THE DOCTOR WHO RATINGS GUIDE: BY FANS, FOR FANS
David Bishop

Writer.



Reviews

In short: A bloody good writer! by Joe Ford 12/12/03

He doesn't crop up very often but when he does he creates a controversy that is talked about for ages. His work has been revered (Who Killed Kennedy) and reviled (The Domino Effect) and you always know when you pick up one of his books/CD's it will provoke one of these extreme reactions. He always tries something different, and largely succeeds and at times pushes the realms of Doctor Who further than they should ever go... ladies and gentlemen I give you David Bishop!

Who Killed Kennedy: Any book that can take so many Pertwee stories and put such a fresh spin on them is worth a read in my book. If you love The X-Files then you will love this, it creates a conspiracy out of every single UNIT adventure. And it is further proof that Doctor Who has created such a fantastic canvas that it is possible to paint on it without the Doctor (who only appears in one scene) or the Brigadier (who is usually a must for a Pertwee PDA but only makes token appearances) and still be thoroughly absorbing. Protagonist James Stevens is captured vividly in the most dramatic period of his life, whilst he is losing his wife, his career, his reputation and his girlfriend we are privy to his every thought in remarkable first person prose. This is the sort of experiment that the PDAs should be capable of producing more regularly, a brave move tackling so much continuity but it pulls off the brilliant trick of allowing us to see the canon stories through the eyes on the public thus enhancing the continuity it is stealing.

Verdict: A plus (The amazing ending is just the icing on the cake)

Amorality Tale: My friend Matt hated this, he claimed it was too childish and admittedly it is written in quite a childish way (events are described briskly and excitingly as though to perk the interest of a bored eleven year old) but that is the books major strength in my eyes. Who doesn't love the Target novels and their theatrical, hide under the bed terror? The bizarre and the normal mixed to disturbing effect. Amorality Tale captures this surreal atmosphere, taking the scary idea of killer fog in London and showing us how its inhabitants are affected. While the gang wars and evil coppers are the stuff of kids books the very human tragedy the book thrives on is extremely adult. Rose and Frank Kelly are in three scenes but these characters remain vivid in my mind today, their broken marriage repaired thanks to their terrifying imminent deaths. Even blatant audience manipulation characters like Brick and his pigeons works because we see his pain through Sarah's eyes. Bishop fulfils one of my PDA wishes and for somebody to write a 3rd Doctor and Sarah novel, this often ignored yet instantly likable couple slapping away the novel's traditional ambience and proving to be as much of a joy as I imagined. This is definitely Sarah from season eleven, bolshie, intelligent and sensitive but Bishop's piece de resistance comes with the tired, sensitive 3rd Doctor who is desperate to stay out of things but cannot manage it. You get the feeling that he knows his adventures in this body are coming to a close, an almost Logopolis style emotional cloud hanging over the story. The Xhinn are imaginative and well written but it is at their arrival that the book stops being vulnerable and emotional and takes on a shallower tone. A shame because the human drama involved in the killer fog was easily enough to hold up the book.
Verdict: B plus (Charming and poignant, if childish in spots)

The Domino Effect: How many times can I say this without you guys wanting to slap me in the face? I have read this book three times and each time came away suitably impressed. It has a dramatic core that many books would be envious of and a brilliant idea (the world that was halted, technologically, at all the important leaps) to start of the alternative universe arc. Yes, Fitz and Anji are slow on the uptake that this is an alternative universe and yes the book does revel in some sadistic violence but these are mere niggles compared to all the good stuff we get. 'Britannia' is a scary place to visit, all the Doctor, Fitz and Anji do is arrive and try to settle in and they are racially abused, accused of being terrorists, beaten up, forced to admit to evil crimes on television and basically manipulated to seem like the bad guys all the time. Bishop wants to show you how bad things could be and he does so well creating a chilling world where everyone is corrupt, traitors and cowards. The book moves at an incredible pace with lots of action and excitement, the ending is especially striking. Sabbath shows up and once again proves what a complete bastard he is; those apes of his are scarier than ever. However the Doctor is quite forgettable, being more subdued and detached from the plot than he has been for ages. He could almost be the fifth Doctor! The secondary characters don't jump at you but it is fun to guess who their parallels in 'our' world. The best character comes in Alan Turing and Bishop handles his imprisonment and his homosexuality in an extremely sensitive fashion.
Verdict: A minus (A book fizzing with powerful scenes and shock moments)

And for Big Finish...

Sarah Jane Smith: Test of Nerve: On audio, Bishop gets to show just how sharp his plotting skills are by filling 70 minutes with intrigue, scares and dilemmas, setting up some excellent mysteries and providing some very satisfactory answers. It is the best SJS audio by a square mile, treating its characters with care and providing a real whoop-ass of a finale. Lis Sladen leaps on the chance to make Sarah more paranoid than ever. Bishop writes her as a moral voice in a corrupt world, a slightly crabby, bitter woman who just wants to protect those close to her. The result is a character that barely resembles her cuddly persona on the telly but makes her more interesting than ever. And regulars Josh and Nat both get a good deal of lavish repair work after the first two substandard SJS audios. Best of all is how well Bishop captures the 'horror in suburbia' theme that drew me to the series. Utilising the nightmare idea of nerve gas in the Underground, he uses the recent media scares to unsettling effect. The fact that James Carver (Roy Skelton in fine form) has a realistic (but hardly justifiable) motive (an ex soldgier, obsessed with the fact he was experimented on during those ugly years) helps lift the story's credibility no end. The real world is a very frightening place to live in in Test of Nerve, a strangling, oppressive society full of traps and surprises. The ending is sensational, Josh trapped on the underground where Carver is about to release the nerve gas on a train of un suspecting commuters, Nat trapped at home with a bomb ticking away and no way out... and Sarah only has time to prevent one of these horrors. Those last ten minutes show how a nail biting finish should be done.
Verdict: A plus (on my intial listen I was awe struck at how good this series could be)

Unbound: Full Fathom Five: It would be unfair to label this 65 minutes of build up just to reach a delicious ending but it certainly feels like that after listening, those last few minutes tossing away any expectations you might have at how far Doctor Who can go. It is a climax you will never forget, dismissing formula and taking the 'Unbound' ideal to its limit (where ANYTHING can happen). But there is much more to savour, chief among them David Collins' take on the Doctor. Aside from the ending the story is quite happy to hit some traditional notes (the underground base, the misguided scientist, the girl wanting to find out what happened to her father all being the stuff of cliche) albeit with a dark, sinister edge that is no doubt helped by Andy Hardwick's spine tingling score. The acting is good and the production has a palpable claustrophobic feel. But it is still the heart-stopping (literally) ending that will cling to your mind when it's all over.
Verdict: A (A terrific shocker)

Clearly I am quite impressed with David Bishop's work, his is a talent for decent action stories, freed from the angst and melodrama that invades so much Doctor Who fiction/audios.

Endings. David understands endings, the climax of a book is all important in my eyes, a decent read can go rapidly downhill if the ending fails to provide decent enough answers or to end the book with a big enough bang. Zeta Major and Endgame, Grimm Reality and Heritage, they all had lousy endings and frankly ruined my opinion of them. Who Killed Kennedy uses protagonist James Stevens, expert in JFK, and forces him back in time to stop the Master's minion from preventing the assassination! And in those final frightening moments Stevens realises somebody has to shoot him to keep history on track and finds himself holding the gun... a truly astonishing turn of events, impossible to predict and utterly unforgettable. And his two audios have outstanding climaxes, so good they both left me yearning for more.

He is a bit of a realist too, our David, he doesn't like to get bogged down in too much fantasy. Even when there are fantastical elements present like he likes to add a good dose of realism to make sure we remember this is serious. Amorality Tale features killer alien smog but opposes that with violent gang wars. The Domino Effect is set in an alternative universe (a SF gimmick if ever there was one) but it is full of violent, sadistic bastards. The sudden SF theme of time travel in Who Killed Kennedy is undone with the assassination. If nothing else you know with David Bishop the book won't be silly or full of belly laughs and it will definitely have a strong dramatic core.

David has a penchant for hurting the nice characters in his books that is both a curse and blessing. It does appear quite sadistic for him to have Fitz brutally beaten up (continuously) and forced in front of a camera to confess his terrorist actions and to punish James Stevens endlessly by taking away everything he loves to the point that he puts a gun to his head but it is extremely brave too. Funky guys like Fitz and James are the ones we root for in the books and to have them tortured is discomforting but powerful and keeps you reading. And that's not even mentioning what he puts poor Sarah through. David can be a little manipulative git too, killing off the nice characters earlier than the horrible ones. He reminds us frequently how unfair the world can be.

Each of his books and audios has a sparkling moment or two, irrelevant to the plot but perfect in making you glow with pride. One such moment creeps up unexpectedly in The Domino Effect, Fitz, beaten and bruised finds out that Anji and the Doctor are coming to rescue him and despite his horrific injuries laughs his head off. His torturer Hastings is incensed, he has lost any hold of the boy as Fitz cries, "My friends are coming for me, and there's nothing that you or your little tinpot army of thugs can do to stop them." And suddenly Hastings is very, very afraid of his new found confidence. A delightful reversal of fortune.

Another comes in Who Killed Kennedy when the Brigadier finally meets up with Stevens and reveals why UNIT is such a secret organisation. Stevens realises with horror as he stares down at an Ogron that he has been wrong about everything.

People have been extremely unkind about Bishop's prose and I have to set the record straight. Not quite Terrance Dicks and nowhere near Lloyd Rose, his style is perfect for the type of stories he tells. There is no Tolkien style detail or overdone similes and metaphors, David writes in a shockingly brief documentary style, not just for Who Killed Kennedy, which demanded a journalistic approach. The stories he is telling is serious and so is the prose, sharp and to the point. I wouldn't want every book to be written like this but it makes an interesting change from the usual overdone scribblings we get. Bishop knows he's no great prose writer so he doesn't pretend to be; he concentrates on his strengths, storytelling and firm characterisation. He gives his characters strong dialogue ("Saran gas in a pellet. Just imagine what I could do with this on the underground during rush hour tomorrow?", "Well I guess this is all about priorities, isn't it? You've got yours and I've got mine! Are you sure you know what you really want Doctor?" says Anji) which distinguishes them and ensures they are living, breathing people and not just ciphers in the plot.

Like I said at the beginning of this review David Bishop hasn't written much compared to some of the other, bigger Who names (Kate Orman, Paul Cornell) but in my eyes he has managed to achieve more than most because he never gives up trying to surprise you. I expect his PDA next year will be another triumph, utilising the fifth Doctor and Nyssa (no Tegan! Yay!) in Victorian England (double yay!) it sounds like a ripping read without even hearing the blurb.

And a quick message to Big Finish... use David Bishop again, he has delivered two of your best audios, you should recognise talent when you see it!

Boasting strong violence, twisted characters and dark themes David Bishop's work is not for the faint hearted but I promise you you will find his books readable and gripping and his audios impossible to turn off.


A Retrospective by John Seavey 25/6/13

There are some writers out there that are only as good as their ideas. When they come up with a good concept, all they need to do is get out of its way and let the story shine through. These writers tend not to be remembered as great wordsmiths, but that doesn't matter so much; their prose is nothing to write home about, but they've got such inventive, puzzle-box minds that you have to admire the purity of their plots even if none of the individual moments stand out.

In some ways, David Bishop (Who Killed Kennedy, Amorality Tale, The Domino Effect, Empire of Death) is the exact opposite of that kind of writer. He does come up with great ideas; in fact, I'd say that if you reduced every Doctor Who novel to a one-sentence synopsis, there'd be no question that these four would rank among the highest. "An outside-in view of the UNIT era, as told by an investigative reporter who believes them to be a sinister conspiracy!" "The Doctor teams up with the Krays to fight aliens in the East End in the 50s!" "Sinister aliens prevent the computer from being invented, and the Doctor has to free Alan Turing from the Tower of London to save humanity!" "Queen Victoria colonizes the afterlife!" All great stuff, but he doesn't seem to be able to develop them properly. It feels like he rushes through the follow-up work needed to turn a great idea into a great novel, and as a result books that should soar feel like they slog along.

Empire of Death is the perfect example. With the spiritualism craze going full-bore in the Victorian era, it seems like the perfect place to set a novel about the afterlife. (Arguably, it seems like a mistake to set it in Doctor Who, where you know you're going to have to undermine your own concept by hedging your bets on the exact nature of the Other Side, but let's grant him a bit of leeway on that because it's so easy to think that the Doctor can fit into any story concept and make it better.) Having a physical portal to the afterlife is also a great idea, because it allows you to contrast Victoria's obsession with spiritualism with her role as one of history's biggest imperialists. The scene where troops invade Heaven in order to conquer it for the British Empire is a fine piece of social satire.

But having come up with the idea, Bishop never seems to refine it. Long stretches of the novel linger on incidental characters and minor dramas, there's a strange anti-abortion sub-theme that's awkwardly shoehorned in and not allowed to develop logically (presumably due to concerns about controversy, but it seems odd to include the topic in the first place if you're going to remove any exploration of it) and the interesting parts of the plot don't really feature until the end, and then only tangentially. The characters are all stock Victorian archetypes who never inhabit their roles convincingly, the plot runs along on rails to a predefined conclusion and, at the end, the ghosts have to turn out to be aliens because it's a 'Doctor Who' novel. (As predicted at the beginning of the previous paragraph.) Ultimately, none of it lives up to its potential.

A similar analysis could be performed for any of Bishop's novels (with the possible exception of Who Killed Kennedy, which succeeds primarily because it's a pastiche of a cheesy "true conspiracy" book and so the flaws in its prose and characterization feel like little marks of authenticity.) His characters always feel like they stepped whole out of TVTropes.com holding their Idiot Balls firmly with both hands, his actual plots run on forced coincidence and authorial fiat, and there's never any sense of surprise to any of his endings. (Admittedly, that's unfair in the case of The Domino Effect, which suffers from being part of an arc where none of the authors' books ever feel like they're part of the same storyline, but The Domino Effect has other problems.) It's hard to escape the idea that Bishop is capable of writing a much better book than he has so far, simply because his ideas are so good; but that only exacerbates the frustration involved in reading them, because you're simultaneously rewriting them in your head to make the concepts involved work.

On the whole, I wouldn't say no to another novel by David Bishop, if for no other reason than Who Killed Kennedy showed so much promise that I'd like to see him fulfill it someday. But I don't think his best work will ever be his Doctor Who books, simply because I think he needs an editor who will challenge him to work harder on making his ideas click on the page, and I don't think that authors get that kind of personal attention from the editors in the Doctor Who line. The deadlines are too stringent and the workload too great to force someone to go back for draft after draft after draft... and after reading all of David Bishop's output, I think the clearest impression I got was that his books had a draft too few.