Portrait of a Character – Travis Mayweather (Mirror)
This character is canon, and he is one of the only people unambiguously left standing at the end of In a Mirror, Darkly, Part II (Hoshi is also alive but it’s somewhat unclear about the other main characters).
I think the actor did a bang-up job and, since he’s improved as an actor, I would love to see him pick it up again.
Ruthless, nasty, irresponsible, and more than a little dumb, Travis is an interesting choice of henchman and lover for Hoshi. She continually corrects him and puts him down in public, but he provides a huge public service for her. Because no one wants him in power, Hoshi remains safe. As for Travis, he remains fairly safe as his relationship with Hoshi is non-exclusive and she actively seeks other fathers for her elder children. As a result, there are few rewards to replacing him, and men like José, Frank, Chip, and Aidan do better to remain more subservient. Travis is the one with a target painted on his back.
The Empress Hoshi Sato
The Mirror Travis, while he is dying for some fun times with women like the Mirror versions of Melissa Madden and Shelby Pike, is beholden to the Empress. In Coveted Commodity in particular, he is essentially led around on a leash. His only hope is to pass on his genes to Izo and work to assure his son’s survival. This he does by blackmailing Dr. Morgan into agreeing to help Izo, even after Travis’s death. This Morgan more or less does (although, like most denizens of the Mirror, Morgan’s word isn’t worth much).
Everybody else in Temper seems to have gotten a theme song except for Travis!
In Temper in particular, I really got a chance to let Travis have it with both barrels. He dies in three separate timelines. Once is by Jun Sato; the other two times, he’s fragged by his own troops. An ignominious end, no matter how you slice it, for an evil man who was ‘only following orders’.
I was asked several times, “When are you going to show Travis and Julie?” Well, here they are.
Taking place wholly within The Three of Us and the E2 timeline, the story covers the very beginning of their relationship.
Travis is ready to ask the lovely MACO out. But Julie is skeptical. She knows that being asked out is practically a marriage proposal in that generational ship. With so many limitations, she wonders if she is compromising.
Well, she is, and so is he. But that is the nature of that particular beast. The timeline does not permit the picking up of too many passengers.
I’m not so sure that I fully captured Julie’s reticence as well as I had liked. Travis is basically the happiest canon character on the ship, and I wanted Julie to share in his enthusiasm and optimism. But I also wanted her, at the start, to be cautious. However, I wanted her abundance of caution to spring from doubts as to who would be the best possible mate for her. They do not come from the characters’ differing races.
I do hope that fans liked what I wrote. I always hope that, but I particularly do here, as the story was written in order to satisfy an ongoing request.
In canon, there is virtually nothing shown about anyone’s recovery from Tucker’s untimely demise.
It is as if it never mattered in the first place.
In response to a Star Trek fan fiction prompt about entertainment, I decided to go dark and most decidedly not fluffy.
The story begins with Travis feeling a little lost. Very briefly, it is mentioned that the final movie night has been held on the NX-01 prior to its being decommissioned, and that the film chosen by Chip was the first James Bond movie, Dr. No.
He has little to do or think about, and his family is on the freighter, anyway. With no one to visit and just a little bit doubtful as to whether Captain Archer wants him back for the DC-1500 USS Zefram Cochrane, Travis goes to a nearby station and visits a ticket agent. He gives her an undisclosed amount of cash and just asks, “Where can this take me?” She gives him a few options and he chooses Philadelphia.
I did not choose Philly for any particular reason. I just like the city (I lived outside it for a few years as a child) and it is a readily recognizable place which would still exist during that time period. But Travis has no ties to it whatsoever. For him, it’s just a means of getting away from it all.
For a Star Trek fan fiction challenge about “what if”, I decided to take a canon episode into a far different extreme direction.
In the canon episode, Bounty, T’Pol prematurely goes into Pon Farr because of a medical issue (she and Phlox are affected by a microbe).
As a part of the episode, she comes onto Phlox, who rebuffs her, and then tries for Malcolm, who is in a pressure suit, and he rejects her as well, eventually shooting her in the back with a phase pistol and stunning her. Archer comes back (he escapes Tellarite captivity) and all is more or less well.
I decided there would be two major differences. Phlox would succumb to her charms, and Malcolm would miss. This changes the dynamic dramatically.
In the new plot, once both of these events occur, T’Pol goes after the first man who can (she hopes) satisfy her urges. That turns out to be Travis.
When the story opens, Jonathan has just returned. Malcolm greets him at the transporter and tells him that there will be a staff meeting immediately. He informs him of Travis‘s death, and also Brian Delacroix‘s, and that Deb Haddon has been gravely injured. Archer, a bit disoriented and very confused, goes along with this. He sees Malcolm, Hoshi, and Tripp at the meeting. Phlox is patched in from Sick Bay.
Archer is informed that, after seducing Phlox, T’Pol escaped from decon (the escape is canon, but the seduction failed in canon). Malcolm was there with his team – Brian and Deb. T’Pol came onto Malcolm who rejects her and then, in a rage, she snapped Brian’s neck and shattered Deb’s helmet. A fragment lodges in Deb’s eye, and she is permanently blinded.
And then there’s the matter of Travis. After escaping from that scene, and Malcolm shooting after her but missing, T’Pol confronts Travis in his quarters. She essentially sexually assaults him, and her appetite kills him.
The story continues with Archer confronting her in the Brig, but she is barely competent, and relations with Travis have not satisfied Pon Farr. Hence she will die in a few days if they don’t get her to Vulcan on time.
I really liked the way this one worked out, as I moved from a bewildered Archer to Hoshi with a measure of PTSD, to Malcolm’s disgust and emotional detachment, to T’Pol’s frenzied mania, to Phlox’s shamed confession, to Deb’s acceptance of her fate, to finally communicating with Admiral Forrest and informing him of this big, bad Vulcan secret. I don’t write horror too often, but I think this story turned out well.
At a much smaller Star Trek site that I really don’t go to anymore, they celebrated once I’d hit a certain number of posts. As a thank you for that, I posted this little party story. It’s only meant to be a bit of fluff.
As a fill in for the canon episode Two Days and Two Nights, the story was written in order to give a little depth to Travis. After all, in the episode, about all that happens is that he is injured while rock climbing on Risa. But he didn’t start off rock climbing. At least, I didn’t want him to.
One thing I was able to do with this small story was to bring in Witannen a lot faster and earlier than before. With no statement of the name of the species (and Travis leaves quickly, plus in Star Trek: Enterprise canon he’s knocked out not too long after that), there’s no real first contact.
In the earlier tale, Hoshi becomes irresistible when aliens inject her with a certain substance after removing some of her female hormones.
Frank Todd and T’Pol help to prevent a riot from starting on the NX-01, as all of the straight men (and, presumably, Diana Jones, who is a lesbian), are affected.
The sequel brings the story line over eighteen years into the future.
As Hoshi and her husband, Takashi, and their children, Toru and Yoshiko arrive on Aris for a visit, the head of the government, Milit, greets them.
And so, apparently, do all 5,999 other Arisian men on the planet.
Hailed as Andaara Trea Hoshi, they explain that they are thanking her, the initiator of the 6,000 brand-new ‘mothers of the world’. Every Arisian man is bearing some sort of a gift. Travis, who is with them, jokes that they’ll need a bigger shuttle in order to get all of the gifts back to the ship.
Politely, Hoshi declines their many offerings, which vary in size, scope and expense, but are all offered with grace. The family is taken to meet some of the newly-cloned Arisian women, including the first one created, Trea Hoshi. The girls are all more or less made in Hoshi’s image, except for a detailed forehead pattern that marks them as Arisians.
The men explain that they are determined to marry all of the newly-cloned girls, and are ready to match them up. It seems the matches will be done through political expedience, rather than any sort of attraction. Travis and Hoshi convince the Arisians to give the gifts to the girls, and to see what happens next. The story ends with Milit announcing his engagement to one of the girls and then Hoshi telling Captain Malcolm Reed that he’d better warn Lili that she’ll need to cater a few thousand Arisian weddings.
I was so pleased to get an opportunity to go back to this story line, which was left with hope but also dangling a bit. I can see that my storytelling abilities have improved since the original tale, too. It’s a study in contrasts for me.
For a monthly prompt about sacrifice, I wanted (as I often do) to turn it on its head. This was not to be a story about noble sacrifices for idealistic causes, with Starfleet cheering all the way. Instead, it was to be a story about personal human sacrifices, and how Starfleet can, I suspect, chew people up and spit them out.
he’s going to miss them. Hoshi is looking forward to spending more time with her family. Travis is trying to salvage his marriage. They are both retiring. It’s 2181, and they are the last three left of the original seven senior officers on the NX-01. T’Pol has returned to Vulcan and Phlox is back on Denobula. Tucker is dead, and Archer is pursuing a political career, which dovetails with Star Trek: Enterprise canon. With Hoshi and Travis’s retirements, Malcolm will be the last one standing.
Malcolm knows that, no matter what, he’s got to get home and be with Lili. He will have to set aside everything and, potentially, jeopardize his standing and his command, things he has worked very, very hard for.
I like how it turned out, as it wove the themes of sacrifice and familial duty, crossing them with duties to Starfleet. It was a chance to fill in a few gaps left in Fortune, and to bring in the bench characters and give them great roles, people like Aidan, Chip, Deb, José, and Jennifer. The story acts as a bridge to the deeper future and continues the process of tying In Between Days to the Times of the HG Wells. I think it fulfilled its purpose well.
For my own prompt about temptation, I decided to fill in a missing scene from Reversal. The idea was also to dovetail with a scene in Fortune, where Shelby and Travis spend time together, and it appears that they might be starting a relationship soon.
But I did not want things to run smoothly.
It’s the day after the day of all-orange food. Lili is not sleeping well, because she’s dreaming about Doug. Jennifer is even teasing her a bit about it.
Harvest produce is set out, and Lili sets about explaining what’s available for dessert, which is a fruit and cheese plate. Malcolm looks up as she’s speaking.
Shelby picks up an uncut, perfectly ripe Gala apple, and offers it to Travis. Tripp Tucker even jokes about Adam and Eve. And Travis flees the scene.
For a small fill-in scene, I think the story works just fine. I would not add it permanently to Reversal, though, as I feel it would interrupt a lot of the flow. But it was fun to add a different slant to a day in that story that doesn’t get a lot of detail.
When I was first writing Star Trek: Enterprise fanfiction, and following the five senses, I got to sight last.
Instead of writing just about sight, I decided to create a multi-chapter story and more or less go for broke.
I also disliked how little screen time Travis got, so I decided to give him a little love with a story all his own.
In the middle of the night, Travis is pulled out of his bed and dumped … somewhere. But he’s not alone.
There are people from a few canon species – Andorians, Vulcans, Xindi sloth, Orions and Klingons. There are two of each, one male and one female. He doesn’t know the human woman he’s paired with; she is a far older woman, she speaks Russian and she is a librarian at the Lunar Colony Library.
And then they start to be prodded into working out a series of problems. For better or worse, they learn that they have to work together.
The story is … okay. It’s not great. I have updated it a bit (Lili makes a quick appearance), although I really should have done more. The plotting is slow in parts, and it can drag and be rather talky. There are original characters, and I’m glad that I felt confident enough in my world-creating abilities to add them, but some are wooden and others are more three-dimensional but still not too well-defined. Not too bad for a mystery tale, but I have learned that it is better to give more information about characters, in order to give the reader something to hold onto while reading.
It could be better, and probably a lot better. But it taught me a lot about story creation and pacing, and so I am grateful for its existence.
Together begins with Doug and Lili happy. It’s a direct sequel to Reversal, and they are living their dream. The first chapter makes it abundantly clear that they are where they need to be. There are little bumps in the road, but that’s life. So far, so good.
By the time we get to the second chapter, we learn that Jenny is getting married. Malcolm can bring a date, so he sends a note to Pamela, inviting her. Therefore, the astute reader should also understand that this is also a direct sequel to Intolerance.
Since there are no stories without conflict, and since a relationship such as Lili and Doug’s should be tested, the events are set into motion. And the main event is a massive kidnapping of humans.
The kidnapping is a chance to introduce two new original species, the Imvari and the Witannen. Furthermore, a third original species, the Zetal, are mentioned but they are not seen.
Ten humans are removed from the NX-01 (Lili and Doug are aboard as they are hitching a ride to Jenny and Frank‘s wedding). Because the Witannen want them to interbreed, the group consists of five men and five women, and they are separated into couples, namely –
Lili and Malcolm – the idea is to play off Malcolm’s earlier attraction to Lili and also counterpoint her issues with Doug.
Doug and Melissa – here, Doug’s frustrations with Lili are balanced with Melissa’s bisexuality, e. g. this is an area where Leonora cannot fulfill what her partner needs.
Jonathan and Deborah – for him, it’s a chance to have someone to protect. For her, it’s the fulfillment of a long-term crush.
Tripp and Hoshi – this combination plays off their friendship and also is an answer to endless Star Trek: Enterprise fan fiction about Tucker and T’Pol.
Jennifer and Travis – for her, it’s appalling as she is about to be married. For him, he’s with the hottest woman on the ship, and she is so horribly damaged that it’s no fun for them at all.
This is not to mention the other couples in the story, from before, during and after the captivity. Plus, what happens with Pamela? Stay tuned.
The story is loaded with music as characters come together and break apart throughout. Every major character has his or her own song, and couples share songs, too.
Jennifer – by herself, her song is the Cult’s Fire Woman. With Frank, it’s Maroon 5’s This Love. Their wedding song (and this is the song played at any wedding where Jenny is a bride), is Dusty Springfield’s I Only Wanna Be With You.
Brian and Yimar’s song together is Michael Jackson’s PYT.
The story isn’t a musical, per se, but there is so much pertinent music that it practically could be.
The story, in some ways, ended up an exploration of not only relationships but also of our mores as a society. What do we accept from people? What do we expect them to do when the chips are down? People in the story make good decisions, and they make some terrible ones as well. Fallout does not stop just because you wish it all away, and the fights are harsh because it’s the people who love you – and know you better than anyone – who can truly hurt you if they really want to.
I put the rating at T, with the racier version on Ad Astra at M.
The story goes in a bunch of different directions, and it was to tie up loose ends up and then create any number of others in order to generate more plot ideas, including the idea for Temper, a story that really doesn’t work without Together as its foundation. Furthermore, any number of other overall plot elements don’t work, or can’t work as well without it.
In many ways, it is a centerpiece story, and many other tales hang off it, either as sequels or as prequels or in conjunction with it. Aside from Reversal, it’s also the most read of my stories, and for good reason, as it helps the reader to understand so much more of my overall story line. Plus, I think it’s just a good, complicated tale.