The New World

The New World

Kaz, Dora and Jana – three people from three different time periods, brought together by forces they don’t understand, given powers they can barely comprehend.

 

And nothing – not war, not betrayal, and not even death – has been able to tear them apart.

But now, after everything they’ve been through, they’re about to find the bonds of their friendship tested in ways they could never have imagined.

This is the stunning, epic conclusion to the incredible story begun in TimeBomb and continued in Second Lives: a story of friendship, of love, and of learning what it means to be extraordinary.

Buy The New World
Second Lives book cover

SECOND LIVES

 

“Andrews pulls out all the stops… and he has masterfully interwoven past, present and future into a story that will have you on the edge of your seat from beginning to end” Feeling Fictional

“Fun, fast and furious… a huge step-up from Timebomb. It will leave you demanding more” Escapades of a Bookworm

“a thrilling and well-developed SF adventure, the characterisation is as multi-dimensional as the time-travel plot” GeekLife

 

BUY SECOND LIVES NOW

JOIN MY MAILING LIST


TIMEBOMB

TimeBomb was tremendous fun… I finished the book in one sitting. If you enjoy fast-paced, action-driven time travel stories, this book is for you, whatever your age.” A Fantastical Librarian

“Well-written, funny, sad and exciting.” For Winter’s Nights

“Fast paced and incredibly addictive.” Feeling Fictional

BUY TIMEBOMB NOW

The Deadly Affair (1967)

John Le Carré’s first novel, Call For The Dead, is a hybrid thing – a spy novel masquerading as a murder mystery, or perhaps a murder mystery masquerading as a spy novel. It feels appropriate that its genre is as slippery as a spy’s legend, but however you choose to classify it, it’s a thumping good read. The film version is, for the most part, extremely faithful to the source material. We open in St James’ Park, where Charles Dobbs (James Mason) is strolling up and down the bridge (from which I once leapt into the water to rescue a drowning cygnet while on my way to work, fact fans!) chatting with Samuel Fennan (Robert Flemyng). Fennan, a Foreign Office employee, has been accused, in an anonymous letter, of being a spy for the Soviets; Dobbs, a spy, is conducting an informal interview to see if there’s any truth to the letter. He concludes there isn’t, but their conversation has been overseen. Later that night, Fennan apparently commits suicide. Dobbs’ superiors want to sweep it under the carpet and blame Dobbs for scaring the dead man, but Dobbs doesn’t buy it and begins to investigate the death. The first thing to say is that Dobbs is, obviously, Smiley – in ’67 the rights to the character still rested with the makers of The Spy Who Came In From The Cold, who had cast Maigret’s Rupert Davies in the role two years earlier, so he was simply renamed for this film. I’m going to call him Smiley coz that’s who he is. Spoilers for the whole film follow. His investigation... read more

The Looking Glass War (1970)

John Le Carré’s fourth novel, The Looking Glass War, was a satirical rejoinder to all those who had, he felt, got the wrong end of the stick in respect of The Spy Who Came in from the Cold. Feeling that they had missed the point that the spy game was a futile, squalid, hopeless affair, he turned the futility, squalor and hopelessness up to 11 to craft a novel that even the least perspicacious reader would realise was a straight up satire. The book was not a critical success and Le Carré later said that ‘readers hated me for it’; they just, he concluded, loved spies too much. Filming the book was not easy. Published in 1965, it was optioned immediately and spent four years in development hell as various writers, directors and producers tried to wrangle it into a workable script. When it reached the screen in January 1970, it was the third big screen Le Carré adaptation, after The Spy Who Came in from the Cold (1965) and The Deadly Affair (1967), and while it is significantly less successful than its predecessors, there is still a lot to enjoy here. The film opens with weary British spy Taylor (Timothy West) taking receipt of film from the pilot of a passenger plane (Frederick Jaeger) who has diverted the flight to take aerial photos of a suspected missile installation on the East German border. Taylor grumbles that his bosses won’t even spring for a taxi back to his hotel and so he trudges down a frozen Finnish road in dead of night, carrying the precious film. He is knocked... read more

A Life in Doctor Who magazines

It’s mid-afternoon on Saturday 13 October 1979. I’m seven years old and I’m in the living room of my grandparent’s house at 85 Kenilworth Road, Aston, Birmingham. Out the window I can hear the crowds at the Aston Villa ground roaring in appreciation of another goal. When I hear the unmistakeable final roar that signifies the end of the game, I will turn on the telly for the football results and Grandad and I will sit there as he fills in the pools coupon and finds, yet again, that he’s not won a penny. Once that ritual is complete it will be time for the exciting third episode of the current Doctor Who story, City of Death. Earlier that morning Grandad and I spent a happy hour recording an improvised radio play on audio tape. He played Long John Silver and I was Jim Hawkins. We battled pirates and brigands, survived the curse of The Black Spot, fought swashbuckling cutlass fights, and retired to the Admiral Benbow Inn for ale after our exertions. Grandad is now tending his homebrew, which bubbles and belches under the kitchen counter where he hides it from my Gran, who tolerates it but disapproves. Left to my own devices, I’ve taken the eiderdown from my bed upstairs – no duvets yet – laid it on the floor and put the sheepskin rug on top of it. I’m lying there on my tummy, reading.  The gas fire warms the soles of my feet. Next to me lies a pile of Doctor Who stuff. Patrick Troughton stares seriously over the top of his 900 year diary... read more

Doctor Who and The Massacre (of St Bartholomew(‘s Eve))

Occasionally I lose my tiny mind and I pick a lost Doctor Who story, grab up everything about it that I can and devote a week to deep diving into it. This week it was the third season historical The Massacre, produced under the aegis of script editor Donald Tosh (who Loose Cannon interviewed about the story) and producer John Wiles. I have read the shooting scripts, watched the Loose cannon reconstruction, listened to the narrated soundtrack, listened to Peter Purves’ reliably brilliant reading of the novel, read the Pixleyana entry in the Complete History, read James Cooray Smith’s excellent and illuminating Black Archive book on the serial, read Rob Shearman and Toby Hadoke’s take on it in Running Through Corridors, moaned that there isn’t a Fact of Fiction feature on it yet, and rummaged through all the existing photographs. I’m not sure I have anything new to add, but these are the things that occurred to me, noted down as much for the benefit of my memory as your edification. For those who don’t know the story, here’s a précis. The script was substantially (totally?) rewritten by Donald Tosh because he felt John Lucarotti’s scripts were historically inaccurate – so all the historical inaccuracies in the script are Tosh’s own. In the process of rewriting, possibly due to time pressures, large parts of the storyline, particularly the Doctor’s role, become completely incoherent. In episode one I think it’s most clear what Lucarotti intended. When the Doctor is leaving Steven alone in the Inn, he is noticed by Roger, a Catholic. From what we can gather from the script, Roger... read more

The DCMS rebrand (and me)

Yesterday the Department for Culture, Media and Sport renamed itself the Department for Digital, Culture, Media and Sport. I ran digital comms for the DCMS for about a year 2009/10 (honest, I did), a period which covered the last six months of the Labour government and the first six months of the coalition. During the first half of my time there, we redesigned & rewrote the website, but we couldn’t launch our shiny new digital efforts (long since replaced by the much better gov.uk) till after the election. As the extended purdah negotiations ended, and the new government was announced, we launched the new site and rebranded our Twitter account, which at that point had a few thousand followers. Despite my presence, I often had a hard time convincing some of my colleagues in the Press Office about the importance of digital communications. This scepticism was reflected upstairs after the election. Upon being shown the department’s new digital presence, one newly minted Tory minister, who will remain nameless, asked me, incredulous, why we even had a website, let alone social media accounts, and wanted to know why we needed to ‘communicate to the public’ at all – he thought digital communications was completely irrelevant to his job or his Dept. One of the few times in my life I’ve been genuinely left speechless. Anyway, as the new ministers were appointed that first day, I monitored Twitter and saw a rumour beginning to spread. According to sources, the Dept was going to take responsibility for the Olympics (true) and was going to rebrand as the DOCMS, requiring an expensive rebranding... read more
timebomb-large

 

SCHOOLS OUT FOREVER

 

targethitler_small

 

Highlander - The Four Horsemen box set cover