Editorial This book operates like a fully functional TARDIS. For a start, it's bigger on the inside; packed to the gills with imaginative ideas and idealistic imagery. It also takes on many shapes: It is a collecting tin, raising much-needed funds on behalf of the Foundation for the Study of Infant Death. It is a calling card for a generation of new writers and artists, hungry for their shot at the big time; a foot in the door; another weapon in the arsenal of aspiring creators; an original voice in a crowd, crying 'Look at me!' It is also an avenue for those already out there to do something different, something that would not be appropriate for the official range of Doctor Who fiction. Anyway, I think I've stretched that particular metaphor as far as I dare! This collection is my love letter to Doctor Who. You may not believe the long drawn out battles in Doctor Who fandom that have been waged over the precise description one may call such a collection. Is it a book? Is it a fanzine? Is it professional or amateur? It is certainly unofficial, but it contains the work of many professionally published creators, used to being paid for their labours, but working here for free. Does it make the book any less valid as a work of imaginative fiction because it does not bear the official BBC seal of approval? That is up to each and every reader to decide. Today's Doctor Who authors are yesterday's fans, so the edges between them and us have blurred substantially. Don't be surprised if the return of Doctor Who to the small or big screen is guided by some of the names within these pages. By the way, the term of description we eventually found general agreement upon was 'fanthology.' Personally, I like it. The market has changed quite a bit since the first spiral-bound edition of Perfect Timing was published. While the BBC have suspended publication of official short story collections, you can barely move for fanthologies, such as Perfect Timing 2 (my last baby), Missing Pieces, The Cat Who Walked Through Time, and many more, with more being announced on an almost weekly basis. It seems very strange that in a time when Doctor Who has not been in television production for twelve years, there is more new Doctor Who related product for sale than ever before... I wanted to produce a collection of apocryphal stories; square pegs for round holes; riddles wrapped in enigmas; what-if scenarios to show not so much what Doctor Who was, but to let a little light on what it is capable of being. If continuity were a wall, with each fresh story comprising a brick, then by now, we'd have something monumental and imposing. I'm sure that puts off a lot of new people afraid of the weight of history crashing down on their heads while trying to make sense of almost forty years of continuity. I said, let's set charges and blow up the wall, and rebuild the rubble into something new. Let's see what else we can make from our Doctor Who Lego set. There are stories here which take inspiration from other genres than those normally associated with the Doctor, or with actors never before seen in the role. In another universe, Jon Pertwee regenerated into Jim Dale, and then Geoffrey Bayldon, Brian Blessed and Tony Robinson. Not this parallel Earth, of course, but wouldn't it be nice to sneak a peek at what we might have missed? Some universes, however, are better left alone. For example, you may be relieved to have avoided living in a world where David Hasselhoff's Doctor has to contend with Eminem teaching the TARDIS how to rap... In another universe, Doctor Who is a fondly remembered half-memory of childhood, and you've perhaps purchased this oddity at a convention celebrating thirty years of Into The Labyrinth. The philosophy of Walking In Eternity (or, to use its natty acronym, WinE) is best summed up by a conversation I had with one of the authors when I solicited his support. He asked 'Can I be as mad and bad as I really want to be?' My reply? 'Oh yes...' Jay Eales May 2001