Are you thinking of musings like these?
RTD wrote:I can see how annoying that looks. I can see how maddening it must be, for some people. Especially if youâ€™re imposing really classical script structures and templates on that episode, even unconsciously. I must look like a vandal, a kid or an amateurâ€¦ The simple fact is, all those things were planned. All of them were my choice. Theyâ€™re not lazy, clumsy or desperate. Theyâ€™re chosen. I can see more traditional ways of telling those stories, but Iâ€™m not interested. I think the stuff that you gain from writing in this way â€“ the shock, the whirlwind, the freedom, the exhilaration â€“ is worth the world. Iâ€™ve got this sort of tumbling, freewheeling style that somersaults along, with everything happening now - not later, not before, but now, now, now. Iâ€™ve made a Doctor Who that exists in the present tense. Itâ€™s happening now, right in front of your eyes! If you donâ€™t like it, if you donâ€™t join in with it thenâ€¦ blimey, these episodes must be nonsensical. But those classical structures can be seen in Primeval, in Demons, in Merlin, in all of them â€“ and yet we stand with millions more viewers. And I think thatâ€™s partly why.
I have various problems with this. What he's decribing is how beginners tend to write. I've written like that, when I was 10. When you start writing, you don't think ahead. Everything happens "now", regardless of what happened before, and without a thought of what comes later. But once writers mature, they begin to produce stories that make sense, that are self consistent, that don't treat the reader as an idiot. That "freewheeling" style is great fun - and sometimes even a mature writer will do it, but normally they "riff" in a controlled manner. It's one way a writer can enjoy himself. But if it's done too much, it isn't very satisfying for the reader/viewer, and if it's done all the time, it inevitably leads to the "with a wave of his magic wand, everything was fixed" endings that RTD specialises in.
A genius like Graham Masterton or John Christopher might be able to get away with it, but for most of us - including, as is clear from his work, RTD - we need to put a bit more thought into what's already happened (so we don't get incongruities like Donna changing character in TRB, or the nature of time changing in TWoM) and into what's going to happen next (so we don't paint ourselves into a corner, like - well, like almost every script by RTD).
For a kid writing their first story, it's great. Yes, get those ideas down, see where the story takes you. Mature writers do it, too, in the planning stages - it's called brainstorming, and it's probably been around as long as there have been writers. But having got that rough draft, it needs polishing, restructuring, turning into a story
- not just being presented as a finished masterpiece.
Most writers (and artists in general) are their own worst critics. (Virginia Woolfand John Kennedy Toole would be classic examples from the writer's pantheon, I guess.) But the impression I always get from reading RTD's comments about his work is that he thinks he's a genius, that everything he does is wonderful, and that anyone who criticises is an idiot. Or that they at least are too stupid to get what he's doing (see the above quote).
Having said that, I also quite like "Rose". It has a good portrayal of the Doctor, before RTD started turning him into a cross between a no-hoper who needs to be rescued every 5 minutes (as happened at the end of Rose - by which time I was already becoming a little disillusioned) and an Oncoming Storm/Lonely God (if I want a superhero there's lots of other TV shows to watch - whatever happened to the Doctor?) Unfortunately PiC was ruined for me, not just by one of the silliest aliens ever invented, but by yet another "wicked witch" character. "Midnight", IMHO,was spoiled by having one of the most irritating aliens ever, the kid-repeating-everythg-you-say alien - the fact that it was also a character drama with cardboard charactes (David Troughton wasted, for a start) and a nonsensical plot resolution (so, why doesn't it just come back inside again, like it did before?) are just the lark's vomit on the cake.
But "Smith and Jones" wasn't bad, even if the thought of adapting a hospital MRi machine to wipe out life on Earth, or whatever the (yet-another-wicked-witch) alien was planning was a teensy bit belief-unsuspending. But Martha was a breath of fresh air after Rose, who I fondly thought we'd seen the last of, and the Judoon were reasonable reproductions of the Vogons. And it had some great lines - â€œAs far as Iâ€™m concerned, youâ€™ve got to earn that titleâ€, and â€œRight. Not pompous at all, then.â€ It felt like a new start, after the nonsense of AoG/Doomsday and TRB. Martha hasn't yet gone all drippy and 2-dimensional, and I had the impression that RTD was really trying hard, the same feeling I had with "Rose". Sadly that didn't last, and he was soon back on autopilot.
Actually, I quite like "Love and Monsters" too, and not just because of Marc, although he helps. It's another good idea spoiled by an awful ending (and therefore, perhaps, by that "freewheeling, now now now!" technique RTD's so fond of...)