Ich meine das kam von irgendjemandem vor einiger Zeit auf Galifreybase, als es um Autoren ging die lange nicht mehr für Big Finish gearbeitet haben. Es gab meine ich auch eine Quelle (Paul Cornells Twitter evtl?) aber ich habe keinerlei Möglichkeit das jetzt noch zurückzuverfolgen.
Oder doch: Hab den Beitrag gefunden, er enthält einen langen Auszug aus einem Newsletter Cornells (Original nicht verfügbar):
100 was Big Finish's 100th audio release in their main range, designed to be a celebration of the run. So it was flattering that they asked me to write one of the four one-episode stories on the disc (alongside great company: Joe Lidster; Rob Shearman and Jac Rayner, basically everyone who'd gone on to write for the Who universe on television and the writer who'd been there at the start). Also, I was pleased to have another go at the anthology format, having begun it with Circular Time. And, wanting to have something made with as many Doctors as possible, I was pleased that this release was going to star Colin Baker. But something went very wrong.
Emotionally, I wasn't in a great place. I'd gotten the impression, post -'Human Nature', that I wasn't going to be invited back to Doctor Who while Russell was still there. (At his amazing leaving party, he told me he'd have wanted me back if he'd done another year, and I believe him.) I was busy on other TV work, but going back to work on other forms of Who, from this point on, was always going to be tough for me, would always require something special to lure me to do it. But I was fond of Big Finish, and the idea behind 100 was all about the family and community of that company, so I was pleased to say yes.
My contribution to the anthology, 'The 100 Days of the Doctor' (the title being a take on an Outer Limits episode which has nothing to do with the story), was about the Doctor having 100 days to prevent his own assassination, which he's seen happen, from taking place. (Yeah, I know, there are only so many ideas under the sun.)
I wrote a very quick first draft, which was, since this was a celebratory release, packed with continuity references and in-jokes, and sent it in, hoping to get guidance from the script editor about where and when to rein this in, and what the parameters should really be. Up to my neck in other work, I waited a couple of weeks before remembering to send a query email saying 'hey, you did get that first draft, right?'
Reader, they hadn't just received it, they'd recorded it.
So, no second draft, no fixing my work. I was astonished. And hurt on two levels. Firstly, people were going to think my usual standards had plummeted. Secondly, so much for family and community. I thought we might all get invited to the recording.
Colin Baker, who'd had something against my work for the longest time (I never really understood what), later told me he'd really liked it, and said something about me having grown as a writer. I hope I replied that I might have grown more than he thought I had. Myself, I've never had the courage to listen to the play. Big Finish apologised, but I think were also pretty bemused by reaction. I decided I wouldn't be back, at least for the duration.
Since then, of course, we've reconciled enormously, I've become a cheerleader for their output on social media, and, for example, I've been along to the recording of the recent Benny anthology. I think they've started to understand they're more than just a factory. And I'll never again send anyone, even someone I know very well, a first draft that's anything less than something I'd want to see made.