The Red Lines Page

January 12, 2014

Here’s one I saved earlier

Filed under: Blake's 7 — Peter A @ 4:56 pm

These days, enthusiastic viewers of the BBC’s Blue Peter programme can learn from Jedward how to make a ring-pull bracelet from drinks cans. But back in 1978, I learned from Lesley Judd how to make a Liberator teleport bracelet from drinks bottles.

Better yet, the BBC posted out free instruction sheets to me and me and lots of other Blake’s 7 fans. And in a recent clear-out, I found them again. So here they are.

Instruction sheet 1 Instruction sheet 2 Instruction sheet 3

And if you prefer to have Lesley Judd explain the step-by-step instructions, here she is on YouTube:

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December 21, 2013

Gauda Prime day

Filed under: Articles,Blake's 7 — Peter A @ 7:27 pm

Today is Gauda Prime Day 2013. It’s the anniversary of the first broadcast of “Blake,” the finale to season D of Blake’s 7 over three decades ago. I wrote in a previous blog post about how I got to see that episode being recorded at BBC Television Centre in 1981. This new post follows on from that — as my pals Peter, Tony and I left the studio floor and were shown by producer Vere Lorrimer up a flight of metal steps, not unlike a fire escape outside a building, and to the production gallery.

The production gallery

Title caption for BlakeEn route, we saw a small room where images from the studio cameras were monitored to check the quality of all the images being recorded, and where adjustments could be made if necessary. Beyond this was the main production gallery where the director, vision mixer, and director’s assistant behind a further row of TV monitors and control panels that would put the Scorpio to shame. A large glass window in front of that overlooked the studio, though the lighting rig and the backs of various sets made it impossible to see the whole of the studio. They relied on monitor images, from the TV cameras on the studio floor, to see what was happening. Once the recording started, it was disorienting to see the erratic, abrupt images on the smaller monochrome monitors relayed the feeds as the cameras moved into position between shots. The principal image, the one that would be recorded “as live,” was larger and in colour.

The final rooms we were shown through were the sound mixing area and a smaller space where the computer graphics were generated for the in-studio display screens.

For the recording, we were allowed to sit in the Producer’s both. This contained a TV screen that displayed the image being recorded, and also an audio feed that combined the sound from on-set and from the director in the production gallery. This meant we could chat to each other as things went on, while not disturbing the production team who were the other side of the glass window from us, only four feet away. Vere Lorrimer left us to watch the rest of the studio session, while he returned to the production gallery and his seat behind director Mary Ridge.

Occasionally, the production associate Frank Pendlebury would drop in to use the phone on the desk in front of us. He seemed to be quite concerned about some missing videos. Every time he came in, he was polite and apologetic about disturbing us. This was characteristic of the courtesy we were shown by everyone at the BBC during our visit.

As we watched the continuous output on our TV monitor, we saw the first scene of the session being recorded. This was the one in the forest hut, where Vila, Dayna and Soolin take refuge for the night.

Vere Lorrimer had warned us that the necessity to try scenes over and over again might seem boring. But with so much to see as the programme progressed, whether scenes actually being played or the director correcting and adjusting little items, there never seemed to be a dull moment. We could see and hear everything that director Mary Ridge could see and hear, even between scenes as lights were altered and cameras focused and refocused on the actors.

The forest hut

Soolin, Dayna, and Vila break into the abandoned forest hutAn effects shot explodes in the wall next to Avon (Paul Darrow)Vila, Dayna and Soolin burst into the hut, but something is not quite right with their entry, and Mary Ridge has the scene done twice again. each time, the planks have to be put back over the door, and then crashed down as the trio smash their way in. Before this, however, there is a slow circular look by one camera around the stove so that we can see the hut and appreciate the quietness of the scene before their arrival. Then, when finally in at the door, Glynis Barber (Soolin) is not visible because the “shafts” created by the lighting people to give the impression of a broken roof do not illuminate her face.  She is realigned, and the scene is done again.

Michael Keating (Vila) moves into the room as he complains, and the camera follows him around the stove. Josette Simon (Dayna) is picked up

he sounds of the flyer was added in post-production) there is a zoom to the doorway where the lights are dancing around. by another camera, and moves towards Vila and delivers her lines. The camera stops with Soolin as Dayna passes, then cuts to Vila. There’s a series of cuts between speakers as Dayna goes to the doorway, and back to Vila as he hears a noise. The women are seen at the dorway, and then as lights start to illuminate the broken hut (t

The women take one side of the door each, and Vila retreats to the back of the hut. When the lights have gone, the focus is on Dayna and Solin — who find that Vila is hidden beneath the covers.

Then it’s back to the less hurried direction of a conversation as Dayna and Vila argue, and Soolin speaks her penultimate line (“you have to assume everyone is out to get you). We cut to Vila grinning (“I always assume that, wherever I go”), then Soolin’s final line (“The difference is, on gauda Prime, you’ll be right”) and finally back to an unhappy Vila.

The advantage of being able to see the continuous output and all the other monitors is that we could see the various other shots being set up, in the knowledge that we’d be able to see the final version on TV and were thus “missing” nothing.

There was a subsequent scene in the hut. This was set up by “lighting” the prop stove with a red lamp inside it, and bringing Michael Keating a blanket for Vila to wrap himself in. All the while, production manager Henry Foster on the studio floor with the actors relayed the instructions from Mary Ridge. He was very recognisable in his navy blue jumper with HENRY in colourful capitals on the front.

Avon has rescued Vila... and Orac

In this scene, the bounty hunters surprise Vila, and Avon bounds in to the rescue. It was a chance for us to admire Mary Ridge’s direction, as the number of different shots and “follow-ons” were set in motion. In the gallery, to her left, sat the director’s assistant Winifred Hopkins, calling e shot numbers as the director said “cut” to cue each camera change for the vision mixer.

The guns used in most of the scenes we saw could only fire one shot without having to be reset by the special effects team. So when rehearsing a scene ahead of a recording, the actors said “bang” rather than use up the prop charge. And if a second shot was required from the same gun, the actor said “bang” for the second or subsequent one. The feeble fizz of a prop discharging was replaced in post production with an effects sound. Avon (Paul Darrow) needed to kill two bounty hunters in this scene, fore example. A further effects requirement was for a charge in the set itself, when one of the bounty hunters shots at Avon but only hits the wall.

In the scene, Vila is surprised by the hunters, who prepare (rather unconvincingly, we thought) to bash Soolin and Dayna who were still sleeping. Avon comes in and disposes of one hunter, who falls down quietly. The other is more belligerent, shoots back, and is then shot. At this point, the extras had to “die” again, as their death cries had been disappointingly muted. On cue, they groaned melodramatically and (although not being recorded in vision) clutched at their stomachs. “They do try hard,” observed Mary Ridge as an aside, before telling Henry Foster to ask one for another groan. The extra dutifully provided a expiring groan. “Tell him he died beautifully,” said Mary.

The rest of the scene was then recorded, into which Avon’s recovery of Orac (on film) would subsequently be inserted.

While they set up the next sequence, we were wondering (like Vila) whether Tarrant was dead. Tony Murray was never a great Tarrant fan — despite having being on a previous set visit to see “Death-Watch” recorded, and thus having twice the Tarrant for his troubles on that occasion. So Tony was not-so-secretly relishing the thought that Tarrant had already been killed.

Blake on film

Blake on filmAs the set for the s the tracking gallery was readied for use, we were able to glimpse some of the film work on a monitor. The images consisted of Blake (Gareth Thomas) chatting with a small, young woman. He held her at gunpoint, killed some men… It was an odd sequence to see, because it was edited together in a final form but we had to guess at what was happening because the film sequence was silent. And it slowly dawned on us that Blake had a remarkable scar across his left eye.

Not a good idea

At this point, Vere Lorrimer dropped in again to suggest that we grab something to eat. So we went down to a snack bar and bought coffee and biscuits (the student idea of a nourishing meal). I phoned the Marvel office, in the hope of reaching Stewart Wales (the editor of Blake’7 Monthly who we had failed to meet earlier in the day). This was in the days before mobile phones, so it meant feeding ten pence pieces into a pay phone half-concealed with a plastic sound-muffling cowl. Alas, Stewart was still in his conference meeting, and so we returned to the Producer’s booth.

Our whole trip had been set up by Vere Lorrimer as a courtesy to Blake’s 7 Monthly, for whom we were hoping to provide the same kind of writing services that our friend Jeremy Bentham had been doing so admirably for the longer-established Doctor Who Monthly. When he heard that we’d been unable to reach Stewart by phone, Vere Lorrimer thoughtfully arranged for us to meet Ken Armstrong, a photographer working for Marvel who was in the studio that day taking photographs of the episode.

We had a chat with Ken about the ideas we had prepared for Stewart Wales. We thought we might write detailed synopses of the episodes. “Not a good idea,” said Ken. We suggested we could review stories. “Not a good idea,” said Ken. Write comic strips? “Not a good idea,” said Ken. All our finely wrought creative ideas seemed to appeal to him as much as if we had presented him with a cup of cold vomit. Everything was “Not a good idea.” He may as well have had a card printed with those four words on it.

Nevertheless, Ken did have some ideas about what we might do. We could provide news on fan activities and fanzines. And we should try to make sure that the door didn’t whack us on the arse as we left. He didn’t say that last bit, but that was the impression we got. (I’m sure he’s a really lovely chap, and obviously to suggest otherwise is not a good idea.)

Writing for "Blake's 7 Monthly" - not a good idea, apparently.Thus we saw  before us, in Ken, an insurmountable obstacle to contributing anything interesting or meaningful to Blake’s 7 Monthly. It wasn’t at all the way we thought we had already been able to excite the editor’s attention — and earned a trip to the BBC Television Centre in preparation for that. I suppose, to be fair to Ken, he did write for the magazine, and may even have been deputy editor. So he probably saw before him, in us, three spotty oiks who wanted to pinch all his work on the publication.

Or maybe he’d already seen the writing on the wall, because of the events in this episode, “Blake.” Because while making our phone call and eating our biscuits in the coffee area, we had seen a group of extras dressed in Federation Trooper costumes. But not yet made the connection.

More about that in my next blog about this studio visit.

December 15, 2013

Mirror image

Filed under: Audios,Blake's 7,Mirror — Peter A @ 5:25 pm
Tags: ,

MirrorThose splendid people at Big Finish have been publishing the covers of their forthcoming full-cast audio Blake’s 7 episodes. One of them is mine: Mirror. More news about that in the new year.

In the meantime, here’s what I can say about it:

Synopsis

Orac has tracked Space Major Kade – the man who killed Jenna’s father – to the planet Vere.

Jenna wants her revenge, but that must wait. Blake needs her to pilot the Liberator to Stellidar Four, where he has a small window of opportunity to solve the mystery of a new Federation device.

It’s a daring plan. And it could be the beginning of the end for the Liberator crew.

Written by: Peter Anghelides
Directed by: Ken Bentley

Cast

Gareth Thomas (Blake), Paul Darrow (Avon), Michael Keating (Vila ), Jan Chappell (Cally), Sally Knyvette (Jenna ), Brian Croucher (Travis), Alistair Lock (Zen and Orac).

April 1, 2013

Free sample

Filed under: Blake's 7,Novels,Warship — Peter A @ 1:59 pm

WarshipHave you been tempted by my novelisation of Blake’s 7: Warship, but afraid to commit? Fear no more! You can obtain a free sample from Amazon in the UK and in the US. And also in Japan and Germany and France and Canada and Italy and Spain.

The free sample is sent automatically to your iPhone, PC, Mac or iPad device. And if you don’t have a free reading app, you can download one here.

So, go ahead and try the first two chapters (and part of the third) before you decide to buy. And then go and buy it here from Big Finish, because (a) they’ll get more money and be able to use it to make more great Blake’s 7 stuff and (b) it’s cheaper.

Sadly, neither the the e-book nor the free sample are available from Amazon China. But there is another extraordinary title that caught my attention.

It’s The Essential Writer’s Guide: Spotlight on Peter Anghelides, Including His Analysis of His Best Sellers Such as Kursaal, Frontier Worlds, and More [平装]. To be honest, I’d save your money on that one. Even if it’s only ¥190 I’m sure that’s twenty quid you could spend more wisely elsewhere. And 平装 means “paperback,” so it’s not even that much of a bargain in the first place.

Filling the gap

Filed under: April Fool,Articles,Audios,Blake's 7,writing — Peter A @ 12:03 am

Singing headache eyepatchI’m delighted to confirm that my audio Blake’s 7: Warship was so successful that Big Finish has invited me to write three new scripts. Like my original one, they will be full-cast audios starring the original characters, and fill in the secret history of the first half of the programme’s history. The series will be called: “Blake’s 7: Filling the Gap.”

  • “They must come to us.” But just how did the Decimas reach their final destination? Find out in The Web Planet, featuring Deep Roy as all the Decimas.
  • What was the aftermath of “Breakdown”? You’ll be amazed by the answer in No Limit, with Alistair Lock playing Gan.
  • And most excitingly of all, what happened that caused such a change in our favourite Space Commander? Discover the truth as Stephen Grief and Brian Croucher star in The Two Travises.

Furthermore, there is perceived to be another, significant gap in audio publishing – a gender gap. So, in the light of recent publicity about the disparity in girl writers, I have graciously convinced Big Finish to publish my scripts under the pseudonym “Stephanie Ledger.”

It’s the right thing to do, even if it’s a shame to lose my surname – because that would continue to suggest there are more foreigners writing for the company, in a publishing house hitherto best known for English surnames like Morris, Richards, Cole, Lyons, Briggs, Russell, Barnes, Morris, Wright, Robson, Briggs, and Morris.

Nevertheless, it’s an exciting time to demonstrate this new commitment to gender diversity. New adventures for our favourite characters. More work for me. And a wider range of women’s names on the merchandise that adorns the shelves of fandom.

The first audio should be available for pre-order later this year, with a proposed publication date of a year from today.

March 24, 2013

Good companions

Filed under: Audios,Blake's 7,drwho,Ferril's Folly,Four Doctors,IBM,writing — Peter A @ 4:39 pm

What a splendid day I had yesterday at the Big Finish Day 3 event in Barking.

ImageI also was pleased to chat with Kenny Smith, whose labour of love has just been published. It’s the Big Finish Companion Volume 2, and I commend it to you.

It quotes hundreds of people, including almost every writer, several Doctors, many companions, and loads of musicians, directors, sound designers, and cover artists.

Kenny was interviewed about it himself.

Here’s the full interview that I did with Kenny last year. To see how he has skilfully woven this into the book, and enjoy loads more fantastic stuff, go to the Big Finish website and buy the book.

 

Kenny Smith: How much did Ferril’s Folly change between your initial pitch for it, and the finished storyline?

Peter Anghelides: Quite a bit, and hardly at all! There was a long delay between it being pitched and then the final version that was produced. It was only in the latter stages that it was actually under contract for a Companion Chronicles FerrilAt one stage, I was one of the authors invited to pitch for the BBC Audio series that became “Hornet’s Nest”, which at the time had the rather splendid code name “Felt Hat”. So I worked up a version of “Ferril’s Folly” (possibly called “The Iron Lady” at that stage. Commissioning Editor Michael Stevens eventually went with Paul Magrs for all of those audio readings, which also turned out to be a sort of halfway thing between Companion Chronicles and full-cast audios. And in any case, Michael also recognised the origins of “The Iron Lady” because he gets to see Big Finish’s prospective storylines in his role at BBC Audio (now AudioGO). That version would have had the Doctor as the principal narrator, rather than Romana.

After that, Big Finish was making one of its occasional attempts to tempt Tom Baker to do their full-cast audios, and I re-jigged things as one of my suggestions for that. Alas, that came to nothing, either.

Some years after I’d first got the thumbs up for the Companion Chronicles version, I asked Big Finish whether they still wanted it, because I had some time free up to write it. And they said “oh, yes please” in a way that suggested they’d never thought otherwise. So we finally signed contracts, and I delivered it as originally planned – and in very much the same form that I had originally proposed.

Can you briefly explain why it was delayed after it was first announced?

I had agreed with Big Finish that the outline was what they wanted. But before we signed contracts, they also asked me to write the finale for their Key 2 Time audio plays trilogy, a story that became “The Chaos Pool”. As that was a full-cast audio, not to mention too good an opportunity to miss, I agreed. I was also contracted to write a Torchwood novel with BBC Books, and there was a wodge of other non-Who stuff I was working on at the same time.

I explained to Big Finish that I wouldn’t have time for everything, and did not want to commit that I would deliver scripts only to let them down. I asked them which they wanted more – the Companion Chronicles or “The Chaos Pool”. They chose the latter, so that’s what I was contracted for. There was also some consideration that a story based during the first Key to Time sequence was a bit too close to their Key 2 Time stories. So as well as deferring my audio, and because they had already lined up Mary Tamm to participate, they commissioned a replacement “first Romana” story from Nigel Fairs called “The Stealers from Saiph”, and set it after “the Armageddon Factor”.

And as I mentioned earlier, other work and alternative versions of the story meant I didn’t get around to writing the script for several years.

Was finding a Key to Time device hard to include, and to explain away its lack of being found in the story?

I rather liked the idea of them not quite succeeding in a mid-season story, so I knew that I wanted them to find the segment and then have it slip from their grasp at the last minute. I then worked in a reason why they would have to let that happen – it’s a conscious decision, not a careless oversight.

I also decided on a distinctively different item for the segment’s disguise. We already knew it could be as varied as jewellery or a planet or a religious totem, and influenced other items around it. Plus there’s a lovely bit of dialogue in Jonathan Clements’ Key 2 Time script “The Destroyer of Delights” that suggests segments could be a grain of sand, or a leopard’s tooth, or a blob of molten lava, or even an atom of snot. That speech inspired me to make my segment something in a distant part of the galaxy that had then “infected” the meteoroid that brought it to Earth.

How did you find writing for the first Romana, having written for her second incarnation before?

I love that original “Key to Time” season. Much as I also enjoy Lalla Ward’s performance, I always wanted more stories with Mary Tamm’s incarnation… and this was a great excuse to do one. With another Riomana also in “The Ancestor Cell”, I suppose I’ve written rather a lot for the character now. There’s probably a collective noun: “A snoot of Romanas”, perhaps.

What did you think of the finished play, given its lengthy gestation period?

It’s wonderful to hear the final version, because it’s the application of acting and directing and sound and music and editing talent to my original script. Plus, I got to attend the recording in the studio, and that’s always great fun.

Any assorted bits of trivia, like origins of character names, etc?

Ferrill is obviously derived from “ferrous”, because of her affinity for iron. I originally called the scientist Öpik after an Estonian astronomer called Ernst Öpik. I found out about him because his son Lembit was, until recently, a Member of Parliament who spoke up about the dangers of asteroids striking the Earth – which in a way sadly typical of modern politics earned him derision rather than a thought that he might have an informed view. The script uses the phonetic spelling “Erpik” because there’s no point making life unnecessarily difficult for the actors.

I smuggled in other characters called “Clark”, “Stanford”, and “Andrews”, so that I had the excuse at one point to have a sentence that read: “The Doctor, Andrews, Stanford, Clark, and the others all raced out of the pub.” Because I knew that would make one of my colleagues who listens to the audios, an IBM Distinguished Engineer called Dr Andy Stanford-Clark, leap out of his chair in surprise when he heard it.

There’s also a vintage car joke in the dialogue somewhere. It was the sort of thing I imagined Tom Baker would have introduced as an ad lib during Season 16 rehearsals. See if you can spot it.

Any idea where in their timelines “The Four Doctors” story takes place for each of the Doctors, continuity-wise?

I have no idea. Any suggestions? I certainly didn’t worry about it when I wrote the script, and it doesn’t affect the narrative.

One imaginative reviewer suggested where they would each fit in, based on all sorts of things I didn’t even think – or wouldn’t even have known about, such as the costume worn by Sylvester McCoy on the front cover.

The first draft featured a reference to Charley Pollard being elsewhere in the TARDIS while the Doctor is gallivanting about. I don’t know whether that counts.

January 4, 2013

Spelling B7

Filed under: Blake's 7,Novels,Warship,writing — Peter A @ 3:33 pm

I’ve been pondering the accuracy of my spelling when writing Warship for Big Finish at the end of last year. Big Finish does make an effort to get spellings correct wherever possible (yes, even though the occasional spelling of Bayban may seem to have been butchered).

Screen reading in Blake's 7Mostly obviously, one can rely on sources for things seen on screen. Literally in some cases — names that appear in Blake’s court records, for example, in “The Way Back.” In some episodes, there are displays on the flight deck that may repay attention with a freeze frame, a magnifying glass, and a mirror. (Or it is Flight Deck?)

clippingAnother kind of “seen on screen” is in the titles. “Blake” in “Blake’s 7” at the start of every episode, for example. Or “Soolin” in the end credits of every episode in Season D. And usually, you can rely on Radio Times credits being written by the production team and therefore correct for planet names or characters.

A third kind of seen on screen is in the subtitles. That’s trickier, because some subtitles could be phonetic, but they are available on officially licensed merchandise, and that may count for something. There are downloadable subtitles on the web, but I’m not always sure of their provenance.

Original scripts? Not everyone has access to the original scripts — and even then, the scripts may be inconsistent (because dialogue is written to be said, not seen, so it hardly matters) even within the same script. I think this may be where the mismatch between “tarial cell” and “tarriel cell” comes from. Since I once wrote a couple of B7 encyclopaedias called Tarial Cell, you can work out my preference.

Project AvalonThere are the novelisations — which would have been based on the scripts, and so one might anticipate the spellings would be correct there, or as correct as the original scripts. Trevor Hoyle’s novelisation of “Orac” in his Project Avalon book uses “Tarial Cell” whereas Tony Attwood’s novel Afterlife adopts “Tarriel Cell.”

There are online transcripts, but those may rely more on phonetic approximations by the transcribers — and sometimes, those may be inconsistent, too.

BBC Picture Publicity used to make photos available to the press with captions stencilled on the back of them. So that’s another “official” source that you might expect to be (usually) accurate.

Programme GuideThe Tony Attwood Programme Guide is another source, and was not only licensed by Terry Nation’s company but also had the support of production team members. That prefers Tarriel Cell, incidentially, including capitalisation. Boo! It also includes “Galactic Monopoly” which I don’t think was ever officially used in the TV series for its appearance in (for example) “Terminal.”

There’s Wikipedia, too — for example, that has a list of Blake’s 7 planet names.

The splendid Sevencyclopedia (ah, do you see what they did there?) has lots of detail, and sometimes offers variant spellings.

There are other books like Blake’s 7: The Inside Story (Nazzaro/Wells) which was co-written by a production member and uses original sources. And there is Liberation: The Unofficial and Unauthorised Guide to Blake’s 7 (Stevens/Moore) which is written by dedicated enthusiasts who have also done B7 spinoffs. Don’t be put off by the title, it is well researched.

Some examples…

Orac likes tarial cellsAs I explain, I prefer “tarial cell” to “Tarriel Cell.” But is it lower case (as in solar cell or photovoltaic cell) or capitalised (as in Phillips screwdriver or Allen key) or both capitalised? I’m not aware of anything in the TV series or spinoffs that lend credence to one or the other (e.g. naming it after, say, Ensor’s first wife Jane Tarial who he met at university, or something). And we don’t seem to use “Teleport Bracelet” rather than “teleport bracelet.” So I prefer lower case (as does Sevencyclopedia). But I’ve even seen the variant “Tariel Cell” somewhere too. Tsk!

I think the spelling of Jenna’s last-known destination is “Morphenniel” because that’s what the subtitles say in “Powerplay” and it is also used by Sevencyclopedia and Wikipedia. Nevertheless, the Programme Guide spells it as “Morphaniel” (which I have not seen in other reference sources).

Similarly, I prefer “Sarran” as the planet where we first meet Dayna — that’s what is used in the Programme Guide, the DVD episode subtitles, the Sevencyclopedia, and Wikipedia. But Liberation adopts “Sarren,” and I think The Inside Story does that, too.

I think the best thing is to avoid the most egregious errors, and stay consistent within the BF books.

December 13, 2012

Blake’s 7: Incentive

Filed under: Audios,Blake's 7 — Peter A @ 3:42 pm

incentiveBig Finish today announced release 6 of The Liberator Chronicles.

This was originally the collection that would have included Warship, which was subsequently spun out into a full-cast audio of its own.

So I wrote a replacement script to be one of the three, and that’s called “Incentive.” Better still, it reintroduces Tarrant to the audios, played by the wonderful Steven Pacey.

I enjoyed today’s studio recording very much. I’ll blog some more about it at some stage.

August 20, 2012

B7 podcast update

Filed under: Audios,Blake's 7,Warship — Peter A @ 7:48 pm

Big Finish Productions have released a podcast featuring some clips from my full-cast Blake’s 7 audio Warship. Click the link to hear it!

And of course you can pre-order the audio here. And while you’re at it, pre-order the novelisation that I’m doing here.

Still no more news about the other Blake’s 7 thing I’m doing. It was almost done… and then it took an unexpected and even more exciting turn!

August 8, 2012

Warship trailer

Filed under: Audios,Blake's 7,Novels — Peter A @ 10:27 pm

Blake's 7: Warship (novelisation)Big Finish Productions have released the first trailer for my full-cast Blake’s 7 audio Warship. Click the link to hear it!

http://bigfinish.com/releases/popout/blake-s-7-warship---cd-and-download-815

But more importantly, pre-order the audio here. And while you’re at it, pre-order the novelisation that I’m doing here.

More news here soon , I hope, about another Blake’s 7 thing I’m doing.

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