Showing posts with label topic: my writing. Show all posts
Showing posts with label topic: my writing. Show all posts

03 October 2025

New Publication: Review of Speculative Whiteness by Jordan S. Carroll

This summer, it was my privilege to get to read Speculative Whiteness: Science Fiction and the Alt-Right by my former colleague Jordan S. Carroll. I reviewed the book for the academic journal that I am associate editor for, Studies in the Fantastic.

After I read and reviewed the book, the book won the Hugo Award for Best Related Work—which I think was well-deserved, and I think I would think that even if I didn't know Jordan! 

Jordan cites the idea of the "modal imagination" that he gets from Mark Jerng (who in turn got it from the philosopher Adrian M.S. Piper), which I have found really useful in articulating what makes science fiction what it is—I used it in my sf class this semester, and I suspect it might even find its way into a book project I've been contemplating.

The full review can be read here if you have access to Project MUSE, but here are the first couple paragraphs:

As Jordan Carroll discusses in the introduction to this slim volume from the University of Minnesota Press’s “Forerunners: Ideas First” series, “[s]cience fiction thinking turns out to be surprisingly prevalent in the alt-right and antecedent white nationalist movements” (5). Many like to think of science fiction as an inherently progressive genre: its urtext, Mary Shelley’s Frankenstein (1818), is after all the work of the daughter of one of the founding thinkers of feminism, and early sf writers like H. G. Wells used the genre to criticize imperialism and nationalism. Science fiction allows us to imagine a better world.
     How, then, could the genre attract those who want to take society backward in some kind of way? This is a question often expressed by baffled fans and critics alike, but as Carroll demonstrates, there have long been racist undercurrents in sf and its fandom, as evidenced by controversies such as 2009’s “Racefail,” when authors of color critiqued the field (17), and the “Sad” and “Rabid Puppies” movements (2013–17), when right-wing fans attempted to pack the fan-voted Hugo Awards with their chosen finalists, many of them racist and homophobic (47–8). Prominent racist thinkers such as Richard Spencer and Nick Land are science fiction fans, and adherents of President Donald Trump sometimes refer to him as the “God Emperor,” drawing on a term from Frank Herbert’s Dune novels (1963–85) and the sf wargame Warhammer 40,000. How can all of this happen, given the genre’s supposed leanings and origins? As Pamela Bedore says (drawing on Carolyn Miller), we should “ask not what various genres or subgenres look like, but rather, what they accomplish rhetorically” (9). Is there something about the rhetoric of science fiction itself as a genre that allows it to be a breeding ground for racism?

The review works in a couple of my own obsessions: Pam Bedore's features/project distinction for articulating genre and Isaac Asimov's definition of sf.

But probably the thing I am most proud of is the title, which is a reference to a classic Internet meme, and somehow neither of the two editors I worked with on the review put the kibosh on that... which I totally expected them to do: "Racism? In My Science Fiction? It’s More Likely than You Think."

06 June 2025

Star Trek Adventures: "The Word for Word Is Word": A Fan-Written 1E Adventure!

One of the benefits of the Star Trek Adventures format is that it accommodates absences easily. "Oh, he didn't beam down this week." "Oh, she's away at a space conference." "Oh, they've got the anatid space flu." And then next week they can be back! Much more flexible than D&D, where you need to explain why the guy who was in the dungeon with you last week suddenly isn't this week. (Or, more likely, he's suddenly not there.) So mostly I don't worry about absences and my group plays every week unless I can't make it, and people's characters pop in and out, but we can work it in easily.

But my group is in the middle of a mission that actually touches on all their characters pretty substantially, and a couple players were going to miss the last session of the episode. It felt weird to play it without them. So I decided to pause and do a side story. Originally, based on who was going to be present, I was going to make it a flashback, but then I realized someone was going to play who hadn't played last summer, meaning it had to be a flash-forward. Hopefully the current episode (more on this in a future post) ends as expected.

Anyway, this means that I needed a one-session mission. All published missions run three or possibly two sessions in my experience... so I was going to have to write it myself!

"Captain’s Log, Stardate 53912.6. I have left the Diversitas under the command of Chief Engineer Nevan Jones while it studies a previously unknown magnetar. I am currently travelling via runabout with a subset of my senior staff to a colony on the planet Maxia Beta VIII. There, we will assist in setting up a Federation medical aid program. The journey will take several days, but after our recent intense missions, I am looking forward to some time relaxing with my crew…"

Planning the Mission

archaeological research transport at warp
In my two previous STA campaigns, I have never written my own episodes—I relied exclusively on published modules, even if I substantially modified them sometimes. This summer, I find myself having to write my own for the first time in four years of running STA! But I have kept a file on my computer of ideas for adventures, many of them ripped off from books I have read. One that has stayed prominent in my memory for a long time is the idea of an AI-piloted research vessel kidnapping the player characters so that they would rescue its missing crew. This was inspired by the premise of the Murderbot novel Network Effect by Martha Wells; in fact, when I just went back to my original review of the novel, I see that I wrote that I "liked the hook of how Asshole Research Transport returned; indeed, I liked it so much that I think I will steal it for the Star Trek RPG I am DMing." It took some time, but I finally did it!

Clearly it would begin with a runabout being kidnapped... but what else? Bits of it fell into place pretty quickly once I began thinking about it: there'd have to be some kind of journey to where the vanished crew were. This would have to be inside a mountain to explain why the research transport couldn't just beam its crew back. Mountain journeys mean caves, and caves mean having to escape a collapsing tunnel. All good.

But the other thing I wanted was some kind of open-ended dilemma at the end. I realized I could get this if the players discovered that 1) the transport's lost crew was dead, and 2) they had been for some time—so the players were not its first kidnap victims. What to do about this seemingly sentient menace? They can't just leave it roaming around the galaxy kidnapping people!

This would give me a nice three-scene structure: 1) get kidnapped / explore transport, 2) move through caves, and 3) face dilemma, which seemed doable in a three-hour session. 

archaeological research transport interior
Lastly, I wanted an episode title from a They Might Be Giants song (don't ask), and I decided to go with "The Word for Word Is Word," a lyric from "Thinking Machine"—the song title seemed quite appropriate! But why would this episode title make sense? (I don't know why this bothered me; no one has ever asked me why, say, "Patagon in Parallax" was called that.) I decided to have this phrase be something the transport's AI displayed on a screen when it decoded Federation Standard, and thus to use adapted versions of the song's other nonsense lyrics as messages the players would find on the ship.

So here it is! This is a slightly cleaned up post-play version, adding some things based on what came up in action, and removing the specific references to characters and ship from my current campaign. Anyone who wants to run or adapt it is welcome to do so. And let me know if you do!

Playing the Mission

For this episode, I had four of my regulars, plus our pinchhitter, who joins us whenever we're below the full six:

  • Ryan as Rucot, captain
  • Debi as T'Cant, science officer
  • Claire as Mooria Salmang, pilot
  • Andy as Gurg bim Vurg, chief medical officer
  • Toren as Tronnen, counselor 

Overall, it went good... despite some historically bad rolls! Debi, unfortunately, rolled a 19 and a 20 on some pretty simple Task early one, one I had intended to generate Momentum. She used Determination to reroll and failed again, still netting a Complication. She got her Determination back with her Veteran Talent, and attempted one more time. This wouldn't be the first bad roll. But overall, the players investigated why their runabout was inoperative effectively; I had written a suggested technical solution in my notes, but Toren came up with their own, which was rewiring equipment to bypass the transtator. I said they couldn't do this to the whole runabout (it would take hours) but did let them do it with a tricorder, and later a comm badge.

dangerous cave
I displayed the messages from the transport AI on my laptop, using PowerPoint to make them appear one letter at a time in a glowing green computer font. What I hadn't realized (but should have) is that the players would attach a lot of significance to these messages! I had intended them as interesting flavor, but they were trying to decode them, taking notes, and so on. As a result, they didn't do a lot of exploration of the vessel... but that was fine, one of my paths to making contact with the AI was speeding up the process of language assimilation.

They of course decided to help the AI, even if they were a bit apprehensive about the way they were being manhandled and manipulated by it. 

As always, it took slightly longer than I anticipated; instead of lasting about an hour, the first scene was more like seventy-five minutes. So I decided to keep the focus of the second scene strictly on the cave crawling sequence, avoiding any other dangers I had contemplated. Claire failed on the roll to find an efficient path through the mountain, so I added one Zone to my Extended Consequence challenge of getting through a collapsing cave. 

This seemed to go pretty well: good Fitness scores were what the players needed... and good Fitness scores are what only one of them had. They contemplated various options, but ended up decided to go with Gurg giving everyone an adrenaline shot. I treated this mechanically by letting everyone roll three d20s on Fitness Tasks (I think this is how the Talent Augmented Ability works, but I didn't actually look it up), but increasing the complication range to 18-20. Tronnen made it across the tunnel pretty quickly, and thanks to some very lucky rolling, Rucot wasn't far behind. Gurg and T'Cant, unfortunately, were. When the players rolled Complications, I added an extra challenge die to my five at the end of the round.

a member of the People, a coleopteran alien species
Lucky for the players, I rolled kind of badly on my first couple goes. I did have a big Threat pool... but I was conscious of the fact that we might run out of time if I made it too challenging! They ended up making it through by the end of the fourth round. Overall, I think it was an effective challenge, and I wish I'd spent some more Threat to knock some of them out.

The discovery that the archaeologists had been dead for a year was met with suitable surprise, though they were torn as to whether it was translation error or some kind of weird time phenomenon. (I didn't anticipate the latter but surely should have.) They contemplated going into the ruined city to find what killed the archaeologists, but ended up decided against it. Phew! In other circumstances I might have been okay with it... but I only had twenty minutes left!

They were nervous about telling the AI what had happened, and tried to document it as well as possible, taking detailed scans, bringing some data slates they found, and even lugging one People body back to prove that they really were killed by wild animals.

The dilemma was maybe less of a dilemma than I had hoped, but then again, we had little time left. Someone did suggest destroying the transport with microtorpedoes, but what I hadn't anticipated is that my usually utilitarian Cardassian captain, Rucot, is trying to be more thoughtful thanks to the events underway in the episode we has paused to play this one! So he played it safe. The characters decided on covertly beaming a beacon aboard the transport to track its movements, staying at the planet to see if it came back, and informing Starfleet.

ruins of a People city, deep within a mountain
I did ask what they might recommend to Starfleet once they had a larger ship at their disposal. (The Diversitas could surely abandon its magnetar mission to assist.) They suggested disabling its engines, and then sending an expedition back to its Home to tell them what had happened. Again, if I wasn't doing a one-session one-shot, I think playing out the Diversitas versus the transport would have been interesting. I felt kind of sad for the AI!

But overall I really like how it went, and I think I might run it again as an introductory adventure for another group this summer. 

The images in this post were all generated by ChatGPT following my prompts, and you are welcome to use them if you run this adventure.

Star Trek: Ekumene:
  1. "Patagon in Parallax"
  2. "A Terrible Autonomy"
  3. "Stinks of Slumber and Disaster"
  4. "Angels in Your Angles"
  5. "A Thousand Miles from Day or Night" 
Specials:
  1. "Hear All the Bombs Fade Away"
  2. "The Word for Word Is Word" 

28 March 2025

New Publication: I Interview Neil Clarke for Studies in the Fantastic

Here at Science's Less Accurate Grandmother, it's no secret that Neil Clarke is my favorite editor of short science fiction. I always enjoy Clarkesworld (the only sf mag I subscribe to), and I am a devoted reader of his Best Science Fiction of the Year anthologies.

Last spring, I interviewed Neil for Studies in the Fantastic, the peer-reviewed journal I am associated editor for, and this month, that interview finally appeared in print and online. We talked about the importance of short sf to the genre ecosystem and the challenges generative AI has caused his magazine and others.

Here's an excerpt:

SM: I don't know if I want to go too much into this, but did you feel that way about Isabel Fall? That you found a wonderful new talent when you read that story ["I Sexually Identify as an Attack Helicopter"]? I know it went bad in the end, in some ways.

NC: The whole thing with Isabel was probably my most heartbreaking moment in the field. I'm still in touch with her. The way she was treated… unacceptable. It was an amazing story and she deserved far better.
SM: I read the story right when it was published, and I thought, "This is amazing." It really felt like you were reading something by a vital talent. And then it was a few days or a week later when everything happened.

NC: The story was out for nine days without a complaint. I remember it well because it all erupted while I was undergoing surgery to have a defibrillator removed and replaced. I was offline for a couple of days and came back to a social media hellscape. We talked about a high point seeing someone like Isabel Kim's career take off. This was the low point, seeing somebody who was just, just… no.
If you (or your institution) has access to Project Muse, you can read the complete interview here.

24 May 2024

The Summer of the Book?

Back in 2021, I wrote a "book revision progress report," outlining how many chapters of my eternally-in-progress monograph had been completed and how many I needed to go. These are my chapters:

  1. Frankenstein
  2. Wives and Daughters
  3. medical reform novels
  4. domestic fiction
  5. air-war novels
  6. novels of biocracy
  7. professionalized scientists
Plus an introduction and a coda; I'm not revising in order, so as of that point, I had finished revising chapters 2, 4, 3, and (almost) 6.

Where do I stand now?

CHAPTER 1
I had been doing a pretty good job of getting out a chapter every summer. But something happened (I don't remember what), and I just was not able to finish a chapter Summer 2022; I got partway through this chapter and stalled out. But thankfully I came back to it Summer 2023 and got it done, and I am actually very happy with it now. It's hard to say something original about Frankenstein, but I believe I have, and the chapter has a clearer purpose in my project. Finished Summer 2023.

CHAPTER 7
This chapter was originally a hodgepodge. It is made up on analyses of three novels: George Gissing's Born in Exile, Joseph Conrad's The Secret Agent, and H. G. Wells's Ann Veronica. Only originally, the discussions of Born in Exile and Ann Veronica had been part of chapter 4, and the discussion of The Secret Agent chapter 5/6 (which was then one chapter about revolution/future war). Back when this was my dissertation, it was pretty late in the day that I hived these three texts off into their own chapter, and there was no overall throughline, and there was literally no engagement with previous scholarship about the professionalization of science.

So this one needed a lot of work, in terms of tracking down sources and arranging things so that it actually made a point. I finished the bulk of the research and rewrote the Born in Exile portion Summer 2023, and then across the course of the school year worked slowly but steadily on the Secret Agent portion, finishing that up right after the school year ended in early May. My goal for early summer, then, is to revise the Ann Veronica part, and this seems quite doable. Should Finish Summer 2024.

CHAPTER 5
This is the thus the only chapter I haven't touched since grad school, but the chapter is based on an article I published in Science Fiction Studies and thus in fairly good shape, I would guess. My main thing would be seeing if there's anything from the last eight or so years that I need to accommodate or incorporate there. It's hard for me to imagine it will take me long to revise this. Should Finish Summer 2024.

That leaves revising the introduction and also going through the project in its complete form to make sure it's coherent, that ideas I came upon at one point are reflected throughout the project and referred to consistently. (I am a bit worried that the way I used Daston and Galison's terminology from Objectivity in some early chapters is not consistent with how it got used in some later chapters; I think I introduced a set of terms I really like from Robert Kargon about halfway through the book, but they really should be there from chapter 2 onward.) I reread the intro earlier this year and found it a bit stiff, but I think it can be made to work; basically like a lot of work produced by graduate students, it comes across as a little defensive, and I don't think it needs to be.

I also keep toying with a coda, but I think I will do it; I have a pretty straightforward idea.

So could 2024 be the summer of the book? I think so, but it will require some pretty deliberate focus on my part. Once the kids get out of school, things always get tricky around here!

Hopefully the editor that expressed interest before there was a pandemic and I had two kids is still alive.

09 June 2023

New Publication: Review of Trixy by Elizabeth Stuart Phelps (Northwestern University Press, 2019)

Last year, I took on two book reviews; the second, though it has a 2022 publication date, came out this April, though it took me some time to remember to mention it here.

I was approached by the book reviews editor of Legacy: A Journal of American Woman Writers to review a new edition of Trixy, a 1904 antivivisection novel by Elizabeth Stuart Phelps, from Northwestern University Press, with introduction and notes by Emily E. VanDette, as well as some contextual material.

Like many antivivisection novels, it's not a great book but it is an intensely interesting one; I found myself wishing it had been written by a Brit so I could use it in the antivivisection chapter of my book. As it is, I will have to slip in a footnote! The novel's scientist character dissects the brains of fifty dogs searching for love... but since he never finds it in them, he concludes love does not exist!

In grad school, one of my friends—who specializes in American women's writing—used to make fun of me by claiming I hated all books by women... so I was kind of smug that I actually got invited to review a book for a journal of American women's writing! If you're interested in science and literature, women's activism, or animal studies in the late nineteenth/early twentieth century, it's a very well-timed new edition of a potentially useful old book.

Here's how my review begins:

Originally published in 1904, Trixy is an antivivisection novel by the activist Elizabeth Stuart Phelps. Aside from print-on-demand editions, this is the first publication of the novel since 1905. In this new edition, editor Emily E. VanDette reprints the complete text with a forty-page introduction, seven pages of endnotes, and contextual materials.

Trixy is of a piece with other antivivisection novels of the era, pitting a sympathetic female protagonist against a harsh male vivisector and strongly emphasizing dogs in particular as a victim of vivisection. In this case, the sympathetic Miriam Lauriat is wooed by the accomplished young doctor Olin Steele, who, unbeknownst to her, is a vivisector. At the same time, Miriam makes the acquaintance of a young man named Dan and his performing dog, Trixy, who is snatched in order to be made an experimental subject in Steele's laboratory.

Like many other antivivisection novels Trixy associates the danger of vivisection with a danger to women. The threat Steele poses to Miriam is not physical danger but, rather, his possessive attitude toward women. Although as a young trainee he could not bear to see an animal experimented upon, he has by the novel's present time dissected the brains of fifty dogs in his search for the physiological cause of love and concluded that love doesn't exist. He believes that the weak must be sacrificed to the strong and that women must therefore be gained by force. Steele loves Miriam, but his clinical training has destroyed his capacity to understand his feelings. Phelps's novel thus argues that vivisection is dangerous because of the harm it causes not only to innocent animals but also to the vivisector. While this argument is not uncommon, Phelps's emphasis on misogyny and her exploration of the continuity between the animal and the human distinguish her approach within the convention. As a result, the republication of Trixy will be of interest to scholars of feminist activism as well as scientific ethics.

Legacy is a paywalled journal, but if you have access to Project MUSE, you can read the full review here.

03 February 2023

New Publication: Review of Star Warriors of the Modern Raj by Sami Ahmad Khan

I (foolishly) took on two book reviews last academic year. For the first time, I had journals reach out to me based on my expertise, so I felt like one ought to take advantage of such an opportunity and say yes! One hasn't been published yet, but the other just came out. These were both good to do... but ate up what little writing time I get these days! I promised myself not to do it again this year.

In my capacity as associate editor of Studies in the Fantastic, I worked with Dr. Dennis Wilson Wise of the University of Arizona on an article he published about fan poetry; this caused him to remember me when a book crossed his desk for review at the journal where he works, Fafnir: Nordic Journal of Science Fiction and Fantasy Research. We had a lot of quibbling about citations, so he knew I was attentive to detail! The book was about Indian science fiction, and he remembered seeing my essay about Manjula Padmanabhan's sf on my CV. He was a good editor, helping refine my not-very-good first draft into a better review.

The review is of Star Warriors of the Modern Raj by Sami Ahmad Khan, a 2021 publication from the University of Wales Press that gives an overview and analysis of Indian science fiction in English. You can see it here; these are the first couple paragraphs:

A few years ago at the Science Fiction Research Association’s annual conference, I was on a panel about Indian SF; as I chatted with my co-presenter afterward, I remember bemoaning the lack of an entry for India in the Science Fiction Encyclopedia – there was no readily accessible broad overview of Indian SF, despite a tradition going back to the 19th century. The last few years have seen attempts to alleviate this, with Suparno Banerjee’s Indian Science Fiction: Patterns, History and Hybridity (2020) and now Sami Ahmad Khan’s Star Warriors of the Modern Raj.
Khan’s monograph explores what he calls ISFE (Indian SF in English), largely from 1999 to the present. Though Khan protests that his book has no pretensions to being either comprehensive or exhaustive (xii), Star Warriors of the Modern Raj nonetheless feels, at times, as if Khan were attempting to cram every work by every single writer of ISFE into the text; even individual short stories often receive multiple pages of discussion. This expansiveness drives the book’s strengths and weaknesses alike. The task he has set out for himself is incredibly difficult as little unites these works except genre and country of composition. What kind of overall thesis or perspective can one have on decades of SF from across an entire country?
Khan foregrounds this difficulty in his introduction, telling a story of two different approaches he could have taken if he had been politically motivated. The right-wing approach would be to claim that Indian SF goes back thousands of years because the Ramayana is actually SF; the left-wing approach would be to reject religion and depict ISFE as something totally new and unprecedented. He sums up all political framings as simplistic: “The right wanted to reclaim a golden past, the left wished for a red future, and the centre did not know which colour it sought” (xii, italics removed). He concludes that his book is “aware that there can be no single -ism or any grand unified theory that can explain the divergences of ISFE – and hence [it] flits across vantage points that arise out of markedly different contexts” (xiv). The strength of Khan’s book is its avoidance of a single overall frame, letting each story operate in its own context.

15 April 2022

It's a Citation. But Probably Not the One You Were Expecting.

Every now and again when bored (usually when I should be grading) I search my own name on Google, Google Scholar, and Google Books to see what comes up. Are people talking about me? More specifically, are people citing me and I don't know about it? Google Scholar indexes some of this, but it doesn't catch everything, especially if your name is spelled wrong. If you have a more common name, this is probably a waste of your time, but I am one of exactly two Steven Mollmanns who has ever existed, so there aren't really any false positives, except for "Steve Mollman," who probably wonders why people ask him about his Star Trek books from time to time.

The most recent time I did this, I was surprised to find that I had been cited in a work of science fiction scholarship... surprised because the work of mine that was cited was not a work of sf criticism, but one of my Star Trek novels! Google Books' snippet view didn't yield much insight, so I requested the book from ILL.

Gary Westfahl's book is called The Rise and Fall of American Science Fiction, from the 1920s to the 1960s, but its last chapter is actually about the present day. Westfahl's point is that those who invented the genre of sf, and those scholars who study it, see it as a genre of endless possibilities, but that the sf that actually gets sold and read the most is formulaic: "science fiction today has finally become what Gernsback, Campbell, and others vigorously resisted, a genuine form of popular fiction, as an overwhelming majority of its works now rigidly follow some standard conventions" (243).

He decides to document this by going into a Barnes & Noble in January 2012 and cataloguing every single sf book on the shelf in the "New" area. There are 75 books in total... and one of them was my and Michael Schuster's own Star Trek novel, A Choice of Catastrophes. What dismays him is that 75% of the books are in series; what interests him is that the majority of authors are ones that are "unknown to scholars" (243). (He seems to take "in a series" as shorthand for "formulaic," which seems a bit unfair to, say, N. K. Jemisin.)

He does not mention A Choice of Catastrophes specifically; it only appears in an end note giving the complete list of books he saw (266-7n18). He does, however, say this:

However, optimists might continue, one cannot dismiss all series fiction as derivative junk until one has read it, for talented writers may find ways to stimulatingly stretch generic boundaries even within such confines.... It does seem more probably, though, that all of these novels are no better or worse than others of their kind, despite the best efforts of their writers. (As evidence, I note that I once began reading a Star Trek: Deep Space Nine novel, Warchild [1994], written by the iconoclastic fantasy writer Esther M. Friesner, hoping to find a fresh and original approach to the franchise; however, I abandoned the book when I found that the book utterly lacked Friesner's trademark humor and was just as dull as all of the other Star Trek novels I had read.) (244)

Ouch! I, actually, really like Warchild and think it's one of the better "numbered" DS9 novels, but the things that appeal to me about the book are, I think, pretty unlikely to appeal to him, which is how well it captures the characters and world of the series, but with the added depth you can get from prose. Is it "fresh and original," does it "stretch generic boundaries"? Kind of, but in the somewhat limited way of Star Trek novels at their best.

That said, I do kind of agree with this:

Writers in earlier generations shared certain ideas about science fiction..., that they endeavored to apply when writing.... [M]ost contemporary writers grew up without any exposure to the genre's traditions, having learned their trade almost exclusively from watching Star Trek and Star Wars, and they never even attempt to write anything exceeding those expectations.... (245)

He phrases it pretty uncharitably, but whenever Hugo season comes around, I do end up feeling like there's a subset of contemporary sf writers (especially those writing Tor.com novellas) who learned everything they know about writing from watching Joss Whedon television shows. Which, okay, fine, whatever... but prose sf can do something else and something different, and I am sympathetic to Westfahl's desire for more of that. Maybe someday I will read the whole book. (Who am I kidding? It's due back to the library May 1, and probably at that point I will forget all about it.)

As my friend Cari pointed out, though, a citation is a citation. Though Google Scholar doesn't seem to have scraped it, of course, and I have no idea how to inform it that Steve Mollmann the Star Trek writer is also Steven Mollmann the sf critic in any case!

13 August 2021

Book Revision Progress Report

Back at the beginning of summer, I posted about working on my book. My book has a planned seven chapters about scientists in nineteenth-century British fiction. These cover:

  1. Frankenstein
  2. Wives and Daughters
  3. medical reform novels
  4. domestic fiction
  5. air-war novels
  6. novels of biocracy
  7. professionalized scientists

Plus there's an introduction, and I think I might do a coda.

I have materials drafted for every chapter, because it's based on my dissertation. I've been rewriting for a depressingly long time now, longer than I wrote it to begin with! My original plan was to start with the chapters that needed the most work and work my way down. This didn't quite happen because I wanted to have good sample chapters to send to publishers-- and then this thing always happens where I sit down to work on a chapter and decide it needs even more work than I imagined, and so revising it takes ages. But so far this is where I am at and where I am going:

CHAPTER 2
I did this one first because I knew it needed the least amount of work, and I wanted to use it in any samples. I did this so long ago I don't even remember when. Finished Summer 2019.

CHAPTER 4
This is one I thought wouldn't require a lot of work... and then it did! Part of the problem is that it contained some material I wrote as a second-year M.A. student... it just was not up to standard. It took me a long time to figure out the chapter's trajectory, too; I kept reorganizing it. Also I adapted part of it into an article, and then when I put the material from the article back into the chapter, I had to update everything else to match. And then I added a whole novel to it! So it was a lot of work, but I would say it paid off. Finished Summer 2019.

CHAPTER 3
This one I knew would be a lot of work, and it was a lot of work. One issue is that it was long; it is my chapter that takes in Middlemarch, and it is hard to write anything short about Middlemarch. Another was that I didn't have a solid sense of argument, and so there was a lot of back-and-forth and reorganizing as I worked my way into one. (My mode of writing is typically to write something, reverse outline it, reorganize it, and then add what is missing in its new trajectory.) Again, I ended up really happy with it; I think I managed to say something interesting about a novel a lot of people have written about. That said, I didn't cut as much as I hoped, but I am saying more than I was. Finished Summer 2020.

CHAPTER 6
This is the one I have been working on this summer. Again, it was one I knew would be a lot of work. I dropped one novel and replaced it with another; my dissertation version had almost no secondary sources, so I had to do a lot of research. But just this Tuesday I have a complete draft in its new form. Again, it has a focused argument that it didn't have before, and it draws attention to some obscure novels that I think are really worth discussing. I have some small things to add, and I need to sit down and read it all at once to make sure it coheres, but finishing it up should take no more than a couple days. (Almost) Finished Summer 2021.

CHAPTER 1
This one will be my last "lot of work" chapters. The main issues, as I recall, are that I am drawing a connection between Frankenstein and a book I haven't actually read much of, so I will need to do that, and that I didn't really come to grips with the vast, vast amount of work out there on Frankenstein. I actually tried to omit Frankenstein from my dissertation but one of my committee members told me no one could write a book about nineteenth-century scientists in literature and skip Frankenstein! And yes, she is right, and I do have something to say about it. But boy I am not looking forward to it.

CHAPTER 5
This one I don't think should be much work. It's largely based on preexisting, published material, about which I feel pretty good... I think! My opinion always changes once I sit down and reread in order to rewrite.

CHAPTER 7
This one may be slightly more work than 5, so I might switch it around if I still believe "amount-of-work" is the sequence for this. The main thing is that I don't think I had strong engagement with secondary sources on professionalization. But I now know of a couple things I could cite and work with, building on work I did in Chapter 4. The other issue is I think each of the three novels it discusses was originally discussed in a different chapter (two in 4, and one in 5/6) so it probably doesn't have a consistent throughline.

INTRODUCTION
This clearly gets written last, because it has to set up everything I went on to do. But I remember being pretty happy with the conceit of the intro, so hopefully it is smooth sailing.

CODA
Does anyone actually read the codas to academic monographs? Doubtful, so I may give this a miss.

As you can see, I am working steadily but not quickly. I complete a good chapter revision every summer... but if that continues to be my m.o., I will not finish this until Summer 2025! And okay, I have been working with this as a book since 2018, and as a dissertation since 2013, and as a thing I was writing about in coursework since 2010! So it would be nice to be rid of it all, and work on something else. I don't think I have the loathing for my project I sometimes hear people describe, but I am ready to move on emotionally.

So my goal for the coming year is to actually work on my project while teaching, which will definitely be an easy thing to do while teaching four comp classes per semester and raising two kids.

09 April 2021

Myriad Universes: The Tears of Eridanus Composition

In my last post, I talked about the pitching process for The Tears of Eridanus. The book ended up having an overly long writing process, but that also ended up being for the best.

The pitch was accepted by Marco Palmieri at Simon & Schuster in Sept. 2008; in Oct. 2008 we got the go-ahead to begin working on the manuscript for a 2 Feb. 2009 deadline. (At some point this became 16 Feb., though.) The intended publication date was Aug. 2009.

Like all of our projects, it had a clear and logical split. In this case, Michael was keen to write the Demora-centric sections set on Vulcan; I was keen to write the Hikaru-centric Kumari sections. I think he has an interest in Vulcan culture, and I had long had one in the Andorians, so there was no dispute about who would write what. We would each write a chapter and then send it to the other; the other would then provide comments and edits. We had learned from The Future Begins that we were both over-writers, but Michael much more than I, so a lot of our edits were just cutting stuff that was unnecessary.

Despite that, the first complete draft (which was assembled 24 Jan. 2009) was 63,000 words, almost 15,000 over-length. I did some harsh chopping, but I also came up with the idea of a series of interludes depicting the Hikaru/Demora relationship over the years, and so those got added in. Additionally, one of beta readers had pointed out that the idea that Hikaru was out of place on Kumari in this timeline didn't quite come through, and so I wrote a whole new scene that emphasized it more.

On 4 Dec. 2008, however, we had received word that Marco had been laid off as part of a big downsizing at S&S. Our project was one of many handed over to Margaret Clark, and in a TrekMovie interview in Jan. 2009, she mentioned that the publication date of Shattered Light (the volume to contain The Tears of Eridanus) had been bumped by nine months, I think because of workload issues. We asked if that meant we could have a little more time; she said no. We submitted it on time on 15 Feb. 2009... and promptly never heard a thing. The publication date became Sept. 2010.

In Aug. 2009, we heard that Margaret Clark had also been laid off, as S&S continued to bleed financially thanks to the Great Recession. A bunch of e-mails went back and forth between us and Scott Pearson and David George, the other contributors to Shattered Light, wondering what was happening to our project; none of us had heard a thing since submission.

Finally, in Nov. 2009, Jaime Costas e-mailed us to say she had taken over as editor of Star Trek fiction at S&S (she had been Marco's editorial assistant before, I think) to tell us the book was now slated for Dec. 2010, and she literally knew nothing about it: had there been an approved outline? had we even begun writing it?

Yes, we said, and sent along the complete manuscript. But somewhere along the way, I had an idea: in the intervening months, I had become involved in a creative workshop in my graduate program, where we would meet weekly to discuss each others' writing. They had proven themselves incisive readers, and we ended up asking Jaime if we could do another draft of The Tears of Eridanus. She said sure, there was no rush. 

So my creative writing workshop-- none of whom had ever read a Star Trek book before, though some were casual fans, and others had never even seen a minute of it-- read it in early 2010 and provided extensive notes. These were incorporated into a new draft; I also realized the scene I'd added had accidentally vanished from the manuscript by the time we sent it to Margaret, so that got added back in. We submitted the new manuscript on 5 Apr. 2010 (alongside the outline of what would become our only full-length Star Trek novel, A Choice of Catastrophes). Despite everything that had been added, this final draft was just over 55,000 words long, so within the ±10% margin of error someone once told me to use when approaching word counts.

Jaime went on maternity leave in May 2010, meaning Emilia Pisani took over as editor temporarily on both our projects; this would become permanent when Jaime elected to not return to S&S at the end of her leave, and Emilia saw the project through. (Ed Schlesinger would become the editor of A Choice of Catatrophes, however.) Four editors from beginning to end! I feel sort of lucky it wasn't five.

first draft cover by Alan Dingman
(spot which mistake made me angry!)
The copy edit was kind of fun, in that the copy editor (a freelance Marco, I think) did something I never saw on any of our other Star Trek projects; the front of it had appended a list of every proper noun in the entire story, to use for checking spelling. In Sept. 2010, we signed off on the final typeset pages and gave notes on Alan Dingman's striking cover. (Demora wasn't on it originally, for example, and Shras was, despite appearing in just a couple scenes. I suppose someone wanted an Andorian on the cover of the book, which made sense, but no canonical Andorian has a very significant role in it, unfortunately.)

And that was that! The book came out in Dec. 2010, at long last, and though the delays were frustrating at the time, I think the revisions suggested by my writing group made it a much stronger book, and so in the end, we were both grateful for the extra time.

02 April 2021

Myriad Universes: The Tears of Eridanus Original Pitch

In 2008, it seemed like Michael and I had a Star Trek writing career that was going somewhere. Our S.C.E. novella The Future Begins had come out in 2006; the Next Generation anthology The Sky's the Limit had contained a pair of linked short stories by us in 2007. We began noodling around with novel pitches.

At that year's Shore Leave convention, we approached Marco Palmieri asking if we could talk; he was one of the editors at Simon & Schuster assigned to Star Trek fiction, and had been our editor on The Sky's the Limit. Marco is a very supportive and nurturing editor; I mean, he tells you absolutely when something doesn't work, but he is keen to develop new talent. A couple of the best moments in The Sky's the Limit had come from him.

We had lunch with Marco (I remember this being awkward, because we were awkward; Marco was great; I hope I am much better conversationalist-with-relative-strangers now than I was at 23). We ran one of our ideas past him, which was a novel set on the original Enterprise between Star Treks I and II, when Spock was in command. (I think when it was a training ship?) The Enterprise would come to a new planet of squid aliens.

Marco said that original-series novels set outside the bounds of the actual original series were tough sells if there wasn't something about the premise that made it uniquely suited to the era; classic five-year-mission stories were preferred. But he liked the idea of squid aliens (because of what he'd seen in the documentary The Future Is Wild, about possible future paths for evolution on Earth), and he invited us to retool it as a Titan pitch. Titan was an ongoing series of novels about Riker's command, and they had a strong exploration focus, in contrast to the more political/galactic crisis mode of many Star Trek books in those days.

Sometime after we sent him the pitch (called, I think, either Look Closer or Arts of Speech) and were waiting to hear back, we heard that he was soliciting pitches for a third Myriad Universe volume as well. These were collections of three novels in one trade paperback, each about a different alternate timeline. The first two collections had featured premises like What if Spock had died as a child? and What if Earth had never joined the Federation? and What if no one had discovered the Bajoran Wormhole? We hadn't been asked to pitch, but had heard about from someone who had.

One day, shortly after the deadline, I had an idea pop fully formed into my head: What if the Vulcan Reformation had never happened? The Vulcans would just war among themselves for millennia; the Andorians would be the major spacefaring power of the 22nd century; Earth wouldn't meet the Vulcans in First Contact; the Klingons would have no warlike rivals to keep them in check. I came up with an idea set on the eve of a Klingon War (when "Errand of Mercy" took place in the "Prime Timeline"), with the original Enterprise (which would have an Andorian first officer, Thelin from the cartoon episode "Yesteryear" instead of Spock) visiting Vulcan.

I wrote about half an outline and sent it to Michael, saying I was probably crazy (the deadline was Aug. 1, and this was Aug. 13!), but could he take a look? Michael was on a trip, actually, and so could only suggest that Thelin had just played a significant role in Geoff Trowbridge's Myriad Universes tale, The Chimes at Midnight, and so I should go with someone else. He suggest Janice Lester. I wanted a nonhuman, though, to fulfill the "Spock" role, and ended up picking Gav, as the most prominent Tellarite we'd ever seen on the original show.

I finished up the outline myself and sent it off to Marco. Here it is: (yes I really did title it "Mirror-iad" on the document we sent Marco...)


Star Trek: Mirror-iad Universes
Errand of Logic 

a pitch by Steve Mollmann & Michael Schuster

What if… the Vulcan Reformation had never happened?

The U.S.S. Enterprise is on a routine re-supply mission to Beta XII-A when a Klingon battlecruiser appears, claiming the planet as their own. Captain James T. Kirk is able to defeat the Klingon cruiser despite the fact that his first officer, Gav, is stranded on the planet below. The Enterprise is then recalled to the Federation’s capital—Andoria.

Kirk participates in a briefing by Admiral Shras: the Federation is about to experience the first war in its seventy-year history. The Klingon Empire has expanded about as far as it can go in every direction, and is now turning its sights on the United Federation of Planets. The Federation Guard is amassing its forces in preparation for an anticipated first conflict above Organia, but Komack has another mission in mind for the Enterprise, one that takes the ship to Earth. There, Kirk makes the acquaintance of a man called Sarek of Vulcan, from an insignificant prewarp planet orbiting 40 Eridani A. Sarek was an astronaut, on an orbital mission diverted from its course by a missile strike from a rival country. The expedition was fortuitously picked up by a passing Federation vessel, but could not return home—a nuclear strike had wiped out its country of origin. Sarek and the others resettled on Earth, and Sarek eventually married an Earth woman named Amanda Grayson, the linguist of the vessel that rescued him. The two eventually had a son named Spock.

Now, Sarek fears that his homeworld is in the path of the Klingon invasion, and the Guard is stretched too thin to defend a nonmember planet. His hope is to return and unite his people, bringing an end to the constant war that has plagued them for thousands of years. He and Spock journey to Vulcan on the Enterprise. Spock’s Vulcan blood leads him to be passionate and violent to a fault, and he tries his best to subdue it with his human qualities, but his excesses often lead him into conflict with the Enterprise’s chief medical officer, Leonard McCoy. Spock wants no part of his homeworld or the mission, however.

Kirk, McCoy, and Sarek beam down to a village where Sarek has some distant family—but it is in a rival nation, and Sarek is knifed by someone who recognizes his accent and they return to the ship. McCoy struggles to stabilize Sarek, but his knowledge of Vulcan anatomy is limited and Sarek is dying. Spock, overcome by anger, promises to take his father’s place on the mission, but it is only a ruse to enable him to gain revenge on the man who killed his father. Sarek passes away soon after.

The landing party is working to trace Sarek’s family—while Spock half-heartedly preaches his philosophy of peace—when a garbled communication comes in from the Enterprise. It is under attack by a Klingon ship, and Commander Gav is dead. Kirk orders Sulu to do whatever it takes to protect the ship, and not to worry about the landing party—and to Spock’s surprise, he elects to continue the mission. It turns out that Sarek’s family no longer resides here, but has migrated to the other side of the Forge. And there is a man who can guide them to their new location: Stonn, the man who killed Sarek. Spock will have to postpone his vengeance if he wants to survive his time on Vulcan.

Kirk, McCoy, and Spock make their way across the Forge, guided by Stonn. To Spock’s chagrin, he finds out that they are being followed by a number of younger Vulcans, including Xon and Tal, fascinated by who he is and what he is saying—despite the fact that he does not believe it himself. He does his best to encourage them.

The Forge brings many dangers upon them and proves quite trying, but Kirk and McCoy always enable them to pull through—Spock soon realizes that humans are no less passionate than Vulcans. The difference between the two species is that humans have managed to subsume those passions into something else, not just giving into them at a moment’s provocation. They are attacked by raiders, but rather than fight back, Kirk and McCoy figure out what they want, and stop them peacefully.

Spock begins to actually believe the ideals of the Federation more and more. At one point, Stonn is attacked by le-matyas and Spock saves him, though whether out of genuine feeling or simply a desire to kill the man himself, he cannot say. 

They finally reach their destination and make contact with T’Pau, the matriarch who is a distant relation of Sarek’s. It is their hope to use her influence to spread their message—Sarek had believed she would be sympathetic to their cause. She is indeed, but is not convinced that such a thing could actually work, and unwilling to endanger her own standing on something that could fail. Spock tries to preach peace and begins to gather a group of youth around him, but his turmoil is continuously increasing inside him, making it harder and harder, as is Sybok, a man who claims to be Sarek’s first child, and the leader of the local war clan. 

But Kirk and McCoy support him with their own perspectives, Kirk’s a sublimated passion, McCoy’s a medical, clinical one. They too are coming to admire the keen insight of this Vulcan. But eventually, things reach a boiling point—he commits an act of violence against Sybok. McCoy realizes this is no simple anger and talks to the Vulcan healers, learning that Spock has entered the Vulcan phase of mating, the pon farr. 

Spock must take a mate or die. He had known it could happen, but only distantly—Sarek had hoped his son’s human blood would spare him this. A young woman in Spock’s movement named T’Pring volunteers to become his wife… but she is betrothed to Stonn. 

Stonn is supportive enough of the cause to let T’Pring marry Spock… but there must be a koon-ut-kal-if-fee if the switch is to be binding, and he has no desire to go through with that. Kirk volunteers to stand as Stonn’s proxy… and fight Spock. What Kirk does not know, however, is that the fights typically end in death. McCoy thinks this is emotional madness and tries to talk Kirk out of it, but Kirk enters the arena. He tries to give Kirk tri-ox, but Kirk refuses, pointing out that Spock needs to win. Of course, he is no match for his half-Vulcan opponent. He is beat to within an inch of his life, and McCoy pleads with T’Pau to end to fight, but she ignores him. It is Spock who finally snaps out of it, seeing his new friend so wounded, and he ends the fight. 

Sybok, who has been observing this entire time, is outraged at what he thinks is a farce of Vulcan ideals, and he enters into the fight against Spock. The two brothers battle, and Spock, depleted from his first conflict, fairs poorly. Stonn realizes that Spock’s words have been influencing him more than he thought, and intervenes to stop the fight—his right as the challenged. But Sybok refuses, and a confused three-way fight breaks out, Spock barely recognizing who is who in the throes of his bloodlust. He manages to incapacitate both of them, but T’Pau pronounces that someone must die if the ceremony is to be completed. 

Spock looks between them: he can kill Stonn and gain his revenge, or he can kill Sybok and eliminate his greatest enemy in his cause. His Vulcan half wars with his human half. His choice hangs there, until a comment from McCoy makes him realize that his greatest enemy is nothing other than himself. He must not kill at all. He submits himself to the mercy of Stonn and Sybok. 

Sybok is flabbergasted—he has never seen such a thing. And he is intrigued by an idea so powerful that it could overcome a Vulcan in the bloodlust. He and Stonn make an appeal to T’Pau, who agrees—the marriage can go forth without a death. 

Thus Spock is married to T’Pring, and Spock’s peace movement begins to take shape. The Enterprise manages to make it back to Vulcan, and Kirk and McCoy depart, noting in their report to Starfleet that Vulcan might make a candidate for Federation membership one day, if the peace movement were to succeed. And perhaps an army of battle-hardened Vulcans could come in handy in the war against the Klingons… 

BACKGROUND

If the Vulcan Reformation never happened, not only would the Vulcans not be logical creatures, but the Romulans would have not come into existence either. I think it was Duane who observed that just as the Vulcans subsume their passions into logic to stop from destroying themselves, the Romulans do the same with their games of treachery and honor. So, without Surak as that catalyst, the Vulcans would just war among themselves for millennia. 

Without Vulcan assistance to clean up the postatomic horror, Earth took about twenty years longer to really expand into space. Still Cochrane in 2063, of course, but the NX-01 didn't follow until the 2170s. With no Vulcans to conflict with, the Andorians dominated "local space" at that time. The Federation is still formed, but in the 2190s, and not out of war, but simply an idealistic desire for cooperation. Its capital, however, is on Andor. 

Without a Romulan Star Empire, the Klingons have much more room to expand (into the planets that are "really" Romulan), and there is never open conflict between the Klingons and the Federation. In fact, the Federation never engages in a war of any sort. 

But by 2267, the Klingons have reached their point of maximum expansion in most directions and have turned their eyes onto the Federation. There are thousands of Klingon worlds, teeming with warriors, and the Federation Guard has little experience in combat. 

Spock still exists in this world, however. Sarek was a Vulcan astronaut, whose capsule was sent adrift by a missile attack from a foreign country. It was rescued by a passing Earth ship, but Sarek could not return home because his home nation had also been destroyed, by those who feared that his capsule was an attack of sorts. (The Federation has a Non-Interference Directive in this universe, but it is not as strict as "our" Prime Directive.) He fell in love with the ship's linguist, one Amanda Grayson, and eventually they had a son named Spock. 

The Enterprise exists in this universe much as it does in ours. Kirk and all the others are still there, maybe just a few small differences. McCoy in this reality is much more reserved, allowing him to spar with Spock, just the other way round than what we are used to.


The first draft had Admiral Komack, by the way; I replaced him with Shras at the last minute, but apparently missed a reference.

Marco got back to us about a week later, on Aug. 25, rejecting both pitches. Of Errand of Logic, he wrote:

The Myriad Universes pitch has a great premise; your historical extrapolations are interesting, the themes you propose to explore are great . . . but I think there’s too much “The more things change, the more they stay the same” going on. (The Enterprise and the human characters being essentially unchanged; the paralleling of “Amok Time,” etc.) I can’t help but feel that the lives of these characters, and indeed, their civilization, ought to be much less like the mainline universe, given the premise. And in some ways, what you have here is a little too reminiscent of A Less Perfect Union [Bill Leisner's story from the first Myriad Universes volume], in the sense that you have the political course of known space hinging on the TOS crew and their adventure with an atypical Vulcan expatriate. 

There are some things I quite like about the pitch, but he was of course utterly correct.

A lot of my e-mails from 2008 are gone, so I don't know exactly what happened next. I do know that we e-mailed Marco another pitch on Sept. 7, so we must have spent a couple weeks rethinking. I am pretty sure the new take was basically all Michael's idea, as was the idea to send it off even though we knew his deadline had been Aug. 1! The new version was about a parent and a child, both Starfleet officers, the child being stationed on Vulcan as an observer, and the parent commanding a starship that comes to the rescue. The new Vulcan wouldn't be called Vulcan; the starship would have a predominantly Andorian crew. Both of these would allow us to play up the new universe more.

Of course this was Matt and Will Decker.

(Matt Decker is the doomed captain from "The Doomsday Machine"; Will was the intended commanding officer of the Enterprise in The Motion Picture, who gets pushed aside by Kirk's ego. Their father-son relationship was intended, but never stated on screen.)

This was the element that gave me pause: surely the appeal of Myriad Universes was unfamiliar versions of familiar characters? Did anyone want to read about alternative versions of two guest characters? But we wracked our brains for other classic-era parent-child Starfleet pairs and came up with nothing, and so sent it off. I don't seem to have a copy of this version, called Warring Passions, anymore.

Marco got back to us very quickly, accepting the pitch with a couple suggestions, the biggest being, "I’m okay with your using the Deckers as your main characters, but the brief mention of Sulu made me wonder if the reader would be more invested emotionally if you set the story three decades later and made the protagonists Hikaru and Demora?"

This seemed very obvious to us once he made the suggestion, and I think is a big part of the reason the final story works as well as it does. As I think I will discuss in a future post now, I wrote the Hikaru sections, and my way into the character was based on the fact that in the second pilot, Sulu was actually the Enterprise's astro-scientist; he apparently transferred to helm when the series went into regular production. I liked this idea of a guy who had wanted to be a scientist, to go into space for knowledge, but had ended up doing something different and more "practical." Prime Sulu seems fine with this-- but what if a Sulu in a more Andorian-centric and thus more martial space fleet was not so much?

He made a couple other suggestions we were happy to adopt, including replacing our invented Vulcan philsopher with a character from the show; we opted to use Soval, the Vulcan ambassador from Enterprise. He also worried about a line from Spock in "Let That Be Your Last Battlefield," that Vulcans would have gone extinct without logic, so how could they have survived another two thousand years of war without Surak? We suggested this workaround:

Let's say they very nearly crossed the brink 2,000 years ago. Perhaps a nuclear war erupted (as we saw it sort of did in the flashbacks in ENT's Vulcan trilogy) and devastated a lot of the planet, and the species spent its time pulling its way back up - and is now on the brink again. It may have taken them that long to populate the planet again, with some isolated clans still living simple lives in the desert. Radioactive contamination probably prevented them from spreading out for a long time, and only recently they managed to solve that problem.

Finally, he thought the title was too obvious. My first idea for a new title was The Fires of Vulcan, but that's also a Doctor Who story. I liked the idea of a mythological angle, though, and I discovered Eridanus (Vulcan's real astronomical designation is 40 Eridani A) was a mythological Greek river made of tears, and thus came up with The Tears of Eridanus.

Some small elements of the original pitch did have an influence: Gav remained the Enterprise's first officer in backstory, and I think we killed off Amanda in the new version specifically as a contrast to the original. Instead of marrying a Vulcan, she was killed by one!

Also there was an Aug. 15 e-mail where I wrote Michael, "There definitely needs to be a scene where Kirk is fascinated by some Vulcan's use of this substance vel-kroh." (The Enterprise episode "Carbon Creek" had established that velcro was brought to Earth in secret by a Vulcan in the 1950s.) And yes, I wrote the scene were Demora is amazed by the idea of velcro in the final version. It's so dumb, I love it.

26 March 2021

Myriad Universes: The Tears of Eridanus Draft History

Back in 2010, Michael Schuster and I co-wrote a short Star Trek novel, published as a three-in-one with two others by David R. George III and Scott Pearson; the volume was called Myriad Universe: Shattered Light. The premise of the Myriad Universes series (of which Shattered Light was the third and final installment) was to depict alternate Star Trek timelines. Ours was set in a universe where Surak, the founder of Vulcan logic, died before he could promulgate his philosophy. As a result, the Vulcans remained a warring, primitive species and never achieved spaceflight, and the Romulans never had a reason to depart and form their own civilization.

This had some knock-on effects two millennia later: there was no Vulcan to make First Contact with Earth, no Romulans to serve as a rival to the Klingon Empire, no Vulcans to be a founding member of the Federation, no Vulcan/Andorian rivalry for Earth to intercede in. By the 23rd century, there is a Federation equivalent, the Interstellar Union with its Interstellar Guard, but it is a descendant of the Andorian Empire and its Imperial Guard in much the same way the Federation and Starfleet derive from Earth in the "Prime Universe." The Andorians dominate, politically and culturally.

The story is set around the time of The Undiscovered Country in the Prime Universe, with Captain Hikaru Sulu commanding the IUES Kumari, an IG warship on the Klingon border. Hikaru's daughter Demora is also an IG officer, posted as security in an anthropological outpost on the primitive planet of "Minshara." (Enterprise established that Star Trek's class "M-class" designation for Earth-like planets derived from the Vulcan term "Minshara class"; we speculated that "Minshara" was an older word for "Vulcan" itself, much as you might call "Earth-like" planets "terrestrial," derived from the Latin name for Earth, Terra.)

We used to have a web site, which contained some supplemental materials to the novel, including a glossary of the Vulcan language Michael worked out, and a timeline of historical events I wrote. That web site was hacked and taken down, and unfortunately, much of the content on it was only stored on the web server, not locally, and is now lost. Every now and again I get a request for those materials on the TrekBBS. I have looked and looked and never found them, perplexingly enough.

I was able to find, with Michael's help, a history we drew up before writing the book. This was intended for our own reference, not public consumption, and some of it was superseded by the actual published book. (You'll see, for example, it calls the IU military the "IU Guard," but in the novel we went with the simpler "Interstellar Guard" or "IG." I am pretty sure Sulu's history shifted as I actually wrote the Kumari sections, too.)

But it is what I have, and I hope it is of interest. Other than some typos I caught, I haven't edited it at all.


The Interstellar Union—History

By the middle of the 21st century, the Andorian Empire dominated “Local Space,” with a number of colonies on planets such as P’Jem1, Weytahn, Regulus, and Deneva. A war with the Tellarites in the 2060s resulted in an Andorian victory, building an Andorian reputation for ruthlessness and warrior prowess. The Andorians never conquered Tellar Prime, however, deeming it not worth the trouble. Andorian influence was strong, with planets such as Axanar, Mazar, and Nausicaa serving as client states. As time went on, Andoria’s domination came to be more economic than military.

In the 2063, humanity discovered warp drive when Zefram Cochrane made his famous historic flight out of Bozeman, Montana. It was uneventful—he merely traveled a few light-minutes and returned—and it would be years before the Earth, still climbing its way out of the postatomic horror, would be able to progress further. Finally in the 2080s, the exploratory vessel S.S. Valiant was launched for Alpha Centauri, only to be swept off course by a magnetic storm. The ship was rescued by an Andorian vessel before it could reach the galactic rim, leading to Earth’s first contact with extraterrestrial life. 

Earth was of little interest to the Andorians, and so their intervention in Earth’s affairs were minimal, leaving the planet to claw its way back to functional levels on its own. But by 2150, the planet had a unified government, and engineers such as Charles Tucker III, George William Jeffries, and Jonathan Archer began development on the Warp-5 Engines. In 2170, the first Warp-5 starship, the NX-01 Enterprise commanded by Bryce Shumar, took to the stars. 

In 2153, Andoria was attacked by a mysterious species known as the Xindi, who originated in the Delphic Expanse. A massive Andorian task force, lead by Commander Shran of the Kumari, retaliated, leading to the collapse of the Delphic Expanse and the subjugation of the Xindi races.2

At the same time, the Andorian Empire was beginning to experience economic troubles, falling behind its neighbors. The Tellarites had finally rebuilt and were actually experiencing something of a technological renaissance. A new massive dilithium deposit had been discovered on Coridan3. And the Earth Cargo Service was spreading far and wide. But all four governments became worried about the growing influence and competition of the Orion Free Traders, whose ruthlessness business practices threatened all four planet’s interstellar trade and economic well-being. To strengthen their position, they entered into an agreement of economic cooperation in 2177—the Interstellar Trade Union, headquartered on Andoria. The first prefect of the Union (largely a ceremonial post) was the Andorian general, Shran. 

Over the next decade, the powers of the ITU rapidly increased, mostly thanks to murmurings of war with the Klingons. The war never came to pass, but that was chalked up to the fact that the four governments consolidated their militaries into the Union Guard—the first Field Marshal of the Guard was Avaranthi sh'Rothress. Under Prefect Lydia Littlejohn, the ITU became the plain-old Interstellar Union, a sovereign nation in its own right, in 2187, and membership began to rapidly expand, bringing in species such as the Denobulans and the Rigellians.4

The Interstellar Union—Military 

The Interstellar Union has never been involved in an actual war; indeed, very few all-out battles have been fought by its forces. This is attributed to the Andorian reputation for ruthlessness acquired in their wars against the Tellarites and the Xindi. The Guard serves a primarily defensive purpose, but the fact that one of its constituent parts was the old United Earth Space Probe Agency means that there are some parts devoted to the exploration of space. The flagship of the Union Guard is typically a ship known as the Kumari, after Shran’s old vessel. As of 2292, that ship is the Kumari II, Excelsior-class. 

The IU Guard is headquartered on Andoria, where it is lead by the field marshal (the current one is Thelian5). It has historically been dominated by Andorians, with humans, Coridanites, and Tellarites comprising the majority of the rest of the makeup. 

Ranks: 

  • Field Marshal
  • General
  • Commander6
  • Subcommander
  • First Lieutenant
  • Second Lieutenant
  • Ensign 

The Interstellar Union—Politics

The capital of the Interstellar Union is Andor. It consists of some 100 planets. It is governed by a prefect (the current one is Shiboline M’Ress7); the foremost legislative body is the Executive Committee. (Both of those somewhat economic terms remain from the IU’s founding.) Each member elects a representative to the Committee. The core of the Committee is the First Executive, comprised of the representatives of the four founders as well as four other planets on a rotating basis. The First Executive typically deals with situations when promptness is called for, and a full session of the Committee is impractical. Its role remains somewhat controversial among the non-founding members. 

photomanipulation by Michael

Hikaru Sulu

Hikaru Sulu was born in San Francisco in 2237, and he lived there his entire life, despite a longtime desire to travel into space and explore. When he turned eighteen, he joined the IU Guard, training as an astrophysicist at the IU Guard Institute. 

By 2265, he was posted to the Enterprise (AA-1701) under Captain James Kirk, where he served with distinction on the Constitution-class starship’s five-year mission of patrol. As a science officer, however, he found his opportunities for advancement limited in the Guard, and when the mission was over, he signed up to retrain as a flight officer at the White Sands8 on Earth. It was during this time that he met Susan Ling in the city of Demora while on leave; the two conceived a daughter (who they named Demora) and were quickly married soon after. Hikaru was devoted to his family, but in 2273, he was quickly summoned to be part of the crew of the Enterprise when Earth came under threat by the V’Ger entity. He signed on with the ship permanently after that. 

In 2276, Susan passed away, leaving Hikaru Demora’s sole guardian. He left the Enterprise to accept a teaching position at the Institute on Andor so as to spend time with his daughter. During his time on Andor, he was heavily involved with work on the Great Experiment to create transwarp drive aboard the I.U.E.S.9 Excelsior. Because of this, he was assigned as helm officer for the Excelsior in 2285 for its initial tour of duty, despite his desire to remain with Demora. 

The Great Experiment was a failure, but Sulu distinguished himself well, and by 2288 he had been posted to the Kumari II (Excelsior-class) as executive officer under Captain Thelin. As the flagship of the Guard, the Kumari had a predominantly Andorian crew, and Sulu often had to put up with some good-natured ribbing from his fellow crewmen. In that same year, Demora entered the Guard Institute, following in her father’s footsteps. 

In late 2289, Thelin was killed in an attack by the Klingon terrorist known only as the Albino, putting Sulu in command of the Kumari—the first non-Andorian to ever command a ship of that name. It is still in this position that we find him in 2292, when our story begins… 

Also in 2292, Demora graduated from the Guard Institute and was posted to the security staff of an observation team on 40 Eridani A… 

I.U.E.S. Kumari II

AA-200110
Excelsior-class transwarp testbed

  • Commanding Officer Commander Hikaru Sulu, human male
  • Executive Officer Subcommander Phelana Yudrin11, Andorian shen
  • Medical Officer Chirurgeon Jabilo M’Benga, human male
  • Flight Controller 2nd Lieutenant Vanda M’Giia12, Andorian zhen
  • Tactical Officer 1st Lieutenant Thirrilan ch’Satheddet13, Andorian chan
  • Chief of Security 1st Lieutenant Yrrebneddor th’Eneg14, Andorian thaan
  • Engineering Officer 1st Liuetenant Corpek th’Rellvonda15, Andorian thaan
  • Asst. Medical Officer Chirurgeon Tellameer V’Larr16, Caitian male
  • Waste Extraction Crewman Shantherin th’Clane, Andorian thaan 

1. Of course, some of these names are likely different in the new universe.

2. This was a late thought, but my primary idea was that I wanted the Andorian military prowess to be based on something more recent (and more devastating) than the Tellarite War. Presumably the Sphere Builders sent the Xindi after Andor in this universe for the same reason they did Earth in ours—the IU defeats them at Procyon V in the far future. (And if we believe Star Charts, Procyon is the location of Andor, which is a nice bit of irrelevant synchronicity.) 

3. Of course, Coridan never gets devastated by Romulan intervention in this universe. 

4. I just couldn’t find a place to work in Alonis Cobaryn. And even if I could, I doubt he’d actually be mentioned in The Tears of Eridanus. 

5. SOURCE: Enter the Wolves, though he’d be a much younger man at this point. 

6. “Captain” was mentioned in just one episode of ENT. I’m ignoring it. 

7. With Arex as vice president, I think. ;) 

8. I think this is the facility in Traitor Winds. Anyway, Sulu has to go back to Earth in 2270, since Demora is named after the city she was conceived in according to The Captain’s Daughter. 

9. What does “I.U.E.S.” stand for, anyway? 

10. Why AA? I wanted something as seemingly arbitrary as “NCC”, and “A” is for Andorian. No bloody A, B, C, or D, though! 

11. SOURCE: My Brother’s Keeper, where she was a classmate of Kirk’s 

12. SOURCE: Starfleet Academy videogame and novel; she would have graduated in 2290 

13. Back in 2004 or so, I was apparently bored enough to create a BASIC program to generate Andorian names. I went through Ian’s Rogues Gallery and split all the first and last names into two halves and identified all of the prefixes that could go on last names, and then made a program to combine them at random. That’s where I got “Thirrilan”, “Satheddet”, and “Corpek”. 

14. SOURCE: He was a secondary character in Foundation; obviously not the same guy, but I like the name 

15. “Threllvon-da” was the name of an Andorian archaeologist in The Klingon Gambit. He’d be too old to be this man (he was already getting on in 2268), but they could be related. “th’Rellvonda” is presumably simply a more accurate Anglicization of his name. 

16. SOURCE: Chris’s character in our Nimbus III RPG

06 September 2019

Star Trek: Discovery Season 2 at the SFRA Review

Last year, I was able to snag Star Trek: Discovery Season 1 for the "Media Reviews" section of the SFRA Review, the quarterly publication of the Science Fiction Research Association. I enjoyed the experience-- reviews for it are supposed to be less "good/bad" and more "why would this be interesting to scholars"-- so as soon as season 2 finished airing, I e-mailed the Media Reviews editor to stake my claim on it.

The issue is out as of a couple weeks ago. Here's how my review begins (with an embarrassing typo you can read in the published version silently corrected):
ALMOST every television program’s second season embodies a course correction: a discarding or alteration of what did not work the first time, a greater emphasis on what did. Star Trek: Discovery’s second season, broadcast in fourteen episodes from January to April 2019, is perhaps a sharper course correction than many. Discovery has had a tumultuous behind-the-scenes journey: the original showrunner quit partway through season 1, and his replacements were, in turn, fired partway through season 2, replaced by series co-creator Alex Kurtzman. Even without this behind-the-scenes knowledge, the transformation is visible on screen. A greater emphasis on traditional Star Trek optimism has replaced the first season’s grimness, even if a strong focus on action remains. Constant affirmations of camaraderie have replaced the antagonism within the main cast. Fans often criticized the first season for its lack of adherence to earlier continuity, especially visually; the second season is replete with references, especially to the original Star Trek (1966–69) and Star Trek: Deep Space Nine (1993–99), and it massages or eliminates many of season 1’s discontinuities.
     Like season 1, season 2 is noteworthy for its attempts to balance the “new” and the “old” of a long-running franchise. Significantly, season 2 makes heavy use of continuity elements from the original Star Trek series. Christopher Pike (Anson Mount), the USS Enterprise’s captain from the original unaired pilot (“The Cage”), assumes command of the Discovery. Spock (Ethan Peck) also joins the main cast; other characters from the original pilot also appear. The Enterprise characters wear the bright, primary-color uniforms associated with the original Star Trek, rather than the drab blue ones introduced in Discovery.
You can read the rest here (the link should take you right to it, but if not, it begins on page 70).

Issue #329 is a soft relaunch for the Review, featuring a new visual design, a new logo, color, and more. It also includes news of who won the SFRA's 2019 awards, and reviews of recent sf films and sf criticism, including critical studies of Madeleine L'Engle and 2001: A Space Odyssey. Check it out!