The Man Who Invented the Daleks

by Alwyn Turner

  However dark his creations became, they were always balanced by two redeeming features. First there was the element of humour, whether it were the tongue-in-cheek fun to be had with genre expectations in The Saint or the sarcastic wisecracks of Vila in Blake’s 7. Second, there was the moral consistency, the absolute belief in the need for honour, honesty and decency; though these virtues were not necessarily proof against the random violence of life, they were nonetheless to be admired and cherished. Nation’s villains – Davros and the Daleks, Servalan, Mr Glister – are wonderfully captivating creatures, but his heroes too are inspiring fantasy figures, from the Doctor and The Persuaders! to Abby Grant and Jimmy Garland. Even in the case of his most morally ambiguous hero, there’s ultimately no doubt that Avon is really an old-fashioned swashbuckling good guy, the kind with whom Nation himself, as a child, would have identified.

  But if Nation’s mature work was firmly in the old thriller tradition of his childhood, it didn’t mean that he added nothing to that tradition or that he wasn’t responsible for technical innovations. Most influential was his popularisation of the story arc and the season cliff-hanger within television series.

  The traditional format for popular dramas had been established in the USA where the need to syndicate shows to local stations meant that each episode was expected to stand alone; there was no guarantee that episodes would be shown in a particular order, and it was therefore considered wise for there to be no continuing storylines. The ITC series followed this lead, so that the essential situation in a show like The Adventures of Robin Hood remained unchanged from episode to episode. Even in the American series The Fugitive (1963), where a broad storyline ran throughout, as Dr Richard Kimble sought to prove his innocence, there was little in the way of continuing plot development; and when ratings fell low enough that the series was cancelled, it merely meant that an ending was added to tie up the loose ends. Structurally nothing much had changed since the nineteenth- century penny dreadfuls, when James Rymer’s Varney the Vampire (1845) had run in instalments for the best part of three years, until falling sales figures brought it to an abrupt end after 220 chapters.

  There were, of course, other models used for television – the soap and the drama serial, where there was a continuing narrative thread – but science fiction and action adventure shows remained firmly wedded to the existing format. The key exception was the special case of Doctor Who, which was a series of serials: each episode of a six-part story followed on from the previous one, with cliff-hanger endings built into each. It was not, however, until Nation’s The Dalek Invasion of Earth’ that the first links were established between those serials, establishing the concept of continuity across the whole series. Others built on his work, but his was the first stone.

  It was Blake’s 7, though, that was the real game-changer. In his notes for the second season, Nation spelt out his thoughts on what would later be referred to as a story arc. ‘Whilst we remain a series and not a serial,’ he wrote, it is important to have a progressive theme and an ultimate goal. This theme will be dealt with in five or six key episodes. ‘We should have some passing reference to the theme in all other episodes.’ By the end of Nation’s life, this had become standard practice, with shows like The X-Files (1993), Star Trek: Deep Space Nine (1993) and Babylon 5 (1994), but back in 1978 it was far from being an obvious idea. Nor was it normal to end a season with a major cliff-hanger that would be resolved next year; the era of the ‘who shot J.R.’ storyline in Dallas had not yet arrived. Nation played a key role in establishing these elements of modern television fantasy shows, with Blake’s 7 being cited as an influence by American creators such as J. Michael Straczynski (of Babylon 5) and Joss Wheldon (Buffy the Vampire Slayer.) Straczynski even toyed with the idea of having guest appearances by Blake’s 7 stars in his show, a cross-pollination that again Nation had attempted, with his suggestion that the Daleks might appear on Blake’s 7. The stylistic flourishes of Dennis Potter were more obvious in their reinvention of what television could do, but have ultimately proved far less influential than Nation’s work.

  Despite these technical innovations, Nation’s career is ultimately defined by the Daleks, a fact of which he was more than aware, and which he happily accepted. Some of those whose work was overshadowed by a single popular success – Conan Doyle with Sherlock Holmes, Burgess with A Clockwork Orange – were keen to repudiate their creations, but Nation never gave any indication that he regretted the monsters’ extraordinary popularity. Towards the end of his life, he reflected on the generation that had grown up watching the Daleks. ‘They’d watch from outside the room, through a crack in the door, or from behind the couch,’ he mused. ‘It frightened them, but they wouldn’t miss it for the world. It must be thirty years ago we’re talking, so those little kids are now parents with children of their own, growing up and still sitting behind the couch watching. I find that quite amazing.’

  The longevity of the Daleks has depended on the fact that they have changed very little since their first appearance in 1963. Many of those who influenced Nation as a child created characters who were initially on the wrong side of the law – Edgar Wallace’s Four Just Men, Leslie Charteris’s Saint, John Creasey’s Baron – but who crossed back over the line to become official or semi-official figures of respectability. In moral, if not legal, terms Avon followed their example. The Daleks never did. That was their greatest strength, even if it was the same inflexibility that also made the idea of them having their own series so implausible; they were and are the perfect supporting villains, rather than lead characters in their own right.

  The failure to secure backing for the Daleks proposal, however damaging to Nation’s ego at the time, should not be a cause of much regret. Nor should the non-appearance of some other proposals, such as The Team or No Place Like Home. On the other hand, The Fixers would have been an interesting addition to his portfolio of programmes. As indeed would ‘The Red Fort’ – Nation never did write any historical stories, and it would be intriguing to see how he handled the proposition. Tales of British heroism during the Indian Mutiny were commonplace in his childhood, but might have found very different expression in the hands of a socialist writing in the wake of Indian independence. But the greatest loss is surely that of The Incredible Robert Baldick, a character that deserved much more than a single pilot.

  Nation himself, however, expressed very few public regrets over missed television opportunities, content that he had created some of the most enduring characters on British television and originated some of its finest dramas, particularly with ‘Genesis of the Daleks’, the early episodes of Survivors and Blake’s 7. Instead, when asked in 1989 what his ultimate lifetime ambition was, he gave an entirely different answer: ‘To have written a book as good as The Bonfire of the Vanities. I’d love to write a good book, one I was truly proud of.’ Perhaps, after all, he too didn’t quite realise that his contribution to popular television, these shows that attracted such huge audiences at the time and that inspired such continuing affection, was in the same class as serious literature. Or perhaps it was simply that he’d only recently finished reading Tom Wolfe’s novel and it was the first thing that came into his head at the end of a long interview.

  Back in 1974, speaking to the South Wales Echo, he had similarly reflected on what he would consider a permanent achievement. ‘I suppose that all writers want a bit of immortality. I would be very happy to settle for one day seeing the word Dalek in the dictionary. So as a writer’s memorial, I’d like that.’ He would, no doubt, be delighted that the Oxford English Dictionary did indeed come to include the word ‘Dalek’, defining it as: ‘A type of robot appearing in “Dr. Who”, a BBC Television science-fiction programme; hence used allusively.’ It was a flattering inclusion – even if the definition was inaccurate, since Daleks aren’t robots at all, and even if the citations also repeated his own myth that he named them after an encyclopaedia volume covering ‘DAL-LEK’. But then, as Nation used to say: ‘A g
ood story is a good story.’

  Appendix: The Works of Terry Nation

  A. Radio

  All My Eye and Kitty Bluett (BBC, 1955) – 13-week series written by Terry Nation and Dick Barry, produced by Alastair Scott Johnston

  The Frankie Howerd Show (BBC, 1953–5) – contributions to 1955 series written by Terry Nation and Dick Barry, produced by Alastair Scott Johnston

  Floggit’s (BBC, 1956–7) – two series and Christmas special, totalling 35 episodes, written by Terry Nation, John Junkin and Dave Freeman, produced by Alastair Scott Johnston and Bill Gates

  Calling the Stars (BBC, 1957) – one episode of series written by Terry Nation and John Junkin, produced by John Simmonds

  Variety Playhouse (BBC, 1953–63) – 1957 series written by Terry Nation and John Junkin, produced by Alastair Scott Johnston; further sketches in 1958 series

  Fine Goings On (BBC, 1951–8) – 1958 series written by Terry Nation and John Junkin, produced by Bill Worsley

  It’s a Fair Cop (BBC, 1961) – eight-week series written by John Junkin and Terry Nation, produced by Herbert Smith

  B. Television

  The Idiot Weekly, Price 2d (Associated Rediffusion, 1956) – five-part series written by Spike Milligan and Associated London Scripts, including Terry Nation, John Junkin and Dave Freeman, produced by Dick Lester

  Friday the 13th (BBC, 1957) – one-off sketch show written by John Junkin and Terry Nation, produced by George Inns

  Val Parnell’s Startime (ATV, 1958) – variety show with some contributions written by John Junkin and Terry Nation, produced by Val Parnell

  The Ted Ray Show (BBC, 1958–9) – two series comprising seven episodes and a Christmas special, written by John Junkin and Terry Nation, produced by George Inns

  The Jimmy Logan Show (BBC, 1959–60) – 12-part series of which eight episodes, plus a one-off special, written by John Junkin and Terry Nation, produced by George Inns and Bryan Sears

  Out of this World (ABC, 1962) – produced by Leonard White, story editor Irene Shubik

  ‘Imposter’ – wr. Terry Nation from a story by Philip K. Dick, dir. Peter Hammond

  ‘Botany Bay’ – wr. Terry Nation, dir. Guy Very

  ‘Immigrant’ – wr. Terry Nation from a story by Clifford Simak, dir. Jonathan Alwyn

  No Hiding Place (Associated Rediffusion, 1959–67) – produced by Ray Dicks

  ‘Run for the Sea’ (1962) – wr. Terry Nation, dir. Ian Fordyce and Richard Sidwell

  Hancock (ATV, 1963) – executive producer Bernard Delfont, dir. Alan Tarrant

  ‘The Assistant’ – wr. Terry Nation from a story by Ray Whyberd (Ray Alan)

  ‘The Night Out’ – wr. Terry Nation

  ‘The Reporter’ – wr. Terry Nation

  ‘The Writer’ – wr. Terry Nation

  Wish You Were Here (BBC, 1963) – one-off variety show presented by Eric Sykes with linking material written by Terry Nation

  Doctor Who (BBC, 1963–89) – prod. Verity Lambert, John Wiles, Barry Letts, Philip Hinchcliffe, Graham Williams

  ‘The Daleks’ (1963–4) – seven-episode serial wr. Terry Nation, dir. Christopher Barry and Richard Martin

  ‘The Keys of Marinus’ (1964) – 6-episode serial wr. Terry Nation, dir. John Gorrie

  ‘The Dalek Invasion of Earth’ (1964) – 6-episode serial wr. Terry Nation, dir. Richard Martin

  ‘The Chase’ (1965) – 6-episode serial wr. Terry Nation, dir. Richard Martin

  ‘Mission to the Unknown’ (1965) – one-off episode wr. Terry Nation, dir. Derek Martinus

  ‘The Daleks’ Master Plan’ (1965–6) – 12-episode serial wr. Terry Nation and Dennis Spooner, dir. Douglas Camfield

  ‘Planet of the Daleks’ (1973) – 6-episode serial wr. Terry Nation, dir. David Maloney

  ‘Death to the Daleks’ (1974) – 4-episode serial wr. Terry Nation, dir. Michael E. Briant

  ‘Genesis of the Daleks’ (1975) – 6-episode serial wr. Terry Nation, dir. David Maloney

  ‘The Android Invasion’ (1975) – 4-episode serial wr. Terry Nation, dir. Barry Letts

  ‘Destiny of the Daleks’ (1979) – 4-episode serial wr. Terry Nation, dir. Ken Grieve

  Uncle Selwyn (Associated Rediffusion, 1964) – play in the ITV Play of the Week series written by Terry Nation, directed by David Boisseau

  Story Parade (BBC, 1964–5) – produced by Eric Taylor, story editor Irene Shubik

  ‘The Caves of Steel’ (1964) – wr. Terry Nation from a novel by Isaac Asimov, dir. Peter Sasdy

  ‘A Kiss Before Dying’ (1964) – wr. Terry Nation from a novel by Ira Levin, dir. Peter Sasdy

  The Saint (ITC, 1962–9) – produced by Robert S. Baker and Monty Berman, script supervisor Harry H. Junkin

  ‘Lida’ (1964) – wr. Terry Nation from a story by Leslie Charteris, dir. Leslie Norman

  ‘Jeannine’ (1964) – wr. Terry Nation from a story by Leslie Charteris, dir. John Moxey

  ‘The Revolution Racket’ (1964) – wr. Terry Nation from a story by Leslie Charteris, dir. Pat Jackson

  ‘The Contract’ (1965) – wr. Terry Nation from a story by Leslie Charteris, dir. Roger Moore

  ‘The Inescapable Word’ (1965) – wr. Terry Nation from a story by Leslie Charteris, dir. Roy Ward Baker

  ‘The Sign of the Claw’ (1965) – wr. Terry Nation from a story by Leslie Charteris, dir. Leslie Norman

  ‘Sibao’ (1965) – wr. Terry Nation from a story by Leslie Charteris, dir. Peter Yates

  ‘The Crime of the Century’ (1965) – wr. Terry Nation from a story by Leslie Charteris, dir. John Gilling

  ‘The Man Who Could Not Die’ (1965) – wr. Terry Nation from a story by Leslie Charteris, dir. Roger Moore

  ‘Invitation to Danger’ (1968) – wr. Terry Nation, dir. Roger Moore

  ‘The Desperate Diplomat’ (1968) – wr. Terry Nation, dir. Ray Austin

  ‘The Time to Die’ (1968) – wr. Terry Nation, dir. Roy Ward Baker

  ‘Where the Money Is’ (1968) – wr. Terry Nation, dir. Roger Moore

  Out of the Unknown (BBC, 1965–71) – producer and script editor Irene Shubik

  ‘The Fox and the Forest’ (1965) – wr. Terry Nation from a story by Ray Bradbury, with additional material by Meade Roberts, dir. Robin Midgley

  The Baron (ITC, 1966–7) – produced by Monty Berman, script editor Terry Nation

  ‘Epitaph for a Hero’ (1966) – wr. Terry Nation, dir. John Moxey

  ‘Something for a Rainy Day’ (1966) – wr. Terry Nation, dir. Cyril Frankel

  ‘Red Horse, Red Rider’ (1966) – wr. Terry Nation, dir. John Moxey

  ‘Masquerade’/‘The Killing’ (1966) – wr. Terry Nation, dir. Cyril Frankel

  ‘And Suddenly You’re Dead’ (1966) – wr. Terry Nation and Dennis Spooner, dir. Cyril Frankel

  ‘Portrait of Louisa’ (1966) – wr. Terry Nation, dir. Roy Ward Baker

  ‘There’s Someone Close Behind You’ (1966) – wr. Terry Nation and Dennis Spooner, dir. Roy Ward Baker

  ‘Storm Warning’/‘The Island’ (1967) – wr. Terry Nation, dir. Gordon Flemyng

  ‘A Memory of Evil’ (1967) – wr. Terry Nation and Dennis Spooner, dir. Don Chaffey

  ‘The Seven Eyes of Night’ (1967) – wr. Terry Nation, dir. Robert Asher

  ‘Night of the Hunter’ (1967) – wr. Terry Nation, dir. Roy Ward Baker

  ‘So Dark the Night’ (1967) – wr. Terry Nation and Dennis Spooner, dir. Robert Tronson

  ‘Roundabout’ (1967) – wr. Terry Nation, dir. Robert Tronson

  ‘The Man Outside’ (1967) – wr. Terry Nation, dir. Roy Ward Baker

  ‘Countdown’ (1967) – wr. Terry Nation, dir. Robert Asher

  The Avengers (ABC, 1961–9) – produced by Albert Fennell and Brian Clemens, story editor Terry Nation

  ‘Legacy of Death’ (1968) – wr. Terry Nation, dir. Don Chaffey

  ‘Noon Doomsday’ (1968) – wr. Terry Nation, dir. Peter Sykes

  ‘Invasion of the Earthme
n’ (1969) – wr. Terry Nation, dir. Don Sharp

  ‘Take Me to Your Leader’ (1969) – wr. Terry Nation, dir. Robert Fuest

  ‘Thingumajig’ (1969) – wr. Terry Nation, dir. Leslie Norman

  ‘Take-Over’ (1969) – wr. Terry Nation, dir. Robert Fuest

  The Champions (ITC, 1968–9) – produced by Monty Berman, script supervisor Dennis Spooner

  ‘The Fanatics’ (1968) – wr. Terry Nation, dir. John Gilling

  ‘The Body Snatchers’ (1969) – wr. Terry Nation, dir. Paul Dickson

  Department S (ITC, 1969–70) – produced by Monty Berman, story consultant Dennis Spooner

  ‘A Cellar Full of Silence’ (1969) – wr. Terry Nation, dir. John Gilling

  ‘The Man in the Elegant Room’ (1969) – wr. Terry Nation, dir. Cyril Frankel

  The Persuaders! (ITC, 1971–2) – produced by Robert S. Baker, script editor and associate producer Terry Nation

  ‘Take Seven’ (1971) – wr. Terry Nation, dir. Sidney Hayers

  ‘Someone Like Me’ (1971) – wr. Terry Nation from a story by Robert S. Baker, dir. Roy Ward Baker

  ‘Chain of Events’ (1971) – wr. Terry Nation, dir. Peter Hunt

  ‘A Home of One’s Own’ (1971) – wr. Terry Nation, dir. James Hill

  ‘Five Miles to Midnight’ (1972) – wr. Terry Nation, dir. Val Guest

  ‘A Death in the Family’ (1972) – wr. Terry Nation, dir. Sidney Hayers