Archive

Posts Tagged ‘ST:TMP’

Star Trek trivia: The evolution of “mind meld”

A while back, I noticed something interesting about the history of Star Trek terminology. We’ve all come to think of “mind meld” as the standard term for the telepathic contact used by the Vulcans, and it’s been used consistently and near-exclusively in most Trek productions over the decades. But in fact, it was never used in the original series until the third season, and then only twice. TOS was quite inconsistent in its terminology — as with so many things, they made it up as they went and it took time for the concept to settle down. Here’s a list of the terms they used, and how they were depicted (originally posted in a thread on Tor.com, and put together with the help of the Star Trek Script Search app):

  • Dagger of the Mind: “an ancient Vulcan technique to probe into Van Gelder’s tortured mind” — The template for the mind meld as we know it.
  • Devil in the Dark: “the Vulcan technique of the joining of two minds” — Also a very deep fusion and blending of identities.
  • The Changeling: “mind probe” — Ditto.
  • By Any Other Name: “mind probe” and “mind touch” to refer to the telepathic suggestion used with the Eminian guard and Kelinda, much less of a connection than we’ve seen before.
  • Patterns of Force: “mind probe” to refer to Spock reaching Gill’s mind, but we didn’t see how deep it went.
  • Spectre of the Gun: Debut of the term “mind meld,” to refer to what was basically hypnotic suggestion.
  • Elaan of Troyius: “mind meld” suggested but not used as an interrogation technique.
  • The Paradise Syndrome: “mind fusion” used for a full “our minds are one” joining.
  • Is There in Truth No Beauty?: “mind link” to refer to the full union of two minds.
  • One of Our Planets is Missing: “mind touch” for Spock allowing the cloud creature to see and speak through him, much like his “link” with Kollos.
  • The Infinite Vulcan: “mind touch” to refer to a full transfer of mind/memory from giant Spock to original Spock.

So that’s “Vulcan technique” in season 1; “mind probe” and “mind touch” in season 2; “mind meld,” “mind link,” and “mind fusion” in season 3; and “mind touch exclusively in the animated series. The usage was all over the place, and “mind meld” was the third-most common term after “mind touch” and “mind probe.” And the writers’ bible for TOS refers only to Spock’s “strange Vulcan ‘ESP’ ability to merge his mind with another intelligence.” In the first major Trek reference book, The Star Trek Concordance by Bjo Trimble, the version that gets the longest lexicon entry (29 lines) is “Vulcan mind touch,” with “mind link” (non-Vulcan) getting six lines, “Vulcan mind fusion” five lines, and “Vulcan mind meld” only four, the shortest entry (though no “mind probe” anywhere in sight). I always used to have the sense that “mind touch” referred to a shallower, more basic telepathic communication while the “meld” or “fusion” was a deeper, more complete blending, but as you can see above, the terms were used more interchangeably than that.

And yet the 1977 writers’ bible for Phase II, the TV revival project that later turned into Star Trek: The Motion Picture, did use the term “mind-meld” for Vulcan mental abilities. The term was then used in onscreen dialogue in TMP itself, for the contact between Spock and V’Ger’s memory crystal. It was also used in The Search for Spock (referring retroactively to Spock’s katra transfer to McCoy in TWOK) and The Voyage Home (for Spock’s mental communication with the whales). And it’s been the exclusive term in every subsequent Star Trek production. (“Mind probe” was used twice, in The Next Generation‘s “Menage a Troi” and Deep Space Nine‘s “Extreme Measures,” to refer to mind-scanning technologies akin to the Klingon mind sifter, but never for Vulcan telepathy.) So sometime between TAS and the movies, the term became standardized.

It also occurred to me to check into the tie-in fiction that came out between TOS and TMP. 1970’s Spock Must Die! by James Blish used yet another unique term, “mind-lock.” But the next original Bantam publication, the 1976 anthology Star Trek: The New Voyages (which was mostly reprinting earlier fanfiction stories, though newly revised for the anthology), uses “mind-meld” consistently in multiple stories. As far as I can tell, it was pretty standard in Bantam’s books from then on (though I don’t have them all in my possession). So in both screen and prose Trek, the term “mind meld” somehow became the default by the late 1970s — but how? Why that term, when it was so infrequently used in TOS and never in TAS?

When I checked my nonfiction text sources, I found that The Making of Star Trek, written by Stephen Edward Poe (as Stephen E. Whitfield) and Gene Roddenberry during season 2 of TOS and released shortly before the premiere of season 3, refers to Spock’s ability as “mind-melding” — making it the earliest public use of the term. It’s possible Poe/Whitfield got it from the scripts to “Spock’s Brain” and “Elaan of Troyius,” though, depending on how early they were written. Or maybe it’s just the term Roddenberry had decided on, and so it got around behind the scenes.

People today often don’t realize it, but TMoST was the definitive ST reference book in its day, the source of a number of things that became conventional fan wisdom even though they were never stated onscreen, such as Kirk being the youngest starship captain, McCoy’s divorce backstory (proposed by DeForest Kelley for the second-season writers’ bible but first publicized by TMoST), and the Romulan-Klingon alliance (from development notes for “The Enterprise Incident” to explain the Romulan use of Klingon ships, which seems to confirm that Poe had access to early third-season scripts). Not to mention technical details that weren’t canonized until later, like the idea of the forward parabolic dish being a navigational deflector. TMoST was also the second work to establish a 23rd-century setting for TOS, preceded by James Blish’s “Space Seed” adaptation in the collection Star Trek 2 seven months earlier.

So if all these things became conventional wisdom because they were in The Making of Star Trek, it follows that TMoST’s use of the term “mind-melding” is the reason that term became standardized later on. And it does seem that it used the term because it was written around the same time as the two TOS episodes that did use it. If it had been written a few months earlier, we might’ve ended up talking about “Vulcan mind probes” for all these years.

Advertisements

Shore Leave: Over already? I just got there!

Wow, where did the weekend go? This year’s Shore Leave was a whirlwind, over so fast it hardly had time to sink in. Maybe it’s because I flew there this time. Not only did I get in later than usual on Friday and leave early on Sunday, making for a total of only about 48 hours spent in the hotel (c. 2 PM Friday to c. 2 PM Sunday), but maybe the quicker travel time made the whole thing feel more abrupt somehow.

But let’s see what I can extract from the sensory blur in my memories.

The flight out from Cincinnati to Baltimore went fairly well. I seemed to get through the airport amazingly quickly, in part because I got randomly assigned to the expedited TSA check which is simply a walk through a metal detector (along with everyone else around me — making it seem like an implicit admission that all the security theater of the past few years doesn’t really make much difference after all). I took a quick flight to Philadelphia on a medium-sized plane and then a short hop to Baltimore on a small turboprop — the first propeller plane I think I’ve ever been on, and the first plane where the cabin has been under the wing, so I could actually see the landing gear from my window. A little scary at first, but I reminded myself that if it weren’t a proven and reliable technology, it wouldn’t still be in use after a century. And the props were clearly made of carbon composite, which was reassuringly modern.

Then came the long ride on the Light Rail, literally from the very start to the very end of the route. But it didn’t feel like it took too long, even though I gave up trying to listen to music on my phone because the train was too noisy. (Maybe I should’ve brought my other earbuds, which block sound better. Plus they don’t get tangled as easily, I think because one earbud is on a shorter cord than the other so there’s less there to tangle.) The one hitch was that I got a sandwich at the airport planning to eat it on the train — and then saw that eating on the train is prohibited. So since I’m an extremely law-abiding sort, I had to wait another hour and a half to eat my lunch. I had half the sandwich while walking from the light rail station to the hotel, and the other half once I got into my room (which was quick and easy because I arrived late enough that it was already prepared).

When I visited the vendors’ area, I was pleased to run into Sally Malcolm and her husband, the founders of Fandemonium Books, the British company that publishes Stargate SG-1 and Stargate Atlantis tie-in novels. They were there along with New York writer Diana Dru Botsford, who’s done a number of SG novels for Fandemonium as well as having written for ST:TNG on television. I was glad that this year they were able to come to Shore Leave and bring the two tie-in franchises together, as it were. And now I know who to contact if and when I have a Stargate novel pitch… 😉

At dinnertime, I ran into Greg Cox and some other folks at the hotel’s little cafe/lounge place, which is now open for business again since the hotel came under new management. We had a nice talk there, and later we were seated together at Meet the Pros, though we had less time to talk there since it was really well-attended and busy — another reason it seemed to go by so fast. I signed a lot of copies of Tower of Babel. Unfortunately only one guest bought a copy of Only Superhuman for me to sign, since the book vendor only had it in hardcover. The dearth of mass-market paperbacks of OS continues to bewilder and frustrate me. (It’s still available by print-on-demand, but getting paperbacks in stores is better for getting casual readers interested. Or would have been…)

I also finally got to meet Australian uberfan Ian McLean, aka Therin of Andor, who’s probably the one person who loves Star Trek: The Motion Picture more than I do, and after whom I named an Andorian character in Ex Machina, a character who’s been picked up on by other authors and taken on a life of his own. He brought me an awesome gift, an Australian edition of the ST:TMP novelization from Futura Books, with a lovely photo insert section and a few bits of additional description in the text. He even got it autographed by Billy Van Zandt, the actor who played the Rhaandarite “alien ensign” in TMP, whom I made into a major character, Vaylin Zaand, in ExM. It is a cool thing to have.

Let’s see, panels… Before Meet the Pros, I was on a panel about comedy science fiction, in which I got to talk about my Hub stories, though my comedy contributions are fairly limited in comparison to fellow panelist Peter David — though he demurred that most of his overt comedy writing is fantasy rather than SF. Also in attendance were Aaron Rosenberg, co-founder of Crazy 8 Press, and two authors who’ve had comedies published by Crazy 8, Lorraine Anderson and Russ Colchamiro.

But the rest of my panels were on Saturday, so I was kept pretty busy that day. First was the panel on writing movie-era Trek, which was intended to focus on the original series’ movie era, but ended up being broadened to include TNG movie-era books. Greg and I were on that along with Peter David and Dayton Ward (who did In the Name of Honor in the post-ST V era as well as A Time to Sow/A Time to Reap with Kevin Dilmore in the TNG movie era). Greg pitched his upcoming Foul Deeds Will Rise, set in the post-ST V era, and I just talked about ExM.

Then came “60 Years of Godzilla,” with Greg again (since he novelized the recent movie) as well as Jeffrey Lang and Andrew Gaska. I got to do my spiel summarizing the history of the franchise, based on my posts on this blog, but I think I went a little too much in-depth, since people were walking out by the end. I was afraid that would happen.

I got a burger and fries for lunch in the cafe, where I’d previously gotten a breakfast of cereal, milk, orange juice, and a banana. Both meals cost me 9 dollars. Each. Hotels are so expensive! I also attended a “Writing Stargate” panel by the Fandemonium bunch, and learned some more about their approach and interests. Apparently they’ve been trying to convince MGM to let them do a post-finale series of SG-1 as they’re already doing for SGA, but with no luck as yet; and they don’t have a Stargate Universe license, which is too bad, since I woul’dve liked to write for that one. They explained that the new movie reboot that’s being developed has nothing to do with the show’s continuity and doesn’t affect the books. (I can’t understand MGM’s decision to let Devlin and Emmerich resume their vastly inferior version of Stargate rather than continuing the TV universe.) I also sat in the audience for a panel called “The Villain’s Journey,” with quite a few people including Kathleen David (Peter’s wife), David Mack, and Marco Palmieri exploring the question of whether there was a Villain’s Journey model to complement the standard Campbellian Hero’s Journey. An interesting talk, but it got a bit too philosophical for me at times.

And then I was a member of two more consecutive panels. First was “Writing Action Scenes,” with Dave Mack, Kirsten Beyer, Keith R.A. DeCandido, and a couple of others I didn’t know. I felt a little out of place there, since my approach to action is a little more understated and less based on experience than that of some of the other panelists. But it was informative; Keith’s experience with karate brought some useful insights into the experience of being in a fight, which hopefully can be useful to me in future writing.

Finally was “Series in the Sandbox” with Dave, Kirsten, Dayton, and Kevin, focusing on ongoing single-author or single-team series in Trek (since SG author Jo Graham couldn’t make it). This was supposed to be my big chance to promote what I’m doing in Rise of the Federation, but I can’t remember whether I really talked about it much. By that point I was so frazzled that I wasn’t really sure what was going on.

But fortunately a bunch of us went out to dinner at that really good barbecue place near the hotel, Andy Nelson’s Barbecue Restaurant. It’s the second time I’ve been taken there, and I think I had the same thing I had the first time: a pulled turkey BBQ sandwich, cornbread, and cole slaw, along with a much-needed iced tea. I generally don’t like either cornbread or cole slaw that much, but both were excellent here. It was nice to get to hang out with the group, but the problem with being in such a large group at such a long table — especially since I was sitting at one end — is that you don’t really get to talk to everyone. I was hoping to get to talk more with Kirsten Beyer this weekend, for instance, just to catch up, but we only got to talk briefly a couple of times. (Usually, these past few years, Meet the Pros has died down early enough that the writers have had more time to wander the hall and socialize, but this year we were kept pretty busy throughout.)

I just went back to my room after that, since I needed the peace and quiet after that long, long day. By the time I got up Sunday morning, it was almost time for the author breakfast in the hotel bar. After that I attended the memorial service for the late Ann (A.C.) Crispin, though I’m not sure I really belonged there, since it turned out to be more of a private gathering for her friends, and I was never more than passingly acquainted with her. But I wanted to show my respects. It was a nice service, and the stories her friends told made me regret that I didn’t get to know her better.

I don’t remember what I did for the next hour — probably just went back to my room — but then I went to a panel about Orphan Black that Marco was on along with… oh, man, I totally don’t remember. I think Aaron Rosenberg was there? It was a fun panel, though. After that, I went to a presentation by artist Rob Caswell, whose art inspired the Star Trek: Seekers novel series that Dave, Dayton, and Kevin have just debuted. But halfway through that, I realized I’d been so caught up in panel after panel that I’d totally forgotten to go down to the book vendors’ table and do my stint in the author chimney, the little recessed space between brick columns where we authors sit for an hour or so to sign autographs. And I’d arranged to get a ride to the mall (where I could get lunch and wait for the light rail) right after that panel ended, so I was only able to give the book folks half an hour, during which it was almost totally dead because it was the afternoon of the last day and everyone had already spent whatever they had to spend. I regret that I let this slip my mind until it was almost too late.

So I got a good lunch at the mall, which Marco very nicely picked up the tab for, and then my light rail trip began. And this is where the fun ended. I got mixed messages about whether the train I caught was going to the airport, and it turned out not to be, so I realized I’d have to transfer. Although it became evident that if I’d waited 2-3 more minutes, I would’ve caught the airport train. And halfway through the trip on the train I was on, it got overloaded with Orioles fans who I guess were going home from a game, and it was hellishly noisy and crowded, and I wasn’t comfortable about being on the wrong train. I mean, logically I knew that the right train was behind this one on the same track so I couldn’t possibly miss it, but neurotically, all I knew was Oh my gawd I’m on the wrong train!!  And I was fatigued enough that neurosis won out over logic. I could’ve transferred much earlier, but I checked the MTA website and there was a travel advisory about a power outage on the tracks and the need to take a bus from a certain station, so I wanted to wait to transfer at that station just in case the problem was still around. And once the gaggle of fans boarded, I had to wait until the crowd thinned anyway. But once I finally got on the right train, it was so very empty compared to the one I’d been on. Oh, if only I’d waited those 2-3 minutes more! To add insult to injury, midway through the ride I discovered that I could access a tracking page on my smartphone which showed me exactly where the trains were. If I’d looked into that before my trip, I could’ve determined in advance which train I wanted.

And then I had to wait in a long line at the airport and do the whole rigmarole of taking everything out of my pockets and storing it in my bags and jacket — only to end up in the expedited line at the end of the process and learn too late that none of that had been necessary at all. You couldn’t have told us sooner, guys? By this point I was tired of spending extravagant prices on food, and my late lunch had been satisfying, so my “supper” consisted of a protein bar I bought at BWI and a smoothie I later bought at the Philly airport. The flight to Philly was uneventful but the taxiing took forever. For some reason, they used a huge plane for such a short hop (although it was going on to Dallas afterward) — it probably seated more people than both my Friday flights combined. The flight from Philly to CVG also took forever to get takeoff clearance, and we hit some bad weather along the way and there were some scary moments of turbulence. I was struck when I looked out the window and realized the flashing wing lights were illuminating a spray of raindrops streaking backward relative to the jet. No, I didn’t see a gremlin on the wing, but there was a moment there when I wouldn’t have been surprised to.

The weather delayed us just enough that I missed the last bus from CVG to downtown Cincy, and I learned that a taxi ride home would cost 42 bucks. So I caught an executive shuttle van for only 22 bucks to get to the bus stop downtown — only to learn at the last moment that I could have arranged a ride all the way home for a few bucks more, but that the driver couldn’t accept any additional payment at that point. Argh. And then it looked like I’d missed the bus I wanted and would have to wait 40 minutes, but then the bus came late, which was a relief. It didn’t get me as close to home as the later bus would’ve, though, so I had to walk a few blocks at night in what isn’t the best neighborhood, which wasn’t fun. By the time I finally got home well after midnight, I was too tired to do anything but shower off the travel sweat and go right to bed.

I decided to fly because I didn’t want to go through the long slog of spending 2 days driving each way and not getting any sleep at motels, and risking drives through terrible weather. But after all this, driving is looking a lot better. At least it’s a lot quieter, giving me a lot of time to think. Which can get boring, but it’s not as harrowing as all this. Maybe I’d have a better memory of the con this year if the trip home hadn’t been so hectic. Also — between buses, planes, and trains, my outgoing trip took over seven hours from home to hotel, and my return trip took over nine hours the other way. The drive to or from Shore Leave is 10-11 hours split over 2 days. So maybe I don’t save so much time by flying after all.

I don’t mean to sound negative. Shore Leave itself was great, and I got a lot out of it this year. It just went by so fast. Maybe next year I should use more restraint in volunteering for panels, so I have more downtime. Although I guess that wouldn’t rule out having most of my panels scheduled on one day.

And who knows? Maybe next year I’ll have more new work to promote and talk about. I certainly hope I will. To that end, though, I should probably get back to work…

A really nice STAR TREK: EX MACHINA review!

August 19, 2013 1 comment

This is going back quite a ways, but I just came across this really detailed and thoughtful review of Ex Machina on “The m0vie blog”:

http://them0vieblog.com/2013/08/02/star-trek-ex-machina-by-christopher-l-bennett-review/

It’s hard to pick just one pull quote, so I’ll go with the wrap-up paragraph:

Ex Machina is a worthy and joyful celebration of an esoteric and oft-overlooked period of Star Trek history, at once an ode to a by-gone age and yet a clever modernisation of some of the franchise’s core qualities. It’s a clever and fun debut from Christopher L. Bennett, and one well worth checking out for anybody who likes a bit of social commentary in their Star Trek or even just occasionally wonders what an expanded version of The Motion Picture might look like.

I’m really impressed — the blogger, “Darren,” makes a lot of extrapolations about the motives and reasoning behind my creative choices, which can be a risky thing to do and runs the risk of projecting the reviewer’s own interpretations onto the writer; but in this case the reviewer is largely on the mark (although maybe that’s because I’ve written so much about my thinking in my annotations and such). Although he perceives a stronger connection to The Wrath of Khan than I’d intended.

The WEST SIDE STORY curse is broken

I finally got my requested copy of the West Side Story Special Edition DVD set from the library, so I’ve finally seen the film (or rather, I’ve seen it for the first time since I was a kid and for the first time in color and widescreen as it was meant to be seen).  Whenever I’ve tried to watch it before, something’s happened to interrupt me before the Prologue ended, so I kept waiting for the phone to ring with bad news or the building’s power to go out or the ground to open up and swallow my TV, but this time the universe cut me a break and let me watch the whole thing.  (I actually did get some bad news on the phone on the same day I brought home the DVD, but it wasn’t while I was watching it.  And that’s a topic for another time.)

I was a little alarmed at first when I got the DVD, since it said on the case that it was in the “original 16×9” aspect ratio, whereas the original ratio was actually 2.20:1, and 16:9 is nowhere near that.  But I did some checking online and most sites said it was 2.20:1 and “enhanced for 16×9 TVs,” although I had a hard time finding out what that meant and I’m still not entirely sure.  Anyway, it looked to me like what I was getting on my regular TV was maybe a little less than 2.20:1, but at least 95% of that.  While there were some group shots where the occasional person on the periphery was cut off a bit, the compositions did seem to fit the frame and vice-versa, so I was definitely getting as close to the complete experience as I can reasonably expect to.

And it was definitely worth holding out for the widescreen edition.  The design and composition and choreography are so tailored for the 70mm widescreen format that the very idea of watching in in 4:3 “fullscreen” (like on the copy Netflix sent me) and missing out on 40% of every shot is a sick joke.  This is a gorgeous movie that demands to be seen at its full width.  Director Robert Wise, production designer Boris Leven, and cinematographer Daniel Fapp did a fantastic job creating a visually stunning film, an intriguing hybrid of vivid theatricality and urban realism.  And though I’m far from a connoisseur of dance, I could tell that Jerome Robbins’s choreography was equally impressive and it would be a crime to cut nearly half of it off the screen.  (I was interested by the dance-fighting in the Prologue, which drove home how similar the disciplines of stunt-fighting and dancing really are.)

It’s also a very beautiful film to listen to.  The songs are excellent, although it’s surprising to me to find that I’m less fond of Stephen Sondheim’s lyrics than I am of Leonard Bernstein’s music.  Maybe that’s just because it was early in Sondheim’s career.  There’s still plenty of clever Sondheimian stuff in there, though, creative and surprising rhymes and clever bits of characterization.  (Though in “America” he did overreach himself trying to find a rhyme for “Manhattan.”  Though I think the awkwardness of it was part of the joke.)  Interestingly, I often felt the melody in the songs seemed more Sondheim-like than the lyrics.  Maybe that shows how influential this collaboration was on Sondheim’s later work.  Anyway, Bernstein’s music is great, and I really like the instrumental parts.  I gather Bernstein preferred the smaller 30-piece orchestra of the original play and found the movie’s arrangements for an orchestra three times bigger to be too bombastic and unsubtle, but I just love that big orchestral sound.  (I think a lot of this music resonates with me because we spent a lot of time learning these songs in junior-high music class.  So this is one of those things that I know better than I knew that I know it.  Or… yeah.  Or something.)

Storywise, it’s a little more basic.  It’s a variation on Romeo and Juliet, but slimmed down and somewhat simplified, and with a change at the end that I wasn’t expecting.  There’s some interesting stuff with the exploration of ethnic prejudice and politics in lower-class New York City of the day, but I think it was a little too cleaned up.  Probably street gangs and juvenile delinquents of the 1950s-60s were somewhat less violent than their modern counterparts, but I suspect the film (and play?) toned that down even further to make the characters more sympathetic, going out of its way to stress that the gangs were hesitant to employ weapons rather than fists and that when deadly violence occurred it was unintended.  It felt a little self-conscious, at least from a modern viewpoint.  And then there’s the central romance between Maria and Tony.  It’s kind of hard to take it seriously, since they barely know anything about each other and there’s no real sense of why they love each other except that they’re predestined soulmates or some such thing.  However, it’s entirely plausible as the sort of overly dramatic infatuation that teenagers are prone to (which, really, is kind of the point of Romeo and Juliet).  When I was that age, I was certainly prone to falling hard for a girl and thinking my whole universe revolved around her even though I knew nothing about her beyond her looks — although in my case it wasn’t reciprocated, for better or worse.  So it’s believable that they’d react the way they do, but it’s hard to buy into their viewpoint as being valid or their relationship as being as deep and permanent as they imagine.  And there’s not very much to their characters beyond being madly in love, so they’re not the most interesting parts of the story.

The casting wasn’t my favorite part either.  Richard Beymer is just kind of bland as Tony, and while Natalie Wood is (or was) certainly lovely, I found her a little insubstantial.  But then, I guess she was supposed to be kind of insubstantial and carefree in the first act, and then go to a darker place in the second.  Maybe I made up my mind about her too quickly.  (I also thought Wood uncannily resembled Juliet Landau of Buffy the Vampire Slayer, so much so that I wondered if they were related, until I remembered that Landau is the daughter of Martin Landau and Barbara Bain.  As it happens, I also think Wood’s sister Lana Wood looks a lot like Summer Glau.) Anyway, as for the rest of the cast, Rita Moreno is certainly the standout, and George Chakiris and Russ Tamblyn and the rest of the ensemble are pretty good, but their strength is more as a troupe than as individuals.  And most of them seem too old to be convincing as teenagers, which is ironic, because most of the roles were recast for the film because the Broadway cast was seen as too old-looking.  Simon Oakland does an effective turn as Lt. Schrank, the main adult character and one of the few non-dancing roles in the film (hey, it just struck me that none of the adult or authority-figure characters dance, just the ones who are supposed to be teenagers).  Schrank is a complicated character, sincerely wanting to keep the peace and clean up the streets, but embittered and unthinkingly racist, failing to realize that he’s part of the very problem he wants so much to resolve.  (I’d expected Officer Krupke to be a more major character, given that he has a song named after him, but he was little more than a spear-carrier.)  I was also quite pleased to see the minor, uncredited appearance by John Astin as the social worker “Glad Hand” at the dance; he was his usual charmingly quirky self and elevated a fairly minimal role.

Some of the ’60s conventions here were a bit hard for me to accept, notably the reluctance to cast Hispanic actors in leading Hispanic roles (Natalie Wood was Russian-American, George Chakiris Greek-American), and the practice of dubbing over the actors’ own singing with other performers, most notably (and recognizably) Marni Nixon as Maria.  The DVD set has a documentary that let me hear some of Wood’s own singing, and I liked it better than Nixon’s.  Okay, maybe it was less polished and perfect, but that’s what I liked about it.  It had more texture and personality and felt less studio-packaged than Nixon’s.  Maria should’ve sung like an inexperienced but enthusiastic teenager, not like a professional opera singer.  I know I was getting passionate up above about seeing this film the way it was originally presented, but in this case I’d be willing to make an exception.  I wouldn’t mind getting to see a version that restored the original actors’ singing (where feasible — Rita Moreno was dubbed on “A Boy Like That” because she wasn’t capable of singing in a low enough register).

Of course, a large part of my interest in this film was because it was directed by Robert Wise, who directed Star Trek: The Motion Picture, a longtime favorite of mine.   And it does seem to me there are some points of commonality between the two.  WSS and ST:TMP are both films that rely heavily on long set pieces driven by visuals and music rather than dialogue (even a lot of WSS’s musical numbers are largely or mostly instrumental).  A lot of people consider that a bug of TMP, but I see it as a feature, a quality that makes it a very grand and cinematic experience.  It makes me wonder if Wise’s experience directing musicals, with their big set pieces, was influencing his choices about the pacing and focus of TMP.  Both films also rely on spectacular production design and sets, and I’m wondering if that striking red overpass in the set where the rumble took place in RSS was the same kind of forced-perspective construction as the horizontal intermix chamber in TMP’s engine room — i.e. building a set component that tapers and shrinks toward the rear to create the illusion of parallel lines receding much farther than the set can contain.

Of course, one clear difference is that WSS is a much more vividly colorful movie while TMP is done more in pastels and grays.  But that was kind of a ’70s thing, and it seemed to reflect Wise’s view of the technological future, the same cool, sterile professionalism you see in his The Andromeda Strain.  That doesn’t mean he couldn’t be drawing on his experience with other films as well.

And…. cue end credits!

Why have I got the Jerry Goldsmith Star Trek theme running through my head?  Because I just wrote the final scene of Star Trek: Department of Temporal Investigations: Forgotten History, and I’m imagining the movie-era Enterprise sailing majestically away from camera and leaping into a prismatic warp flash before the end titles roll.

It’s been a blast writing this novel, because it’s let me revisit the post-TMP era from Ex Machina, and also do my first real in-depth exploration of the 5-year-mission era and the period in between.  It turned out about half pre-TMP and half post-TMP, plus a frame story with Lucsly & Dulmur.  This book will probably be confusing for some people to shelve, since it’s both a Watching the Clock sequel (and prequel) and an Ex Machina sequel (and prequel).  And there’s another series heading that it could sort of fall under too, but that would be telling.  Anyway, this book may hold the record for containing the most things I’ve been wanting to work into a Trek novel, or at least the most eclectic assortment thereof.  Many of which fall under the category of getting to revisit the post-TMP period again.  Although I’ve been just as eager lately to do something in the timeframe of The Animated Series, and while Forgotten History only spends a brief amount of time in that era, it does have a lot of TAS references.

The first draft comes out to 83,600 words, just shy of the maximum 85K I was contracted for.  I think I’ve rarely come so close to a target length.  Of course, I still have revising and polishing to do, which will probably modify the word count.  And I’ve got just under a week to do that.  Hopefully that’ll be time to make two full passes.  I wish I hadn’t slowed down so much in the middle of the writing period, so that I’d have more time now for polishing.  But that’s just the way it always seems to go for me.  Even when I start out as strong as I did on this, with the words just pouring out, sooner or later I lose momentum and go into a down phase where it’s a lot harder to focus and decide what to write.  Usually I get back into an up phase toward the end, because I have to, but it’s been a bit more of a struggle this time, and the really good bursts of writing have been less frequent this month than they were in that first week.  However, I did manage to get more than half the book written within the past 24 days, so maybe slow and steady wins the race.

Oh, hey, I just remembered a minor story point I forgot to work in.  I don’t think it’s urgent, and I’m not sure there’s a place to work it in, but I guess I’ll go take a look.

Workbees!

I’ve just written a scene in Forgotten History that was a lot of fun to write.  It was an action scene, but the kind of action scene I like, that’s more about clever problem-solving and finding imaginative ways to do things with available physical and technological resources than it is about shooting things.  And all the Mission: Impossible I’ve been watching lately had an influence on it as well.

But a lot of why it was fun is because I got to use workbees!  Workbees are cool.  They’re these little yellow maintenance vehicles — designed by Andrew Probert — that fly around ships in drydock, and they can be connected to grabber sleds or cargo trains or any number of other specialized attachments, like little one-person truck cabs that can be outfitted as various different types of truck.  But in space.  They’re one of those ideas introduced in the brilliantly conceived and designed world of Star Trek: The Motion Picture that unfortunately fell by the wayside in later Trek, even though the production and FX teams loved them and even managed to slip one into the Deep Space Nine main titles.  One of the things I’ve tried to do in my post-TMP fiction — Ex Machina, The Darkness Drops Again, and now this — is to use all those nifty designs and aliens and ideas that were glimpsed in that movie and never again.  One cool thing about getting to return to that milieu is the opportunity to reference things I didn’t get around to using in ExM or TDDA, like the observation lounge glimpsed only in miniature when Spock’s shuttle docked.  Or the workbees, which are just so darn cute.

I also like writing about workbees because I like saying the word “workbees.”  Go ahead.  Try it.  “Workbees.”

Workbees!

Moose!

(Yes, I managed to write a post that has tags for Star Trek, Mission: Impossible, and Freakazoid! all at once.)

 

 

 

 

 

 

Shore Leave stuff

I’m home!  I was going to make a second Shore Leave-related post on Saturday evening, but I still had three panels that day, and since I had pretty low turnout at my solo panel, I figured my news about Only Superhuman and my Trek projects would still be new information for a lot of people there, so I wanted to wait until I’d “debuted” the news a second time before posting it here.  And after I left on Sunday, I went to Cousin Barb’s in the DC area to stay overnight, and we went over to her friend’s house for dinner and a movie (the same friend who cooked us Thanksgiving dinner last year), and then I went to bed early and set out early the next morning and spent the whole lonnnnnngggg day driving home, so I didn’t get to post until now.

Here’s what I had in draft on Saturday night:

Well, my day feels like it’s been more eventful than it looks when I review my activity.  I didn’t go to that many panels — I sat in the audience on a writing-advice panel at 11 and a Star Trek Magazine panel at 1, then had lunch in my room and rested up, then spent half an hour or so talking to Paul Simpson about my 4 PM panel, as well as to Scott Pearson and Marco Palmieri when they showed up.  Then I rehearsed how I planned to talk about Only Superhuman a bit (and I fumbled it in the actual talk), then came the big event, my panel.  Well, big for me.  The audience was fairly small, maybe 8 people or so.  Still, it was fun to get to talk about OS at last, and I even did a dramatic reading of a scene from the book.  (Maybe I should’ve announced that in advance, but I wasn’t sure I’d go through with it.  I should’ve remembered that I’m an inveterate ham given the chance.)  I also revealed some exclusive info about my upcoming Trek projects.

The Only Superhuman news will be in a separate post following this one.  Here’s the Trek news:

Star Trek: Typhon Pact: The Struggle Within has two parallel plotlines, dealing with the least-explored species on both sides of the current political divide in the Trek Lit universe: on the Typhon Pact side, the Kinshaya (a species introduced in passing references in John M. Ford’s classic novel The Final Reflection and only seen to date in Keith R.A. DeCandido’s A Singular Destiny, the novel that introduced the Typhon Pact) and on the side of the expanded Khitomer Alliance, the Talarians from TNG’s “Suddenly Human.”  Most of the other Pact member species will also be featured to some extent.

Star Trek: Forgotten History (or Star Trek: DTI: Forgotten History, as it’s still being billed on the Simon & Schuster sites) is the “origin story” of the Department of Temporal Investigations, a group whose founding date was established in earlier works as 2270.  Naturally, the time-travel exploits of Kirk and the Enterprise are heavily involved in those foundational events.  The main body of the novel begins in 2267, exploring the Starfleet/Federation response to Kirk’s time-travel discoveries, but the bulk of it takes place in the era following Star Trek: The Motion Picture.  Yes, I’m finally getting to revisit the post-TMP timeframe I’ve previously explored in Ex Machina and Mere Anarchy: The Darkness Drops Again, and I’m very pleased about it.  Additionally, the novel has a frame story featuring the 24th-century DTI characters from Watching the Clock — and several of the DTI’s older members, the characters established as having been alive at the time, will play at least small roles in the main body of the story as well.

So to some extent, Forgotten History is both a prequel and a sequel to Watching the Clock, and both a prequel and a sequel to Ex Machina.   Yet I’m taking care to write it as a self-contained tale, something you can follow without having read either prior work.

I didn’t mention this at the con, since I didn’t know it yet, but Simon & Schuster’s site now has publication dates listed for both of these: The Struggle Within is listed for October 4, 2011 (eBook only), and Forgotten History is listed for April 24, 2012 (making it the May book for next year).