The New York Times has reported that Leonard Nimoy has died at the age of 83.
I was afraid of this when I heard the news about his hospitalization the other day, but I’d hoped it was a false alarm. Still, it’s not surprising, given his health in recent years. But it is entirely logical to be saddened, and to shed tears for a man who left such a profound mark on the world.
Spock was one of my first childhood role models, and certainly the most influential, for better or worse. When I was seven — about two years after discovering Star Trek — I lost my mother, and in response to that grief, I tried to become like Spock and suppress my emotions. It backfired; without a healthy release valve, my emotions erupted vehemently and often, and I felt more like Dr. Banner from The Incredible Hulk than like Mr. Spock. But in 1979, when Star Trek: The Motion Picture came out and Spock had the epiphany that emotion was valuable and necessary as an integrated part of the psyche, I came to much the same realization — perhaps as a result of Spock’s — and learned to be more at peace with my own emotions.
I also tried to emulate Spock’s intelligence, the way he contributed and was appreciated for being a source of knowledge. (The Professor on Gilligan’s Island also influenced me in this way.) But real life didn’t turn out like fiction; rather than being appreciated for my efforts to inform and contribute, I was seen as a showoff or a know-it-all. Some people appreciated my contributions in the helpful spirit in which I intended them, but to this day, there are others who mistake it for condescension.
So one could argue that modeling myself on Spock hasn’t always worked out so great for me. But that doesn’t matter — his influence is simply part of who I am, and part of his example was learning to accept who you are even when you don’t fit in or are misunderstood. His example of logical, educated thought and scientific curiosity has guided me throughout my life, enriching my understanding of the world and helping me keep learning, questioning, and thinking. The principles of peace and diversity he embodied have shaped my values and helped me feel more empathy and connection to others.
This is the legacy that Leonard Nimoy has left us. He took a character that another actor might have treated as a joke or a caricature and brought immense sincerity, thoughtfulness, and sensitivity to his performance, giving Star Trek a weight and meaning it might not have had without him. He always treated his role and his audience with respect, and we were drawn to him in turn, and this was key to making Star Trek such an enduring phenomenon, a universe that felt real and solid and inspired us to believe in a better, smarter future even when the show was at its silliest. And as Star Trek matured and Spock aged, Nimoy made him evolve. After his (and my) epiphany in TMP, he let Spock grow more balanced, more self-assured, more at peace with his logic and his emotion, showing us that there was no real conflict between the two. He showed us that synthesis between opposing views is a better, more rewarding response than opposition — a lesson that we are in desperate need of today. And when Star Trek was reinvented with a new cast, continuity, and attitude, he stayed true to that principle, coming out of retirement to give the new incarnation his blessing, befriend his successor and protege in the role of Spock, and show once again that it’s better to unite than divide.
And to think there was a time when Nimoy almost gave up playing Spock. Hard to imagine now, when he’s been such an integral thread tying the whole franchise together. He was there from the very beginning, he was there for the animated series and the films, he crossed over to The Next Generation, and he carried his character through to the new incarnation and into a new universe. The story of Spock is the story of Star Trek. And for all that his character prized logic over passion, Nimoy has always been its heart.
I’m sad that Nimoy didn’t make it to see the 50th anniversary next year. But I suppose he’s already had his own 50th, since the anniversary of “The Cage” was last year. Still, it won’t be the same without him.
I’m glad, though, that next month will see the release of my new book Rise of the Federation: Uncertain Logic, a novel that focuses heavily on Vulcan civilization and Spock’s grandparents. Spock himself is decades away from being born in the timeframe of the novel, but no one can write about Vulcans without being heavily influenced by Nimoy’s work. I feel it will be a fitting tribute.
I’m crying now. It’s the only logical thing to do.
This is neat: The comedy website Cracked routinely does “Photoplasty” contests, challenging their readers to concoct photoshopped sight gags on various themes, and today’s contest was on the theme of TV spinoffs that need to happen. And coming in at #19 was this one, by a contributor going by “annorax”:
I couldn’t find any way to embed the image, and I wasn’t sure if I should just copy it, but it’s for a Star Trek: Department of Temporal Investigations series based on my books, using the first names I came up with for Lucsly and Dulmur, and giving me a “Created by” credit (although I think it would probably be more like “Developed for Television by,” since Ronald D. Moore and Rene Echevarria would probably get the creator credit for the two leads). My thanks to “annorax” for the tribute!
(Of the hypothetical spinoffs in the overall piece, though, the ones I’d most like to see are Turanga Leela, Private Eye and September, followed by The War Doctor and The Black Widow Diaries.)
StarTrek.com has just released the cover art for Star Trek: Enterprise — Rise of the Federation: Uncertain Logic, the third volume in my ongoing series about the early years of the United Federation of Planets. I’m thrilled to get to show it off at last:
And here’s the blurb again:
Years ago, Jonathan Archer and T’Pol helped unearth the true writings of Vulcan’s great philosopher Surak, bringing forth a new era of peaceful reform on Vulcan. But when their discovery is seemingly proven to be a fraud, the scandal threatens to undo a decade of progress and return power to the old, warlike regime. Admiral Archer, Captain T’Pol, and the crew of the U.S.S. Endeavour investigate with help from their Vulcan allies, but none of them suspect the identity of the real mastermind behind the conspiracy to reconquer Vulcan—or the price they will have to pay to discover the truth.
Meanwhile, when a long-forgotten technological threat reemerges beyond the Federation’s borders, Captain Malcolm Reed of the U.S.S. Pioneer attempts to track down its origins with help from his old friend “Trip” Tucker. But they discover that other civilizations are eager to exploit this dangerous power for their own benefit, even if the Federation must pay the price!
I’m really pleased with how well the cover turned out, because the basic idea was my own. It’s unusual for authors to have a say in cover design, but one day it just occurred to me out of the blue that if you superimposed the Kir’Shara (the ark holding Surak’s writings) onto the planet Vulcan, it would look like an IDIC emblem, which I thought would be a very fitting symbol for the plot and themes of the book. I knew it wasn’t my place to butt into the cover design process, but I was so struck by the idea that I suggested it to my editor anyway, and even did a quick-and-dirty mockup image to get the idea across. I’m pleasantly surprised that they thought my suggestion was worth using, and of course Alan Dingman’s art looks a ton better than my version. A nice touch is that the “IDIC” image is reproduced smaller on the spine of the book, much like the cover image of Emerald Blair on Only Superhuman. That should help make it stand out on shelves, I think.
Follow the link for release date and ordering info!
The temporal coordinates have arrived! My newest e-novella, Star Trek: Department of Temporal Investigations: The Collectors, is now available for purchase wherever e-books are sold.
Here are some ordering links:
And here’s the discussion page on my website, with a link to the story annotations.
The story description:
The dedicated agents of the Federation Department of Temporal Investigations have their work cut out for them protecting the course of history from the dangers of time travel. But the galaxy is littered with artifacts that, in the wrong hands, could threaten reality. One of the DTI’s most crucial jobs is to track down these objects and lock them safely away in the Federation’s most secret and secure facility. When Agents Lucsly and Dulmur bring home an alien obelisk of incredible power, they are challenged by a 31st-century temporal agent who insists they surrender the mysterious artifact to her. But before they know it, the three agents are pulled into a corrupted future torn apart by a violent temporal war. While their DTI colleagues attempt to track them down, Lucsly and Dulmur must restore temporal peace by setting off on an epic journey through the ages, with the future of the galaxy hanging in the balance…
I’ve been so preoccupied with browser issues and other stuff that I neglected to update my writing progress. Over the past few weeks, I’ve completed my outline for Rise of the Federation Book 4 (which I have a title for now, though I don’t know if I should mention it yet), done copyedits for RotF: Uncertain Logic, and dealt with the proofreading galleys for Department of Temporal Investigations: The Collectors.
I wanted to get ROTF4 outlined before I did copyedits for Uncertain Logic, since I wanted to know where I was taking the story next so that I could refine any story or character threads in UL as needed or insert foreshadowing. But it turned out that the two already mesh pretty well, and I didn’t need to do any major alterations to either the Book 3 manuscript or the Book 4 outline. (Or at least, any changes I made to UL were about improving the book itself rather than foreshadowing its sequel.) And I think I managed to make the Book 4 outline tighter than the previous one. Instead of having two distinct, major parallel storylines, it has one main storyline (albeit with two or three interwoven threads) and a smaller independent subplot. Margaret, my editor, was quite happy with it and has sent it in to CBS for approval. The best part is, because of my desire to get it done in time for Book 3 copyedits, I turned it in exactly a month before deadline, which means I should get paid earlier and have more time to work on the manuscript, assuming approval comes in a timely fashion.
I didn’t need to do too much work on the galleys to The Collectors, but I was able to correct a couple of scientific details. I recently learned something about… a thing I don’t want to spoil… that I’d depicted incorrectly in the story, so I was glad for the opportunity to fix those descriptions. Oh, and I also took the opportunity to put together the annotations for the novella, since the galleys include the final page numbering and it’s convenient to proofread and annotate them at the same time. Indeed, I find that doing the annotations gets me thinking about aspects of a story that I didn’t examine closely before, and sometimes that helps me catch mistakes and make improvements in the galleys.
Oh, and I’ve also seen the cover and blurb for The Collectors, so hopefully it won’t be much longer before they show up online. The e-novella will be released on December 8.
Now that I’m done with those projects for the moment, I’m starting to think about a new Trek pitch or two set in the Original Series era. I’m hoping I can get something approved in time for the 50th anniversary in 2016. In which case I’d better get cracking.
Last night, I finally sent in the draft manuscript for Rise of the Federation: Uncertain Logic. It took longer than I’d expected, I’m afraid. Turns out the problem with writing the A and B plots separately is that I didn’t have a good sense of what order to put the scenes in, so I had to do a lot of gross restructuring of the manuscript, moving chapters around (and making sure I didn’t lose anything in all the cutting and pasting), before I could even begin on a straight read-through of the entire manuscript. And then, once I did that, I realized that I’d set up a character thread or two in the early chapters (before I decided to work on the plots sequentially) that I’d lost track of by the time I got back to the B plot. So I needed to weave that into the later portions of the B plot, which is good, because it let me vary the character viewpoints a bit more and give some more character texture to a couple of scenes that had been mostly plot. I also managed to do some similar tweaking for the climax and denouement of the A plot. Last time, I mentioned how I’d realized the need to add a scene to the A plot climax to address a deficiency in it, but now I realized that scene wasn’t well-integrated with the character arcs of the rest of that story. So I revised some things to tie it in better and give it more of a payoff at the close of a key character arc, which had the benefit of enriching that closing scene a bit. These are the discoveries you make when you step back to review the whole after focusing on the parts for so long.
Anyway, I’m pretty satisfied with the manuscript as it now stands. It’s certainly a stronger story than Tower of Babel. There are probably a few more things that need work, but those can be addressed in revisions, once I get editorial input. For now, I can finally relax and let it go for a while. But not for too long, since — as I said before — I still want to work out the Book 4 outline pretty promptly. And this time I need to be careful not to overplot it like I did this one. Or the last one, for that matter. UL is the second book in a row where I’ve had to postpone part of the outline to the next book. Clearly I’m overestimating the amount of story I can fit into each book, and while it’s handy that doing an ongoing series gives me the option of postponing material, the need to rework things does disrupt the process and slow me down dangerously, so I need to take more care with my outlining. The problem is, there are already a lot of threads I have in mind to work into Book 4, so I may have to do some picking and choosing.
But that’s to be sorted out later. For now, time to rest.
I decided tonight that it was time I got around to watching Star Trek Into Darkness a second time, now that it’s on Netflix streaming. There’s a lot in the movie that I like and a lot I don’t, and as is so often the case with movies these days, most of the stuff I don’t like is in the third act, the one where story logic tends to give way to the relentless Hollywood pressure for action and spectacle. There are so many movies that are excellent in the first two acts and deteriorate in the third, and this is one of them, although there’s still some good stuff mixed in. The attempt to copy The Wrath of Khan‘s radiation-room sequence, in particular, is the worst idea in the film bar none, to the point that it overshadows the rest in people’s minds and makes them remember the film as more derivative than it actually is; but once they get past the “Ship out of danger” line, they actually return the focus where it belongs, to the story of this movie and its character arcs, so from that point on it kinda works. (At least until the “KHAAAAAAANNNN!!” moment, which is even stupider here than it was in TWOK, and it was painfully stupid there.)
John Cho is kind of wasted as Sulu. He’s an amazingly good actor and should be a leading man in his own right. The whole cast is good, and a large part of what makes these movies work (when they do work, which is often enough that I can forgive the parts that don’t), but he’s a particular standout, at least in proportion to his screen time.
One part that I’m afraid doesn’t work for me that well is the musical score. Which is strange, since I usually love Michael Giacchino’s work. But I just find his Trek theme kind of ponderous and melodically awkward. I don’t like its chord progressions; they’re too minor and kind of discordant. It’s inoffensive enough when I first hear it, but then it gets stuck in my head afterward and I really, really don’t like having it there and want to drive it out with something else. It’s like a food that leaves a bad aftertaste. I don’t want to dislike it, but somehow this is one Giacchino theme that just misfires for me. Partly because it doesn’t do what he does so well, which is to emulate the sound of a classic production while still bringing his own voice to it. His Mission: Impossible scores evoke the flavor of Lalo Schifrin’s and do a good job incorporating Schifrin’s themes. His Incredibles score was a fantastic homage to John Barry’s James Bond scores. His theme to Sky High was a classic superhero motif that could’ve easily been a Superman theme. His score for Dawn of the Planet of the Apes evoked Goldsmith’s and Rosenman’s scores to the originals. But his Star Trek scores just don’t sound like Star Trek music most of the time. They have their moments; aside from the arrangement of the Courage theme in the end titles, STID quoted a very tiny snippet of Gerald Fried’s “Ritual” cue from “Amok Time” when Spock was fighting Khan in the climax, and the earlier fight with Kirk, Scotty, and Khan against the Vengeance guards had a score that did evoke the style of various TOS scores. But the main theme and most of the scoring don’t fit the style of prior Trek at all. For that matter, they don’t even sound particularly Giacchino-like to me. It’s really disappointing that the only scores I don’t like from one of my favorite modern film composers are the ones for my favorite franchise.
At the end of the credits, I noticed the American Humane Society “no animals were harmed” credit — which I assume is only included in films that featured animals. But the only animals I remember seeing in the film were an alien riding animal and fish on Nibiru, a tribble, and the sick little girl’s stuffed rabbit. Does the AHS protect imaginary animals too?
Also, Khan stated that the Enterprise‘s life support control was “behind the aft nacelle.” This is a neat trick considering that, A, the ship is symmetrical and neither nacelle is aft of the other, and B, the only thing behind either nacelle is outer space. (I’m laughing at the superior intellect!)