Jonathan Macno is an exciting new talent from Cardiff. In 2014, at the age of 19, he was a runner-up in our second South Wales Short Story competition and was featured in the accompanying book Breaking the Surface. After that, in 2016, Jonathan wrote the Lethbridge-Stewart short story The Two Brigadiers. This was well-received by our fans, so I contacted him immediately and asked him to write for the Lucy Wilson series.

When I first submitted work to the South Wales Short Story Competition back in 2014, which feels like forever ago, I had no idea all the brilliant opportunities that would follow. Telling a story in Lucy’s world is a privilege I’ve been working towards for a while and it’s thrilling to see the book, my first published novel, come together. The whole thing is surreal in the best possible way. The Serpent’s Tongue is special to me for a lot of reasons. I was given plenty of free reign and support from Shaun and everyone at Candy Jar, so I used the world of Doctor Who to give a platform to that most underrepresented of writers: William Shakespeare.

School kids can struggle with Shakespeare because of the way he’s often dropped on them without context, humour or fun, and that means they miss out on some wonderful worlds. I still remember the first Shakespeare I saw, a brilliant production of A Midsummer Night’s Dream my parents dragged me to that changed my life, no doubt about it. Lucy herself isn’t the Bard’s biggest fan, so this book is me trying to get her on board, and hopefully some of the readers too.

Jonathan Macno is an exciting new talent from Cardiff. In 2014, at the age of 19, he was a runner-up in our second South Wales Short Story competition and was featured in the accompanying book Breaking the Surface. After that, in 2016, Jonathan wrote the Lethbridge-Stewart short story The Two Brigadiers. This was well-received by our fans, so I contacted him immediately and asked him to write for the Lucy Wilson series.

When I first submitted work to the South Wales Short Story Competition back in 2014, which feels like forever ago, I had no idea all the brilliant opportunities that would follow. Telling a story in Lucy’s world is a privilege I’ve been working towards for a while and it’s thrilling to see the book, my first published novel, come together. The whole thing is surreal in the best possible way. The Serpent’s Tongue is special to me for a lot of reasons. I was given plenty of free reign and support from Shaun and everyone at Candy Jar, so I used the world of Doctor Who to give a platform to that most underrepresented of writers: William Shakespeare.

School kids can struggle with Shakespeare because of the way he’s often dropped on them without context, humour or fun, and that means they miss out on some wonderful worlds. I still remember the first Shakespeare I saw, a brilliant production of A Midsummer Night’s Dream my parents dragged me to that changed my life, no doubt about it. Lucy herself isn’t the Bard’s biggest fan, so this book is me trying to get her on board, and hopefully some of the readers too.

Bloodlines was always about taking a different look at our own characters, so this was a nice chance to offer up a unique look at the world inhabited by Lucy Wilson and her friend Hobo – only seen through a distorted mirror. The obvious choice for me was Chris – we haven’t actually worked together before, but we spent a lovely day at a convention a couple of years ago and after meeting to discuss the potential of this book, I knew he was the right man for the job. We had much success with our Lethbridge-Stewart/Lucy Wilson crossover project last year, but obviously we don’t want to hit the same beats again. The George Kostinen Mystery is a crossover quite unlike the previous one.

Andy and all the writers who have worked on the Lethbridge Stewart range before me have created such an intricate, well-realised universe that I have to confess I was a little nervous about stepping into it. It's somewhat like being given a very beautiful, very complicated grandfather clock and then being asked to service a number of vital parts using only a butter knife while wearing a blindfold. Thankfully, I've been let loose in my little pocket dimension where I can forget about butter knives and go at this thing with a nuclear-powered chainsaw. It's enormous fun putting Lethbridge-Stewart, George, and all other characters through the ringer, transforming jolly old Blighty into a dystopian nightmare, creating new creatures to scare people with, and revisiting my very first addition to this universe – the Clowns.”

This was a fascinating cover to compose because of the various components and the fact I had the honour of being only the second artist to interpret Lucy Wilson on a cover – the less said about getting her hair style right the better! The Kruge were a lot of fun to draw, and if you look closely you’ll spot the little drawings of their victims faces scratched into their armour.

For the first time ever, an upcoming book, Kklak: the Doctor Who Art of Chris Achilléos, will compile into one volume the entirety of Chris’ artwork for Target. The artwork will be presented chronologically, with accompanying commentary from the artist himself. The book will begin with an exclusive foreword from Achilléos’ long-time friend and collaborator – and the most prolific and popular of all Target’s writers – the late Terrance Dicks.

In many ways, Kklak… is a love letter to the Target range, which was itself a love letter to the Doctor Who fandom. It was Target’s genuine, tangible affection for the universe of Doctor Who that first inspired Candy Jar’s head of publishing, Shaun Russell, to get into the book world. As Shaun explains:
Featuring every one of Achilléos’ Doctor Who designs, as well as never before seen material giving insight into his creative process, Kklak: the Doctor Who Art of Chris Achilléos is released in late spring 2020 by Candy Jar Books.

The same life stuff that got in the way of Loose Ends got in the way of this book. When it became clear I would not have the time to write the novel, I turned to a trusted author, one who understood the main setting of the book, the village of Bledoe.

An Ordinary Man has certainly been no ordinary book. I have enormous respect for Andy; it takes guts to admit all is not well and that you need help with something. When he asked me to write this with him, I did what I'd do for any mate in trouble: I shifted things about in my own life and agreed immediately. Andy had laid the book's groundwork for me. This is still his book at the end of the day. The cornerstones of the plot and the structure had been laid, and the cast assembled. My initial challenge was planning a lot of the bits that went in between – plotting the character journeys from A to B to C. First and foremost, this is a character-led story, not an action-packed adventure. There are characters here I'd not written for before, such as Owain. But I know Bledoe, I've long known its occupants and, because I've always been a reader of the series as well as writing for it, I felt comfortable with Owain.

Unlike a normal Lethbridge-Stewart commission, this one had much more than a shopping list of elements. The story was already laid out, the opening chapters written. Tim had a very specific brief. Once he’s finished his work on it, I shall then take a pass over it myself, tweaking scenes here and there so that it more accurately matches my vision of the story.

What I've enjoyed most about writing An Ordinary Man has been immersing myself in these characters, because they're not quite what we expect them to be. I've loved seeing how far I can push a situation before the characters say 'enough is enough', or ‘okay, you win’. And what really prompts us, as human beings, to take action outside of our comfort zone, or make changes to our lives for anything other than selfish reasons. I've got a wife and a young family, I've got adult responsibilities. And I've done a lot of soul-searching in writing this book. And it's got a cover by Colin Howard. I've not had one of those before, so that's exciting!

I had quite a lot of fun with this cover, despite the original brief. That posed a few challenges. For Lethbridge-Stewart on this occasion it required him to be of the same age as Web of Fear’s colonel, however in this novel he is simply a Cornish School teacher in Bledoe, minus the famous moustache! So, time for screen grabbing Web again, to find a suitable reference of Nick Courtney at that age. Then I had to view elements of Inferno, to find a forehead reference as well as top lip! In order to flesh out my digital painting, I also added a blazer and tie of the type worn by the younger school-teacher Brig in Mawdryn Undead. I then opted for my usual ‘Way too much detail’ background of a Cornish Fishing Village. I sketch these digitally first, then paint over the sketch at around three hundred times magnification on multiple layers to allow for necessary repositioning if required at the cover layout stage. Anne Travers was again a challenge, as Tina Packer spends most of Web playing a supportive sympathetic cast member in two-hander scenes with Patrick Troughton, so therefore is subsequently ‘facially in-shadow’ with most of her scenes in the Unit base. I then had to add more of a 1970s hairstyle and dress, as her character does a little inter-dimensional time-hopping!

I have been desperate to get to do a Yeti-related cover, but things didn’t ever quite work out. So this time I ‘politely insisted’. In this novel I was told that the Great Intelligence’s London invasion is more successful without the Doctor or Lethbridge Stewart to thwart them. I decided to go to town a little with Big Ben swathed in flowing web, and two of our furry friends looming in the foreground of that section. The other element I was originally asked for was the ‘Sphere-crackling with energy’, so that completed my design idea.

How many episodes of Doctor Who have been broadcast on Christmas Day?

We’ve had such good feedback for the series of books. Reviews have been encouraging and fans seem to have embraced the series completely. As a small thank you for all of the support received, we wanted to release something completely unexpected in time for our readers to enjoy over the Christmas period.

As ever, real life drama intrudes on the creative process and when it became clear that I wouldn’t have the time to finish the collection, I decided to give two of my story ideas to two other authors, as well as use Sharon (Bidwell)’s short story sequel to A Very Private Haunting, as it fit the theme of the book. And that theme is, as the title suggests, tying up loose ends left over throughout the original run of the Lethbridge-Stewart range.

It’s a great little collection, with a nice mix of sci-fi, ghost stories, and some solid real-world drama. The Stories We Tell is a particularly touching tale, bringing as it does a parallel between the fictional life of Anne Travers and the real life of a Doctor Who fan who died in 2016 at the young age of only sixteen.

It was important to me that this book was dedicated to the family of Rhys Rubery, my young friend who died three years ago, and so Adrian did a wonderful little portrait of Rhys for the cover.

In his five decades as an illustrator, painter and conceptual artist, Chris Achilléos has four best-selling books of his art, Beauty and the Beast, Syrens, Medusa and Amazona. He worked with the likes of George Lucas, as well as producing the iconic promotional art for the cult film Heavy Metal. But it is probably his work for Doctor Who that is the most enduringly popular.

His covers for the official Target novelisations, which began in the early ‘70s, defined a generation’s image of the Doctor and his adventures – particularly after the show disappeared from British screens in the late ‘80s.

Lavishly detailed, with psychedelic overtones and an unapologetically pulpy sensibility, these covers perfectly captured the eccentric appeal of the classic series. To this day, Doctor Who luminaries tip their hat to the influence of Achilléos’ work. The opening of a 2016 exhibition of Target’s cover artwork at the Cartoon Museum, London, attracted the series’ then-showrunner Steven Moffat, as well as twelfth Doctor Peter Capaldi.

With the Doctor long back on our screens, and more popular than ever, it is perhaps surprising that Achilléos’ Whovian oeuvre (or Whoeuvre, if you will) has never been collected in one place.

Kklak: The Doctor Who Art of Chris Achilléos, an upcoming title from award-winning independent publisher Candy Jar Books, aims to address this. For the first time, it collects the entirety of Achilléos’ Doctor Who artwork in chronological order, along with commentary from Achilléos himself (as well as some fans) – presenting the definitive guide to his seminal work. The book also includes a small contribution from twelfth Doctor Peter Capaldi and a foreword from Achilléos’ long-time friend and collaborator, the late Terrance Dicks.

Achilléos explains his motivations for compiling the book:


As the home of the Lethbridge-Stewart series, one of only a handful of fully licensed Doctor Who ranges outside of the BBC, Candy Jar was the natural home for Achilléos’ new title. As Candy Jar’s head of publishing, Shaun Russell, explains:


Featuring every one of Achilléos’ Doctor Who designs, as well as never before seen material giving insight into his creative process, Kklak: the Doctor Who Art of Chris Achilléos is released in April 2020 by Candy Jar Books.

Some stories feel unfinished. When I wrote A Very Private Haunting, I left a few threads I was unsure I would ever pick up again. I already had the title of the book long figured out together with my basic idea when asked to write another novel in the range. My book, to once again feature Anne Travers, couldn't have come together more perfectly, though with consequences I never imagined at the beginning. The Shadowman features a returning character from A Very Private Haunting, which allowed me to play with someone who comes across as a thoroughly nasty character, though I see a greater depth to him. I'm a multi-genre writer, though I tend to gravitate back to what I call dark fiction, and there's definitely darkness in The Shadowman. I'm finishing some lighter projects at present intending to work on my first horror novel in the new year after completing some preliminary notes and research, so going through The Shadowman again recently has been very useful in that regard.

I take Sharon wherever I go. She’s worked with me on many projects now, so it was inevitable when I heard that Big Finish were looking for more female authors, that I would put her name forward. I’ve read her story, had some input, and it’s going to be a lot of fun for fans of Jo Grant and the Eleventh Doctor. In terms of The Shadowman, Sharon sent it to me some time ago, at which point it wasn’t part of any particular novel sequence, but rather a continuation of the ongoing narrative began in 2015. But once the Bloodlines concept was developed, it seemed to me that Sharon’s story was a perfect fit, with a few continuity tweaks here and there to place it in an alternative reality in which the events of A Very Private Haunting still happened – more or less as featured in that novel.

I’ve known Paul for thirty years. He’s a great artist with a flair for almost any style. He is particularly well-known for his beautifully illustrated trading cards and TV tie-in comic strips. When the opportunity for him to do a cover came up, I could think of no one better to tackle the Shadowman.

Joining the team at Candy Jar is quite literally a dream come true. I get to illustrate stories featuring much-loved characters from my childhood. I have the honour of seeing my work adorn the covers of some quite wonderful stories by a very talented team of writers, many of whose works line the bookshelves in my studio. I get to join a list of hugely talented artists I admire and who have been major influences on my life and work. But best of all, I get to finally work with my friend, something that's been long overdue.

With the cover to The Shadowman, I wanted to evoke the feeling of 1970s Doctor Who. I knew I wanted to homage the Pertwee years, so the illustration of Anne Travers was very much based on the character of Section Leader Shaw from Inferno, whilst the background should be instantly recognisable to any true Doctor Who fan. The Shadowman himself is actually straight out of one of my own nightmares and when Shaun described the character to me, I knew immediately how he should appear. I used pen and ink with a base wash of alcohol marker, embellished with coloured polychromous pencils and white ink for highlights. I then added lighting effects in Paint Shop Pro, which is my go-to software of choice. It's a relatively new style for me and something I'm still trying to perfect.