Dene October

“A good editor is someone who cares a little less about the author's needs than the reader's”
― Dene October

“What makes The Travels such a powerful tale is not that it provides an absolute account of Marco’s travels, but, on the contrary how it creates the conditions for us to feel abandoned and lost.”
― Dene October, Marco Polo

“Billy fluffs’ or ‘Hartnellisms’ (fluffed lines and errors of dialogue) became part of the Doctor’s identity, sometimes actually scripted in. In a seemingly autobiographic line of dialogue, the Doctor complains, “My writing gets worse and worse. Dear, dear, dear, dear, dear” (The Rescue). All of which begs the question about the boundary between Hartnell’s performance of the Doctor and that of his personal ‘self’.”
― Dene October, The Language of Doctor Who: From Shakespeare to Alien Tongues

“As TARDIS comes to rest, the only sound, its insistent hum, seems to fill the space entirely, and then this too is lost as the viewer is thrown outside, no longer a
participant, but forced into the detached role of observer: the police box now sitting at a tilt in a dark and barren alien landscape accompanied by the chilling audionaturalism of wind noise [...] In the silence of electronic sound, the audience ejection is experienced as sudden sensory deprivation, making the impression of das unheimliche
the dominant one. Again the fourth wall is breached, this time a figure cuts between us and the ship, carrying a spear rather than a torch, his shadow lengthening impossibly across the landscape towards TARDIS. When the end titles and signature start up, the eerie recognition threatens to become full blown horror as if the music,
having transported us here, is now leaving us to face an awakening of our repressed pasts. Next week, the titles inform us, THE CAVE OF SKULLS.”
― Dene October, Mad Dogs and Englishness: Popular Music and English Identities