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Spoilers Discovery and the Novelverse - TV show discussion thread

I really think they already have. You have to squint really hard right now to think it matches, and I can't imagine that'll get better when Spock actually shows up.

Which doesn't surprise me. People talk about how closely the producers coordinated with the novels, but that was really just to make sure the novels were as consistent with the show as possible (to avoid the kind of continuity glitches that cropped up in early novels for other series), not the other way around.
 
Even if they don't specifically acknowledge it, doesn't mean they'll contradict it anyway.
I hate to tell you this, but you're probably going to be disappointed as the season progresses and throws even more of Desperate Hours out the window, like when Number One shows up next week. I'm already willing to bet money that she ain't gonna know Saru.
 
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Which doesn't surprise me. People talk about how closely the producers coordinated with the novels, but that was really just to make sure the novels were as consistent with the show as possible (to avoid the kind of continuity glitches that cropped up in early novels for other series), not the other way around.

Wasn't it, though? I mean, isn't there a certain expectation when the novel pipeline is redirected to run directly through the TV show's writers' room that consistency will be something more than "par for the course, or somewhat worse, based on history." The new process didn't keep them from mixing up the crews of the Discovery and the Shenzhou in the Mirror Universe comics, for instance, and we wouldn't be having the discussion we're having now if the novels that were commissioned were self-contained don't-do-anything-interesting stories set between episodes as usual, rather than fleshed-out backstories that appeared to be designed as baby-steps towards making Star Trek a modern, self-consistent franchise.

Now, I have my own suspicion about why a process apparently designed to let tie-ins be both consequential to the lore and largely irrelevant to the production of the show is falling apart so spectacularly, (which begins and ends with "Bryan Fuller was interested in the idea, and his successors are somewhere between 'uncaring' and 'actively hostile to the concept'") but I can't be happy that Star Trek as an institution explicitly aimed to clear a lower bar than some of its present contemporaries, and still managed to not only miss it, but to come out worse than it had (back when it wasn't trying at all) in decades past.
 
Wasn't it, though? I mean, isn't there a certain expectation when the novel pipeline is redirected to run directly through the TV show's writers' room that consistency will be something more than "par for the course, or somewhat worse, based on history."

Expectations do not dictate reality. They merely expose the biases and preconceptions of the people doing the expecting.

The purpose of tie-ins is to support the show. From a business standpoint, they are promotional merchandise, no less so than posters or action figures or soundtrack albums. But tie-in books that are written before a show comes out are notoriously prone to errors and thus fall short of being authentic representations of the things they tie into. So from a merchandising standpoint, the purpose of the coordination with the show's staff was merely quality control, making sure the merchandise was authentic. And it was largely something that they did because they happened to have Kirsten Beyer on staff and she was willing to take it upon herself to serve as the liaison between the show staff and her friends and colleagues who do Trek fiction for Pocket. It wasn't some formal studio policy to make everything consistent like the Star Wars Story Group. It was just taking advantage of the connections Kirsten had.


Now, I have my own suspicion about why a process apparently designed to let tie-ins be both consequential to the lore and largely irrelevant to the production of the show is falling apart so spectacularly, (which begins and ends with "Bryan Fuller was interested in the idea, and his successors are somewhere between 'uncaring' and 'actively hostile to the concept'") but I can't be happy that Star Trek as an institution explicitly aimed to clear a lower bar than some of its present contemporaries, and still managed to not only miss it, but to come out worse than it had (back when it wasn't trying at all) in decades past.

First off, I don't care for the idea that just because integral tie-ins are becoming trendy, that makes it some kind of fundamental improvement in quality. This isn't technology. One way of telling stories is just different from another, not superior. And I am so damned sick of fandom treating continuity as if it's the one and only thing that matters about fiction. It's not. It's one tool available to storytellers, and the way in which they use it, or not, is a function of what they want or need their stories to be. Continuity serves storytelling, not the other way around. There are many fictional franchises with multiple continuities or flexible continuities, and there's never been anything wrong with that. It's not the result of a lack of talent or knowledge or skill; it's just about remembering that this is all made up and thus is more flexible than real life.

Second, how the heck is the situation with regard to the early novels any "worse" than it was in the TNG-through-ENT era? It looks exactly the same to me -- books come out, show ignores books, life goes on, the world does not end in fire. Although it's better because the books were able to capture the show more authentically without howlers like "Bill Riker" or "Doc Zimmerman" or DS9 having a 28-hour day instead of 26.
 
fleshed-out backstories that appeared to be designed as baby-steps towards making Star Trek a modern, self-consistent franchise.
I had high hopes with Discovery as well, but alas it does appear not to be. (although to be fair, with so many new series in pre-production, I can see why the TV writers wouldn't want to constrain themselves anymore than they have to. Better to nip novel continuity in the bud now than wipe it all later?

I can't be happy that Star Trek as an institution explicitly aimed to clear a lower bar than some of its present contemporaries, and still managed to not only miss it, but to come out worse than it had (back when it wasn't trying at all) in decades past.
To be fair, see diverse representation in 90s Star Trek. I'm not happy at it either, but it wouldn't be the first time Trek doesn't live up to its own standards.
 
Second, how the heck is the situation with regard to the early novels any "worse" than it was in the TNG-through-ENT era? It looks exactly the same to me -- books come out, show ignores books, life goes on, the world does not end in fire. Although it's better because the books were able to capture the show more authentically without howlers like "Bill Riker" or "Doc Zimmerman" or DS9 having a 28-hour day instead of 26.

Lorca vaporized Mirror-Owosekun! Mirror-Airiam didn't exist at all! And these weren't art errors, with dead people accidentally in the background, they were key characters in a multi-issue comics arc, with a member of the show's writing staff as a credited author. I don't even understand how it happened. The Shenzhou already had a crew. They only killed off one of them. If they really needed a robot, use the helmet lady, or the blue guy with the whatsits on his face.

At this point, I'm pretty sure that anyone who reads Desperate Hours after the next month or so is going to think "Spock and Burnham were on speaking terms, and the Enterprise doesn't have screens bolted on all the walls or holograms everywhere" is going to be way more off-base than Riker being called "Bill." So what impression of will they have of how Star Trek novels are such a "quality product" when they pick one up, which they heard through the grapevine was a "real" story written in close consultation with the show, and it doesn't fit with what they saw in season two?

Though, to be fair, I'm noticing we're not seeing that meme from TPTB anymore. Interest seems to have flagged in this experiment in giving a shit about the continuity of your heavily-serialized television show's larger universe. So, like I said, "Par, or slightly below" on the tie-in front.

Bill Riker. Dr. Zimmerman. Sleek, screenless, midcentury modern Enterprise. Unvaporized Owo. Spock not being unwilling to pee on Burnham if she were on fire. We're back to normal after a brief, terrifying moment where it seemed like all the things that said "Star Trek: Discovery" on them in big silver letters, that were made at the same time, by the same people (or at least people who talked to each other) might almost fit together, rather than being a loosely-connected, often-contradictory anthology united by only by branding, in service of the truest, most lofty goal of all storytelling; keeping me from remembering to cancel my All-Access subscription after the season finale.
 
Lorca vaporized Mirror-Owosekun! Mirror-Airiam didn't exist at all! And these weren't art errors, with dead people accidentally in the background, they were key characters in a multi-issue comics arc, with a member of the show's writing staff as a credited author. I don't even understand how it happened.

Um, isn't that a non sequitur? We were talking about the issue of whether the show would acknowledge its earlier tie-in novels. You're talking about a comic that was written after the Mirror Universe episodes.

And the way it happened was no doubt that the two works were being created by separate teams at the same time. Tie-ins like that are very hard to keep consistent with the core work, because the core work is bound to undergo changes during production, and the people doing the tie-ins can't necessarily keep up with all the changes or have time to incorporate them. You have to understand, it's not like these guys are all sitting around in the same room with plenty of time to meticulously check over every detail. They're separate teams and they're both extremely busy making their own productions, with limited time and opportunity to compare notes. This is very, very far from unusual. It's actually very hard to avoid, because creating this stuff is a lot more complicated than you realize. It's easy to be an armchair quarterback and criticize people's work when you don't have any actual clue about the difficulties that work entails.

And yes, Kirsten was a credited author on both, but she's just one member of a larger team in both cases, and in neither case is she the senior member. So her influence over the ways the show and the comic were separately revised would've been limited, even if she'd had the time to meticulously check every step of both processes, which I doubt she did, because she's also the mother of a small child and has an actual life.

Even with only a few people involved, it's hard to avoid continuity errors. My debut Trek story SCE: Aftermath and S.D. Perry's Unity present mutually contradictory versions of Keiko O'Brien's decision to join relief efforts on Cardassia Prime and her discussions with Chief O'Brien about it, even though Marco Palmieri edited both works. Marco and Danelle Perry were both dealing with newborn babies at the time, which left them with less time to keep track of all the details, and I was a novice and too insecure to reach out to Danelle and make sure we were on the same page. These things happen despite everyone's best efforts.


At this point, I'm pretty sure that anyone who reads Desperate Hours after the next month or so is going to think "Spock and Burnham were on speaking terms, and the Enterprise doesn't have screens bolted on all the walls or holograms everywhere" is going to be way more off-base than Riker being called "Bill."

Come on. There were many, many books that were massively contradicted by later productions over the years; just because I didn't post an exhaustive list of them all doesn't mean they don't exist. Look at the novel Federation vs. First Contact for a famous example. Many books ended up getting contradicted by episodes that aired before they were even released. This is normal for tie-ins to an ongoing production, because it's always going to be a moving target, and the show and the books are produced on different schedules that make it next to impossible to keep them perfectly coordinated. I figure the only reason Lucasfilm can pull it off is because their core work is a series of movies that come out only once every few years, and their other screen productions are animated shows whose production lead time is much, much greater than it is for live-action TV. So that makes it easier for books and comics to keep up.

There's a reason the modern Trek Lit continuity didn't really begin until 2000. It wasn't possible to build a consistent 24th-century novel continuity until there were no longer any 24th-century shows being made.


So what impression of will they have of how Star Trek novels are such a "quality product" when they pick one up, which they heard through the grapevine was a "real" story written in close consultation with the show, and it doesn't fit with what they saw in season two?

I think most people would judge quality by whether the story is enjoyable. Trek novels have never been acknowledged by canon and have often been contradicted by it, but that hasn't kept them from being popular and commercially successful.


Though, to be fair, I'm noticing we're not seeing that meme from TPTB anymore.

If you thought "TPTB" were ever saying that the books would be canonical, then you misunderstood them.
 
Um, isn't that a non sequitur? We were talking about the issue of whether the show would acknowledge its earlier tie-in novels. You're talking about a comic that was written after the Mirror Universe episodes.

No, I was talking about whether the show would acknowledge its tie-ins going forward. You were talking about how they were merely trying, successfully, to avoid early-installment weirdness which, I pointed out, they actually didn't.

And yes, Kirsten was a credited author on both, but she's just one member of a larger team in both cases, and in neither case is she the senior member. So her influence over the ways the show and the comic were separately revised would've been limited, even if she'd had the time to meticulously check every step of both processes, which I doubt she did, because she's also the mother of a small child and has an actual life.

Which I'm far more sympathetic about when you're not saying that's the kind of thing that's prevented now that would've slid by before.

Come on. There were many, many books that were massively contradicted by later productions over the years; just because I didn't post an exhaustive list of them all doesn't mean they don't exist. Look at the novel Federation vs. First Contact for a famous example.

Mosaic and Pathways would be a better fit, since what happened then is exactly what I'm speculating is happening now. Showrunner writes/requests book of backstory, showrunner leaves, successor doesn't feel bound by the book or the BTS concepts (like not actually crossing over with TOS) that went into it. I was just saying that, with an old-style approach, we could've gotten something like The Siege instead of a book specifically shaped to avoid areas where the show was likely to go that ended up exactly in the path of where the show went.

I figure the only reason Lucasfilm can pull it off is because their core work is a series of movies that come out only once every few years, and their other screen productions are animated shows whose production lead time is much, much greater than it is for live-action TV. So that makes it easier for books and comics to keep up.

They're also generally segregated by time-period and cast to minimize cross-over, but are centrally coordinated in any cases of potential over-lap. That has a familiar ring, doesn't it?

Star Wars has two live-action shows, two cartoons, some number of movies, ten books, uncountable comics, and a theme park ride announced and in varying stages of production. The MCU has three movies a year, about a half-dozen TV shows in preproduction, production, or that haven't publicly been canceled, and, IIRC, comic tie-in prequels to films which I imagine don't make enough noise to be worth contradicting, though I haven't read them so I can't be sure if someone bothered to overwrite when Rhodes got the second War Machine suit or whatever. Back in the day, the Stargates were so cocky about how much they talked to each other they had both their shows running back-to-back for three years. At the time, I didn't realize how good we had it, and thought it would've made sense for them to bring a Zat gun to Atlantis. At this point, I'm afraid the Picard show will forget if it's in the timeline without a Vulcan or without a Romulus.

There's a reason the modern Trek Lit continuity didn't really begin until 2000. It wasn't possible to build a consistent 24th-century novel continuity until there were no longer any 24th-century shows being made.
The movies and TV shows were barely on speaking terms then, and they were being made by the same people. Remember the turf war over whether or not the Defiant would be blown up in First Contact? Nobody bothering to figure out when Worf was taking a week off in DS9 season 6 or 7 to be in a movie? Of course coordinating with novels and comics was out of the question. Forgive me for thinking the trends of the present day, not to mention the invention of the Google Doc and the fan-wiki, might've altered the status quo a little.

If you thought "TPTB" were ever saying that the books would be canonical, then you misunderstood them.

I don't recall ever using the c-word. Let's see what I do recall, which I won't put in quote tags because after all these years I'm fed up with the board not nesting quotes anymore and I want to make it more convenient for you to tell me how I'm wrong.

September 28, 2017 on TrekCore:
David Mack:
I was allowed to compile information about the minor characters, new aliens, and the principal starships into a pseudo-bible for the series. Where there were gaps, I was given latitude to fill them in. Consequently, I got to name half the bridge crew of the Shenzhou, including Keyla Detmer, Troy Jannuzzi, and Kamran Gant. Some of the characters never named in the pilot include Ensign Proat (the bald blue guy with plugs in his head) and Lieutenant Jira Narwani (the girl in the Daft Punk video helmet). I wrote full bios and profiles for all of these characters, as well as for Ensign Danby Connor (ops), Ensign Britch Weeton (engineering), and Doctor Anton Nambue, and also expanded bios for Georgiou, Burnham, and Saru.

Fun detail: some of those bios ended up being shared by the show’s producers with the actors playing those supporting roles, to provide them with a foundation for their performances.

April 6, 2018 on Twitter:
Ted Sullivan:
Well, I look at things this way - it's canon unless we do something that invalidates it (b/c we find a story we NEED to tell that contradicts it). But we here at @StarTrekRoom think it's a beautiful story and treating it as canon!

John van Citters:
And the view from the other side of the fence - we work hard to craft stories that tie into canon so nicely that @StarTrekRoom will never have that need.


So, yes, forgive me for entertaining the possibility that the show's production team might've read the book the show's co-creator requested that was directly relevant to the plot they were doing, that was written in consultation with them, and that they thus might deign to add words like "again" to phrases like "Good to meet you, Captain Pike," an unreasonable imposition upon their creative process. It was truly an outrageous, unprecedented flight of imagination that such a thing might be possible, never mind the idea that the show's clearances person might've sent back a note saying, "You know, we published a book literally called 'Section 31: Control,' so maybe a different codename might avoid brand confusion, unless that's what you're going for."

The one-way mirror between filmed and all other Star Trek remains impregnable, and could never have been otherwise. There is no canon but canon.

Well she wasn't a cyborg or robot, at least not according to BTS stuff. It's just a tactical helmet.
Oh, she could have anything going on under there. If it's not on-screen, there's no obligation!

Meme? Not sure if you're using that word correctly.
The irreducible unit of thought, which passes from person to person, analogous to a gene in biology. Or, nowadays, a picture of a cat saying a funny thing. In this case, the idea that the tie-ins were the tail being wagged by the dog, as opposed to the flea riding on the dog.
 
Discovery has had huge behind-the-scenes strife. It began with Bryan Fuller, who left(/was fired, depending what you believe), was replaced with 2 others who were fired for veing abusive to co-workers, and now Alex Kurtzman has stepped in. It's entirely possible that when the novels were written, it was the plan to not use Spock or to treat the novel continuity as sacred.

Remember the show is currently retconning itself heavily, season one featured a new D7 battlecruiser design, season 2 has a brand-new Klingon ship called the D7 which looks a lot more like the original series/movies version of the ship. The Klingons have been changed, skulls reduced in size and hair added, with the excuse that they shaved their heads for war (even though they were all bald before the war in "The Vulcan Hello"). Fuller wanted Klingons all bald, Kurtzman didn't. This is Star Trek Discovery, under new management.
 
It seems clear to me that Season 1 was completely finished and Season 2 was being planned out at the time Sullivan made his comment about the DSC tie-in novels and onscreen Canon, so the only thing surprising about Desperate Hours not being consistent with Season 2 is how short a period of time his comments remained true in this particular instance.
 
No, I was talking about whether the show would acknowledge its tie-ins going forward.

And then you started talking about a tie-in comic failing to accurately reflect the show. Which is a non sequitur, because those are two opposite cause-and-effect relationships.


You were talking about how they were merely trying, successfully, to avoid early-installment weirdness which, I pointed out, they actually didn't.

Don't put words in my mouth. I did not express an opinion about the success of the exercise; I merely corrected your misapprehension about the purpose behind it. As I've tried to explain, achieving perfect success in avoiding inconsistencies between canon and tie-ins is extremely difficult -- just as perfect success in avoiding inconsistencies within a canon is next to impossible.

Heck, at times I've even found continuity errors between my own stories in one of my own original science fiction universes. I'm just one guy, and it's only a few stories, and yet I still made continuity mistakes. Because human beings are fallible.


Which I'm far more sympathetic about when you're not saying that's the kind of thing that's prevented now that would've slid by before.

What??? I never said anything was "prevented." That's not what any of this is about. The whole thing I've been trying to explain is that there is no "prevention," no authoritarian doctrines handed down from on high. There's just Kirsten volunteering to do what she can to minimize inaccuracies in the tie-ins, not because there's some formal mandate from on high to "prevent" anything, but just because she's there and she's willing to give it a go, within the limits of what's possible.


Mosaic and Pathways would be a better fit, since what happened then is exactly what I'm speculating is happening now. Showrunner writes/requests book of backstory, showrunner leaves, successor doesn't feel bound by the book or the BTS concepts (like not actually crossing over with TOS) that went into it.

"Exactly"? No. Kirsten is not the showrunner on Discovery. In season 1, she was a staff writer, the lowest rank in the writer's room hierarchy. The other staffers found her an invaluable resource due to her Trek expertise, but that didn't give her ultimate authority or veto power over either the show or the tie-ins.

Jeri Taylor did consider Mosaic and Pathways to be canonical while she was there, yes. "Canon" is basically just a pretentious nickname for the stuff the original creator or showrunner is directly responsible for. But once she left, her successors decided not to honor them anymore. "Canon" is not a guarantee of consistency. Ted Sullivan used the word, yes, but specifically in the context of the phrase "it's canon unless we do something that invalidates it," which pretty much lays out right there that it's not immune to contradiction. Even the canon is being made up as it goes and is subject to reinterpretation, as we're seeing in season 2.


I was just saying that, with an old-style approach, we could've gotten something like The Siege instead of a book specifically shaped to avoid areas where the show was likely to go that ended up exactly in the path of where the show went.

In the "old-style approach," there were many books that fit that exact description -- books telling stories about subject matters that the shows then covered in a different way, often before the books even came out. Federation and First Contact. Seven of Nine and "Infinite Regress." Surak's Soul and "The Seventh." It's just an occupational hazard of the business, since there are only so many story ideas out there.


At this point, I'm afraid the Picard show will forget if it's in the timeline without a Vulcan or without a Romulus.

I'm sure Alex Kurtzman will have no trouble remembering the plot of a movie he co-wrote, especially since he has Kirsten there developing the show with him. It also has nothing to do with the subject we're discussing, so I don't know why you bring it up.


The movies and TV shows were barely on speaking terms then, and they were being made by the same people. Remember the turf war over whether or not the Defiant would be blown up in First Contact? Nobody bothering to figure out when Worf was taking a week off in DS9 season 6 or 7 to be in a movie? Of course coordinating with novels and comics was out of the question. Forgive me for thinking the trends of the present day, not to mention the invention of the Google Doc and the fan-wiki, might've altered the status quo a little.

The reason why it didn't is right there in what you just said. Even when the creators are coordinating closely, it is extremely difficult for them to maintain perfect continuity between different works, because creating those works is a very complicated and exhausting process, far more so than an armchair quarterback like you could ever realize.

And it's disingenuous to think that online resources and fan wikis would make some revolutionary change in that process. The creators of the shows had access to all that information and more, because it was all there in-house -- not just the secondhand descriptions that a wiki can provide, but the original documents, scripts, notes, memos, production art, hundreds of times as much information than a wiki has access to. Not to mention that they can just call up the people who wrote something or go to their office in person and talk to them about it. Not to mention that they have paid people on staff whose job is to keep track of script and production continuity. That's a job that existed within Hollywood long before the word "wiki" was ever coined.
 
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