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Should Phase II move on?

[ Also, for Phase II we read about all these other episodes going before the camera (like "The Child" & "Kitumba") and not a peep about the conclusion to "Blood & Fire."

While I am interested in New Voyages/Phase II this is the reason I have not really followed it too closely. New episode ideas being announced long before they are even ready to shot. With some seemingly being abandoned. All before in-production episodes are fully released.

It VERY confusing and frustrating. Its bad marketing. Directors and Actors try to avoid sequel talk before the current film is finished and in release for a while. Even in planned film series because they know it will distract from the current project.

Yep..a few years ago they said they would do a viginette every month until an episode was released..they did just one and no explanation or anything on why not the rest..it was quietly swept under the rug.

We used to not talk about episodes we had in the pipeline and production plans. But people started complaining "Hey, if you guys are fan-based,
why don't you share what's going on with us fans? Why so secretive?" And we'd say "Naw, just sit back and watch the episodes we put out-what more do you need to know? You don't want to be bothered with all of our goofy production trials and tribulations." And the response was "Oh, come on! It's been a year since your last episode; can't you at least tell us what else you're working on? You owe us that much." So, we started to be a bit more forthcoming with productions we have in the pipeline.

But now we get grief for telling everyone what we're working on and what our plans are. It's just too confusing for people. So we just can't win.

Also, if you do a Google search on phrases like "...to be aired later this season..." or "...to be shown during sweeps month...," I think you'll find that studios and networks actually *do* discuss story lines and casting decisions for future episodes well before other earlier episodes have already aired. So they don't, in fact, always avoid talking about future productions until earlier productions have been aired. They sometimes announce their plans well in advance.

But I actually don't think we've had so darned much output that it has become all that confusing. But here is a recap of where we stand for those who are confused about our output--and our planned output:


01/16/2004 "Come What May" is released.

10/08/2004 "In Harm's Way" is released.

10/08/2005 "In Harm's Way: Special Edition" is released. (I think it's about 8 seconds longer, and it corrects a few little visual special effects continuity mistakes. Also, it had been a year since we put
anything out and we wanted to get something released-even if it's just a very minimally-improved version of "In Harm's Way.")

03/17/2006 "Center Seat," an eight minute long "vignette" is released, since we know our next full episode "To Serve All My Days" is still months away. (At this point we think it's about three or four months
away; we'll discover its still eight months out.)

We actually shot three vignettes concurrently with "To Serve All My Days" with a small separate crew whenever they had a few minutes available--generally in the wee small hours of the morning. We shot the
aforementioned "Center Seat" and we shot "Change of Command" (a flashback vignette episode that shows Kirk taking command of the Enterprise from Pike) and we shot "No Win Scenario," a brief look at the Klingon Empire.

I don't know if we ever said "one vignette a month until the next full episode gets released." (It would be unlike us to commit to a release schedule in that way.) But in the end, we did only release one of the three that we shot.

By now, in light of our production values in our more recent episodes, releasing these two remaining "old" vignettes would look like a step backwards. Some people might be interested in seeing them, but mostly we figure people would just say "Boy, their production values sure have slipped. I'm not going watch their crappy show now. They used to take pride in their work." So, the technical quality of the two remaining vignettes just isn't representative of our more recent work, so it's hard to imagine the scenario where we would actually want to release them. And if the point was to have them available as a stop-gap measure until the next full episode was available, then, well, that window has long-since closed. We've had three full episodes released--making the stop-gap vignettes unnecessary. But you never know

At any rate, "To Serve All My Days" came out on November 23, 2006.

"World Enough and Time" came out on August 23, 2007.

A revised version of "To Serve All My Days" was released on May 1, 2008. It has all new visual effects and completely different music. (It also has a slightly different ending.)

"Blood and Fire, Part 1" was released on December 20, 2008--which brings us to where we are today.

As to the future, the second half of "Blood and Fire" should be out in the next month or so. "Enemy: Starfleet" was shot in June of 2008; it should be out later this year. "The Child" was shot in October of 2008. It will probably be out early next year.

"Kitumba" is shooting right now. It will probably be out next summer.

Some other projects we had been considering are "The Sky Above, the Mudd Below." J.G. Hertzler (director and star as "Harry Mudd") took a new teaching position shortly after indicating he wanted to do the Mudd project. So he suddenly became far less available. We'd hate to do this fun project without him--after we already promised it to him.

"Killkenny Cats" could still happen. It became a bit of a disappointment when it was learned that the rights to the Kzinti character were sold by Larry Niven years ago--to someone who doesn't want us to use them. So we would have to make some changes so that the Kzinti aren't involved--which we might still do. But it's been hard to work out scheduling and logistics with screenwriter Jimmy Diggs.

"Bandi" by David Gerrold will probably shoot in October. At least that's what we're planning on now.

"Rock-A-Bye Baby--Or Die!" might still happen. But as we got into George Clayton Johnson's original TOS script, we realized it was much like a TNG script. So, it's not the draw to us that it once was. But it might happen.

We've talked about the story "Mind Sifter"--for those of you familiar with novelized Star Trek. So that could happen.

Of course, we have other scripts from the original Phase II series that we're interested in doing. Mostly, we don't really get stymied in our plans after we announce our next outing (although that does happen sometimes). Generally, it's simply that something better comes along and we say "Ooooo! Let's do that instead!" So nothing that we've "announced" is really off that table. We'll do them when we're not working on something we think is better.

And, of course, we all have real jobs and real families and these things cost me thousands of dollars to make--just because I love Star Trek and I want people to have TOS stories in the "Prime" universe that they can watch. But I don't have a bottomless wallet.

I apologize that our free fan-based show is subjected to things like staff sicknesses or recessions or joblessness, and that our show isn't more frequent or reliable from a scheduling standpoint. I wish it were.

So, I hope this makes things a bit less confusing.
 
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Mind Sifter?? Seriously?? That would be totally hardcore!!

You may just earn a fan for life if you pull that off!!


Bandi is a cool story, but I would really love to see The Protracted Man!
 
"Mind Sifter" still gives me chills, and I haven't read that one in well over twenty years.

Is James ready for all that screaming?

Well, let me reiterate: "Mind Sifter" is something we've talked about doing. I don't want to count our chickens before they're hatched. We may just nix the idea before it gets very far in the development stage. If nothing else, making a convincing 1950s era psychiatric hospital and all its trappings would be a costly endeavor. Cost is always a major driver in our productions. So we'll see how things shape up.
 
If you guys are considering adapting Mind Sifter from the New Voyages anthology, I dare you to do The Procrustean Petard from New Voyages 2. :)
 
If you guys are considering adapting Mind Sifter from the New Voyages anthology, I dare you to do The Procrustean Petard from New Voyages 2. :)

Meh. Marshak & Culbreath's story is kind of a one joke story. Apart from the one joke, there's not much there there. I don't think it would have very broad appeal to our fans.

Another factor: when we produce a script, we try to secure the permission--if not the involvement--of the writers. In the case of Mind Sifter, we secured the blessings of Shirley Maiewski to produce her original story--as she wrote it originally, not as it was rewritten and edited for the New Voyages 2 book for Pocket Books. Having us do her original story rather than the New Voyages 2 novelization version had a certain draw for her, and we'd love to see it realized. We'll see.
 
[
Well, let me reiterate: "Mind Sifter" is something we've talked about doing. I don't want to count our chickens before they're hatched. We may just nix the idea before it gets very far in the development stage. If nothing else, making a convincing 1950s era psychiatric hospital and all its trappings would be a costly endeavor. Cost is always a major driver in our productions. So we'll see how things shape up.
Greg:

New York State has oodles of empty buildings at various psychiatric centers. If we could find a Trekker in the heirarchy, they might be available.
 
As much as I love what Phase II is doing (especially WEaT), I think what bugs me a little is the scripts are no longer "fan" written. While everything else may be done by non-professionals, the stories are now from established Trek writers who couldn't get the episodes made through regular means.

While I appreciate that they are just as entitled to "dream the dream" as any of us (where else would David Gerrold get a chance to direct?) it does seem a bit unfair to take this essential part of the creative process out of the hands of the fans. Fontana, Gerrold, Povil, etc. have had their turn and gotten paid very well for it. Even Galanter (listed screenwriter of "Enemy Starfleet") is a paid Trek novelist. Surely there must be many fantastic tales to tell, written by non-professional fans who would like a chance to shine in Roddenberry's spotlight.

It makes one wonder if James Cawley would begin replacing his fan actors with Trek alumni, if (hypothetically) Conner Trineer said he'd always dreamed of playing Dr. McCoy. Now that would be an improvement.

EDIT TO ADDRESS THE TOPIC: All that said, I do think they should keep doing the TOS-style episodes that they do better than any other fan film to date. Theoretically there is a year or two of "Trek time" to fill before TMP. At the rate of one episode per year (hopefully) they can be doing shows for our grandchildren.
 
As much as I love what Phase II is doing (especially WEaT), I think what bugs me a little is the scripts are no longer "fan" written. While everything else may be done by non-professionals, the stories are now from established Trek writers who couldn't get the episodes made through regular means.

While I appreciate that they are just as entitled to "dream the dream" as any of us (where else would David Gerrold get a chance to direct?) it does seem a bit unfair to take this essential part of the creative process out of the hands of the fans. Fontana, Gerrold, Povil, etc. have had their turn and gotten paid very well for it. Even Galanter (listed screenwriter of "Enemy Starfleet") is a paid Trek novelist. Surely there must be many fantastic tales to tell, written by non-professional fans who would like a chance to shine in Roddenberry's spotlight.

It makes one wonder if James Cawley would begin replacing his fan actors with Trek alumni, if (hypothetically) Conner Trineer said he'd always dreamed of playing Dr. McCoy. Now that would be an improvement.

EDIT TO ADDRESS THE TOPIC: All that said, I do think they should keep doing the TOS-style episodes that they do better than any other fan film to date. Theoretically there is a year or two of "Trek time" to fill before TMP. At the rate of one episode per year (hopefully) they can be doing shows for our grandchildren.

So are you saying our stories not representing fans interests and values? Or are you saying that soon our stories will stop representing fan interests and values?

Actually, I don't think it's entirely true that "our scripts are no longer 'fan' written." With nine full scripts (and one short vignette) released or currently in post-production, it's hard to tell what trend there might be in our script selection--if there is indeed any trend at all. It's not just much of a sample to work with.

If there is a general trend, I would say that it's probably that fans aren't taken out of the creative writing process; they simply share it now. You mention David Gerrold, but you gloss over Carlos Pedraza co-writing the teleplay with David. You mention Dave Galanter, but you gloss over the involvement of fanfic writer Patty Wright--who co-wrote "Enemy Starfleet." We needed John Meredyth Lucas' "Kitumba" script updated, so we turned again to Patty to tweak the script. So I think by having a "mere" fan in our Story Editor position, we guarantee fan involvement in the writing process--sometimes to a great degree, sometimes to a lesser degree. Like I say: with only ten scripts, it's hard to tell if there's much of a trend.

You did see that we are considering shooting "Mind Sifter," didn't you? That was written years ago by a "mere" fan writer.

Of course, it makes practical sense to use already written and already vetted scripts and already reasonably high-quality scripts. I remind you that we have no budget. If we can get a script that we don't need to apply labor towards in order to pick apart and tweak and improve and edit because it came from a devoted fan with no scriptwriting experience, then that's just more convenient to us. We've learned that what makes or breaks the success of an episode is the strength of the writing. So we get the best scripts we can lay our hands on and we're getting some degree of critical success (like the Hugo and Nebula Award nominations for "World Enough and Time"). But now you want us to tie our hands a bit and produce only unprofessional scripts.

You said that surely "there must be many fantastic tales to tell, written by non-professional fans." But we're not seeing them. We do see many mediocre fanwankery tales that fans submit to us. They just aren't "fantastic." But if and when we actually do have a fantastic tales that fans submit to us, we consider them. I'm looking forward to seeing the fan-written story that's more fantastic than the professionally written script.

The other factor is that as we grow and learn and improve in our production values, everyone wants us to keep placing our "bar" higher--which is great. Among those who are expecting us to place our production bar higher are the various professional unions and guilds. So we've had to become a SAG signatory and we must comply with SAG guild rules for our SAG actors. Time may come when we need to become a WGA signatory as well--although that time hasn't arrived yet. So at some point, we may find that we are no longer allowed to use non-professional writers. But for now at least, we make sure that fans are always involved in the writing process to a greater or lesser degree. But beware: as our writing bar get placed higher and our viewers' expectations get higher, it may be hard for mere fans with no professional writing experience to generate the kind of quality we need. But we'll look at anything.

And, of course, the beauty part of all this is that we're not the only fan production game in town. There are other fan productions out there who are also clammoring for fantastic fan-written scripts. And people can even start their own fan productions. So there are always opportunities.

But we look foward to seeing your (or any fan writer's) fantastic Star Trek script. Send it along to us.
 
But we look foward to seeing your (or any fan writer's) fantastic Star Trek script. Send it along to us.
Cute, since last I heard Phase II was not accepting outside submissions. If this has changed, please link to the announcement of the new policy and submission guidelines.

I don't think I used the word "mere" to describe fan writers and writing. Quite the opposite: I believe the fans are capable of doing as good as some and better than other pro writers. (P2 has certainly proved this is the case in terms of production values.)

Greg, you make two seemingly conflicting points. One is that the scripts are done and vetted and ready to shoot. The other is that they need work, so you get fans. Please understand that I'm being facetious and I get that neither of these is exclusively true. Every script needs work. Harlan was not allowed his drug-dealing story line in City. David used too small a typeface for Tribbles. For all I know maybe Galanter had a headache so Ms. Wright had to step in. But all this avoids my point. The stories are either pre-published already or (in the case of WEaT and Enemy Starfleet) written by pros and based on ideas not originally intended for Phase II.

Why not create an open submission policy, with strict "anti-wank" guidelines, and give the fan film back to the fans? (As if it's not fan-wank to bring back Walter and George, or to stunt-cast Denise Crosby as Yar's "grandmother" like the actress has no range beyond that.) Yes, there would have to be firm legal standards and submission contracts (as did TNG in the early days). Yes, it will be more work. Yes, it will take more time. No, it will not cost more out of your pockets or anyone else's. Yes, most of what is submitted will be crap. Welcome to television. That is why you have a story editor.

To your question of sampling, having the two first episodes and a very short short written by fans out of a total of ten shows a very strong trend in anyone's statistics. 80 percent based on or written by pros? Come on.

I'm certain Patty herself has written something worthy of adaptation. Or maybe even could come up with something completely original? But then, that doesn't look as good on a press release as saying "Remember this story we've all heard so much about from 20 years ago? We're going to film that!"

For all the talk about shooting in HD, raising the bar, setting the standard, etc., in this respect, I applaud Exeter, Farragut, Intrepid, Hidden Frontier (where Pedrasa came from, btw) and all the others who are staying true to the core spirit of fan films by telling their own stories. By Going Boldly!

As to the Screen Actor's Guild (SAG) requirements, as a signatory at your level (internet-only, ultra low budget, no profit, no dvd distribution) the only rule required is that you a) submit all scripts and cast list to SAG six weeks in advance of shooting and b) turn in all time sheets and shot logs to SAG for review and c) pay 14.5% of the actor's salary into the pension and health benefits program for any actor who is a SAG member, or can be seriously considered eligible for membership. There is no minimum salary ($100/day is recommended but zero is allowed), and whatever is negotiated may be deferred indefinitely if both parties agree. I figured the signatory thing was just so Walter Koenig, George Takei, BarBara Luna, William Windom, Malachai Throne, etc., can feel better about their involvement and put a few hours into the benefits bank.

(NOTE: The SAG information is based on my notes from film school and a few "new media" seminars. Things may have changed with the ratification of the new SAG contract only a few weeks ago.)
 
But we look foward to seeing your (or any fan writer's) fantastic Star Trek script. Send it along to us.
Cute, since last I heard Phase II was not accepting outside submissions. If this has changed, please link to the announcement of the new policy and submission guidelines.

I don't think I used the word "mere" to describe fan writers and writing. Quite the opposite: I believe the fans are capable of doing as good as some and better than other pro writers. (P2 has certainly proved this is the case in terms of production values.)

Greg, you make two seemingly conflicting points. One is that the scripts are done and vetted and ready to shoot. The other is that they need work, so you get fans. Please understand that I'm being facetious and I get that neither of these is exclusively true. Every script needs work. Harlan was not allowed his drug-dealing story line in City. David used too small a typeface for Tribbles. For all I know maybe Galanter had a headache so Ms. Wright had to step in. But all this avoids my point. The stories are either pre-published already or (in the case of WEaT and Enemy Starfleet) written by pros and based on ideas not originally intended for Phase II.

Why not create an open submission policy, with strict "anti-wank" guidelines, and give the fan film back to the fans? (As if it's not fan-wank to bring back Walter and George, or to stunt-cast Denise Crosby as Yar's "grandmother" like the actress has no range beyond that.) Yes, there would have to be firm legal standards and submission contracts (as did TNG in the early days). Yes, it will be more work. Yes, it will take more time. No, it will not cost more out of your pockets or anyone else's. Yes, most of what is submitted will be crap. Welcome to television. That is why you have a story editor.

To your question of sampling, having the two first episodes and a very short short written by fans out of a total of ten shows a very strong trend in anyone's statistics. 80 percent based on or written by pros? Come on.

I'm certain Patty herself has written something worthy of adaptation. Or maybe even could come up with something completely original? But then, that doesn't look as good on a press release as saying "Remember this story we've all heard so much about from 20 years ago? We're going to film that!"

For all the talk about shooting in HD, raising the bar, setting the standard, etc., in this respect, I applaud Exeter, Farragut, Intrepid, Hidden Frontier (where Pedrasa came from, btw) and all the others who are staying true to the core spirit of fan films by telling their own stories. By Going Boldly!

As to the Screen Actor's Guild (SAG) requirements, as a signatory at your level (internet-only, ultra low budget, no profit, no dvd distribution) the only rule required is that you a) submit all scripts and cast list to SAG six weeks in advance of shooting and b) turn in all time sheets and shot logs to SAG for review and c) pay 14.5% of the actor's salary into the pension and health benefits program for any actor who is a SAG member, or can be seriously considered eligible for membership. There is no minimum salary ($100/day is recommended but zero is allowed), and whatever is negotiated may be deferred indefinitely if both parties agree. I figured the signatory thing was just so Walter Koenig, George Takei, BarBara Luna, William Windom, Malachai Throne, etc., can feel better about their involvement and put a few hours into the benefits bank.

(NOTE: The SAG information is based on my notes from film school and a few "new media" seminars. Things may have changed with the ratification of the new SAG contract only a few weeks ago.)

I'm not sure that I subscribe to your notion that any script with professional writer involvement gets dumped into the "professional" category, yet scripts that have fan writer involvement don't get to be dumped into the "fan writer" category. I think the hybrid model we seem to have developed is working well. I'd hate to throw out the high quality stuff written by professionals simply because they are professionals. I think yours is a false dichotomy. For example, out of our ten episodes, seven (including our most recently filmed one) have been co-written or edited by non-professional fans. So you can slidce and dice the data different ways. But either way, it's important to us that we maintain fan involvement in our story process.

Also, many (all?) of the people we have involved in our production are fans--even the professional writers. So again, I see another false dichotomy: professionals can be fans, too. I know of few bigger Star Trek fans than David Gerrold. His script doesn't get disqualified from consideration simply because he's also a pro.

And yes: we've recently picked scripts that don't have to be vetted much. And we have a fan story editor when there is vetting to be done. But this, too, isn't a dichotomy. We don't use professional stories because they require no vetting or work; we use them because that vetting and work is less than with unprofessional stuff. It's not nonexistent. So the truth is somewhere in the middle.

"Why not create an open submission policy, with strict 'anti-wank' guidelines, and give the fan film back to the fans? Yes, there would have to be firm legal standards and submission contracts (as did TNG in the early days). Yes, it will be more work. Yes, it will take more time. No, it will not cost more out of your pockets or anyone else's. Yes, most of what is submitted will be crap. Welcome to television. That is why you have a story editor."

All the reasons you've indicated are reasons enough. Firm legal standards to be developed; drafting submission contracts; take massive amounts of time from real jobs and real life to read through volumes of submissions. You say that it will be more work, but I'm not sure why you think this could all be done at no cost of time or actual money. It's not like our involvement in Phase II productions doesn't actually pull us away from other valuable things that we could be doing with our lives and our money. I think your approach would require a level of (costly) administration and organization befitting a professional television studio production, not a fan-based Internet production like ours.

Also, an important distinction should probably be made between fan scripts and unsolicited scripts. They often go hand-in-hand, but they aren't one and the same. Generally, when we use fan scripts, it is because we have solicited them. So while we do have a policy of not accepting unsolicited outside fan scripts at this time, that doesn't preclude us from soliciting outside fan scripts if we want. So, consider this an actual solicitation from me to you: if you have a fantastic idea for a script, I want to see it.

I also am mildly insulted by the notion that "we need to give fan films back to the fans." I spend, well, tens of thousands of dollars per episode to make these things with James. I don't get a dime in return--and I never will. James and I are fans; we make a fan-based Star Trek show. So, "the fans" still have Phase II, just as they have Starship Farragut, Starship Exeter, Intrepid, Hidden Frontier, and all our other fan-produced brethren. They all make fine products and we all have charted out slightly different courses for ourselves. Some have taken it upon themselves to occasionally tell Star Trek stories that almost were--but which never crossed the finish line (like our production sometimes does). Others productions are not as interested in exploring these "almost were" Trek stories and instead prefer to tell purely original stories. But the fan production universe is large enough for us all to play in. And we're proud that our "re-tread" scripts seem to generate the same level of fan commitment and enthusiasm that these other shows have--not just in viewership, but in active participation in our productions.

But overall I think I hear you: you'd like to see fans who are non-professional write more of our scripts and you think that would make us even more successful. I'm not sure our increasing viewership numbers indicate a general dissatisfaction with the stories we're telling. But you do raise an important value that we share: make sure there's fan involvement in the story and scripting process.
 
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For example, out of our ten episodes, seven (including our most recently filmed one) have been co-written or edited by non-professional fans.

"One note (and, no, I won't give any details). I sneaked a peek at Patty's script and was blown away by the professional nature of it. I wonder if Patty is also attempting to write screenplays for $$$. Kitumba is definitely worth waiting for. It takes P2 (and canon) in some very exciting directions."

Patty Wrights answer:

"Thanks for the kind words, Alec! It was an honor to be able to help bring John Meredyth Lucas's story to the screen, finally, and I hope we ended up with something he would have approved of, as well as settling some questions fqns have hqd. The camera, lighting and art departments have surpassed bars no one even thought were in reach and this is looking ot be the most visullay stunning episdoes we've ever had. The footage is breathtaking.

I've been writing "professionally" since I was 12 - when I was named one of "America's Top Young Poets". I then sold a teleplay to "Chico and the Man" when I was 14, and have been going strong ever since... writing continually: some fiction but most non-fiction venues (newspapers, training manuals kind of hings.)

I have no plans at this time to write a screenplay for Hollywood as I truly prefer fanfiction because of the freedom and the one on one interacition with the fans that it allows.

Patty"

So is she one of the three professionals?
 
For example, out of our ten episodes, seven (including our most recently filmed one) have been co-written or edited by non-professional fans.

"One note (and, no, I won't give any details). I sneaked a peek at Patty's script and was blown away by the professional nature of it. I wonder if Patty is also attempting to write screenplays for $$$. Kitumba is definitely worth waiting for. It takes P2 (and canon) in some very exciting directions."

Patty Wrights answer:

"Thanks for the kind words, Alec! It was an honor to be able to help bring John Meredyth Lucas's story to the screen, finally, and I hope we ended up with something he would have approved of, as well as settling some questions fqns have hqd. The camera, lighting and art departments have surpassed bars no one even thought were in reach and this is looking ot be the most visullay stunning episdoes we've ever had. The footage is breathtaking.

I've been writing "professionally" since I was 12 - when I was named one of "America's Top Young Poets". I then sold a teleplay to "Chico and the Man" when I was 14, and have been going strong ever since... writing continually: some fiction but most non-fiction venues (newspapers, training manuals kind of hings.)

I have no plans at this time to write a screenplay for Hollywood as I truly prefer fanfiction because of the freedom and the one on one interacition with the fans that it allows.

Patty"

So is she one of the three professionals?

No, Patty doesn't consider herself a professional and I lumped her in with the fan count. (She says "professional," in quotes.) And when it comes to writing fiction, she considers herself to be a fanfiction writer. We defer to her judgement about herself. So Patty would argue that no, she's not one of the three professionals, and I agree with her. The three scripts that I would say were penned with no non-professional fan writer involvement were "To Serve All My Days," "World Enough and Time," and "The Child." The other scripts have had fan involvement to one degree or another.

So, Carlos Pedraza's co-writing of "Blood and Fire" (Parts 1 and 2) and Patty Wright's co-writing of "Enemy: Starfleet" and her teleplay for "Kitumba" makes for fan involvment in four more episodes than Sharkey indicated--plus an additional fifth script if you consider Patty's substantial work as Story Editor for Jon Povill's script for "The Child"--for which she declined any co-writing credit.

For all the various fan-based Trek series, there is a continuum for each aspect of production, from lighting to acting to props to costuming to sets to camera work to directing to writing. Every production falls somewhere on each continuum. I concede that on the writing continuum, with "handled solely by professionals" at one end and "handled solely by non-professionals" on the other, Phase II might be farther on one end of the continuum than some other fan productions. But of course, that's okay. We all are different and we all bring our own unique and interesting differences and gifts to the Star Trek fan production community.

Mostly, we seem to be going down a rat hole here, meticulously discussing and characterizing the degree of fan involvement there is in each script of ours. Our viewship numbers don't indicate a general dissatisfaction with (or even much of an awareness in) our evolving hybrid approach. And readers of this thread will be leaving in droves--if they haven't already.
 
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I think readers will be coming droves to read this because this forum allows people to voice their own opinions without the fear of being banned.

I congratulate Trek BBS.
 
The best way for a person to "give fan films back to fans," assuming that said action is not being done to said person's satisfaction, is for that person to make his or her own fan films.
 
If Fans created their own Fan Films, something original and exciting might come out. To copycat Hollywood, you are just an impersonator with no thoughts of one's own.
 
If Fans created their own Fan Films, something original and exciting might come out.

Maybe.

We do get into a confusion of terms here, though. If one makes an original film, not based on any existing property or franchise, on what basis is it a "fan film" rather than simply a very-very-low budget independent movie made by folks with limited or no professional experience? Would the original "Night Of The Living Dead" be a "fan film" by that definition?

One sense in which "fan film" might apply, I guess, is when a movie is an homage to a particular genre or subgenre of tv or film. That's a little vague, though.
 
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