then again, it doesn’t seem that Julie believes that academic rigour is necessary in order to make bold claims.

I, however, do.

Some people in the comments section have labelled the piece hate speech against men – and I actually think that’s a fair call. Especially given her past form (trannies, in this instance).

Because it’s basically: Men are evil. Become a lesbian. And there’s no justification for the first of those two sentences contained in the article.

However, I don’t believe that censorship is sensible, or just. I think anyone from the BNP, Flat Earthers, Conspiracy Theorists, Uncle Tom Cobbley and all should be allowed to say whatever they like.

But if what you say is basically stupid, then you deserve to be mocked. That’s the corollary of Free Speech. And that’s why I’ve taken an hour out of my day to mock this piece, which is truly stupid, and does not reflect well at all on either the writer, or whoever at the Guardian thought it worth publishing.

But then again, I would say that.

I’m an oppressor.

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Dear John

Paying a reader to give you notes on your script is like paying a prostitute to give you notes on your sexual technique.

Yes, they’re a professional.
Yes, they’re good at what they do.
And yes, if you’re just starting out there’s a case to be made that advice from someone who’s been around the blocks a few times is going to help.

But in the long term, both of them have a vested interest in continuing to receive your custom. And that means two things.

One: You’re never going to be told you’re that bad
Two: You’re never going to be told you’re that good.

To keep your custom, they have to always see that there’s room for improvement, while also approving of your current skills and grasp of technique. Especially the techniques that they happen to like.

Now, if they’re being paid by someone else to judge your work, then you can trust ’em – to a point at least.

They might not like redheads, or muscleboys, or people who dress to the left, but that’s just life. If someone else is paying them to evaluate your performance and they don’t like you, that’s just incompatibility. Bad luck. And they can be as sharp as they like with their critique, because you never get to see it.

But if you’re the one paying for the evaluation, they’d be a fool not to give you what you’re asking for. Really asking for, which is recognition of the skills you’ve got, tips for improvement, and a haven’t-you-done-well.

Whether you actually have any skills, or need any improvement.

In other words, you get what you pay for. Not necessarily what you need.

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The Only Fetish Diagram You’ll Ever Need

Click for bigness.

EDIT: Open mouth. Insert Google. Edit post. Here’s the 2006 version:

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Lucid Dreaming

As dreaming’s been coming up a lot recently in blogs I read, I thought it might be a good idea to teach you all how to lucid dream.

Lucid dreaming is when you know that you’re dreaming, and can control the dream. I seem to recall reading a few years back that the most popular things to do are

a) have sex
b) fly

Both of which are great fun, whether dreaming or awake.

If you’re prone to nightmares and don’t enjoy them, it’s also a good way to jump tracks, and dream about something more fun instead.

It’s actually quite easy to lucid dream, and just takes a few weeks to learn. The technique’s actually very simple: you just have to learn to be aware whether you’re asleep or awake.

The way you do this is by cueing yourself up to ask the question, until it becomes a force of habit. You can do it by time (once every three hours, say), or by stimulus (every time you see a door, or the sky, or any other common object).

It works like this:

You see a door.
You think to yourself: Ooh. It’s a door. Am I dreaming?
You think to yourself: No, I’m not.

So, there you have it: Door / Dreaming? / No

Just get into the habit of checking every time you see a door. After a couple of weeks of this, your subconscious will now be in the habit of checking whether you’re dreaming or not on a regular basis.

The next thing that will happen is this:

You see a door.
You think to yourself: Ooh. It’s a door. Am I dreaming?
You think to yourself: Bloody hell, I am!

That’s the first stage. Now you know you’re dreaming.

You might be able to influence the dream already at this point. In this case: Off you go. Have fun.

If you find you can’t influence the dream yet, not to worry. You just need to create a break in the dream – changing it from a dream you can’t influence, to one where you can. And the easiest way to do that is to just change the setting.

So walk through the door. You could use anything, really: a change of landscape, a change of time, the next time you meet someone or something in the dream, all you really need to do is decide that the next change will give you control of the dream.

But, given that you’ve got a door there anyway, just choose what you want to be on the other side, and step through.

At this point, you’ll be able to control what happens in the dream. Meet anyone you like, do anything you want, really.

I recommend flying, and sex.

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A Little Knowledge

A while back I re-watched Firefly on DVD.

It’s a Western. With Spaceships.

It’s also bloody marvellous, and if you can’t cope with the collision of those two genres I’m sorry – but you’re missing out on a fantastically well-made TV show.

(This has no relevance at all to the content of this post. I just wanted to get it off my chest before we got onto the important stuff.)

So I’m watching the episode “Out of Gas”, and something’s bugging me about the picture. There’s a lot of strange colour in there, and more to the point, the grain on the picture – especially in the flashback sequences – is enormous.

And I’m thinking – was this shot on 16mm? I know the first two seasons of Buffy were, and that grain is so strong…

So I looked it up.

And it turns out that there are several pages on how the look-and-feel of the show was created at The American Society of Cinematographers website.

Turns out that most of the episode was shot on cross-processed Fuji 50D – basically they use processing chemicals to develop the film stock that weren’t designed for it – which gives it that lovely grainy, colour-shifted look.

Another of life’s little mysteries solved. Happiness ensues.

Here’s why this is important for writers:

Assuming you want to become a showrunner in the long-term (and why wouldn’t you?) you need to know a little about what all the department heads can do.

You’re not expected to know about the details of cinematography. The DP will handle all that. But you need to know what’s possible, and what’s easy, and what’s hard, and maybe be able to point to some examples of the-sort-of-thing you want.

A little knowledge, they say, is a dangerous thing.

But you don’t have to know about the details of the process. You do need to be able to have a conversation with your cinematographer about the basics, so that they can then deliver what you want.

I always try to know enough to be dangerous.

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