I mean, trying to hover around #DoctorWho getting any kind of writing recognised when you're a younger writer is pretty goddamn infuriating, yeah. https://twitter.com/MaxCCurtis/status/1309839147402756098

The way Who has evolved through the noughties and tens has basically involved scrapping every system of opportunity that allowed younger writers to get their voices heard in some respect. BF had a decent thing going with their short trips books, for instance,

which were a decent pipeline for recruiting writers, but that got stopped for rights reasons and it doesn't really have a replacement (the short trips audio range really doesn't have the same kind of positioning, even though it's getting there).

And see, as a result, the only way fan writers, or even younger writers have to show their work is to go through charity publications. Now, I don't have anything against those, I've written for some, and it's great to do something you love while getting money to good causes.

But it shouldn't be your ONLY option.

Especially because it makes younger writers accept worse work conditions as a norm. You start off in this world accepting that you won't be compensated for your work. That is shit, and, imo, deeply worrying.

And then you can go through independant publishers, obviously, which is still possible. Obverse Books. @ArcbeatlePress is starting some stuff, which I'm pretty chuffed about. Thebes Publishing, Candy Jar, etc, etc, there's a fair few.

And I mean, I'm obviously a big fan of those, but they won't give you the same kind of exposure and opportunities, even though they're great fun.

Really, there seems to be this tacit understanding that ... yeah, fan writers are cool, and they've got all those little publishers on the side if they want to write, but like, we aren't gonna let them touch the "ACTUAL" property, right guys?

And that just grinds my gears a bit. Because I know a lot of writers in their twenties or early thirties who would leave in the dust a good 60, 70% of the folks who're allowed to do officially licensed content.

ESPECIALLY when you hear people complaining about diversity. The diversity is right there, people! You have incredible talent banging at your doors, but you're not letting them in! They are TONS of trans, queer, BAME writers who you won't ever give a chance to.

Because they don't have agents.

Because they don't know the right people, or (and that is important! it's a class issue!) can't spend the money to go to conventions or events and network.

And sure, there are contests. But one or two contests a year for one (1) script opportunity isn't gonna do much. You'll always end up with a TON of really great scripts in a situation like that, and you'll always chose the one that fits better the ...

... existing ideas/values of the company, because of course you will, that's just logical.

And it's all the more frustrating because for a lot of people, this could be a big help at the beginning of their career. Help them financially, help them build their CVs, help bolster talent that'll go on to play a role in the larger culture.

But also, you won't get picked for anything ressembling a proeminent gig if you aren't ALREADY a well-established writer (or insanely lucky). It's the complete bullshit paradox of an entry-level job that demands you to have five years of previous experience in that job.

Which is all the more saddening when you consider that the shape of Who as it is now has been DEFINED by fan talent. BF wouldn't exist by the very rules it has been setting, for instances: you think Nicholas Briggs in the 1980s/90s would have been allowed to go anywhere?

And see, he was given opportuities, and bam! we got audio drama out of that deal. It's a pretty good deal, imo.

So yeah. It's frustrating as fuck.

Anyway, go support new voices in the fandom - get The Book of the Peace by Obverse Books, The New Adventures of Bernice Summerfield V by BF, and any short trip with a new, cool, name on it.

Peace.