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.
I actually have a bit of training in creative writing, and I like to call upon it as I write, in particular when I write longer pieces.
My two sources of creative writing education were my 12th grade AP English teacher, Kitty Lindsay and the poet George Starbuck, who I studied under while I was a student at
Boston University. My undergraduate degree is in Philosophy – I did not take more than the one creative writing class although I do wish I had.
But let’s get down to brass tacks, shall we?
I’ll start with Kitty’s biggest and best mantra for writing, which was, simply, characters-conflict-crisis-change.
What does it all mean?
I don’t think you’ll find anyone who disputes the need for good, solid, memorable characters. However, there are those who would rather see (mainly) Star Trek canon characters in fanfiction stories. I disagree but do not, of course, begrudge these people their opinions.
Don’t get me wrong. I like the canon characters in pretty much all of the series (I am even okay with Wesley). But this does not mean that other characters and other situations don’t appeal.
For example, the Reversal storyline hinges, to a large extent, upon the fact that Lili and Doug are pretty much down to their last chances. I needed for Lili to be an original character, as there was no one else aboard the NX-01 who would have fit the bill. The character had to be human (so T’Pol was out), had to be older (so Hoshi was out) and had to be someone who would normally be underestimated (so Erika Hernandez and Amanda Cole were out).
Character creation is an ongoing process. Generally, for me, a character springs up but then changes as more back story is added. Shelby Pike, for example, arose as a former ballerina but she didn’t originally have some issues with confidence. Declan Reed wasn’t originally an artist. And Aidan MacKenzie was originally just a pretty face. He didn’t get any depth until later.
For canon characters, I don’t change anything that’s already been defined. Hence Captain Archer is still Scott Bakula, Charles Tucker still has a Florida accent and Travis Mayweather remains a space boomer. But there are all sorts of other things that I was able to add and define and then refine.
For example, as I write Malcolm Reed, he has a knack for giving exceptionally good presents, for children and adults. The Travis I write is not interested in parenthood, although his Mirror Universe counterpart is. The Phlox that I write tells bad jokes that often backfire.
Without characters, stories aren’t worth reading.
For longer works, conflict is key (for very short slices of life, it can be skipped). Otherwise, stories meander and seem to have little point. In Reversal, the conflict between the Enterprise (in our universe) and the Defiant (in the Mirror) with the Calafans is a big driver of the piece. Without these conflicts, the story is mainly a bunch of dreams, and so is (I hope) interesting but, ultimately, somewhat soulless.
Also known as climax, this is what the story is moving toward. In Reversal, I actually played on the synonym and then that led me (because my mind is in the gutter) to the idea of physical climax. And so I decided that, instead of one large climax (which would be male), I would go with a number of small climaxes, which is more female in nature. The smaller climaxes included the rescue, the movement of personnel off the Defiant and the aftermath of getting to the Enterprise.
Characters and situations that do not change leave a reader, when a work is finished, with a feeling of “what was the point of all that?” I agree – and I despise when that happens. In Reversal, Lili ends up with a boatload of changes, but one of the biggest ones is that she begins the story essentially alone in the dark and ends it, again in the dark or at least semi-darkness, but she is no longer alone.
Edit It. Cut that story until it bleeds!
That is the other mantra that Kitty had for me (and my fellow classmates). What it means, simply, is – don’t waste the readers’ time and good faith.
I have seen plenty of stories out there that seem to have extra stuffing in them. And one of the issues with Reversal is that, toward the end, I had some trouble letting it go. It wasn’t until I began to seriously think of a sequel that I was able to finally wrap things up. But if I were writing the story today, I would likely trim some of the chapters. As it is, between its initial posting on Trek United, then its addition to Issuu and then to its archiving on Ad Astra, the story has undergone some changes. Most are fairly cosmetic in nature, but I have attempted to tighten up the prose, which I feel makes for a better story.
Professor Starbuck was a different teacher and so he had different ideas of what made for good creative writing. I well recall a number of exercises – one was to write about a far older relative and then to write about that person as a fourteen-year-old. Plus we wrote quite a bit of poetry.
One of the main things I learned from him was an appreciation for whimsy. There are plenty of ways to not take things quite so seriously, even when they are incredibly serious.
In the Times of the HG Wells series, I made it a point to give the time ships silly names. They are all named after something to do with time travel pop culture, such as the Flux Capacitor and theAudrey Niffenegger(she wroteThe Time Traveler’s Wife). There is even whimsy on top of whimsy, as there is one outlier. One of the time ships is a successor vessel to the original Audrey Niffenegger and is simply called Audrey II, after the man-eating plant inLittle Shop of Horrors.
Sports are another occasion for whimsy. A MACO is named Rex Ryan, after the current coach of the New York Jets. Gina Nolan‘s maiden name is Righetti, and she confirms to Kittris (who was named after Kitty Lindsay) that she is a descendant of 1981 American League Rookie of the YearDave Righetti. Baseball player Ty Janeway has a fairly obvious origin, as do Mirror Universe baseball announcers Ted Trinneer and Jeff Blalock. Mirror Universe baseball is one big joke, with twelve team members instead of nine, twin pitchers and catchers and four bases. Even in a highly charged romantic moment, Doug dons one of Lili’s baseball caps and says, “Hey, I could play fourth base.”
The first title was Paving Stones Made of Bad Intentions, as it is a Mirror Universe story. However, I didn’t like the idea of going with a straightforward opposite. Instead, I wanted for it to be a lot clearer that the centerpiece scene was an act of love, albeit somewhat misguided love.
The second iteration was Paving Stones Made of Good Intentions, which corrected the idiom and better evoked the undercurrent of it being the road to hell. But I didn’t love how it flowed.
The final title was Paving Stones Made From Good Intentions. This title brings together not only the fact that the centerpiece scene is happening because people mean well but also because this is the road to hell. Furthermore, I wanted the title to effectively denote that the road to hell is actually deliberately and actively fashioned from these good intentions, rather than somewhat more passively made of them. A subtle difference, to be sure, but the idea was that the intentions are in a somewhat more refined form. It is – there are good intentions but they are perverted and shaped into the paving stones, as opposed to just laid down in the roadbed.
In particular, when stories appear to be winding around a bit too much, or seem to be getting too wordy, I try to remember these lessons. I hope I’m doing my two teachers proud.
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.
I began the month by answering a prompt on Ad Astra about seasons. I had thought a bit about all four seasons but I was stuck a little on spring and autumn. But I liked winter, so I posted A Hazy Shade, which is a reference to the old Simon and Garfunkel song, A Hazy Shade of Winter. That one will go in context at some point. I also added a story about the summer, called And the Livin’ is Easy. That, too, will get some context.
I also started to post A Long, Long Time Ago on Ad Astra. This is really the start of the Times of the HG Wells series, although I had also written a prequel, First Born, which was posted on Ad Astra, Trek BBS and Trek United. On the former two forae, it was entered into their monthly challenges. It did not win either challenge, but did receive some votes.
Furthermore, I finished Reversalon Trek BBS and also spooled outIntolerance. Reversal and Intolerance have both gotten some very nice comments there, and a lot of views.
The same has happened on Fanfiction.net, e. g. I’ve finished Reversal and am beginning Intolerance there. As on Trek BBS, these are the T-rated versions of the stories.
I also created responses to monthly challenges and posted them. These stories are A Kind of Blue (for Ad Astra’s Bring the Sunshine challenge) and The Black Widow (for the Trek BBS What if …? challenge). As is perhaps obvious, the two works took me in rather dissimilar directions.
The E2 stories continue to be drafted. I am in the midst of the third book, and there should be four. It’s threatening to become about the same size as the Wells series. I have had a lot to say, and the characters have taken me in a lot of unexpected directions, for which I am grateful. I am now beginning to circle back to some of the initial points that I had wanted to cover, and those chapters are rather long, and take a lot of time to be drafted.
Prep work consisted of creating a bowdlerized version of Together and an HTML-coded version of Ohio.
This Month’s Productivity Killers
Looking for work continues to be both a boon to my writing (no real work distractions) and a hindrance (being home all day, I hear every little noise, plus of course I have to look for a job).
I also switched to Internet Explorer 9. While that fixed problems I was having with Flash and Java, it created other problems, and now I can no longer post in the Ad Astra archive, or put reviews there, or respond to reviews. Hence I use Chrome whenever I go to the Ad Astra archive. This eats up time.
Furthermore, my parents visited for a few days, in order to watch my husband and me run the first 5K of the season. Fun but of course, there isn’t a lot of computer time when we’ve got company.
Joining a different forum meant more time spent posting stories (and posting so as to get to know the other people on that board) rather than creating. Plus I overhauled my website a bit in order to better handle links to sites where my work is posted. However, I believe that the changes I’ve made in the website have made it easier to work on when I join more forums. One thing I have to remember is that not every story needs to be posted everywhere.
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.
Spotlight on Original Nonsentient Species – Linfep
People have to eat, and not everyone is a vegan. Therefore, some alien food animals had to be devised. Hence, linfep were created by me. They are a wholly original species.
Linfep are essentially hares with tusks or fangs. They are native to Lafa XII and live and scamper in undergrowth. They are one of the chief foods for another nonsentient species, perrazin, but are also hunted or raised for food for the sentient Calafans.
Since they are very rabbit-like, children are somewhat fond of them. In Fortune, a little Calafan girl has a stuffed linfep doll. In Friday Visit, Chelben, who is about four or five years old, shows Doug a picture he has drawn of a linfep.
Admittedly, I was thinking a little bit of the comic strip Prickly City and its character of Kevin, the Lost Bunny of the Apocalypse, when I came up with linfep. Essentially I envision – like I do for much of the Lafa System – a place similar to Australia, where interesting or seemingly harmless animals can pack quite a punch.
Linfep (the plural does not have an S) are vegetarians, and are the subjects of a hunt with phase bows in Temper. Melissa and Doug – the hunters – have to be quiet when approaching these shy creatures. A rustling in the undergrowth reveals one, which is dispatched with one shot.
Like much of the Calafan language I have created, the name of this species is a compound word. Fep is also the name of the second-smallest star in that system, and the word means small. Lin means mouthful, so a linfep is a small mouthful, and a grown human or Calafan will want to eat more than one in order to be satisfied.
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.
Crackerjack was originally written as a gift for a younger fan who wasn’t really old enough to be reading my racier material. This fan likes Star Trek:The Next Generation, so I decided to set the story in that universe, but I didn’t want to be on the Enterprise, and I didn’t want to be dealing with too many of the characters.
As a story written for a young person, I wanted a young character, so I hit upon the idea of grabbing Wesley Crusher. He has often – completely legitimately – been criticized as being a “Mary Sue” type of character. This is a character who is impossibly good, impossibly smart, impossibly lucky, etc. It’s a parody of a true character. I wanted Wes to be a bit different.
I also wanted Geordi, as the story was to be about prejudging. Partly that was due to racism, and partly due to his obvious infirmity, blindness. As a pair, I felt they could work together, too, and would believably want to help each other. The title refers, not only to the treat served at ballgames, but also to “an exceptionally good person or thing”. The reader is left to determine just who really is crackerjack.
The story begins with an old man asking his grandchildren if they ever heard of the time he watched Ted Williams hit a home run. They clamor for a story and he obliges. His tale begins with the two friends returning from a ceremony on the Kreetassan home world, when they suddenly run into a strange cosmic phenomenon. The phenomenon throws them back in time, to Earth. Because the shuttle they are in is damaged, they are forced to make an emergency landing. Duke Ellington is playing on the radio, and there’s a reference to fighting in the Middle East, and to British residents needing to go to bomb shelters.
They need supplies in order to get back, so they will need to head into civilization.
They change their clothes so as to mimic period garb, but the visor sticks out like a sore thumb. A decision is made to outfit Geordi with sunglasses and carry the visor along in a duffle, if needed. They replicate some money and follow a river toward what they figure is the nearest town.
While in town, they sleep out in the open. In the morning, they realize they’ve been sleeping in a familiar place, at the foot of the statue of Lincoln, at the Lincoln Memorial. They’re in Washington, DC.
As Geordi waits, Wesley runs out to look for a place to get breakfast. It rains a bit, but then the rain stops. When Geordi puts his palm up to check if the rain has really stopped, someone presses coins into his hand, thinking he’s a panhandler. Wesley finds a lunch counter and leads Geordi there. When they enter, the proprietor refuses them service and they are directed to a sign on the wall that says, Whites Only.
A newspaper then reveals the date – September 1st, 1941.
How do they get to the ballgame? How do they get back? All can be revealed by reading, of course.
Star Trek often covers socially difficult subjects such as racism, so I wanted to confront it head-on. The time period, I feel, is a great one, as it is pre-war and pre-Jackie Robinson, but attitudes are starting, slowly, to change. Plus the presence of a Whites Only sign was very logical for the time and place in question.
Geordi, of course, was a logical subject for racism, in particular because his infirmity makes it impossible for him to actually see why people are prejudging him. Wesley works, not only as Geordi’s companion, but also as a wide-eyed observer who doesn’t understand why the people of the time are acting like they are – and why some are kind or even overly protective. The people of the time aren’t just one big mass. Some care, some act but are inept (such as an anonymous person giving Geordi charity), while others are pettily cruel.
Time and Place
One of the ways I set the scenes was with music of the time. Take the A Train is played, but so are The Boogie-Woogie Bugle Boy of Company B, Stardust and Frenesi. Each chapter begins with a link to a YouTube video. The music is mostly horn-driven and tends to be from big bands.
The chapters also each begin with a picture. There’s Ted Williams, another is of a streetcar, another is of a row of brownstones, etc. The pictures are all in black and white, not only to evoke the sense of an old black and white film, but also to bring home the idea of racists seeing the world in terms of only black and white.
Furthermore, I wanted to evoke a bit of the old TOS episode, The City on the Edge of Forever, although that one takes place in 1930. One of the backdrops to the story is the prospect of imminent war, where bullets aren’t going to care one whit about the race of the person they strike. In Crackerjack, the bullets are going to be flying at Americans in only a little over three months’ time.
An interphase is a canon construction, and refers to a kind of temporal, spatial or somatic displacement, often without intention. While I handle interphases in other stories, I wanted this one to be more of an engineering problem, rather than a philosophical musing. For Wesley and Geordi, it’s a problem to be solved, rather than a reason to question existence.
Another aspect of the story is framing it as a tale told by an elder. The elder is Wesley, who you never otherwise see as an extreme elder. I wanted it to be his perspective and his long-term hindsight that would shape the narrative. Also, as Wesley learns about racism, I wanted him to be teaching his grandchildren the same lessons, that there are some people who don’t get along with others, and sometimes that’s for the most unfair reasons.
Memory is also key to this story, as it is about Wesley’s memories, but also the memories of the people they meet, and the memory of the reader about that time, or about what they’ve learned of that time, or what they, personally, have experienced of racism, and also of human decency.
But don’t worry about forgetting. Your memory has enough film in it.
The music was great fun to put together.
The story opens with Duke Ellington’s Take the A Train, which is not only used to set the scene but also to evoke motion, travel and distance. In this case, the traveling is temporal as well as spatial.
I was pleased with how this one turned out, but the problems are solved rather neatly and easily. If I were writing for an adult, I probably would have thrown in more obstacles, and I might have made the racism harsher than it was, but I like that it’s not quite as hard-edged. I don’t think I needed to really hit people over the head with it.
Music is almost a constant in my writing. Characters might have individual or couple or group themes, or a story might have a theme, or even a series. Music can be used in order to evoke a particular mood or time period, and lyrics in particular might steer a plot.
For the Wells series, it’s all about time, so music is not only used to set moods, it’s also used to orient the reader as to time and place. Lyrics are displayed, at the beginning and end of each chapter, to continue to bring home the idea of a soundtrack to go along with the set pieces. In addition, character HD Avery is the “music guy” – he can sight-read music and can play piano, guitar and drums. He’s sent on all sorts of musical missions and even, at one point, refers to them as being like Rock ‘n Roll Heaven.
The first mission is about the day the music died, that is, it’s about the deaths of Holly, Valens and Richardson on February 3rd of 1959 in a plane crash in Clear Lake, Iowa.
For Take Back the Night, not only the title should be a tip-off that the Daranaean women are a bit sick of how they’ve been treated, as the first chapter opens with a quote and a link to the Beatles’ Revolution.
For written fiction online, a link to YouTube can provide a missing soundtrack, and a major or minor key cue to the reader about mood.
Funny thing is, I can’t write while listening to music; I end up paying too much attention to it!
I hope I’ve gotten an appealing and appropriate soundtrack into your head as you’ve read. But if anything seems like it might be better, feel free to suggest it.
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.