This series of what has become consensually labelled "previous Doctor adventures" seems to be the one for recurring contributors to produce their best work - Steve Lyons never having managed to fulfil the promise of debut novel Conundrum. When the TARDIS lands near Salem, Massachusetts in the 17th century, it's no surprise to anyone except the Doctor, Susan, Ian and Barbara that they become caught up in the notorious and now well-documented witch trials.

The accusers, defendants and bystanding mob are believable, although I'm unsure whether to give the author too much credit for this, aware that many were characterised in detail by Arthur Miller in The Crucible - an acknowledged source - over forty years ago. In using this work as both a reference and a plot point Steve Lyons has made a sensible decision - any fictional depiction of these events inevitably elicits comparison with the play, and first mention of it came just pages after I had begun wishing I'd read it, which was handy. Another unavoidable source of comparison is The Aztecs, with which this novel shares the theme of not meddling with established history. Additional themes of religious intolerance and collective hysteria ensure it could never have been produced on tv as written here, which is not a complaint.

As is the norm for the era, the events take place over a lengthy period, giving the regular characters their accustomed opportunity to seek to fit into their imposed environment. Also typically, they become entrapped in the situation and spend much of their time seeking escape, although the method by which this is done is intelligent, without resort to a convenient physical barrier between regulars and/or ship. All four regulars are well characterised - there are no problems imagining the relevant actors speaking the dialogue they are given - particularly the Doctor, manipulative as we know he can be but remaining sympathetic to those whose lives he affects. Susan's quiescent mental talents are a spur for the events, in a story which functions as a rites of passage for her, and one with which both Barbara and the Doctor can empathise.

Unfortunately, the unrelenting hysteria of the people of Salem and those in charge becomes wearing rather than oppressive - there isn't really any twist on it once the situation has been set up. A stylistic effect I've not noticed in any of his previous books is a pulling back from conversations, describing the beginning or end of scenes without quoted speech, which has a not unpleasant distancing effect, almost providing a pause for thought. Ultimately, the book remains affecting despite recurring portentousness and frequent - if not uncharacteristic - pauses to allow the regulars yet one more discussion about altering history. And although the themes and tone of the work are dark, it does not regress into despondency and the epilogue is almost worthy of Paul Cornell.