Crystal is the kind of person who is often underestimated in the world. Her education is fairly limited, but she knows more than a lot of people probably think.
First introduced in A Long, Long Time Ago, Crystal is busy cutting Temporal Agent Richard Daniels‘s hair when he asks her if she knows anything about historical fashions and haircuts. Her reply indicates not only knowledge, but interest in the subject matter, so Rick presents her as a candidate for the Quartermaster job opening at the Temporal Integrity Commission.
I wanted Crystal to be a bit petite and young, but also very attractive and stylish. I hit upon the idea of Marnette Patterson after seeing her in Charmed. The look, to me, is a good fit for a woman who is secure in her looks but not necessarily in her training or her intelligence. This is not a slam on the actress; this is just the look that I was seeking.
While a computer could, conceivably, put together a look that would be consistent with a particular time period, I wanted for there to still be some room for error. For Crystal, the job is less about matching the obvious to a time period than it is to also match it to a particular effect needed. When Rick goes to a 1970 college campus in Ohio, she doesn’t just give him sideburns, she also makes sure that he looks young enough to be a graduate student, but old enough to be able to exert a little authority if necessary. She makes Sheilagh Bernstein (who also goes on that trip) look more like a typical coed, as Sheilagh is a trainee.
In Spring Thaw, she outfits Rick in a more old-fashioned style, despite the fact that it’s only a few years before the scenario in Ohio, as Rick is going to a Soviet bloc country.
Other Talents and Ideas
In Spring Thaw, she spends time helping with the decryption. It’s a particularly frustrating task for her, but her confidence is buoyed by Deirdre Katzman encouraging her.
There are no impediments to Crystal existing in the Mirror Universe.
But as I write Star Trek: Enterprise fan fiction, Mirror Universe women are mainly chewed up and spat out. Unfortunately, I see that as her fate on the other side of the pond.
“After the Second World War ended, people didn’t have a lotta money, so it’s reflected in the fashions. They just didn’t have a lot of details. Look at the fifties – just a decade later – and it’s more youth-oriented, and then fast-forward another decade and it’s even more youth-oriented. There’s suddenly all these patterns.”
Behind that pretty face, there’s a keen mind and a sensitivity and kindness. Book learning isn’t the only thing valued in the thirty-second century.
This is a wholly original sentient marsupial canid species. Pronounced: Da-ra-NAY-un.
What’s a Daranaean?
Daraneans are residents of Daranaea, a Minshara-class planet located near Klingon space, hence it has a tactical advantage.
As for the Daranaeans themselves, they are sentient marsupials with foxlike triangular faces and fur on most of their bodies. They are very canid in a lot of ways, including packlike behaviors for their social lives, but also their battle plans and even their ship designs.
I tend to use pointy-faced dogs, foxes or bats for pictures. Naturally, the reader will need to use his or her imagination a bit.
Females are divided into three separate castes, depending upon the intensity of their smells. Prime Wives have the most privileges and the most education. Secondaries tend to do most of the reproductive heavy lifting. They also act as primary educators. Third caste females are generally relegated to manual labor, and may be illiterate. All females are sold into marriage, but Prime Wife marriages are generally arranged without the need for a public auction. Wealthy Daranaean males, including members of the Beta Council and most higher-ranking military men, have a wife from each caste.
Pregnancy and Pouches
For Daranaean females, pregnancy has two parts, as opposed to our three trimester configuration. There are about six months of a conventional-type pregnancy, and then another six with the infant in the mother’s abdominal pouch. Much like marsupials on Earth, the infant (called a pouchling at birth) is born very small and helpless. Unlike Earth’s marsupials, a Daranaean mother places the baby right inside the pouch, as opposed to requiring that it crawl there on its own.
Pouchlings nurse and sleep most of the time, and it’s important for the mother to keep the top of the pouch clear of obstructions. Therefore the tops that the women wear can be tied. This allows for air passage. The mother also sleeps on her back or her side while pouch feeding. When the pouchling is a good five months old or so, the mother can lift the top of the pouch to peer at the infant, if she wishes, but the infant can get cold while doing so. This shouldn’t be done too frequently.
During this time, the mother sleeps with a soft baby blanket in order to pass her scent onto it.
After about six months in the pouch, the pouchling is ready to emerge. First, a hand comes up and holds the top of the pouch. Then, the pouchling generally pushes down so as to get leverage, and may even use the front tied piece of its mother’s top in order to pull up and out.
Once out, the mother cleans the infant and swaddles it, and wraps it in the blanket. Newly-emerged pouchlings can be called infants. They don’t hear or see very well, as a parallel to what newborn puppies are like.
After a few weeks, the infant attempts crawling, and soon will begin cruising and walking, much like a human infant. The baby still nurses, but solid foods can be introduced at a young age, as slightly pointed teeth erupt not too long after emergence. Because Daranaean women have four breasts (two inside the pouch, and two where we would normally see them), the emerged infant can still nurse for a while.
Very young Daranaean children are kept at home and cared for by the older females. For a very young child, life at home is filled with basic learning such as getting along with others. The family may visit other families or go on trips, which can be educational or just for recreation. Seppa, at right, is only four years old in this picture. A somewhat typical day for Seppa is shown in Some Assembly Required.
Young Daranaean children are home schooled. After several years, the males are sent to a big school, as are the Prime Wife females. This is for more advanced learning, such as is necessary for space travel. The other female children remain at home and can continue to be home schooled.
A Daranaean tween or teenager becomes interested in marriage and all that it entails, but marriages generally don’t occur until about ages eighteen to twenty or so. A young Daranean tween girl such as Cria, right, continues her home schooling and helps with chores and the care of her younger siblings, but also has time for some fun and for learning the household skills she will need as a wife. A fairly typical day for Cria is shown in Temptation.
Young married Daranaeans are much like young marrieds in any culture or species, enjoying their new lives and working toward the future.
For young Daranaean wives, this means pregnancy or preparing for pregnancy, as the species suffers from Thylacine Paramixovirus and, as a result, big familes are needed in order to replenish the population. A young wife such as Seppa, aged eighteen here, might become pregnant very quickly, and be expected to begin raising a household full of children.
Daranean women of wealth do not work outside the home, as the care of children is paramount.
Daranaean men hold jobs, and there is still a monetary system in place. Doctors include Varelle and Trinning, reporters include Craethe, and Beta Councilors include Boestus and Elemus.
Later Adult Life
For Daranaeans, later life changes, depending upon caste. Prime Wives, such as Dratha, pictured here, can live fairly long lives. For wealthy families, the Prime Wife is treated like a queen and is not expected to help with child care, although she can if she wishes.
Secondaries, such as Mistra and Cria, shown above, have children on a regular basis until menopause, and are then expected to continue helping the young adult children prepare for life in their own housholds.
Third caste females, like Seppa, above, have children until menopause, when they are either euthanised or are donated or sold for medical experiments.
Daranaean men live out their lives and have the longest life expectancy of all.
Politics, Government and Justice
Daranaens are ruled by an elected Alpha who is advised by an elected Beta Council, which meets regularly and is very open to the press. None of the women can vote, not even Prime Wives.
As a member of the Beta Council, Vidam (pictured to the right) is expected to present bills, debate on them and vote. Voting in the Council Chamber is open and is accomplished by all of the representatives standing. Then the opponents of a bill sit. Anyone left standing is then counted as supporting the bill in question. A simple majority rules, but ties can be broken by the Alpha. Abstentions are rare – much like dogs on Earth, Daranaeans mainly see their issues in black and white. A debate about granting Prime Wives the right to vote is shown in Debate.
Trials are public, and the trial of a wealthy Daranaean, even a Secondary, is fodder for the press. There are no juries, rather, an accused is judged by a judicial panel. A trial is shown in Take Back the Night.
Aside from the generally fatal Thylacine Paramixovirus, most Daranaeans are usually in good health. Prenatal care is available for Prime Wives only. The other two castes are expected to care for each other. Their infants are delivered at home. Prime Wives deliver in hospitals.
Researchers, such as Trinning, shown at about age six here, work diligently to try to find a cure for the virus. Research is limited by budgets, training and time. The virus is somewhat similar to canine distemper and Newcastle Disease on Earth.
Daranaean Third Caste wives who are menopausal are sometimes sold for medical experiments, and are needed to test vaccines.
First Contact, Friendships and Relationship with The Federation
First Contact was between the NX-02 Columbia and a pleasure craft owned by a wealthy Daranaean man named Elemus. It occurred in February of 2160, and did not go too well. First contact is shown in The Cure is Worse than the Disease.
Second contact went considerably better, and is shown in Take Back the Night. This generated some friendships between Daranaeans and humans, including Jonathan Archer and Seppa, and Malcolm Reed and Mistra.
In 2191, a young Inta went on a blind date with a human, Hank Harrison. While things did not work out romantically, the two became friends. Their date is shown in Hearts in Time.
Daranaeans became allies with the Federation, and called upon them later, and made themselves available as well.
Such a sexist society will need to change in order to continue to grow. Stay tuned. Big things are in store for the galaxy’s only sentient marsupials. More insights will be posted!
But what I am talking about is my own fanfiction. So I’ve got a different take on him.
Tripp/Trip – What?
First off, I spell it as Tripp, with two P’s. Why? I knew a guy who was a third, and he spelled it that way. To me, one P just looks off. And I am well aware that readers may see the two P’s as being off. So be it. I recognize that this is me being quirky and stubborn, and certainly breaching canon. That cannot be any more than the people who, let’s see, make Tucker gay, make him bi or make him essentially a superhero. Not to mention the folks who insist that he didn’t die in These Are the Voyages.
The writers did a lot to Tripp throughout the course of the show’s four seasons. He got pregnant, he had a relationship with First Officer T’Pol (a Vulcan), he was cloned, he rescued a princess, he lost his sister in the Xindi attack and he met his end, too. In all honesty, I had seen so much of him on screen that I was a bit sick of him when writing my own fiction. He was a major character on the show, but television shows are of a finite size. Therefore, the more screen time for him, the less for other characters.
For me, obliquely referencing him and his exploits often did the trick. In The Reptile Speaks, he’s mentioned in a teenager’s film about sex, as an example of unconventional relations. For the two teenagers talking about him, he’s a source of some amusement.
In Razor, he’s barely referenced, although his identity should be clear to the reader.
A Regular Guy
For me, one of the fun things about writing him is playing on his being, essentially, a regular Joe. In Letters from Home, a riff on the mail distribution scene in the film Stalag 17, he gets a lot of correspondence, but it’s not necessarily of the welcome kind.
Well, maybe not always heroically romantic. In Intolerance, he eagerly participates in the competition to woo the female medical students, and comments quite a bit on the woman he’s originally assigned to, Pamela Hudson.
In Together, he’s paired with Hoshi who, in the end, realizes that she doesn’t feel about him the way he feels about her.
As of this writing, I am working on a set of E2 stories, and his relationship with T’Pol is covered, including the cultural differences between them. For example, what Tripp sees as a symbol of commitment, T’Pol sees as a religious article – and not of her faith.
A Working Stiff
In Reversal, it is he who does most of the heavy calculations necessary, and he ends up risking his life in order to perform a rescue.
In Temper, he gives his all in service to the Federation, in what feels very much like a lost cause.
Not every character has a theme, but Tripp does, in Together. The song is Matthew Sweet’s Sick of Myself. I particularly wanted this song for the line, “When I look at you, something is beautiful and true.” That story also has couples’ songs. His (with his partner) is Joe Jackson’s Kinda Kute. I wanted that one for its opening lyric, “You make a guy feel humble.”
At the end of the second canon MU ENT episode, Tripp is about the only one of the main characters who is likely to survive to see another day. Severely scarred, bitter and angry, he epitomizes the skewed life led there.
I have written the MU Tripp as being just as angry, but it’s later, so he’s sicker, and realizes he’s dying. He becomes gentler than he normally would be, and seeks solace with an old girlfriend, Beth Cutler, who accepts him for who he is. In Reversal, the MU Tripp has a lot at stake, and plays off people against each other in an effort to save himself. It is, ultimately, his wish to save others that redeems him, in a way.
In Temper, the MU Tripp again shows a small degree of selflessness, and by doing so he helps to undo the lost cause which threatens the Prime Universe. As I write the MU, everyone is keenly aware of what they owe others, and Tripp is no exception. Since he owes Doug something, he recognizes the debt, and repays it.
In Fortune, the MU Tripp has come full circle but is still a bit wary about strangers. A dynasty is foretold, which shows a major divergence between his fate and that of the Prime Universe Tripp.
In the Prime Universe, his death is canon, so I don’t mess with that. He is mourned and remembered, and there’s even a charitable foundation named for him, mentioned in Fortune.
“But we’re here to explore and to, to take risks. And I don’t think this is a foolish one.”
I enjoy the character but, as I’ve mentioned, I think he was overused, often to the detriment of other characters. But he’s more than just engineering, an accent and a romance. In many ways, his observations are our observations, as an audience and, I hope, as readers.
Freak Schoolwas one of these odd, serendipitous moments where suddenly all I do is type and it’s as if I’m taking dictation.
Our story is told only in diary entries, and they are the entries of a teenaged girl. The whole thing is a project for her English class. Pretty soon the diarist – Rayna Montgomery – begins to reveal things about herself. Like, for example, that she’s only partly human. And that she’s been sent to a school for hybrid children because she couldn’t get along with the kids at her old school in Connecticut. She was the victim of some teasing and, because she’s a pretty big girl herself, retaliation was problematic.
Hence Rayna is sent to the Archer Academy at Oberon, a school for troubled hybrid children. In addition to her regular subjects, she’s required to attend Group, which is intended to be a sort of rap session/quasi-therapy. I well recall a class like that when I was in High School (it was the 70s; it’s just what we did back then), and how, in general, it was pretty dull but the dynamics of the group could be of interest.
Rayna deals with a personality conflict with a female classmate, a lovesick male classmate who she doesn’t feel the same way about, and a new student upon whom she has quite the crush. It’s also told with a very heavy Valley Girl type of an accent. I hear Moon Unit Zappa in Frank Zappa’s “Valley Girl” song when I hear Rayna’s voice.
As Rayna herself says, “See – and if you’re some archaeologist digging this up in, like, a thousand years, you should know that there are all of these species in the Federation. Before we all had Warp Drive, we just went our merry ways, but now that there’s been peace for a while – ugh – there’s all this interspecies marriage. So kids like me are born.
I mean, it’s not like we all didn’t try. I tried while I was in Connecticut, but there were just too many rules. And, like I’ve said, I got the worst of both worlds. I’m too short and soft to be menacing, and I’m too freaky-looking to fit in, in Connecticut or anywhere else on Earth.
Let’s just say – despite what my Mom used to say – I am not a pretty girl.”
Gabby started off as almost a plot device. I had been working on a series of ficlets surrounding the Breen attack on Earth, and I was analogizing them to the Five Stages of Grief. The Breen attack also felt a lot like 9/11, so I wanted to tell the story from the perspective of a pregnant widow. Gabrielle is not the widow (Gina is); she’s the daughter. So she doesn’t show up until the sixth stage, which is healing.
While I wanted to move the story beyond grief, I also wrote the healing aspect in order to introduce Gabby. This was done as the response to a weekly free write prompt about art. When I saw the prompt, the first thing I thought of was art therapy, and I immediately got the image of a child’s red-colored rounded scrawl into my head, and that would not go away.
As a part of the commemoration of the fifth anniversary of the Breen attack, Gabby’s school has its students draw, paint or sculpt their impressions of that day. Gabrielle isn’t the only bereft child, as she learns. For Gabby, it’s a day to make a friend, as it is for her mother, Gina. A part of healing is, I feel, to go outside yourself, and see that others might be in the same boat as you. Art brings it all together, as Gabby’s piece and another piece bring them close to people with a similar bereavement.
“It’s a tomato.” (when asked about the red scrawl on her drawing).
Gabby is shown as both a child and a teenager. For her time as a small child, I see MacKenzie Foy.
As a teenager, I don’t really have a visual for her yet. She’s a child of the twenty-fourth century, and a child of tragedy, much like any of the children of 9/11 victims, whether they were extant or in utero on 9/11/01. As a teenager, she is a lot like a typical human teenager – engrossed in her PADD, bored with slow-moving adult things, and intent on fixing up her friends with each other, a little like Jane Austen’s Emma.
In her eyes, her mother sees her lost father, Michael Nolan, much as I expect 9/11 widows see their husbands in the eyes of their children.
Films have crept into my Star Trek fanfiction in a lot of different ways.
In the most obvious manner, they have been the subject of the stories Movie Night and Broken Seal. I love the idea that Enterprise had a Movie Night. Canon puts it during a weeknight, but I have changed it to the weekends so that it can be the centerpiece of date night. I have also added a Master of Ceremonies, Chip Masterson, and a projectionist, Aidan MacKenzie. Chip even holds a discussion of the film afterwards if anyone is interested, but the talks are only sparsely attended. Every film in my stories, if it is shown on the NX-01, begins with, “Roll it, Aidan!”
Films also, often, reflect a plot or inspire a character name or even something else. Here are a few films, and where they’ve led me.
In Reversal, Lili goes on a disastrous blind date for Movie Night, but the film is important because it’s about a man trying to drive his wife mad with untruths. It’s an oblique reference to plot points to come.
In Intolerance, Pamela uses the film as a way to determine who’s been sending her sonnets. The film also pushes in some music that’s germane to the plot, such as The Ronettes‘ Be My Baby.
The King of Hearts
In Together, Malcolm attends this foreign film – even though, in canon, he’d prefer films with a lot of explosions in them – in the hopes of seeing someone.
This film is referenced twice. Once, as a quickie Shakespearean reference to Arden (Eve Arden, invoking the Forest of Arden from As You Like It) in Intolerance, and again in Fortune, where it’s used to essentially babysit an ailing elderly character who is losing memory.
This film is the subject of a future date in Fortune, and is referenced as one of the most romantic films of all time.
This film, with its differing perspectives, is called upon to determine whether any portions of several conflicting stories make sense, in Fortune.
The time ships in the HG Wells series are all named for various bits of time travel pop culture ephemera, including the Flux Capacitor, often called Fluxy.
Even though he’s about her age, in Ohio, when Sheilagh Bernstein says, “Agent Daniels, are you trying to seduce me?” that’s a reference to The Graduate.
In Movie Night, Malcolm and Melissa make plans to watch this film – it’s one of the few times I have Malcolm going to a movie that he may very well have picked out. This film is also referenced in Day of the Dead and characters Herbie Shapiro and Stanislaus Kuzawa.
The Seventh Seal
In Broken Seal, Chip Masterson hypes this highbrow film, but not too many people show up. T’Pol does, though, as it’s intended to be a film that would probably be more likely to appeal to her than to anyone. Phlox talks throughout the picture as he and Malcolm try to figure out the symbolism, and then Malcolm talks to his girl about it, and asks a bit more about the symbolism.
For Valentines’ Day, here’s a look at a character absolutely motivated by love.
The Unexpected Pairing
On Ad Astra, I swear I was only joking when I suggested a Star Trek fanfiction love story about a shy Gorn reciting poetry to a lovely, blushing Cardassian maiden. And then the gauntlet was thrown down – write it!
My first venture into the Bron-Sophra pairing was The Reptile Speaks. What I wanted to get across was the idea of a very unexpected lover. Currently, for us humans, an unexpectedly romantic person or partner might be someone who is of a different race or religion from us, or someone who we might not see as romantic (the stereotypical jock or soldier, perhaps).
Analogous Mixed Pairings Here on Earth
Back when I was a kid, a mixed marriage was considered, generally, as being between two people of different religions. And, a good hundred-plus years before that, technically, it was an issue for Jews if the one of the two parties to a marriage was Sephardic, and the other Ashkenazi. In that case, even a marriage of two Jews could be seen as “mixed”. And of course now you see a lot of mixed race marriages. A major, landmark case, Loving vs. Virginia (Supreme Court, 1967) declared any legislation outlawing marriage between differing races was unconstitutional.
As a Massachusetts resident, I have seen my share of same-sex marriages as well. I recognize that this is not the norm everwhere, but it is becoming so here. These examples are as close as we can get to the concept of interspecies romance and, perhaps, marriage.
For alien characters requiring a lot of makeup and/or prosthetics, it can be difficult to visualize them. But for me, Bron is a classic romantic lead in a difficult body. I think of Leonardo DiCaprio, who has made himself somewhat less than attractive in a lot of roles, but has also been a romantic lead. Forget the hair. Forget the skin. Concentrate on the eyes, on the voice, on the body shape and size, on the posture, on the mannerisms, and let your imagination wander. Think of what it was like to be a teenager, or shy, or not fitting in. Think of longing, and of missed opportunities, and of insecurity.
“Um, I just, I don’t know if you would want to be, to be seen with, with a guy like me.”
A Gentle Dragon?
My hope with creating Bron was and is to put forth someone who is out of left field when it comes to romance and gallantry. Bron’s gentle nature is not readily apparent. You have to look past frightening teeth, claws and scales. You need to see what’s inside the person, and uncover the sensitivity within.
When a weekly free write prompt came up about crying, I decided to continue the Bron-Sophra story with Insecurity. I often have trouble writing characters weeping (and for the life of me, I have no idea why), but Bron’s crying, to me, rang true. He is a teenaged character, with a lot of the insecurities and highs and lows that come from being about fifteen or sixteen or so. And like a lot of less than good-looking guys out there, he worries about his chances with girls and is shy because he doesn’t want to be hurt.
You may not want to hug him, still, but I hope you can see beyond the teeth, the claws and the cold-bloodedness. We may very well find that some of our best and closest alien friends look nothing like us. Why, when you next hear a Shakespearean sonnet, it might just be recited by a guy who looks like this.
I wrote Brown in response to a weekly free write challenge on Ad Astra where the subject was pests.
I had established a rodent infestation on the Defiant in Reversal, and had originally intended for the mice to be a bit of comic relief (after all, the Star Trek Mirror Universe can, at least in my fanfiction, be overwhelmingly negative and dark), but they took on lives of their own and became more of a symbol for the chaos and inattention to detail that I’ve laced the MU with.
The Empress Hoshi Sato‘s sleeping around is partly, canon, partly my own doing. I envision her as a bit like Livia in Suetonius, who has unparalleled ambition for her offspring. But for Hoshi, it’s also a matter of survival. She seduces the upper-level men on the Defiant, has a child with them and, if they have even a shred of decency, they will work to at least ensure the survival of their own child.
Brown put the two concepts together as Hoshi is followed not too long after the end of the events depicted in Reversal, and she is pregnant by Aidan. But she’s not the only pregnant female aboard, as she has found.
I have experienced mice infestations, and they can get rather bold. There’s also a feeling of invasion, where it seems a bit like your home is no longer your own. For Hoshi, the mice also symbolize a breakdown in authority. All she wants is for the mice to be gone, and they just seem to be multiplying. For Aidan and Chip, shown here a little bit like two partners in crime – which is a role they often fall into in the Prime Universe – the presence of the mice symbolizes a bit of subversion. It’s a small victory for them to see Hoshi squirm.
In my Star Trek fanfiction, Tricoulamine started off as a kind of garden-variety nerve toxin. It’s meant to be, in some ways, what a criminal would get as a lethal injection. Or it’s like the cyanide pills that you see in spy movies.
As I progressed with writing fan fiction, I found it was useful for a few other purposes. For one thing, it comes in several forms. For humans, it’s either in tablet or injected form. For Klingons – and it’s not fatal to them; it just knocks them out – it’s a sand-colored gas. For Calafans, it occurs naturally in their environment, and is meant to be akin to a form of cyanide being found in peach pits.
It first shows up in Reversal (injectible form), then in Intolerance (gas), then in Temper (naturally occurring), then in Fortune (tablet), then in Escape and The Point is Probably Moot (both times, it’s a tablet. Escape contains a missing scene from The Point). In Fortune and The Point, it’s understood that it is particularly difficult to get if you’re not a physician. However, since it occurs naturally in the environment of the Lafa System, if humans settle there, then there is the potential for people to obtain it without a prescription.
The name is, in part, meant to reflect the poisoned grain from The Trouble With Tribbles episode for TOS, quadrotriticale.
For Klingons, it just knocks them out, and is not harmful. It’s unclear how long the unconscious state lasts. In Intolerance, the Klingons are out for a few days or so, but they are already in a weakened state, so it’s unclear.
For humans, it hits your digestive tract or bloodstream and you’re a goner. Fortunately, it’s fast enough that there is little to no pain. In Temper, a human victim of tricoulamine poisoning appeared to be sleeping.
It is unknown how it affects other species, and since it occurs naturally in their environment, it’s possible that it doesn’t affect Calafans at all.
It can be pronounced as either tri-coo-la-meen or tri-coh-la-meen.
Portrait of a Character – Leonora (Norri) Digiorno
All characters are me, and I am all characters.
At least, that is, when it comes to the originals. And when it comes to Star Trek canon, there are plenty of things that I add, so those additions are me, too.
Norri was kicking around for a few years, even before I started writing Star Trek: Enterprise fanfiction, which was back in April of 2005. Actually, it was just her first name. She was originally, actually, a kind of foundling, a girl from medieval times who was orphaned by the Black Death and saved (from a bear – hey, I like Shakespeare) by being plucked out for a time travel purpose. I modified the time travel series quite a bit in order to create a series of stories called Times of the HG Wells, but I brought Norri in earlier, for the In Between Days series, although she is seen a little during the Wells series. Confused yet?
I hadn’t originally written her as a lesbian, either, but the idea presented itself because I was looking for a parallel to a day/night concept that I had going on. The In Between Days series gives its main characters active nighttime lives (through the dream state) which are almost as important as their daylight lives. To really bring the point home, I created a bi character, Melissa Madden. But Melissa needed a lesbian lover in order to pull it all off, so Norri emerged.
Norri is the most literary of the main characters in the In Between Days series, starting off as a book editor, eventually getting her PhD and writing a book of her own. At the time I was shaping her, I was working for a book publisher, so she partly evolved from that. Her last name, of course, means “of the day”, so she is not only an embodiment of daytime, she also parallels main character Lili O’Day (who is also “of the day”). Furthermore, five of the six main characters (everyone but Pamela Hudson) are associated with elements. Norri is outside of what we might think of as the four traditional “elements”, and so hers is the Hindu fifth element – communications (sometimes called the ether or the void, which makes sense in space).
It was important for me to see Norri as being “played” by an actress who has played at least one gay character already. I also wanted her to be young but wise beyond her years, and to be redheaded. This brought me to the idea of Alyson Hannigan.
I also liked the idea of Norri being someone who is somewhat remote. Of all of the main characters in the In Between Days series, you learn the least about her, and that’s by design. Of the five big books in that series, Temper and Fortune have the most information about her, and even then she’s really just a sketch.
She even gets a second nickname which is a misnomer. Malcolm refers to her as “Lioness” or “the Lioness”, when the truth is that her name means “light”. So she’s a kind of double light/daytime character.
As a person, she is forced to rise to the occasion and commit some forms of self-sacrifice several times, whether it’s to become Neil’s sole caregiver in Temper, or to shepherd children away so that various couples can have their privacy. But she gets her due, and is the final commenter and recordkeeper when it comes to the lives of the principal characters in the In Between Days series.
Her sexuality is rarely at issue. She acknowledges that she was very aware of it certainly by the time she graduated from college, but that her parents were wary of it, and her father hoped she would grow out of it (this is explored in An Announcement). Of course, that doesn’t happen. Her scenes with Melissa are meant to be as intimate as those between the straight couples. Norri also begins her romance more conventionally than most of the others do – she meets Melissa in a bar.
“It’s not necessarily unfair. You’d be sleeping. Everybody sleeps. I can’t get into your dreams. All that’s changing now, really, is that I know, more or less, what those dreams are. But you and I, we have the big thing, the big love.”
Book smart and funny, Norri is the essence of communication, holding everyone together, and making everything spin.