With Andrew Miller, who was originally part of The Light, I wanted a character who was half-Jewish and half-Christian (Presbyterian). Andy is also something of a foil and a romantic rival to Ethan Shapiro for Karin Bernstein‘s affections, and is a part of Waiting. Then later, in Fortune, as the results of that rivalry are finally shown.
My vision for Andy was of a somewhat tall, dark-haired Jewish guy, and so I hit upon the idea of Adrien Brody. I also liked the idea of Brody, given the very ethnic nose he’s got. So Andrew, even though he’s half and half, shows his Jewish roots rather plainly in his looks. I also liked the idea of him having something of a hangdog, mournful look to him. Andy, while a generally fun guy and a good friend, is perhaps a bit sad in his life.
While his actions in the The Light and Waiting show him as being the romantic partner of Karin Bernstein, things turn out somewhat differently for Andy. In Take Back the Night, he is dating Lucy Stone, the new Science Officer after T’Pol‘s departure. And in Fortune, he is still with her – and she is more of a true match for him. In the E2 stories I am writing as of the posting of this blog entry, Lucy is not on the ship, so he instead ends up with Shelby Pike.
“You know we’ll stand with you, man.”
Andrew’s life in the mirror is far tougher. In Temper, in both the primary timeline and in one of the alternates, he ends up with the Empress Hoshi Sato, and not necessarily fully willfully. In Fortune, Escape and The Point is Probably Moot, the consequences of a different romantic choice come to the fore. Here, he fathers Melissa Madden‘s son. Andy’s life does not end well in the mirror, but at least it’s on his own terms.
As a mid-level Science Crewman, who eventually becomes an Ensign, Andrew works in the Biology Lab, a position somewhat similar to canon character Ethan Novakovich. In the E2 stories, because they need an additional doctor, Andy trains to be a medic. His duties include delivering babies.
Well-liked and upstanding, but a bit bratty at times, Andrew rises to the occasion when he must and, overall, does the right thing, in both universes.
I originally didn’t want to write Vulcans. I had had a lot of trouble making T’Pol more than a cardboard character with comments about logic or fascination. Vulcans were, to me, a difficult species to flesh out.
But then the challenge: write about the JJ Abrams Universe. But all you need to care about are three things:
The destruction of Vulcan.
There is no more USS Kelvin.
The destruction of Romulus .
After that, it didn’t matter. And so I chose the first piece as the focus for my story. And so Eriecho – a name I had originally thought I would use for a Klingon woman – began to take shape.
Born on a transport to Cannamar Prison, Eriecho starts out, in Release, as a person who has never known freedom. I wanted her to be tough, too, as she would have to have been. There is nothing soft about Cannamar, a location that is canon but never on screen. My descriptions of Cannamar are similar to those of a Tandaran prison.
As a tough prison broad, Eriecho has survived by her wits. But the only Vulcan she has ever known, Saddik, who isn’t even related to her, has not taught her emotional suppression. Hence she was an emotional Vulcan, and she was a lot easier to write. The sole mother figure in her life is the only other female in Cannamar, the Suliban, H’Shema. When Release begins, H’Shema is already dead. And Saddik and Eriecho get their release from Cannamar, but they’re on their way to Mars.
For Eriecho, I wanted a tough woman who was not unattractive. I hit upon Mariel Hemingway in Personal Best. Hemingway just struck me as being a good mix of tough but vulnerable, and also pretty, e. g. someone who was redeemable, despite her background, and lovable, despite her history. The idea of Personal Best (which is a film about a lesbian athlete) is not a statement about Eriecho’s sexuality.
“I have never had free time, unrestricted and unfettered before. I am afraid I will not know what to do with myself.”
Life After Prison
Release is, of course, about their release from prison. But after getting out, what happens? This is partly explored at the end of Release but also in the sequel,Double Helix. For Eriecho, who is a Vulcan without actually being too Vulcanesque, the answer lies with the Suliban.
At the end of Star Trek XI (Star Trek 2009), Vulcans’ lives have been diminished considerably. But for Eriecho, her life has been expanded and enriched in ways she could not have dreamed.
Brian Delacroix was born as a foil for Doug, but also to be a friend to Lili.
For most wars, there are often underaged volunteers who somehow sneak in and break the rules. This was the kind of person who I wanted Brian to be. And then, I found, I wanted him to be a bit more than that.
Personality and Personal History
Brian doesn’t have too much of a history. He doesn’t have a planet or country of origin or anything like that. He’s just an underage Security crewman.
Because he’s young and short and babyfaced, he’s got a lot to prove, particularly as a member of Security, so he can be somewhat Napoleonic in his behaviors.
When he gets a chance, in Reversal, to do something else, he rises to the occasion and shows that he has some talent. This eventually becomes his new profession, and he leaves Security. In Together, he helps Yimar and gets a sweet reward for his efforts. In Fortune, the culmination of his education is shown, and we see his granddaughter, Susan, who we learn is attending a High School for the Gifted.
I hit upon the idea of David Faustino as he’s a short guy who has been acting since a rather early age. He also is relatively muscular. And this would be a requirement for someone so small to get Security work.
Within Brian Delacroix, there is a bit of a loose cannon underneath. You should worry a little bit that something might happen if this guy snaps. He goes down a different path, and it ends up being the best thing for him, but the reader should consider that things could have worked out far differently for him.
Things go differently – that is to say, horribly wrong – for Brian’s counterpart. In the Mirror, of course, you only move up when you assassinate your superior officer(s). And in Throwing Rocks at Looking Glass Houses, he guards the Emperor and then, after the Emperor is assassinated, is about to lose his virginity to Empress Hoshi.
However, by the time we get to Reversal, Brian has become little more than a mindless drone of a soldier. His gambit to move up goes horribly wrong.
“Well, whose morality applies to us? I mean, aren’t there species that still have child brides? Do we go by their rules, or ours?”
For every underaged soldier, a hope for a better future or a highly developed sense of patriotism can cause them to leave home early. They might lie to their Recruitment Office and hurl themselves at enemy fire. Brian Delacroix is one such soldier. But, at least on our side of the pond, he makes it through to the other side. And he gets more out of life than just learning how to wield a weapon.
I listened to the song, over and over again, and Doctor Pamela Hudson was born.
Personality and Personal History
Controlling but out of control, with a healer’s profession but a selfish streak, Pamela was meant to be a femme fatale from the very beginning. In Intolerance, she is first introduced when Travis has figured out that there are female medical students coming to the NX-01 for an Immunology rotation. The assumption is that the women are single, and so he and Tripp Tucker and Malcolm Reed decide to compete for the women. When Pamela walks by, she’s wearing a not-too-revealing outfit, but her lips and nails are painted dark purple, and her hair is back and threatening to tumble down. So she puts her left hand up, and they see that she’s got a leather bracelet on and no rings on that hand. Wordlessly, she has communicated to them – I’m available.
She’s also communicated to them – I might be more than you bargained for.
Pamela is a child of privilege, and brilliant to boot (she went to Harvard Medical School), but her family carries a dark secret – ever since she was five years old, her father sexually abused her, while her mother watched. Her sister, Lisa, was unaffected.
She’s also (in conversations with fellow student Blair Claymore) established as being quite sexually liberated, to the point of worrying Blair. Blair, in contrast, is shown as the good girl. Both are attractive, but it’s Pamela who really turns heads.
In Together, her feelings are hurt when she is rejected – a rather unfamiliar scenario for her. In Temper, her Mirror counterpart is seen. In Fortune, she finds a soulmate in an unexpected place. And in Remembrance, her grand-nephew presents her eulogy.
The Mirror Pamela has things even tougher than the one in the Prime Universe. In Temper, she is little more than one of José Torres‘s playthings (as are Blair and Karin Bernstein) in one of the alternate timelines. In Fortune and in He Stays a Stranger, she’s shown as a pinup girl. It’s unclear, at least in Temper, whether she’s a lab assistant or a doctor, and in the other Mirror Universe stories, she may be little more than a prostitute, if that.
I struggled a bit with figuring out who should “play” Pamela. I wanted someone who would be beautiful and sexy and smart, but also could evoke a certain amount of world-weary ennui. To my mind, Kaley Cuoco fit the bill rather well. Not only does she have serious geek cred, she also has some drama cred. I also felt she would be the kind of woman who Tripp would joke about as, “Please, you’re talking about the future Mrs. Tucker.”
“Never arrive to a party early or on time. No one should. It’s like the old Steady State theory of the universe. No beginning and no end. Or maybe it’s just turtles all the way down.”
For a character who was originally supposed to be a one-off, Pamela graduated to In Between Days main character status. However, as something of an outsider, she doesn’t fit the profile of the other In Between Days main characters like Lili O’Day or Doug Beckett.
Pure id, but with a heart underneath all that leather and langor, Pamela is, ultimately, a femme fatale motivated by good.
When I wrote Reversal, one of the things I wanted was for Empress Hoshi to have a child. This was a somewhat quick decision but, the more I thought about it, the more I loved the idea for Star Trek: Enterprise fanfiction. The intention was, essentially, that Empress Hoshi, like Livia from Suetonius, would be a viper of a mother, breeding as much as possible (and with as many different men as possible) so as to assure the succession. For Hoshi, it’s also a matter of personal survival.
Hoshi knows that the way that anyone moves up in the Mirror Universe is via assassination. She’s got an enormous target painted on her back. So she needs protection.
At the same time, she’s one hot little number. And, in my fanfiction, about three-quarters of all of the children born in the MU are male, which is reflected in things like starship crew manifests. Hence it’s a combination of lots of men plus a sexy young Empress looking for protection. So she hits on a plan.
The plan is to have as many kids as possible, but all by different fathers – the members of her senior staff. She knows that there’s been a genetic mutation which not only skews the number of offspring in favor of males, it also skews male behavior in favor of good fatherhood. Therefore, in order to assure the survival of their offspring, these men won’t go after Hoshi (at least not while the kids are small). And then, when the kids are bigger, it’s a lot harder to just kill them off.
But this all comes later. Before the plan is the seduction.
In First Born, we see the aftermath of the first birth. Whether Daniels seduces Hoshi, or it’s the other way around, is tough to say (as of this posting, I haven’t written it yet). In that story, I establish Daniels as already being a womanizer. As for Hoshi, her round heels are canon. So who goes after whom?
Does it really matter?
The product of that first seduction is Jun (pronounced JOON). The problem is, much like John Connor in The Terminator, he’s temporally paradoxical. Because Daniels works for the Temporal Integrity Commission, a lot of fancy footwork must be performed in order for Jun to be able to live. The first requirement is that he not be able to father a child.
Another piece of allowing Jun to live is the condition that Daniels never see his son. By the time of Reversal, Daniels’s death has been faked, and Hoshi is looking for a spare heir – a little brother for Jun. She ends up having a total of five more children. All but one of these are male.
Personality and Personal History
Jun is, like most Mirror persons, a ruthless killer. In First Born, before all of the changes wrought by the Temporal Integrity Commission, it’s revealed that he kills off all of his male siblings in order to consolidate his power. This ends up being another detail that has to be changed in order to assure his survival.
Furthermore, Jun has a bratty and violent streak that all of his half-siblings have. In Coveted Commodity, he’s seen throwing a little knife against a wall – a gift from the Empress that’s referenced in both First Born and Reversal. In Reversal, he won’t come when he’s called and instead is put through conditioning training at an extremely young age.
In Temper (this is an alternate future of 2178), he plays third base on the Empress’s baseball team and battles his next in line brother, Kira, in a sword fight. This fight is over a girl because, in this alternate timeline, Empress Hoshi has skewed the male to female ratio even more. In part this is to oppress women, in part it’s to assure her own survival, and in part it’s to shore up her fading looks.
The only person who Jun can, truly, call his “father” is Aidan MacKenzie, the babysitter (Kira’s father), who is not a biological relation at all.
Prime Universe Analogue
While Jun does not have a Prime Universe counterpart, he does have an analogue, in the sense that there is a character who is not a mirror image but is, rather, a similar personality. That person is Joss Beckett, as both of them are the first born children of their respective parents and both have a heightened sense of duty. The pressure is on both of them to take care of things, although Jun is considerably more likely to ignore that duty than Joss is.
“Someone’s got to be the court jester.”
When I think of Jun, I think of a part-Asian, part-Caucasian man with a bit of a nasty streak. I hit upon the idea of Survivor winner Yul Kwon.
Kwon works, partly because of his overall look as a bit of a toughened guy, but also the beard evokes the classic Mirror Universe image.
I’m also thrilled with the fact that he is Korean (as is the actress playing Hoshi, Linda Park, even though that character is actually Japanese) and is an intelligent guy, a graduate of Stanford University and Yale Law School, even.
Jun’s theme is from an alternate timeline. It’s Edwyn Collins‘s A Girl Like You. I wanted to not only evoke a part of the plot of Temper, but I also feel that the distortion in the song evokes the distortion in the Mirror Universe.
Because Hoshi is a former linguist, all of her children’s names are meaningful. Jun means truthful – an absurdity, considering all of the lies that need to be told in order to ensure his survival.
Angry, evil genius Jun only exists because of a choice that isn’t really much of a choice, and a mistake and a bunch of Temporal Integrity Commission thumbs on the scale of history. But he makes the most of his life, passing on his ideas and his passions if not his genes. In every scenario, he and Kira succeed Hoshi and rule the Terran Empire. Not bad for a guy who wasn’t supposed to exist in the first place.
Oh, it’s so difficult to be a teenager, even one as popular and lovely as Tr’Dorna.
There’s the grooming – for after all, you’ve got to have nice teeth and beautiful eyes! There’s showing just enough to your boyfriend without revealing your tail too quickly. There’s being sympathetic to your roommate, who might not get a date even to the Sadie Hawkins Dance. There’s being kind to your boyfriend’s roommate, who is fraught with insecurities. And this doesn’t even take schoolwork into account.
And then, of course, there’s the matter of keeping your scales looking good.
There are no female Xindi Reptilians shown in canon. And there are no young Reptilians shown, either, unless you count the occasional nameless aide who has no lines.
What are their teenaged kids like? What about young girls?
I figured they would be a bit like our own teenaged girls. Sometimes impulsive. Sometimes a little wicked. Sometimes very kind. Flighty, maybe. Overly concerned with appearance, possibly. In short, much like us.
Tr’Dorna is originally introduced in The Reptile Speaks, as being Skrol the Gorn‘s girlfriend. Since there are no female teenaged Gorn at Picard High School, Skrol goes after Tr’Dorna, and urges his roommate, Bron (he is also a Gorn), to hook up with Tr’Dorna’s roommate, Etrina, another female Xindi Reptilian.
Tr’Dorna is portrayed in that story as a little bawdy, teasing and flirting and weighing her options as to whether she will show Skrol her tail, which is a prelude to serious foreplay and possibly sex. She also encourages Etrina to find someone for the dance, particularly when it looks like it isn’t going to work out between Etrina and Bron, and even pumps up Etrina by referring to her friend as the “picture of health”.
When Skrol talks about getting her a tiger lily wrist corsage, he mentions that it will bring out her eyes. In canon, Reptilian eyes are yellow, so hers would be a more orangey-yellow in color.
In Insecurity, it is she who Skrol turns to in order to comfort a lonely and lovesick Bron. Here she is sympathetic and kind, telling Bron that his girl is probably missing him as much as he is missing her. Bron refers to her as “a really sweet and smart lady”.
It’s tough to envision alien characters as being “played” by humans, particularly when so much makeup and such an enormous amount of prosthetics would clearly be needed. But I see Hayden Panettiere as Tr’Dorna, just kind of a fun-loving young girl with a mischievous smile.
“All I’m saying, Bron, is that you can only go on the facts you’ve got, and what’s, well, what’s logical, whether we’re talking about how Sophra is spending break, or how Etrina is. Don’t look at me like I’m a scaly Vulcan or anything! Just, you’re jumping to conclusions and assuming a lot of things. Have a little faith, okay? We girls usually aren’t so different from you guys. We’re not out to actively try to hurt you. I think that’s even true of a warmie like Sophra.”
Tr’Dorna may be a little boy-crazy, and she doesn’t exactly make schoolwork a priority. But she’s a good friend, and has a decent head on her scaly shoulders.
Chip, in my fanfiction, is sometimes level-headed, but also willingly joins in with the silliness, often as a partner in crime with Aidan MacKenzie. Chip definitely has a silly side and, in Together, he even dreams of doing stand-up in a little club on Risa.
On the NX-01
Chip starts off in Tactical, which is where he gets to know Aidan. However, by the time of Together, he has transferred over to Communications, acknowledging that he is a natural gabber and better suited at connecting people as opposed to blowing stuff up. Like Aidan, he’s an Ensign.
As the person with probably the best appreciation of the arts on the Enterprise, Chip picks the movies. He has eclectic taste, serving up everything from Stalag 17toDirty Dancing. In Broken Seal, he and Aidan, who acts as the projectionist, are even blamed for the problems with The Seventh Seal.
He also conducts a little discussion afterwards. Attendance is spotty at best. In Intolerance, for Dirty Dancing, he talks about the soundtrack, which is a mix of 1960s and 1980s music, and has the attendees try to guess which decade a particular song came from.
Chip and Aidan are not only friends, they are also roommates. Chip also appreciates Hoshi Sato as his boss. In the E2 stories I am currently writing, he also helps to train and accommodate the newest member of the Communications team, Crewman Maryam Haroun. Because Maryam is a Muslim and needs to pray several times per day, Chip’s night shift sometimes starts early or can end late, so that he can cover when Maryam is praying.
In Together, he helps Deborah Haddon pick up the pieces and they begin dating. By the time of Temper, she’s proposed to him, and they are married by the time of Fortune. During the initial celebration of the first child born to a crew member becoming a parent, he begins to thank the captain who corrects him and instead tells him that the celebration is for Malcolm.
“So this Klingon, an Andorian and a Vulcan walk into a bar. And the Klingon’s a male, super-tall. And he’s completely buck naked, except for a strategically placed piece of string to which there’s attached this note. So the bartender gets curiousand he reads the note, which says …”
I’ve never finished the joke. Have at it in the Comments section if you’d like to write a punch line for Chip’s joke.
Chip in the MU has a lot more on his mind, and has no time for antics. He never switches over to Communications, and instead is promoted to run Tactical at the end of Reversal (his start in Tactical is shown in Paving Stones Made From Good Intentions). He also runs Game Night, intended to be the counterpart to Movie Night. He takes bets like a bookie (betting in the MU is canon) and collects like a loan shark.
Because Deborah is taken away from him, he ends up, eventually, as one of the Empress’s conquests, fathering her twins, Takara (the only girl) and Takeo. All of the Empress’s children have meaningful names. Takara means treasure while Takeo means warrior. These are her fourth and fifth eldest of the six total children, and are being raised to be as bratty as the others, as is shown in Coveted Commodity. In Temper, with its three separate alternative timelines, Chip’s fate differs. The only constants are Science Officer Lucy Stone, and his two children with the Empress. Fortune follows Chip to his later life, and He Stays a Stranger to a much later time in his life. As one of the only halfway decent people in the Mirror Universe, Chip represents a bit of hope in that wasted landscape.
Traveling the stars is serious business, and the Xindi and Romulan Wars were no laughing matter, but the crew always needed a release from unrelenting problems. Without someone like Chip, life on the NX-01 would be so much tougher. Even the crew of the Enterprise needs a little whimsy in their lives, and for that, Chip’s your man.
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.
Charles Tucker III was almost a writers’ football during Enterprise.
Why the heck would I want to talk about a Star Trek: Enterprise canon character? After all, doesn’t Memory Alpha do a better job? For canon, yes. No argument here.
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 that’s how he spelled it. 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.
It’s just a letter, folks.
Marrying Canon to Fanfiction
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.
Then in the E2 stories, I cover his relationship with T’Pol, 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.”
The Mirror Universe
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. Fortune tells of a dynasty, 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. Characters mourn and remember him, 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 above, 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.
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. So she is much like any of the children of 9/11 victims, whether they extant or in utero on 9/11/01. As a teenager, she is a lot like a typical human teenager. She’s 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.