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Writing a Trek novel...

Exactly. I used to get cover letters all the time that said something like "I know the book starts kind of slow, but don't worry, it gets really good around Chapter Five!"

In which case you may need to rethink things a bit before you submit it to an editor.

As I've mentioned here before, I've been to two David Gerrold writers' workshops and at one of them he talked about wannabe writers who have a dog-eared manuscript stuck in the back of a drawer, one that had done the rounds and was never getting anywhere.

He suggested pulling it out, tearing off Chapter One (yes, with that opening line you laboured over for months and months), and tossing that bit away. Or, for a short story, tearing off page one. Too often people waste the audience's time getting to the first interesting bit, and by then a manuscript reader would have consigned it to the round file.

I went home and tried that with a university essay I'd been wrangling with, and ended up being the only person in my group to get a Distinction. I was congratulated by the markers for not waffling around at the beginning, like everyone else had! Best David Gerrold advice ever! A few months later, I'd also been commissioned for my first piece of professional writing, based (I found out much later) on the recommendation of two lecturers who'd read my essay.
 
First, because I have been using regular English as my native tongue and am only slightly versed in acronymia, what does SNW stand for? Secondly, many thanks for the discussion on Science -fiction /Star trek writing. I'm working on a novel now and have completed several short stories this year. I haven't submitted them to anyone because I was under the impression that I wasn't legally allowed to write Star Trek stories and seek publication. Is this incorrect?

Kyt
Amarillo, TX
 
SNW = Strange New Worlds

Strange New Worlds was a writing competition, where everyone living in the US or Canada (sans Quebec I think) with less than three professional fiction sales could send their Star Trek stories with 7500 words or less. About 20 to 23 of those were chosen to be printed in a yearly anthology.

ETA:
I'm working on a novel now and have completed several short stories this year. I haven't submitted them to anyone because I was under the impression that I wasn't legally allowed to write Star Trek stories and seek publication. Is this incorrect?

If these stories are Star Trek stories you would not be allowed to pitch them anywhere else than the official license holder for Star Trek Fiction (Simon&Schuster).

That's one of the reasons why so many writers say you should write original fiction first, with your original stuff you aren't limited to just one potential publisher.
 
am only slightly versed in acronymia, what does SNW stand for?

Try this quick trick in Google:

Type in "snw acronym" and press Search.

Numerous acronym finder sites turn up. The very first one says:

"Acronym, Definition. SNW, Snow. SNW, Strange New Worlds (Star Trek). SNW, Social Networking Website. SNW, Silicon Nanoelectronics Workshop..."

and that's without even going to the site!
 
First, because I have been using regular English as my native tongue and am only slightly versed in acronymia, what does SNW stand for? Secondly, many thanks for the discussion on Science -fiction /Star trek writing. I'm working on a novel now and have completed several short stories this year. I haven't submitted them to anyone because I was under the impression that I wasn't legally allowed to write Star Trek stories and seek publication. Is this incorrect?

Kyt
Amarillo, TX

Well, as far as I know, the authorities/police don't come knocking on our door if you decide to write a novel...;)

Seriously, though, some say it's best to have some credits under your belt if you want to submit a novel, but I say if you have an idea that is itching to get out...go ahead and write. (The only one stopping you is..well..you).

I'm still banging--innuendo not intended--out my own outline; this is only because th e premise was the same as what I have read or know of earlier Trek novels....

However, I think I've found a way to make my little idea 'unique'....(Credit to Dave Galanter's 'Troublesome Minds' and J.M. Dillard's 'Surak's Soul' among other stories I'm reading for jogging my brain)...

(Of course, to keep me in the Trek mood, I'm watching episodes and reading Trek books).

****

Part of my 2009 resolutions was to write a Harlequin novel; Harlequin erotica; a stage-play for my school before I transferred...and little things here and there...

Those three things have been put on hold, especially since I'm transferring a lot sooner, and that stage-play may be written for the school I'm going to.

The Trek novel is a personal challenge, my own pet project. Aside from that, a short story I'm getting together for a contest...
 
I haven't submitted them to anyone because I was under the impression that I wasn't legally allowed to write Star Trek stories and seek publication. Is this incorrect?

You're free to write whatever you want, but nobody except Pocket Books is legally allowed to sell prose fiction based on Star Trek, so no publisher other than Pocket would accept any ST fiction that you wrote.
 
some say it's best to have some credits under your belt if you want to submit a novel, but I say if you have an idea that is itching to get out...go ahead and write. (The only one stopping you is..well..you).

And the fact that there is only one publisher of ST novels, about 15 slots per year and about 40 already-published, seasoned ST professionals pitching for most of those slots.

(Well, I'm making up the 40 - it's my random estimate.)
 
some say it's best to have some credits under your belt if you want to submit a novel, but I say if you have an idea that is itching to get out...go ahead and write. (The only one stopping you is..well..you).

And the fact that there is only one publisher of ST novels, about 15 slots per year and about 40 already-published, seasoned ST professionals pitching for most of those slots.

(Well, I'm making up the 40 - it's my random estimate.)

That too...;)
 
I have a question:

How many obstacles should characters or characters face in the course of the novel? (I'm asking this question in regards to not only Trek novels, but novels in general).

I'm going to go back to some of the novels that blew me away like 'The Entropy Effect,' and 'Recovery'....but I just wanted to get some input from the authors....

I know it depends on the story, and setting...but I understand that one has to have his/her characters suffer or work towards their objective until it seems like they may or may not make it....

For short stories, I usually have about three obstacles...but in a novel, it's obviously a bit different....
 
There's no set answer to that kind of question. Such things grow organically out of the story you're trying to tell, so the answer will be different every time.
 
How many obstacles should characters or characters face in the course of the novel?

Enough. Plus one or two more.

Really, how can you put a number on something like that?

There's no set answer to that kind of question. Such things grow organically out of the story you're trying to tell, so the answer will be different every time.

@Dayton and Christopher:

That is true...

I thought it was 42, myself ...

With some books, it almost seems like it...;)
 
Enough to generate 80,000 words.

Seriously, figuring out just how much plot you need is always a challenge. Best to always have a couple of subplots you can flesh out if you start to run out of material. And don't forget the supporting characters. If you think you don't have enough obstacles for Kirk, give McCoy an extra medical crisis to deal with.
 
I have a question:

How many obstacles should characters or characters face in the course of the novel? (I'm asking this question in regards to not only Trek novels, but novels in general).

Granted, this is only my own opinion, so please take it for what it's worth...

A character or given set of characters should have only enough obstacles to face that are needed in the story. Otherwise, if you start to throw things in just for effect, or for the sake of it, all you end up doing is complicating the story, and making stuff seem too "busy" for your reader. The story is everything, and what counts. If it's not essential to the story, and moving it along, don't include it.

There's really no set number, but it also depends on what kind of stuff do you want to have happen. For instance, let's take someone like Admiral Adama, from nuBSG... in the course of just a few episodes, he had the following happen to him...

- Kara Thrace (Starbuck), whom he though of as a daughter, and had died, suddenly appeared out of nowhere, seemingly back from the dead.

- He found out his lifelong best friend, Saul Tigh, was really a Cylon, and had a nervous breakdown as a result.

- He led the fleet to Earth, only to discover it a lifeless nuclear wasteland, and feeling he had betrayed the fleet, and led people to their deaths for nothing, had a second emotional breakdown, where he tried to kill himself.

All those things were a lot for one character to handle, but they served to both move the story along, as well as define and develop the character. It was not all placed there merely for the sake of shock value or anything.

So just use your discretion... decide what you want the characters to do, and how you want them to grow and develop, and that will help tell you what kinds of things they should go up against, to attain that end result. I hope this helps a bit.
 
William Leisner said:
Let's find out: One... two-hoo... three... CRUNCH!

Three.

Tuvok: "The answer can only be approximated, given the sheer number factors involved in the equation. For example, one must consider the size of the licker's tongue, combined with the amount of force employed by the tongue across the surface of the Tootsie-Roll Tootsie Pop. This will of course affect the dissolution rate of the hard candy shell, which must occur in order to allow the licker access to the chewy center."

Spock: "You are overlooking the human propensity for impatience, Tuvok. It is highly probable that a human licker will opt to forego the ritualistic nature of licking the Tootsie-Roll Tootsie-Pop, and instead employ the insisor and molar teeth to accelerate the process of penetrating the shell."

Tuvok: "That is, of course, correct. However, the condition of the human licker's teeth will also not be an absolute, based in part on the quality of dental hygiene practiced by the human licker, as well as the resultant decay in the aftermath of prior sessions with previous Tootsie-Roll Tootsie-Pops."


Wait....what were we talking about again?
 
Enough to generate 80,000 words.

Seriously, figuring out just how much plot you need is always a challenge. Best to always have a couple of subplots you can flesh out if you start to run out of material. And don't forget the supporting characters. If you think you don't have enough obstacles for Kirk, give McCoy an extra medical crisis to deal with.

Tks!

I have a question:

How many obstacles should characters or characters face in the course of the novel? (I'm asking this question in regards to not only Trek novels, but novels in general).

Granted, this is only my own opinion, so please take it for what it's worth...

A character or given set of characters should have only enough obstacles to face that are needed in the story. Otherwise, if you start to throw things in just for effect, or for the sake of it, all you end up doing is complicating the story, and making stuff seem too "busy" for your reader. The story is everything, and what counts. If it's not essential to the story, and moving it along, don't include it.

There's really no set number, but it also depends on what kind of stuff do you want to have happen. For instance, let's take someone like Admiral Adama, from nuBSG... in the course of just a few episodes, he had the following happen to him...

- Kara Thrace (Starbuck), whom he though of as a daughter, and had died, suddenly appeared out of nowhere, seemingly back from the dead.

- He found out his lifelong best friend, Saul Tigh, was really a Cylon, and had a nervous breakdown as a result.

- He led the fleet to Earth, only to discover it a lifeless nuclear wasteland, and feeling he had betrayed the fleet, and led people to their deaths for nothing, had a second emotional breakdown, where he tried to kill himself.

All those things were a lot for one character to handle, but they served to both move the story along, as well as define and develop the character. It was not all placed there merely for the sake of shock value or anything.

So just use your discretion... decide what you want the characters to do, and how you want them to grow and develop, and that will help tell you what kinds of things they should go up against, to attain that end result. I hope this helps a bit.

Tks!

I have a question:

How many obstacles should characters or characters face in the course of the novel? (I'm asking this question in regards to not only Trek novels, but novels in general).

Let's find out: One... two-hoo... three... CRUNCH!

Three.

Ah, but that's an obstacle if the crew meets a renegade Tootsie Roll pop....:lol:

Tks, away though, William...:lol:

William Leisner said:
Let's find out: One... two-hoo... three... CRUNCH!

Three.

Tuvok: "The answer can only be approximated, given the sheer number factors involved in the equation. For example, one must consider the size of the licker's tongue, combined with the amount of force employed by the tongue across the surface of the Tootsie-Roll Tootsie Pop. This will of course affect the dissolution rate of the hard candy shell, which must occur in order to allow the licker access to the chewy center."

Spock: "You are overlooking the human propensity for impatience, Tuvok. It is highly probable that a human licker will opt to forego the ritualistic nature of licking the Tootsie-Roll Tootsie-Pop, and instead employ the insisor and molar teeth to accelerate the process of penetrating the shell."

Tuvok: "That is, of course, correct. However, the condition of the human licker's teeth will also not be an absolute, based in part on the quality of dental hygiene practiced by the human licker, as well as the resultant decay in the aftermath of prior sessions with previous Tootsie-Roll Tootsie-Pops."


Wait....what were we talking about again?

Er, how many obstacles for characters in Trek novels...:p

However, I think we just created an idea for a short story with Tuvok and Spock...and their problem of trying to find out exact amount of 'licks' to get to the middle of a Tootsie Roll Pop...and the aftereffects....:)
 
Joel, dude, it sounds like you're planning your book as it it were a paint-by-numbers kit. Nobody here can tell you where the colors go. Either you know how to write or you don't. Just do it, and--most importantly--learn from the result.
 
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