Saturday, 1 June 2013

Articles Welcome to Issue Two - Everything Changes



Content Guide

Consequences – Interviews
David Llewellyn – The Baby Farmers
Sarah Pinborough – Kaleidoscope
Andrew Cartmel – The Wrong Hands
James Moran – Virus
Joseph Lidster – Consequences
Paul Kasey
Murray Melvin
Marnix Van Den Broeke

Articles
If Torchwood came back for a 5th Season...
If you could take home an alien artefact...
Everything Changes Episode Breakdown
Everything Changes Memories
Jack – Beyond Torchwood
Murray Melvin aka Bilis Manger
The Silence & The Slender Man by DJ Forrest

Expos & Cons
Doreen FedCon report – Eve’s panel Pt 1
Susan Bonkamp Wizards World Philadelphia Con

Fan Fiction
Viva Torchwood Part Two
Terminus

Gadgets & Gizmos
Everything Changes

Reviews
Sarah Pinborough – Kaleidoscope by Steve Taylor-Bryant
Andrew Cartmel – The Wrong Hands by DJ Forrest
James Moran – Virus by Dawn Christoffersen
David Llewellyn – The Baby Farmers by DJ Forrest
Joseph Lidster – Consequences by DJ Forrest

News
Project: Torchwood Made The News

Locations
Everything Changes





Articles - Everything Changes Episode Breakdown



By DJ Forrest

Producer – Richard Stokes, Chris Chibnall
Writer – Russell T Davies
Director – Brian Kelly
Script Editor – Brian Minchin
Composer Orchestral soundtrack – Ben Foster
Additional music from The Pipettes – We Are The Pipettes (2006), The Kooks – She Moves In Her Own Way (2006), Snow Patrol – Spitting Games (2003)


John Tucker lies dead from a stab wound to the back, it’s raining, and SOCO are on the scene, Police have cordoned off the area and officers are dotted about the scene keeping back crowds, standing within the cordon.
WPC Gwen Cooper arrives with a Starbucks coffee and enquires after the situation to her partner of 4 years, PC Andy Davidson As he begins to explain, SOCO are pulled off the scene, Police move the crowd back and a black SUV, with black out windows pulls up, and four people exit.
Medical Officer Dr Owen Harper strolls casually towards the body in the alley way beside the NCP car park, joining him are his two Asian colleagues Toshiko Sato, computer specialist, and Suzie Costello, second in command of the team, joining them is Captain Jack Harkness, head of Torchwood 3.  Dressed in a military coat, that belonged in the Second World War, Captain Jack Harkness looks too young to have seen such active service.
The rain doesn’t let up.  Jack surveys the scene while the team set up, he thinks out loud, not expecting an answer.  Gwen Cooper is curious as to who the team are, and heads off into the NCP building for a closer look, peering over the ledge high above the team. 

“There you go! I can taste it! Oestrogen. Definitely oestrogen. Take the pill, flush it away, it enters the water cycle. Feminises the fish. Goes all the way up into the sky then falls all the way back down onto me. Contraceptives in the rain. Love this planet. Still, at least I won't get pregnant. Never doing that again.”

Suzie Costello has with her the Resurrection Glove and prepares John Tucker, her gloved hand just under his head.  Suddenly the lights glow brighter and the rain stops.  John Tucker is brought back to life but the team only has 30 seconds to find out what killed him.  When Toshiko realises that John Tucker saw nothing, she runs out of questions to ask him.  Jack Harkness crouches beside the man, introduces himself and asks the burning question“Tell me, what was it like when you died?  What did you see?  John.  Tell me what you saw.”
“Nothing.  I saw nothing...Oh my God.  There’s nothing.”
As John slipped back into death, Jack got to his feet. Owen quibbled about Toshiko’s handling of the victim’s, while Jack pondered on what the right way was.  He threw up his question to Gwen Cooper who had been watching them.  “What do you think?”

In the Police Dept, Gwen hands around coffees while the head of CID begins to discuss the cases pinned to the board, most stabbed in the front but John Tucker was stabbed from behind.  One CID officer asks why this is the case and is told it’s because they are looking for a coward.
Gwen asks Yvonne on Traffic if she can look up someone for her, a Captain Jack Harkness. 

Later that day Gwen Cooper heads to The Cornwall pub with PC Andy Davidson in a bid to calm a pub brawl, but is thrown against the wall in a tussle and hits her head.  Despite obvious concussion she heads towards the exit of the hospital in time to see a familiar man in military coat haring up the stairs.  With her curiosity piqued she follows after him to a sealed off corridor.  She enquires about it to the hospital Porter.  Unable to give her an answer the hospital porter disappears and Gwen, steps through the taped door and into the silent corridor.  She calls out to anyone who might be there and as if on cue a weevil (Paul Kasey) steps out silently from another room and watches her guardedly.  Gwen keeps talking, keeps her eyes front, aware the person in the ‘mask’ could be armed and dangerous.  She’s so close now that it would only take one wrong move for it all to go pear-shaped.  The hospital porter enters, breaking the tense moment and tells her about the chemical spill and why it was sealed off at 9am. 

He sees the weevil and thinks it’s a student in fancy dress.  So impressed he goes for a closer look and points at the snarling mouth and the teeth.  In that split second the hospital porter is attacked by the weevil, in the commotion, the Torchwood team contain the weevil while the dashing airman ushers Gwen out of the corridor yelling “GO GO GO GO!”

Gwen runs till she’s running through the corridors of the hospital and out of the building.  Getting her breath she hears the rev of an engine and follows the sound, that inkling of a hunch and jumps out of the way as the SUV hurtles out of the car park sounding its horn.  Gwen jumps out of the way but gives chase, running to the police car, the ID on the vehicle memorised she calls it in as she drives Andy’s patrol car out of the hospital and after the Torchwood Range Rover. 
Yvonne who has researched the Captain tells Gwen that there is only one Captain Jack Harkness in existence, “...but on the night of January 21st 1941, Captain Jack Harkness failed to turn up for duty....Are you chasing ghosts, Gwen?”

The SUV decants the team at the Millennium Centre while it heads off to park.  Gwen pulls up her patrol car and heads out after the team, calling in vain to them.  The security guy (Mark Heal) distracts Gwen a moment on his insistence that she move the squad car, when she looks back, the team have vanished.  It’s impossible!

As rain pelts the windscreen of the squad car Andy climbs into the passenger seat, wet through.  “I walked, I bloody walked!”
Unconvinced that his partner Gwen Cooper saw anything out of the ordinary, and blaming the bump to her head distorting the truth, convinces her she needs to go home, unbeknown to either of them, they are being watched from CCTV cameras.

Later in the evening Gwen convinces her boyfriend Rhys  that she has to work, they’re a man down on the shift and there’s a football match on.  Despite his protestations, he relents and Gwen heads out to find out more about Torchwood and the mysterious team who can disappear in the blink of an eye. It’s a cool night as she lingers about the water tower expecting someone to appear, a touch of rain in the air.  Its dark and the roads are reasonably quiet, she hears the sound of a scooter and sees a pizza delivery boy on his rounds and goes in search of the Jubilee Pizza house.  A young lad with his arm in a plaster cast is behind the counter.  Gwen asks him if he’s ever served a Captain Jack Harkness, or Jack or Mr Harkness but all names draw a blank on the shop computer, but as Gwen turns to leave she strikes it lucky when she asks if he’s ever had orders from Torchwood.  “Aye we deal with them all the time, good customers.”  He tells her.
Armed with two large pizzas Gwen walks along the boardwalk towards the Tourist Booth door, just along the jetty.  It’s eerily quiet with only the water lapping against the boards as Gwen makes her way slowly, cautiously towards the door. 

She lingers in the Tourist Booth and looks about as a young man in a smart suit steps from the next room, a mug of coffee in his hand and greets her courteously.  He asks who had ordered the pizzas, on the mention of Captain Jack Harkness the door behind her slams shut.  Ianto smiles.  Gwen looks nervous.  “Don’t keep him waiting!”  Ianto gently encourages.  Gwen goes through the open door towards a lift, taking her down to the base.  The lift door opens and Gwen steps into a  world like no other, a life underground, fully operational.  A woman works on a metal artefact with an acetylene torch and visor.  Captain Jack Harkness walks along the metal gangplank from the boardroom, down towards his office passing Gwen at the door, casually glances over but remains impassive and walks to his desk, taking his seat and resumes paperwork as if it’s a normal day.  Susie Costello removes her visor and switches off the torch, and as Gwen climbs the stairs, both Owen and Toshiko begin to giggle and snigger unable to maintain the impression that they haven’t been aware of Gwen all this time.

Gwen becomes aware that all of her movements outside for the past three hours have been monitored by the team.  She also discovers that the porter at the hospital was murdered, and that his body was removed and his work schedule manipulated so that his work colleagues would be none the wiser.  Gwen begins to feel out of her depth.  A group of people who can fake a man’s death could quite easily bump her off and not feel a shred of remorse. 

Captain Jack Harkness introduces his team before leading Gwen downstairs to meet the murderer, an ugly looking alien creature with savage eyes and teeth and wears a boiler suit.  The Captain informs Gwen that the creature is a weevil, least that’s what he calls them, as they have no form of communication, they have no idea what kind of creature it really is.  Gwen sits at Jack’s instruction and looks into the eyes of the creature fascinated, perhaps a little scared, but doesn’t show it. 
A short time later after the team leave to their respective homes, Jack takes Gwen out out through the roof that takes her to the water tower, he explains why people can’t see them, tells her about the Rift, but all Gwen is concerned about is the bloody great big hole in the ground that anyone could fall in.  “That is so Welsh” Jack retorts.  “I show you something fantastic and you have to find fault with it.”

In a bar in town Jack watches Gwen knock back a good quart of her beer while he drinks a pint of water slowly.  They talk about the aliens and artefacts that Jack and his team have caught and found, about the work that they do. Jack tells Gwen about the alien stuff they scavenge and how none of it leaves the Hub, unaware that Susie has taken the Resurrection Glove home and is testing it on a fly, bringing it back to life, Toshiko is testing out the Data Scanner on The Tale of Two Cities by Charles Dickens and Owen has taken out a bottle of cologne with intentions of pulling tonight. 
In the bar where Owen picks up more than just one date for the night Snow Patrol blast out their single “Spitting Games” from the speakers.

Gwen offers her services as liaison in catching the killer, but wires crossed, Jack isn’t looking to find the killer, Torchwood are only interested in the glove, they need victims, recently traumatic victims to test the glove.  Gwen dislikes the way Jack talks about the bodies as if they’re not important, and given what Jack and his team have, feels it’s her duty to report it.  Jack smirks“If you remember...how’s your drink?”  Realising with horror that she’s been drugged with something that will not only make her sleep but also forget everything she’s seen, she runs home, and begins writing up everything she can about her night, unaware that Ianto Jones, is already preparing to delete all her hard work.  As the screen goes blank, Gwen’s eyes become heavy and she falls asleep, at the desk in front of the computer.

The next morning in work and Yvonne has news about Gwen’s missing captain but Gwen has no idea who she’s talking about.  Up in CID however there’s something about the knife she’s seen in the sketch on the board, forensics had come up with something pretty brutal to inflict the damage on the poor victims.  Although Gwen can’t remember anything else about that night in the pub, and the lead up to Torchwood, the knife bothers her, she sees images of it in her mind, and unable to sleep one night sits at the desk beside the computer and sketches the knife.  Discarding it as it just didn’t fit the image in her head leans back in her chair and stares at the books casually on the desk, her eyes settle on the Millennium Centre book and in biro the words REMEMBER ME

Standing outside the Millennium Centre, the water tower to her right she sees a silhouetted figure step from the shadows and reveal herself to Gwen.  It’s Suzie Costello and she’s got a confession to make. 

Suzie tells Gwen that sometimes something can trip the amnesia just once and it’s enough to remember.  Gwen could remember the knife that Suzie pulled from her shoulder bag but not why she could remember it.  She began to read Suzie the Riot Act when Suzie pulled out her gun after putting away the knife.  Aiming it at Gwen and cocking the hammer, Suzie went on about her job, how it got inside you, and how as Captain Jack Harkness came up through the hole in the ground “the perception filter doesn’t work on me.”  She shoots Jack in the forehead killing him stone dead.  He falls down between them on the ground, shocking Gwen but not Suzie, who steps towards Gwen. 

Suzie knew the game would be up if she stayed in Cardiff.  Killing Jack and now finishing Gwen would give her enough of a head start, but she wasn’t banking on Jack coming back to life. 
Knowing the game was up; Suzie placed the gun beneath her chin and pulled the trigger.  Shocked at the traumatic scenario that had opened up in front of her, Gwen stared at the body announcing “I remember.”

The Resurrection Glove was packed into the vaults and sealed never to be used again, and Toshiko and Owen returned the items they’d removed also.  Up on the roof of the Millennium Centre, just as the sun was coming up, Jack thanked Gwen for not telling the team that he could come back from the dead.  He also offered her a job.  “There’s a vacancy – do you want it?”
Gwen accepts,


©BBC Torchwood 2006 


Articles Series One - Everything Changes Fans Memories




Everyone has memories of the first episode of the first series of Torchwood, so what was yours?


Michelle: Jack's role evolving into a leader, much more serious and a little dark.  (Also meeting Ianto wasn't so bad either :P)

Echo Fain: favourite part:  the first dark look at Jack, a character whom I'd never seen in such light before.

Tera:  This is my top fave episode because it was the first episode that launched the whole series, & it brought Captain Jack back to our screens.

Mickie:  Jack was different to the guy in Doctor Who.  Still naughty but he'd grown as a person.  The Jack we met in Albion hospital couldn't have run Torchwood.  He needed to LIVE first!

Megan: 'Bet you ten quid they're DNA specialists.  It's all DNA these days.  Like that CSI bollocks.  CSI: Cardiff, I'd like to see that.  They'd be measuring the velocity of a kebab.'

John: Has to be when Gwen goes to the Tourist Info Office with Pizza's.

Echo:  'Well don't keep them waiting.'  In that delicious accent; thank you, Mister Jones.

Doreen: The opening scene in the rain when Captain Jack looks up at Gwen, who is secretly watching the team using the Rizzen Mitten.  This moment had caught my attention and been burnt into my memory.

Debs::  "Contraceptives in the rain, still least I won't get pregnant, not doing that again."

John:  And the drugging bit when Gwen passes out...Trying to leave notes about Torchwood.

Interviews David Llewellyn for Consequences by DJ Forrest



David Llewellyn is a Welsh novelist and script writer and was born in 1978 in Pontypool.  He’s written quite a few stories for Torchwood, ‘Trace Memories’ (2008), ‘Consequences – The Baby Farmers’ (2009) and short stories for the Torchwood Yearbook – Mrs Acres (2008), and for the Torchwood Magazine – The Book of Jahl (2008), and I May Be Some Time (2009).  Quite recently David wrote a Torchwood audio play read by Tom Price called ‘Fall Out,’ He has also written two Doctor Who novels, ‘The Taking of Chelsea 426’ which featured the 10th Doctor, and ‘Night of the Humans’ featuring the 11th Doctor and Amy Pond.

The Baby Farmers

One of the things I found very comfortable about your story was how quick the piece came together, how descriptive the story was that I found myself in that ‘driving rain and howling wind’  with Mary and her baby.  The other thing I liked about the story was it was well before Gwen and Ianto and the rest of the team we’ve come to follow in the series, it put it right back to the early days when Emily Holroyd and Alice Guppy were in control, and I liked that. 

When you put the story together between the five of you, had it been a conscious choice to start the story off, and was it your decision to set it in this era?

David: Well, actually, the real genius behind ‘Consequences’ was our editor, Steve Tribe. The idea to do a kind of “portmanteau” book, with five interlinking stories, was his idea, and he corralled us all together.

I think he and I had had a conversation, after I’d written my Torchwood novel ‘Trace Memory’, about how much fun it might be to write expanded universe stories set in the past, and when he was planning ‘Consequences’ he asked if I’d like to write a story about Victorian Torchwood.  Well, I almost bit his hand off at the chance!

After that, it was just a case of running it by the Powers That Be (who are understandably cautious about sanctioning anything that might conflict with continuity at a later date), and getting the permission of Chris Chibnall, who created the 1890s Torchwood characters Emily, Alice and Charles.

If it were possible to write another Torchwood story, would you set it back in the 1800’s or would you choose a different era?

David: Funnily enough, Steve and I discussed this not long afterwards, some time after ‘Children of Earth’ was televised, and I seem to remember saying I’d like to do either another Victorian one, or perhaps one set in the 1930s, but that was about as far as it went!

It did surprise me however that as ever in Torchwood that the leader of the organisation was having same gender relations with another of the team.  Almost like the female version of Captain Jack with her Ianto, as it were.  Was this something that you as a writer already knew about the two female characters or was this something you’d decided on for the story?

David: I think it had been alluded to in the series 2 episode ‘Fragments’, so I just went with it! But yes, it does make a nice counterweight to all the man-on-man action that’s going on in present-day Torchwood!

How long did it take to put the story together, and were you working on a deadline?

 David: I honestly can’t remember how long it took to put it all together. Probably a sign that I’m getting old, but in my defence this was almost 4 years ago! Based on my experience writing other stuff for Doctor Who and Torchwood, I can imagine the deadline was probably not long after I’d agreed to write it! As for writing it, I don’t think it took very long for me to bash out a first draft. Probably only a couple of weeks. Then it’s usually the case that you play tennis with your editors, bouncing it back and fore until either it’s good to go or you’ve all run out of time!

I liked the description of the HMS Hades and wished I could see it for real but then wondered if it were related to any of the tall ships that have been in Cardiff Bay?

 David: HMS Hades was actually based on two ships that were once docked in Cardiff; the Hamadryad, which was used as a naval hospital, and the Havannah, which was used – like the Hades – as a ragged school, a kind of orphanage-meets-borstal for wayward boys. I’d seen black and white or sepia photos of both ships, and they were both a little creepy-looking, particularly the Hamadryad.

You’ve written a few stories for Torchwood, have any of these been adapted for audio play/book?

David: The only one that’s been recorded as an audio was written specifically to be recorded, and that was ‘Fallout’, which was read by Tom Price (aka Sgt Andy). That was quite recent, following on directly from ‘Miracle Day’, and was focused almost entirely on Sgt. Andy. I’d love to do more stuff like that, stories set on the fringes of the Torchwood universe, but one of the most common complaints about ‘Fallout’ from listeners was that it didn’t have enough Torchwood in it, so maybe there isn’t much appetite for that sort of thing!

When you were writing The Baby Farmers, what was the best part in the story for you?

 David: The joy of writing something for a book is that you don’t have to worry about a budget. Scriptwriters for the series are always aware that everything they write costs money, and that some things cost more than others, but with a book or a short story, a description of an explosion doesn’t cost any more than a description of somebody crossing a room.

With everything I write, for Doctor Who or Torchwood, I try and include at least one moment that would be ludicrously expensive to film, so that it feels a little bit special. With The Baby Farmers, that scene was probably the moment when Torchwood charge across Cardiff’s Tiger Bay on horseback. It feels very cinematic, and was certainly exciting to write, so I hope it’s exciting to read!

Are you working on any projects at the moment that you’d like to share with Project: Torchwood? 

David: Well, I’m not working on anything Torchwood-related as that all seems to be on hold at the moment. I have recently written an episode for the second series of The Confessions of Dorian Gray, an audio series starring Merlin’s Alexander Vlahos in the title role. Obviously, Dorian is immortal, sexually ambiguous, and in the series has adventures across the 20th Century, so there are some similarities with Torchwood there, I guess!

Other than that, I’ve just put the finishing touches on a novel called ‘Ibrahim & Reenie’ which is out in autumn, but that’s a very different type of story altogether! It’s about a 75-year-old woman and a 24-year-old man walking from Cardiff to London.

Do you attend any of the Cons up and down the country or those overseas? 

David: I haven’t, not really. I did attend Alt. Fiction in Derby a couple of years ago, where I got to meet some other Torchwood novelists, including Mark Morris and Consequences’ very own Sarah Pinborough, but I haven’t really done much conventioneering. I never seem to get invited! I must have some sort of scandalous reputation…

Do you have a blog or a site that the fans can follow you from aside from Twitter?

David: Yes, I’m on Twitter as @TheDaiLlew, and I write an occasion blog about films, TV, and books at   

www.aforestofbeasts.wordpress.com     

Special thanks to David Llewellyn for the interview and to wiki for the information source





Interviews Sarah Pinborough by DJ Forrest



Sarah Pinborough born 1972, in Milton Keynes is an English horror writer whose works have been compared with such writers as Dean Koontz, Richard Layman and Bentley Little.  Under the name Sarah Silverwood she also writes fantasy novels for children with the Nowhere Chronicles.

Sarah has written two Torchwood novels ‘Into the Silence’ (2009) and ‘Long Time Dead’ and also wrote ‘Kaleidoscope’ for the ‘Consequences’ novel, that also features short stories by David Llewellyn, James Moran, Andrew Cartmel and Joseph Lidster.

Sarah also wrote the 2nd episode of the 9th Series of New Tricks ‘Old School Ties’ (2012),  the crime drama starring James Bolam, Dennis Waterman, Alun Armstrong and Amanda Redman.

In 2012 it was announced that director Peter Medak had been attached to direct ‘Cracked’, a screenplay based on Sarah Pinborough's first novel ‘The Hidden’.

Recently Project: Torchwood interviewed Sarah Pinborough in connection with her story Kaleidoscope for Consequences and about her new projects and book launches.


I liked the feel of this story from the point of Danny Dillard, a lad who didn’t have much and had that feel good factor with the kaleidoscope, and how it changed even his dad, but it was the twist at the end though when things didn’t quite end as you hoped.  I loved your description of the boy and his life, had you based those characters on anyone you knew?

Sarah: No, I rarely base characters on people I know, but I had worked at a school on quite a tough estate for a few years so that probably fed into it a bit.

What prompted the idea of a kaleidoscope for the Rehabilitator?

Sarah: I honestly can't remember! Although it seems natural for it to be something you look through that distorts things. I'd probably looked through one close to the time I had to come up with the story or something.

Your story Kaleidoscope would have occurred when Jack went off with the Doctor and just before he returned for Series 2 in Kiss Kiss Bang Bang?  It did seem odd not seeing Jack coming into the story, but having the four other members working harder to prove themselves.  Was it harder on yourself to have all four members to operate in your head and on paper?  All talking to you at once.

Sarah: No, not really. In the novels I have all five of them – well, at least in Into the Silence. In Long Time Dead it's mainly just Suzy's narrative. The thing with writing tie-in novels is they tend to be quite dialogue focussed because you're emulating the show, and so it's more natural to have them all talking and the flow just comes. They have very separate voices and as most of the people reading the books are already very familiar with the characters you don't have to spend a lot of time establishing them.

You’ve just launched your new book ‘Poison’ – congratulations on the book, have you always been interested in the genre you write for or has this developed over the years?

Sarah: Poison (to be followed by Charm and Beauty) is a departure for me. I normally write crime/horror/fantasy/sci-fi style stories so re-working fairy tales has been quite different. But I've enjoyed doing them and fairy tales are a type of fantasy. Plus, there are some quite dark elements in mine.

I’ve been toying with two different styles of writing, first person which always had me struggling but has somewhat worked on a new story – horror piece in fact, and another which is third person omniscient which I prefer to write as, do you vary your writing styles, or favour one over the other?

Sarah: I tend to write third person – I prefer to get multiple viewpoints. But in Mayhem I've used first person for one character and third for the others.

Have you always had a passion for writing?

Sarah: I don't think you can be an author if you don't have a passion for writing and reading.

Your new book at the moment ‘Poison’ is this aimed at the Young Adult, and can you tell us about the book, what it’s about?  From the items you had on the table in your photo, I’m thinking it is a version of the old Snow White and the apple story, but I’m grasping at straws here, I’ve not read any reviews upon it.

Sarah: Poison is very definitely NOT aimed at the young adult market ;-). It's quite adult in content, with quite a lot of sex and some violence as well as romance and humour. It's a reworking of Snow White.

I was looking up on your website and you have another book coming out called ‘Mayhem’ does this run in line with the book ‘Poison’ and the two other books coming out this year ‘Charm’ and ‘Beauty’?

Sarah: No, Mayhem is a Victorian supernatural crime novel based on real life events. Mayhem is from Quercus and Poison, Charm and Beauty - fairy tale re-tellings - are from Gollancz.

Questions from fans

Kate Mora @Jedikat71 asks: I’m curious, has Sarah listened to Blue Gillespie (since her book had Ianto undercover in a Welsh choir?)

Sarah: No, I haven't. I will check it out!

Mickie Newton asks: What drew you to writing for the TW canon of novels, what was your inspiration behind “Into the Silence.”

Sarah: I wrote for them because I was lucky enough to be asked if I'd be interested in writing some, so it wasn't really a case of being drawn to them, but being lucky enough to be drawn into them, as it were. As for Into the Silence I wanted to write something that seemed scary but turned out to be quite moving. It starts as quite a horror tale, but I hope by the end there is some emotional payoff.

 Special thanks to Sarah Pinborough for the interview, http://en.wikipedia.org/wiki/Sarah_Pinborough    Source info


Interviews Andrew Cartmel by DJ Forrest


Andrew Cartmel is a British-Canadian sci-fi writer and journalist, and former script writer on Doctor Who, who was taken on in his early twenties after being recommended to John Nathan-Turner by his agent.  Since then Andrew has gone on to write comics, books, novellas, novels and audio stories for Doctor Who. 

Andrew also wrote a script for Torchwood entitled The Jinx unfortunately it never saw the light of day.  The script was destined for a slot in the standard 13 episode series but dropped when the season format was reworked for the move from BBC2 to BBC1 and the 5 episode slot for COE.

The Jinx involves two Celtic goddesses who are playing a game, a game which has terrible consequences for the people involved.
The disasters that befall the people in Gwen’s life, and that of any of the victims who fall foul to the Jinx’s properties, seem quite like a comedy of errors, and reading through the list of disasters that befall Jack, especially Ianto and Rhys, and Andy, I did have quite a chuckle, actually uproarious laughter.  But given that people laugh at other’s misfortunes the basis of the story is quite serious and finding a way of stopping the disasters that befall the women who have been jinxed, takes Jack and Ianto tooled up to a folk music club in order to find the root cause, then having realised that Gwen had beaten them to it, continues the search for the goddesses and Gwen. 

Having viewed the interview between Andrew Cartmel and James Goss for the Torchwood Magazine 24th edition, and having read a portion of the script, the breakdown and the premise I’d love for this to be given audio drama time.  Although I’m sure a lot of it would be difficult to transfer to audio from a visual effect I’m also aware, that nothing is impossible!  I would love to own a copy of this if it were to also be a novel, as I’m sure in the vast Torchwood universe, this could be reworked into the era before Children of Earth. 

The Wrong Hands

When I’ve been writing fictional pieces relating to Torchwood for short stories, I’ve made up a lot of the names and places purely because I’ve never visited Cardiff more than once in my life.  In your story you cover a rough housing estate called The Machen Estate, but it’s so detailed I wondered if you’d based it upon a real estate or was this purely from imagination, or had you grown up in a similar estate as a child – as we often write from experience?

Andrew: I wonder if you spotted that the Machen estate was named after Arthur Machen, the great Welsh fantasy and horror writer?
When I was at university in London and for a few years after I lived on a council estate, so obviously I drew on those memories to some degree. But the Machen doesn't really bear any significant resemblance to the place where I lived. It's a product of my feverish little imagination.

I recall drawing a plan of the estate, which probably helped to provide the detail you mention. One important thing I did was creating the shop which is nearby -- a major location in the story. What got me thinking about that was the way the poor find it (paradoxically) more expensive to live because they don't have the mobility of more affluent people, and they're stuck with their local shops which always charge more. I recall I ranted about this to an extent in the story. Social criticism.

I loved the dialogue between Gwen and Jack, they do often come across very strongly like a brother and sister relationship which you see quite a lot, where Gwen seems more in control than Jack is, perhaps it’s the mothering instinct, or the fact she has to remain focused and strong most of the time.  I did chuckle through the conversation about the possibility of Uncle Jack taking charge of little Gwen’s or little Rhys’ at the Hub. 

Andrew: I'm glad you liked the dialogue between Gwen and Jack. I enjoyed writing it.

I liked the idea of the baby being in control of the person, sucking their very life from them, (laughs) it did put me in mind of my own two when they were very young, my life not being my own, were you writing this from the same perspective?  Were you dealing with a small child and surviving on very little sleep?

Andrew: The baby was very much the central conceit of the story. My original title for the story was 'Pram Face' which is an insulting term applied to young unmarried mothers. I ditched that title for lots of reasons, most importantly because it would have given away too much to the reader. But it was crucial in getting me thinking when I was developing the plot.

I'm also gratified that you liked the way the baby was written and indeed thought I might have been drawing from my own experience. But, like the Machen estate, I basically just made it up from my imagination.

As a side note, I really enjoyed creating the hulking local (male) thug who is wearing a completely irrelevant t-shirt which reads 'Nobody Knows I'm a Lesbian'. It was just a silly gag, but I'm pleased with it.

The Wrong Hands is the only Torchwood story you’ve ever written, but I also saw on Wiki that you’d developed a script for the third series of Torchwood called The Jinx, but this was dropped when the series format was reworked, what was The Jinx about and would you ever rewrite it for another story with other characters?

Andrew: You mentioned my lost Torchwood script The Jinx. I'm very proud of it, and it still irks me that it never saw the light of day.
 Writing the script was a great experience but seeing what happened (or didn't happen) to it in the production process was deeply frustrating.

If you want more details about The Jinx you can read all about it in an excellent article by James Goss in issue 24 of Torchwood Magazine.

As for reworking The Jinx into a new story with other characters, I don't think I could. It was intrinsically and purely Torchwood, which is one reason it's such a pity it was never used.

Out of the Torchwood characters that featured in your story, which was the easiest to write for, and which was hardest?

Andrew: I found Gwen the easiest character to write. I liked her a lot. As for the most difficult character to write, I didn't find any of them difficult.

Are you working on any other projects at the moment that you can share with Project: Torchwood?

Andrew: I am currently writing a series of murder-mystery/thriller novels which are due out this year, they feature a character called the Vinyl Detective.

If people want to follow you, find out about your writings, do you have a website, a link?

Andrew: Please direct people to my writing blog, at: