Okay, writers: it's time to separate the men from the boys--and the women from the girls. 
This month's challenge will be to write a Star-Trek fanfic in the second person.
Explanation:
English distinguishes three grammatical persons. I am the first person. You are the second person. He (or she) is the third person.
Most fiction is written in the first and third person. However, it is possible to write in the second person. Take, for example, the opening lines from Jay McInerney’s novel Bright Lights, Big City:
In this case, the “you” being addressed is the main character of the story. In other cases, the “you” is the reader—as in the first lines of Italo Calvino’s If on a winter’s night a traveler:
The second person presents some unusual challenges, but also allows an author to create some unique and unusual effects. Note, for example, that second-person fiction is often written in the present tense, creating a much greater sense of immediacy than conventional past-tense fiction. Also, note how Frederic Brown uses the second-person to establish a threatening atmosphere in his story “Don’t Look Behind You”:
You are allowed to mix in first- and third-person narration: see “Don’t Look Behind You” for an example of how to mix the two. But second-person narration must be an essential part of the story. I will disqualify any story that fails to meet this condition.
Maximum length 3500 words. Any period or series, canon or original-character.
The contest will close and voting will begin at noon Eastern, Thursday, 31 July. Voting will end at noon Eastern Sunday, 3 August. Good luck!
You'll need it.

This month's challenge will be to write a Star-Trek fanfic in the second person.
Explanation:
English distinguishes three grammatical persons. I am the first person. You are the second person. He (or she) is the third person.
Most fiction is written in the first and third person. However, it is possible to write in the second person. Take, for example, the opening lines from Jay McInerney’s novel Bright Lights, Big City:
You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is completely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head.
In this case, the “you” being addressed is the main character of the story. In other cases, the “you” is the reader—as in the first lines of Italo Calvino’s If on a winter’s night a traveler:
You are about to begin reading Italo Calvino’s new novel If on a winter’s night a traveler. Relax. Concentrate. Dispel every other thought. Let the world around you fade. Best to close the door; the TV is always on in the next room.
The second person presents some unusual challenges, but also allows an author to create some unique and unusual effects. Note, for example, that second-person fiction is often written in the present tense, creating a much greater sense of immediacy than conventional past-tense fiction. Also, note how Frederic Brown uses the second-person to establish a threatening atmosphere in his story “Don’t Look Behind You”:
Just sit back and relax, now. Try to enjoy this; it's going be the last story you ever read, or nearly the last. After you finish it you can sit there and stall a while, you can find excuses to hang around your house, or your room, or your office, wherever you're reading this; but sooner or later you're going to have to get up and go out. That's where I'm waiting for you: outside. Or maybe closer than that. Maybe in this room.
You are allowed to mix in first- and third-person narration: see “Don’t Look Behind You” for an example of how to mix the two. But second-person narration must be an essential part of the story. I will disqualify any story that fails to meet this condition.
Maximum length 3500 words. Any period or series, canon or original-character.
The contest will close and voting will begin at noon Eastern, Thursday, 31 July. Voting will end at noon Eastern Sunday, 3 August. Good luck!
You'll need it.
