The only book I've read recently that probably fits the "Small Universe Syndrome" tag is the Uhura Lost Era novel Catalyst of Sorrow in that it featured characters from TOS, TNG, DS9 and VOY all during the period before TNG began. However what I really liked about that cast of characters was how much sense it made. Each character, from Beverly to Sisko to McCoy was chosen for a very specific reason, to fill a particular role. Sure, those roles could have been filled by original characters (and in times gone by, probably would have been). But the creative brief of that series was to fill in gaps, and as such, I accepted that when I plunked down my hard-earned cash for the book. I went in with my eyes wide open, and it didn't feel contrived to me.
I think much of it depends on what you as a reader bring to the work. Do I think overkill exists? Yes. But whereas I didn't feel like it was overkill, I can see where a different reader, with different expectations might. But when I reading derivative fiction (be it licenced tie-ins or fanworks) what draws me to the work tends to be love of the canon characters and wanting more of their story. While I can be lured in by a premise set in an existing universe with a whole new cast, as a fan, I trend more towards stories about canon characters than OCs. And when there are original characters, I prefer for them to blend in, rather than stand out.
OCs have always been a bone of contention with fans, when it comes to derivative works. Some folks love them, some folks hate them. When they love them, they really love them. And are often just as passionate in the opposite direction.
It's easy for me to look at OCs, and see why Lia Burke in Diane Duane's Doctor's Orders doesn't ping for me as a Mary Sue, while Tailkinker-to-Ennein in Uhura's Song by Janet Kagan does. And while I really enjoy reading about Captain Robert April in IDW comics and Diane Carey's giant novels, I really am turned off by Mackenzie Calhoun. I recognise that there are plenty of day players in TOS and other Trek televised series that share similar traits. I know objectively Tailkinker is a distant cousin of the Outrageous Okona, and Burke is standing in for Chapel. Piper and Sarda and Meret and Scanner as small-scale mirrors of Kirk, Spock, McCoy and Scotty. And probably had Calhoun not beeing a sooper-seekrit Starfleet Intelligence operative with violet eyes, a prominent facial scar, and an Celtic-sounding name despite being from a distant planet I was reading about, but instead was played by an actor's whose performance I enjoyed on-screen I might have given him much more of a free pass as a reader. But he wasn't, and those books just in the end weren't for me. But they do satisfy other readers, and it's not my place to say my tastes are universal, or that I speak for all fans.
But those are tastes I as a reader bring with me to the printed page. And I don't know if authors can (or should) really write with every single audience member in mind, but instead aim to entertain as many of the audience as they can, without watering down characters until they are bland amalgams of traits and common backstory elements.
Ideally, as an author, I find I write the story of story I want to read--particularly if no-one out there IS writing the stories I want to read--and I assume that there are others out there who would want to read that same story.
At the end of the day, I think most authors want to reach as many people as possible with their work, be creatively satisfied and, even when it's work for hire, want to feel they've earned their paycheque.
I think much of it depends on what you as a reader bring to the work. Do I think overkill exists? Yes. But whereas I didn't feel like it was overkill, I can see where a different reader, with different expectations might. But when I reading derivative fiction (be it licenced tie-ins or fanworks) what draws me to the work tends to be love of the canon characters and wanting more of their story. While I can be lured in by a premise set in an existing universe with a whole new cast, as a fan, I trend more towards stories about canon characters than OCs. And when there are original characters, I prefer for them to blend in, rather than stand out.
OCs have always been a bone of contention with fans, when it comes to derivative works. Some folks love them, some folks hate them. When they love them, they really love them. And are often just as passionate in the opposite direction.
It's easy for me to look at OCs, and see why Lia Burke in Diane Duane's Doctor's Orders doesn't ping for me as a Mary Sue, while Tailkinker-to-Ennein in Uhura's Song by Janet Kagan does. And while I really enjoy reading about Captain Robert April in IDW comics and Diane Carey's giant novels, I really am turned off by Mackenzie Calhoun. I recognise that there are plenty of day players in TOS and other Trek televised series that share similar traits. I know objectively Tailkinker is a distant cousin of the Outrageous Okona, and Burke is standing in for Chapel. Piper and Sarda and Meret and Scanner as small-scale mirrors of Kirk, Spock, McCoy and Scotty. And probably had Calhoun not beeing a sooper-seekrit Starfleet Intelligence operative with violet eyes, a prominent facial scar, and an Celtic-sounding name despite being from a distant planet I was reading about, but instead was played by an actor's whose performance I enjoyed on-screen I might have given him much more of a free pass as a reader. But he wasn't, and those books just in the end weren't for me. But they do satisfy other readers, and it's not my place to say my tastes are universal, or that I speak for all fans.
But those are tastes I as a reader bring with me to the printed page. And I don't know if authors can (or should) really write with every single audience member in mind, but instead aim to entertain as many of the audience as they can, without watering down characters until they are bland amalgams of traits and common backstory elements.
Ideally, as an author, I find I write the story of story I want to read--particularly if no-one out there IS writing the stories I want to read--and I assume that there are others out there who would want to read that same story.
At the end of the day, I think most authors want to reach as many people as possible with their work, be creatively satisfied and, even when it's work for hire, want to feel they've earned their paycheque.