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david said:

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I hope it's not a one-off as well, dramatic writing has always been my forte (with especially non-WHO writing) but its getting it to paper (or keyboard) which bothers me the most.

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i hate to ask, mate, but you are aware of what writing is, yes? note the word: it implies that the act of writing is involved somewhere in the process.

it's just that if your forte is "dramatic writing", to quote you directly, then presumably actual writing, or "getting it to paper (or keyboard)" falls into that category.

don't mind me, though -- just being nitpicky in a friendly way.

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Hmm. My fault on that one, so many scenes and some were done with weeks between, I found it increasingly difficult to remember what level footsteps were to the previous scene.

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could you not have tried to match them as best you could? (says a guy who's not even heard the sfx in question and so probably shouldn't be bothering to comment.)

anyway, i guess that's a useful learning point for the future: to strive for better audio continuity somehow, and to come up with ways of achieving that. which is what i hope this sort of discussion is all about: learning through discussion.

then matt said:

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But don't you see - that doesn't make sense at all! Why did she then say the Doctor and Sarah had outlived their usefullness at the end of Part One, hmmm?

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for the same reason that all cliched villains change their minds about killing the hero according to what best suits plot exposition at that moment?

sorry, just channelling a script submission we got a couple of years ago and which i re-read recently. it featured a confrontation scene between the doctor and the villain, near the beginning of which the villain declares that part of his plan is to kill the doctor, albeit for no apparent reason. fine so far. but then he spend the next five or so pages explaining to the doctor what his fiendish scheme is, at the end of which he reveals that he doesn't want to kill the doctor after all because the doctor is integral to his plan!

then again, some writers will come up with any convoluted plot twist to pull a cliffhanger out of their bums.

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This still is making no sense whatsoever - why didn't see just kill the Doctor and be done with it?

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see above...? actually, my script note at the very start of the scene i just described noted something along the lines of "why doesn't this guy get his henchmen to blast a last bolt through the doctor's head at this point?" after all, it would make more sense!

anyway, like i say, i think it's just the bondian school of writing for villains. which is a massive weakness, and one that gets parodied all to death, but it looks like some writers still persist with it.

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Well, perhaps you should consider trying to ditch this post-modern comedy work you're trying to attach to the series, and just go for straight drama writing? Given how weak the comedy elements have been, this would work.

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to be fair to david, the comedy elements aren't always weak (there are some crackers in continuity's end), but on the odd occasions that good jokes turn up, the actors seem to miss them entirely and completely trounce them.

so i'll have to agree on this count. it's an interesting attempt to transform the series into something more unique, but then it's also possible (and, imho, more interesting and mysterious) to structure a post-modern show which plays it straight, simply accepting that self-referencing nature as part of its format. i think it would really unique to see how characters react to that kind of situation in a totally serious way, and there you'd have an excellent hook for these adventures.

mind you, the cheeky monkey would have to go.

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Well, at least I reviewed your story - anyone else do that?

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yeah, well, i was getting to it, but then you want and suggested i start reviewing other groups' work instead, so it's looking like you'll be the only one for a while.