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…
Everyone else is talking about the Star Wars trailer, so I might as well put in my two cents. Not so much about the trailer itself, since you can’t tell much from a teaser trailer, but about the reactions I’ve been seeing.
First off: Okay, the crossbeam lightsaber is a bit hard to justify rationally, but let’s face it, lightsabers are not a plausible weapon to begin with. A beam of energy acting as a solid blade? How’s that supposed to work? It’s magic. Here’s the thing a lot of people don’t seem to get: Star Wars is not science fiction. Lucas has never claimed that it is. His own term for it is “space fantasy.” The reason he created it is because he couldn’t get the movie rights to Flash Gordon. The opening line of every movie, “A long time ago in a galaxy far, far away,” is telling us up front that it’s a fairy tale. It’s not supposed to be a plausible universe, it’s supposed to be a wild adventure fantasy in the vein of the movie serials Lucas enjoyed as a child.
But fortunately the new movie isn’t just looking backward. No more all-white casts like in the bad old days. Our first look at the new generation of Star Wars establishes it as a diverse generation. Who cares if one of them is (at least dressed as) a Stormtrooper? What matters is that they’re there. Inclusion is a good thing, and still far too lacking in feature films.
The other main thread of complaint I keep hearing is about the fact that J.J. Abrams is directing, co-writing, and co-producing. A lot of people are expecting this to be like his Star Trek movies. Here’s why that doesn’t follow:
On Star Trek, Paramount gave Abrams and Bad Robot free rein to recreate the franchise however they wished. They’re making it on behalf of Paramount, but the “Supreme Court” of Abrams, Bryan Burk, Damon Lindelof, Roberto Orci, and Alex Kurtzman have had pretty much total control over it, and Abrams is the top man. Even though he’s not directing the third film, he’s still producing it, and that means the buck stops with him. But on Star Wars, Lucasfilm executive Kathleen Kennedy is the one in charge. Abrams is hired talent working for her, for Lucasfilm. He’s only directing this one movie, while Kennedy is producing the whole series, including Episodes VIII & IX (slated to be written and directed by Looper‘s Rian Johnson) and some standalone spinoffs (the first two of which are slated to be directed by Godzilla‘s Gareth Edwards and Chronicle‘s Josh Trank). And he’s been hired, not to reinvent the universe his way, but to make a new installment that’s true to the existing universe, a universe that Kennedy is now in charge of maintaining and advancing. Kennedy, by the way, is the woman who’s produced most of Steven Spielberg’s films and the Back to the Future trilogy, among plenty of others. Think about that. Star Wars is now in the hands of Spielberg’s closest collaborator.
Also, Abrams made his Trek films along with the “Supreme Court” members listed above. But he’s co-written The Force Awakens along with Lawrence Kasdan, and he and Burk are producing it along with Kennedy and Kasdan. Just to be clear, that’s Lawrence Kasdan, the guy who co-wrote The Empire Strikes Back, Return of the Jedi, and Raiders of the Lost Ark. Frankly I’m amazed I’m not hearing more chatter about that from Star Wars fans. The guy who wrote the best movie in the franchise is back. How is that not exciting?
So yes, of course, The Force Awakens is going to be an Abrams film with his voice and sensibilities, but only insofar as it meshes with Kennedy’s vision. Think of what happened to Edgar Wright on Ant-Man. He spent years developing that film, but when he couldn’t come to terms with how the Marvel Studios executives envisioned the film, he was let go. The same would’ve happened to Abrams if he’d tried to make a Star Wars film in a way that Lucasfilm and Kennedy were unhappy with. After all, this film is the foundation of a whole new series of films that Kennedy is responsible for developing and producing, and that Abrams will have no hand in beyond how he sets the stage in TFA. That tips the balance of power more toward Kennedy.
Anyway, I don’t understand the opinion some people have that Abrams’s sensibilities are inappropriate for Star Wars. His approach has always been to blend big, extravagant fantasy action with relatable, character-based drama. To me, that seems perfect for Star Wars. The problem with the prequel trilogy, with Lucas writing and directing the films himself, was that Lucas never really cared about characters. Abrams always puts characters and emotions at the center of everything, even in the midst of the big flashy action. If anything, the main problem with his series Alias was that it was too tightly focused on characters and relationships, so that all the big worldshaking spy schemes and master plans all ultimately revolved around the family lives of a few core characters to a degree that would’ve made Charles Dickens say “Okay, that’s a bit contrived.” But that’s perfect for Star Wars, a franchise where the big bad turned out to be the hero’s long-lost father and it was their family bond that ultimately saved the galaxy, and, oh, the leading lady is the hero’s sister too. SW is big, broad melodrama and has never pretended to be anything else, just as it’s never pretended to be naturalistic or scientifically plausible.
If anything, Abrams’s main shortcoming as a Star Trek director was that, while he handled the character side well enough to make the stories feel grounded, he treated the universe and its rules too fancifully. Star Trek has always at least nominally tried to be a naturalistic, plausible universe, though it’s often fallen short on the plausibility side. But Abrams has treated it more like a fantasy universe where physics works in whatever way is convenient to the plot and where starships can hop across the galaxy in seconds. In other words, he’s treated Star Trek like it was Star Wars. But now he’s doing Star Wars, and that seems like a natural fit to me.
Of course, there’s no sense in judging a movie good or bad based on its teaser trailer. But it seems to me that fandom today is dominated by voices that look for excuses to criticize and carp, and usually those excuses don’t hold up to analysis. And that’s frustrating. Fandom is supposed to be about enjoying stuff and being excited by stuff. Fandom is love, and love should be optimistic. Even when you’ve been burned by love in the past, even when you’re afraid to take a chance on love again, it’s still important to let it give you hope.
Granted, I myself only like Star Wars rather than loving it. But I love Star Trek, and that love makes me want to see the best in it, even when it disappoints me. Because forgiveness is part of love too. I wish more fans would remember that.
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.
Going on right now is the 9th annual New York Comic-Con… and the first one ever that I haven’t attended. I just didn’t have any good business reason to attend this year, and it was happening on the same weekend as the local Books by the Banks festival here in Cincinnati, which I had to miss last year because of the conflict (after attending it back in 2012 and once a few years before that). And NYCC has just gotten so crowded and noisy and strenuous that after last year, and exhibitor tickets have become so much costlier and harder to get, that I felt it was time to take a break. And I didn’t feel like another long road trip so soon after my visit to Detroit a few months back, or another plane flight so soon after Shore Leave. So I decided that this year I’d prioritize BbtB over NYCC and just stay in town.
But then I was late to apply to BbtB, and though the organizers were willing to let me apply anyway, somehow it never quite came together and I wasn’t accepted as a guest this year. So I debated with myself whether to try to get into NYCC after all, maybe see if Pocket could get me a guest speaker’s pass and see if I could make last-minute arrangements to stay with a friend. But I realized: I’m still recovering from that minor gum surgery I had a few weeks back, so I have to avoid biting into foods, keep the healing area very clean with a special mouthwash, etc., and it would be hard to ensure that if I were on the road or at the convention, trying to scrounge food where I could. So that pretty much left me without anyplace to be, at least professionally.
Still, I decided I’d drop in to Books by the Banks this afternoon just as a visitor (it was free, though I had to pay for parking — and if I hadn’t been misled online about the parking prices, I would’ve taken the bus instead). I figured it might be a chance to meet some fellow authors, maybe even see somebody I knew. And I did. I finally got to meet John Scalzi, one of the most successful science fiction writers from the Tri-State area, and heck, one of the biggest around, period. I sat in on his panel, where he offered some interesting and hopefully useful advice, and got to chat with him for a bit afterward. I was flattered to hear he was aware of Only Superhuman, though in retrospect I figure it’s probably because of that business over the cover art a while back. I had a talk with Brad Ricca, who’s written an interesting-looking biography of Superman creators Jerry Siegel and Joe Shuster. And I did run into a couple of people I’ve met before, including Dan Andriacco, a mystery writer and Sherlock Holmes authority whom I met at the Ohioana reception a few months back and who told me some things that were useful in my Locus essay on Sherlock and Elementary, as well as Mark Perzel of WVXU radio, who interviewed me early last year about Only Superhuman and who knew my father back in his radio days. So it was nice to run into them again.
At least staying at home gives me more time to work on my writing. I’ve been trying to get a rough draft of my outline for Rise of the Federation Book 4 done before diving into the copyedits for Uncertain Logic, so that I’ll know of any continuity tweaks or foreshadowings I need to work in, and I finished that to my satisfaction (at least, for an initial rough draft) this morning, with over six weeks’ leeway to polish it before the due date (yes, astonishingly, for once I’m massively ahead of schedule!). And meanwhile I’ve got the final set of galley pages for DTI: The Collectors to proofread. So that’s all keeping me busy enough without the distractions and fatigue of a trip to slow me down.
Still, as tired as I am of the frenzy and crowds of NYCC, I do miss being there and getting to hang around with my friends (and their cats). I saw them all (well, not the cats) at Shore Leave just a couple of months ago, but now I have to wait until next Shore Leave to see them again, unless I can contrive a reason to make a business trip to New York City before then. As for NYCC, hopefully next year I’ll have something new to shill there, but who knows? I might go anyway, just because I missed being there this year. Although I hope next year it doesn’t conflict with Books by the Banks.