Therin of Andor wrote:
So did Arnold actually have any professional training to be doing any of this stuff? Because it sounds like he was literally some dude off the street who happened to be friends with Rodenberry, and was just handed the job.
I have to wonder if perhaps they wouldn't have been better off with someone with some kind of literary/creative analysis training.
RA wasn't the only port of call re the tie-ins. He was reading
things so that GR didn't have to read the whole thing himself. GR was simply too busy. Media tie-ins are bought and read by 2% of the general audience.
We know he did the vetting of tie-in manuscripts after Susan Sackett and others got too busy to do it. Susan is a professional writer, but she wasn't when started off in Trek - as GR's secretary
, with a teaching degree behind her.
The proposals and manuscripts were already being examined by the licensees' editors and
the representative of then-Paramount/Viacom Consumer Products. RA didn't have to be creative, just advise on problems he perceived. (He made some enemies doing that, certainly, but it was a group of angry writers and supporters who started publishing quotes from his memos on the Usenet and GEnie electronic bulletin boards. Normally, fans wouldn't have been privvy to such internal information.) I believe RA also looked at the scripts and Paramount's media releases, and again found many, many errors that others didn't.
Margaret Clark and Paula Block started out as Star Trek fans too, you know. I assume they've had training as editors, but perhaps not. Many, many professionals playing in the Trek sandbox - writers, actors, makeup artists, SPFX people, etc - got their start as enthusiastic, amateur fans
who were in the right place at the right time, or knew someone who knew someone.
But wouldn't most of them have been in a lower position, with someone with more training above them? (This is not sarcastic or rhetorical, I am honestly curious)
I've been a professional editor myself - I did it for five years - with no specialist training in that area whatsoever. (I still don't know or use all the correct markup symbols.) I was employed because I knew the topic being covered, not because I knew literary/creative analysis. And I received many accolades for the work I did, even increasing circulation from 2000 to 3000 copies over my time there.
I was not aware of that. I had assumed to be an editor you needed some kind of a communications, or writing degree or something along those lines.
I just thought it was weird that he was given so much power over the franchise, when based on what I've read his only real qualification was that he was a fan who knew Roddenberry.
It just seems to me that if you're going to be criticizing books, comics, and things like that professionally then you should have some experience or in depth knowldge of writing or publishing. But this is just my opinion, and I'll admit I have very little inside knowledge of Hollywood, and the publishing industry.