Star Trek
WRITERS/DIRECTORS GUIDE
SERIES CREATED BY: THIRD REVISION
GENE RODDENBERRY April 17, 1967
A PARAMOUNT TV PRODUCTION
in Association with
NORWAY PRODUCTIONS
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T H E S T A R T R E K G U I D E
THIRD REVISION
APRIL 17, 1967
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TABLE OF CONTENTS
STAR TREK FORMAT......................................................................................Page 1
SCRIPT FORMAT.............................................................................................Page 6
THE U.S.S. ENTERPRISE..................................................................................Page 7
CAPTAIN JAMES T. KIRK................................................................................Page 10
MISTER SPOCK................................................................................................Page 11
DR. LEONARD (BONES) McCOY........................................................................Page 12
OTHER RUNNING CHARACTERS......................................................................Page 13
STANDING SETS.............................................................................................Page 15
IMPORTANT EQUIPMENT AND TERMINOLOGY................................................ Page 19
QUESTIONS AND ANSWERS...........................................................................Page 27
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1.
CAN YOU FIND THE MAJOR STAR TREK ERROR IN THE FOLLOWING
"TEASER" FROM A STORY OUTLINE?
The scene is the Bridge of the U.S.S. (United States
Spaceship) Enterprise. Captain Kirk is at his command
position, his lovely but highly efficient female Yeoman
at his side. Suddenly and without provocation, our
Starship is attacked by an alien space vessel. We try
to warn the alien vessel off, but it ignores us and
begins loosening bolts of photon energy-plasma at us.
The alien vessel's attack begins to weaken our deflectors.
Mister Spock reports to Captain Kirk that the next
enemy bolt will probably break through and destroy the
Enterprise. At this moment we look up to see that final
energy-plasma bolt heading for us. There may be only
four or five seconds of life left. Kirk puts his arms
about his lovely Yeoman, comforting and embracing her
as they wait for what seems certain death. FADE OUT.
(END TEASER)
PLEASE CHECK 0NE:
( ) Inaccurate terminology. The Enterprise is more
correctly an international vessel, the United
Spaceship Enterprise.
( ) Scientifically incorrect. Energy-plasma bolts
could not be photon in nature.
( ) Unbelievable. The Captain would not hug pretty
Yeoman on the Bridge of his vessel.
( ) Concept weak. This whole story opening reeks
too much of "space pirate" or similar bad science
fiction.
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2.
NO, WE'RE NOT JOKING. THE PRECEDING PAGE WAS A VERY REAL AND IMPORTANT TEST OF YOUR APPROACH TO SCIENCE FICTION.
HERE'S WHY.
( ) Inaccurate terminology. Wrong, if you checked
this one. Sure, the term United States Space-
ship" was incorrect, but it could have been
fixed with a pencil slash. Although we do
want directors, writer, actors and others to
use proper terminology, this error was cer-
tainly far from being the major STAR TREK
format error.
( ) Scientifically inaccurate. Wrong again; beware
if you checked this one. Although we do want
to be scientifically accurate, we've found that
selection of this item usually indicates a
preoccupation with science and gadgetry over
people and story.
( ) Concept weak. Wrong again. It is, in fact,
much like the opening of one of our best episodes
of last year. “Aliens", "enemy vessels", "sudden
attack" and such things can range from "Buck
Rogers" to classical literature, all depending
on how it is handled (witness H. G. Wells' novels,
Forrester's sea stories, and so on.)
UNDERSTANDING THE RIGHT ANSWER TO THIS IS BASIC TO UNDERSTANDING THE STAR TREK FORMAT. THIS WAS THE CORRECT
ANSWER:
( x ) Unbelievable. Why the correct answer? Simply
because we've learned during a full season of
making visual science fiction that believability
of characters, their actions and reactions, is
our greatest need and is the most important angle
factor. Let's explore that briefly on the next
page.
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3.
NOW, TRY AGAIN. SAME BASIC STORY SITUATION, BUT AGAINST
ANOTHER BACKGROUND.
The time is today. We're in Viet Nam waters
aboard the navy cruiser U.S.S. Detroit.
Suddenly an enemy gunboat heads for us, our
guns are unable to stop it, and we realize
it's a suicide attack with an atomic warhead.
Total destruction of our vessel and of all
aboard appears probable. Would Captain E.
L. Henderson, presently commanding the U.S.S.
Detroit, turn and hug a comely female WAVE
who happened to be on the ship's bridge.
As simple as that. This is our standard test that has
led to STAR TREK believability. (It also suggests much
of what has been wrong in filmed sf of the past.) No,
Captain Henderson wouldn't! Not if he's the kind of
Captain we hope is commanding any naval vessel of ours.
Nor would our Captain Kirk hug a female crewman in a
moment of danger, not if he's to remain believable.
(Some might prefer Henderson were somewhere making
love rather than shelling Asiatic ports, but that's
a whole different story for a whole different network.
Probably BBC.)
AND SO, IN EVERY SCENE OF OUR STAR TREK STORY...
... translate it into a real life situation. Or,
sometimes as useful, try it in your mind as a scene
in GUNSMOKE, NAKED CITY, or some similar show.
Would you believe the people and the scene if it
happened there?
IF YOU'RE ONE OF THOSE WHO ANSWERS: "THE CHARACTER
ACTS THAT WAY BECAUSE IT'S SCIENCE FICTION", DON'T
CALL US, WE'LL CALL YOU.
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4.
THE STAR TREK FORMAT...
A CAPTAIN - Jim Kirk
A FIRST OFFICER - Mister Spock
A GROUP OF REGULARS - who make up our "television
family" (Doctor McCoy, Scotty, Uhura, Sulu, Nurse
Christine, and others as detailed later).
GUEST STARS - if the story demands it, but with
a story which also emphasizes our Series Leads.
ON A GIANT STARSHIP - a familiar "television home
base" (The U.S.S. Enterprise).
ON PATROL OF A SECTION OF OUR GALAXY - our vessel
representing Earth and the Federation (assisting
colonists, aiding in scientific exploration,
putting down conflicts, helping those in distress,
regulating trade, engaging in diplomatic missions.,
and so on.)
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5.
YES, THE STAR TREK FORMAT IS ACTUALLY THAT SIMPLE. IF YOU'RE
A TV PROFESSIONAL, YOU ALREADY KNOW THE FOLLOWING SEVEN
RULES :
I. Build your episode on an action-adventure frame-
work. We must reach out, hold and entertain
a mass audience of some 20.,000,000 people or we
simply don't stay on the air.
II. Tell your story about people, not about science
and gadgetry. Joe Friday doesn't stop to explain
the mechanics of his .38 before he uses it; Kildare
never did a monologue about the theory of anes-
thetics; Matt Dillon never identifies and dis-
cusses the breed of his horse before he rides
off on it.
III. Keep in mind that science fiction is not a separate
field of literature with rules of its own, but,
indeed, needs the same ingredients as any story
-- including a jeopardy of some type to someone
we learn to care about, climactic build, sound
motivitation, you know the list.
IV. Then, with that firm foundation established, inter-
weave in it any statement to be made about man,
society and so on. Yes, we want you to have some-
thing to say, but say it entertainingly as you do
on any other show. We don't need essays, how-
ever brilliant.
V. Remember always that STAR TREK is never fantasy;
whatever happens, no matter how unusual or bizarre,
must have some basis in either fact or theory and
stay true to that premise (don't give the enemy
Starflight capability and then have them engage
our vessel with grappling hooks and drawn swords.)
VI. Don't try to tell a story about whole civilizations .
We've never yet been able to get a usable story
from a writer who began... "I see the strange
civilization which...".
VII. Stop worrying about not being a scientist. How
many cowboys, police officers and doctors wrote
westerns, detective and hospital shows?
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6.
THE STAR TREK SCRIPT FORMAT.
THE TEASER
We open with action, always establishing a strong
jeopardy, need, or other “hook". It is not
necessary to establish all the back story in the
teaser. Instead, we tantalize the audience with
a promise of excitement to come. For example,
it can be as simple as everyone tense on the
bridge, hunting down a marauding enemy ship...
then a tale-telling blip is sighted on the screen.
and the Captain orders “ALL HANDS TO BATTLE STATIONS."
Fade out, that's enough.
THE ACTS
Four acts in length. Act One usually begins with
Captain's VOICE OVER, Captain Kirk dictating his
log. Necessary back story should be laid in here,
not in the teaser. The Captain's log should be
succinct and crisp... in ship commander "log"
language.
Opening Act One, we need some form of orbit,
establishing or other silent shot to give us time
for both Captain's log and opening credits.
We must have a strong ending to Act Two, something
that will keep the audience tuned to our channel.
STYLE
We maintain a fast pace ... avoid long philosophical
exchanges or tedious explanations of equipment.
And note that our cutting technique is to use the
shortest possible time between idea and execution
of it .., like, for instance, Kirk decides that a
landing party will transport down to a planet ...
HARD CUT to lights blinking on the Transporter
console, PULL BACK to REVEAL the landing party
stepping into the Transporter.
PAGE COUNT
First drafts can run up to 70 pages, if you
intend to trim and tighten later. But for
final polished draft absolutely no more than
65 pages, please.
ANOTHER PLEASE
Cast and set lists with your draft. Thank you.
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7.
THE U.S.S. ENTERPRISE
THE VESSEL
The U.S.S. Enterprise is a spaceship, official
designation "starship class"; somewhat larger
than a present-day naval cruiser, it is the
largest and most modern type vessel in the
Starfleet Service. It has a crew of 430 persons,
approximately one-third of then female.
The purpose of the U.S.S. Enterprise is to give
our audience a "home base", a familiar and com-
fortable counterpoint to the bizarre and unusual
things and places we see during our episodes.
Where possible we try to emphasize and play to
the size, complexity, and varied functions of
the Enterprise. This does not mean you must
always use the Enterprise or start every story
there.
The "Saucer Section" of the vessel (at the top
of which is cur command bridge) is eleven decks
thick at the middle. The Engineering Section
(to which the two engine nacelles are attached)
is equally large and complex, contains at the
rear a hangar deck large enough to hangar a
whole fleet of today's jet liners. Turbo
elevators, which can run both vertically and
horizontally, interconnect every deck and
compartment of this huge vessel.
Included in addition to our bridge, sickbay,
Captain's cabin and other familiar standing
sets, are the widest possible variety of labs
and technical departments, computer rooms,
storage facilities, passenger accommodations,
and cargo facilities.
THE CREW
International in origin, completely multi-racial.
But even in this future century we will see some
traditional trappings, ornaments, and styles
that suggest the Asiatic, the Arabic, the Latin
etc. So far, Mister Spook has been our only
crew-man with blood lines from another planet.
However, it is not impossible that we might
discover some other aliens or part aliens
working aboard our Starship.
We like ways of using the crewmen (extras as well
as actors) to help suggest the enormous diversity
of our vessel. For example, playing a scene in
leisure attire as our people pass in sports gear
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8.
THE CREW (CONTINUED)
obviously going to or coming from a gymnasium,
or such. Life aboard the Enterprise (believably
again, as in a present-day naval cruiser) is not
all hard work and stern devotion to duty.
SHIP'S POWER
The Enterprise engines (the two outboard
nacelles) use matter and anti-matter for
propulsion, the annihilation of dual matter
creating the fantastic power required to warp
space and exceed the speed of light.
The Enterprise has a secondary propulsion
system. These are impulse power engines
(same principle as rocket power), located
at the rear of the "saucer section". Vessel
speed, when using the impulse engine is, of
course, less than the speed of light. In
case of total failure of all engine power
sources, the vessel's gravitational and life
support systems can be switched to battery
power, with a full-load capacity of about
one week.
Hyper-light speeds or space warp speeds (the
latter is the terminology we prefer) are
measured in WARP FACTORS. Warp factor one is
the speed of light -- 186,000 miles per second
(or somewhat over six hundred million miles per
hour.) Note: warp factors two, three and four
and so on are based upon a geometrical formula
of light velocity. Warp factor two is actually
eight times the speed of light; warp factor
three is twenty-four times the speed of light;
warp factor four is sixty-four times the speed
of light, and so on.
Maximum safe speed is warp six. At warp eight
the vessel begins to show considerable strain.
We have established in preceding episodes that
warp seven or eight are used only in emergencies,
in hot pursuit and so on, and can be highly
dangerous.
SHIP'S WEAPONRY
The main weaponry of the U.S.S. Enterprise is its
banks of "ship's phasers", which are artillery-
sized versions of the hand phaser and phaser pistol.
From the Bridge, phaser power can be aimed in any
direction and our Optical Effect here is "blips"
or "squirts" of blue phaser fire, which are emitted
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9.
SHIP'S WEAPONRY (CONTINUED)
from the top or bottom of the saucer section of the
vessel. These can act directly against target very
much as hand phaser fire, but on a much larger scale.
Phaser fire can also be set for proximity explosion
and act somewhat like "depth charges".
The Helmsman, Mr. Sulu, acts as weapons officer,
under the Captain's direction, he coordinates the
fire from the phaser rooms, using the vessel's
navigational aids to lock the phasers on target
and, on the Captain's order, engaging the circuits
which fire these weapons.
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10.
CAPTAIN JAMES T. KIRK
Played by William Shatner, Kirk is about thirty-four, an
Academy graduate, rank of Starship Captain. A shorthand
sketch of him might be "A space-age Captain Horatio Hornblower",
constantly on trial with himself, a strong, complex personality.
With the Starship out of communication with Earth and Starfleet
bases for long periods of time, a Starship captain has unusually
broad powers over both the lives and welfare of his crew, as
well as over Earth people and activities encountered during
these voyages. He also has broad power as an Earth Ambassador
to alien societies in his galaxy sector or on new worlds he
may discover. Kirk feels these responsibilities strongly
and is fully capable of letting the worry and frustration
lead him into error.
He is also capable of fatigue and inclined to push himself
beyond human limits then condemn himself because he is not
superhuman. The crew respects him, some almost to the point
of adoration. At the same time, no senior officer aboard is
fearful of using his own intelligence in questioning Kirk's
orders and can themselves be strongly articulate up to the
point where Kirk signifies his decision has been made.
Important -- Although Kirk will often solicit information
and estimates from Spock, never does the first officer act
as Kirk's "brain". Our Captain is a veteran of hundreds of
planet landings and space emergencies. He has a broad and
highly mature perspective on command, fellow crewmen, and
even on alien life customs, however strange or repugnant
they seem when measured against Earth standards.
On the other hand, don't play Kirk like the captain of an
1812 frigate in which nothing or no one moves without his
command. Speck, McCoy, Scotty, Sulu and Uhura are a trained
team and are well able to anticipate information and actions
Kirk needs .
Aboard ship, Captain Kirk has only a few opportunities for
anything approaching friendship. One exception is Mister
Spock, a strange friendship based upon logic, high mutual
respect and Spock's strong Vulcan loyalty to a commander.
Another is with ship's surgeon, Dr. McCoy, who has a
legitimate professional need to constantly be aware of the
state of the Captain's mind and emotions. But on a "shore
leave", away from the confines of self-imposed discipline,
Jim Kirk is likely to play pretty hard, almost compulsively
so. It is not impossible he will let this drag him at one
time or another into an unwise romantic liaison which he
will have great difficulty disentangling. He is, in short,
a strong man forced by the requirements of his ship and
career into the often lonely role of command, even lonelier
because Starship command is the most difficult and demanding
task of his century.
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11.
MISTER SPOCK
Played by Leonard Nimoy. This is the ship's Science Officer,
in charge of all scientific departments aboard. As such, he
is the ship's Number Two ranking officer and now holds the
rank of Commander.
His bridge position is at the library-computer station which
links the bridge to the vessel's intricate "brain", a highly
sophisticated and advanced computer which interconnects all
stations of the ship. From his central panel Spock can tap
resources of the entire computer system -- including a vast
micro-record library on man's history, arts, sciences,
philosophy, plus all known information on other solar systems,
Earth colonies, alien civilizations, a registry of all space
vessels in existence, personnel information on any member of
the U.S.S. Enterprise, or almost anything else needed in any
of our stories.
In addition, all of the ship's various types of "sensor
systems" (never identified except as "sensors") feed into
Spock's hooded viewer and he can read from it almost any
type of information necessary to a story. He is an expert
on Earth history, even more so than the humans aboard.
Mister Spcck's mother was human, his father a native of the
planet Vulcan. This alien-human combination results in
Mister Spcck's slightly alien features with the yellowish
complexion and satanic pointed ears. Thus he is biolcgically,
emotionally, and even intellectually a "half-breed". He is
considerably stronger than his human crewmen, he can endure
lack of water and higher temperatures for a longer period.
His hearing is particularly keen. He also has a strange
Vulcan "ESP" ability to merge his mind with another intel-
ligence, read the thoughts there. He dislikes doing so since
it deprives him of his proud stoic mannerisms and reveals too
much of his inner self. Also, the physical and emotional
cost of this is quite high.
We now realize that Spock is capable of feeling emotion, but
he denies this at every opportunity. On his own planet, to
show emotion is considered the grossest of sins. He makes
every effort to hide what he ccnsiders the "weakness" of his
half-human heredity.
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12.
DR. LEONARD "BONES" MCCOY
Played by Deforest Kelley, Dr. McCoy is Senior Ship's Surgeon
of the U.S.S. Enterprise, head of the Medical Department. As
such he has medical responsibilities for the health and physical
welfare of the crew of the Enterprise and broad medical science
responsibilities in areas of space exploration.
As Senior Ship's Surgeon, "Bones" McCoy is the one man who can
approach Captain Kirk on the most intimate personal levels re-
lating to the Captain's physical, mental and emotional well
being. Indeed, he has the absolute duty to constantly keen
abreast of the Captain's condition and speak out openly to
Kirk on this matter. McCoy is portrayed as something of a
future-day H. L. Mencken, a very, very outspoken character,
with more than a little cynical bite in his attitudes and
observations on life. He has an acid wit which results in
sometimes shocking statements -- statements which, under close
scrutiny, carry more than a grain of truth about medicine,
man and society.
Of all the men aboard our starship, McCoy is the least military.
He is filled with idiosyncracies which fit the character and are
his trademark. For example, he loathes the Transporter System
of "beaming" personnel from the ship to planet surfaces and
loudly proclaims that he does not care to have his molecules
scrambled and beamed around as if he were a radio message.
McCoy is highly practical in the old "general practitioner"
sense, rates pills except when they are vitally needed, is
not above believing that a little suffering is good for the
soul and the maturity of the individual. He has a great fear
that perfect medicine, psychotherapy and computers may rob
mankind of his individuality and his divine right to wrestle
a bit with life. He's a superb physician and surgeon -- often
seems to be treating the wrong ailment -- but usually is
proven right in the end.
Dr. McCoy is 45 years of age, was married once ... something of
a mystery that ended unhappily in a divorce. He has a daughter,
"Joanna", who is 20 and in training as a nurse somewhere.
McCoy has provided for her, hears from her as often as inter-
galactic mail permits, but his duty aboard the starship keeps
them apart. We will suspect that it was the bitterness of this
marriage and divorce which turned McCoy to the Space Service.
He was born in Georgia in the United States and can be something
of the gallant Southern Gentle-an in social life, particularly
with females. When the moment is right, a trace of his Southern
accent will be heard.
There is something of a "feud" between Dr. "Bones" McCoy and
Mister Spock. The Doctor, like most cynics, is at heart a
bleeding humanist. Spock appears to regard McCoy as an archaic,
bumbling country doctor, usually achieving cures through luck.
On the other hand, McCoy likes to regard Spock as little more
than a sometimes useful piece of computer equipment. But,
while disagreeing constantly, they do work well together when
it becomes necessary and we're never but that there could be
some affection hidden behind their constant battles.
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13.
OTHER RUNNING CHARACTERS
SULU -- Ship's Helmsman, played by actor George Takei. Mixed
oriental in ancestry, Japanese predominating, Sulu is contemp-
orary American in speech and manner. In fact, his attitude
toward Asians is that they seem to him rather "inscrutable".
Sulu fancies himself more of an old-world "D'Artangnan" than
anything else. He is a compulsive hobbyist; one week may be
fascinated by botany with the intention of that becoming his
lifelong avocation, then another week we'll find he has switched
to a determination of acquiring a galaxy-famous collection of
alien firearms. And like all “collectors", he is forever giving
his friends a thousand reasons why they, too should take on the
same hobby.
Although these bursts of enthusiasm make him something of a
chatterbox, Sulu is a top Officer and one of the most proficient
Helmsman in the Starfleet Service. When the chips are down,
he immediately becomes another character, a terse professional,
whose every word and deed relate solely to the vessel and its
safety. This pleasant and effective "dual personality" results
in an Officer of rare equanimity, one whose personal life
never intrudes on his job. He has never had to receive the
same order from Kirk twice.
ENGINEERING OFFICER SCOTT --- Montgomery Scott, rank of Lt.
Commander, Senior Engineering Officer on the U.S.S. Enterprise.
Portrayed by James Doohan, he is known to most as "Scotty”,
and with an accent that drips of heather and the Highlands.
Scotty came up through the ranks and his practical education is
as broad as his formal training in Engineering. He has rare
mechanical capacity, many claim he can put an engine together
with baling wire and glue . .. and make it run. He regards the
U.S.S. Enterprise as his personal vessel and the Engineering
Section as his private world where even Captain James Kirk
is merely a privileged trespasser.
Engineering and spaceships are his life. His idea of a pleasant
afternoon is tinkering in any Engineering Section of the
vessel; he is totally unable to understand why any sane man
would spend reading time on anything but technical manuals.
He is strong minded, strong willed, and not incapable of
telling off even a Starfleet Captain who intrudes into what
Scotty regards as his own private province and area of
responsibilities.
Kirk understands his Engineering Officer's fierce love of his
vessel and his engines, will take more “guff" off this Officer
than almost any other aboard the ship. Regarding him, Kirk
has one rule: "If it doesn't run, take it to Scotty. If he
can't fix it, it's irrepairable."
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14.
LIEUTENANT UHURA--- Communications Officer, played by
attractive young actress Nichelle Nichols. Uhura was born
in the United States of Africa. Quick and intelligent, she
is a highly efficient officer and expert in all ships systems
relating to communications. Uhura is also a warm, highly
female female off duty. She is something of a favorite in
the Recreation Room during off duty hours, too, because she
sings -- old ballads as well as the newer space ballads --
and she can do an impersonation at the drop of a communicator.
YEOMAN --- Played by a succession of young actresses, always
lovely. One such character has been well established in the
first year, "YEOMAN JANICE RAND", played by the lovely Grace
Lee Whitney. Whether Yeoman Rand or a new character provided
by the writer, this female Yeoman serves Kirk as his combination
Executive Secretary-Valet-Military Aide. As such, she is always
capable, a highly professional career girl. As with all female
Crewman aboard, during duty hours she is treated co-equal with
males of the same rank, and the same level of efficient per-
formance is expected. The Yeoman often carries a small over-
the-shoulder case, a TRICORDER, about the size of a small
handbag, which is also an electronic recorder-camera-sensor
combination, immediately available to the Captain should he
be away from his Command Console.
NURSE CHRISTINE CHAPEL --- Introduced in an early episode and
returning on several other occasions, Nurse Chapel is played
by Majel Barrett. She is Dr. McCoy’s Head Nurse, a skilled
Surgical Assistant, as near to a professional confidant as
the irascible "Bones" McCoy is likely to have. That relation-
ship never transgresses onto the perscnal and an unspoken
bond is that fact that she, too, is in a Starfleet Service
because of a tragic romance. Although she herself holds
several university degrees in Research Medicine, she has
found a measure of contentment in this life as a Starfleet
Nurse and wanderer.
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15.
STANDING SETS
Herewith a list of existing and projected U.S.S. Enterprise
sets.
INT. BRIDGE -
a circular, platformed set where Captain Kirk
presides over the whole ship's complex. Access
is achieved to this set by means of a turbo-
lift elevator which opens directly into the set.
Kirk sits in his command chair in the inner,
lower elevation facing the large Bridge Viewing
Screen. Directly in front of him, also facing
the Screen, sit the Navigator and the Helmsman
at their individual console. In the outer
circular elevation of the set are various
positions for Communications Officer and
various Technician Crewmen and other ship's
officers. Mister Spcck, our Science Officer,
presides over a console which is known as the
“Library-Computer Station".
INT. ELEVATOR -
All through the ship are turbo-lifts which
can be programmed for lateral and/or vertical
movement. One can reach most any section
aboard by activating its control vocally.
INT. SHIP'S CORRIDORS -
Curved corridors with various inter-connecting
sub-corridors. Various doors and hatches open
upon a variety of areas within the Enterprise
proper. We play these as existing on the
different decks and levels of the ship and,
of course, all have connecting turbo-elevators.
INT. TRANSPORTER ROOM -
We assume there are various Transporter Rooms
through the vessel. The one we use has access
from a corridor. Within, there is a console,
free-standing, which is controlled by the
Transporter Officer and a Technician. They,
in concert or singly, can transport up to
six people at a time and, of course, the
return of said people. At certain times,
objects out in space which are in close
proximity can be brought aboard also, providing
their mass and size are not too great. At
one end of this set is the Transporter Chamber
itself. It is a circular platform with several
steps leading up to its six positions. Each
person to be transported stands upon one of six
light panels. There is a light panel above each
position also. Within this chamber, people are
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16.
INT. TRANSPORTER ROOM (CONTINUED)
made to disappear and appear optically as they
are "beamed" to and from vessels or planet
surface.
INT. SICKBAY AND DOCTOR'S OFFICE -
A three-room complex. The Doctor's office
has direct access to a ship's corridor. There
is access from his office to an examining room,
also a Sickbay proper. Access to the Sickbay
proper can also be made directly from the
corridor. Within the Sickbay, there are
built-in bed positions with a complete
diagnostic panel above each. This medical
device scans the patient continually, takes
readings and registers same upon the diagnostic
panel instrument face. Thus, blood pressure,
pulse rate, heartbeat, respirations and various
other readings are continuously recorded and
displayed for each patient without the necessity
of physical contact between doctor and patient.
INT. ENGINEERING DECK -
A section of the ship's innards, wherein we
find the basic components of the ship's motive
force and energy. This is a large set, the
main province of the Engineering Officer (Scott).
Access to the main feed of the starship's
circuitry is available here.
INT. BRIEFING ROOM -
A large set where Kirk and Spock can convene
all Department Heads aboard for briefings,
discussions and staff meetings. A large table
with sufficient chair positions. There is a
Viewing Screen device on the table. This set
can double as a Wardroom. Access directly into
a main ship's corridor.
INT. RECREATION ROOM
A redress of other sets to give us a variety
of mess and recreation facilities. In these,
crew members can relax and enjoy their leisure
time. Various games such as three-dimensional
chess can be played here.
______________________________________________________________________
17.
CAPTAIN’S QUARTERS -
Captain Kirk has a two-room complex. One
room contains his working area when he is
away from the bridge. There is access from
this room to the next room where his sleeping
quarters are. There is direct access to the
ship's corridor from either room. There are
viewing and communications devices here as in
most major sets.
INT. MR. SPOCK'S CABIN -
A redress of Captain Kirk's cabin. It will,
of course, be distinctly "Spockian" in nature
and suggest something of his homeland.
INT. PASSENGER QUARTERS -
Again, a redress of Captain Kirk's quarters
unless a larger area is required, at which
time it will be constructed cut of a redress
of briefing room.
INT. SHIP'S CHAPEL -
Redress of Transporter Rocm.
INT. DINING ROOM -
Redress of other sets as required.
INT. GYMNASIUM -
A rederess of another set. It is sufficiently
sized to allow various forms of physical exercise
and limited area sports, such as wrestling,
fencing, etc.
EXT. SHUTTLECRAFT -
Full-sized mockup of' a six or seven passenger
ship which can be sent out on intra-solar system
missions. This craft can be duplicated in
miniature.
INT. SHUTTLECRAFT -
Full-sized interior mockup of above craft.
_________________________________________________________________
18.
INT. HANGER DECK -
A miniature set, optically created to be a
"huge football field" size area where our
shuttlecraft or crafts are stored. It is at
the rear of the thick cigar-shaped "engineering
section" of our vessel and on the scale model
is visible the huge hangar doors which roll open
when a shuttlecraft departs from or returns to
our vessel. Caution -- miniature and optical
work like this is expensive and must be a vital
element in the story when used.
OTHERS -
Obviously various stories may require specialized
"one time” sets. Past examples of this have been
a botany section, a computer bank area, an obser-
vation deck (with stars visible through a window)
and so on. Again, completely new and unusual
sets are costly and should be vital in the story
if used. If planet sets and interiors are
required, then new ship sets should be minimized--
the writer must use experience and common sense
in keeping construction costs within a normal
television budget.
________________________________________________________________________
19.
IMPORTANT EQUIPMENT AND TERMINOLOGY
TRICORDER
A portable sensor-computer-recorder, about the size of a
large rectangular handbag, carried by an over-shoulder
strap. A remarkable miniaturized device, it can be used
to analyze and keep records of almost any type of data
on planet surfaces, plus sensing or identifying various
objects. It can also give the age of an artifact, the
composition of alien life and so on. The tricorder can
be carried by Uhura (as Communications Officer she often
maintains records of what is going on), by the female
yeoman in a story, or by Mr. Spock, of course, as a
portable scientific tool. It can also be identified
as a “medical tricorder" and carried by Dr. McCoy.
THE PHASERS
Hand weapons. At present we have two phasers, (1) the
"hand phaser", which is hardly much larger than a king-
sized package of cigarettes and (2) the "phaser pistol",
which consists of the hand phaser snapped into a pistol
mount, the handle of which is a power-pack, which greatly
increases the range and power of the weapon.
The reason for two phasers -- in some instances, such as
friendly calls and diplomatic missions, our landing party
would not want to beam, down to a planet with the larger
phaser pistols hanging from their belts. The hand praser
(along with the communicator) is worn on a belt hidden
under the shirt. At other times, the story does require
that the landing party be conspicuously armed and the
larger phaser pistol hanging visible from a weapons belt
fulfills that requirement.
A "phaser rifle" is presently being designed. It will
consist of the phaser pistol adapted into a rifle mount,
thus having even greater range and power.
Both the hand phaser and the phaser pistol have a variety
of settings. The ones most often used are "stun effect",
which can knock a man down and render him unconscious
without harming him, and "full effect", which can actually
cause an object to dematerialize and disappear. The phaser
is also capable of being set to cause an object to explode,
or to burn a clean hole through an object. In some stories
we have used the phaser as a tool, such as a cutting torch.
Phasers can also be set to "overload", resulting in a
power build-up and explosion which destroys the phaser
and anything in close proximity.
_________________________________________________________________________
20.
COMMUNICATORS
A portable "intercom", about the size of the hand phasers.
Not generally used aboard vessel, since there are
communications panels strategically located everywhere
on the ship. The principal use of the communicator is
between elements of a landing party on a planet surface,
or from them to the U.S.S. Enterprise in orbit. The
communicator, activated by lifting the antenna-grid,
also pinpoints that person's position on the planet
surface, so that the Transporter Crew aboard the vessel
can beam that person or the entire landing party up
aboard the vessel.
TRANSPORTERS
As discussed and described earlier, it is essentially a
device which "beams" crew or cargo to and from planet
surfaces and/or other space vessels. It converts matter
temporarily into energy, beaming that energy to a fixed
point, then re-converting it back into its original
matter structure. Its range is limited to about 16, 000
miles .
VIEWING SCREENS
The most important of these is the Bridge Viewing Screen.
This is not a window; it is an electronic viewing screen
which can be pointed outside in any direction and with
various magnifications. Most often it is aimed in the
direction of ship's travel and shows the stars passing as
we make our way through space.
In addition, intercom viewing screens connect most areas
of the vessel. For example, Kirk in his cabin can call
Sulu or Spock on the bridge, see them and be seen through
his intercom viewing screen. Or think of it as simply
a video-telephone hook-up such as a project alreaty
being planned today.
There is also a rectangular screen over Mister Spock's
Library Computer Station, on which can be flashed
visual information from the ships record tapes.
SENSORS
One of our most useful devices. "Sensor" is our generic
term for any equipment aboard the U.S.S. Enterprise
capable of “sensing” or "reading" almost any kind of
information needed in our stories. This can include
composition of an object met, in space, its dimensions,
if a vessel, the presence and number of human or alien
life aboard, the geclogical age of a meteoroid, almost
anything. Mr. Spock is generally in charge of the
ship's sensors and takes most of these readings from
his hooded screen at his Library-Computer Station.
________________________________________________________________________
21.
SENSORS (CONTINUED)
The tricorder includes small sensors for use on a
planet surface. And there are specialized navigational
sensors used by the men at the helm, medical sensors
used in sickbay, and so on. Never try to explain or
describe the sensors, simply use them they're real
because they are there and they work.
DEFLECTORS
The primary "defensive shield" of the U.S.S. Enterprise.
It is, in effect, an invisible force barrier around the
Enterprise which protects the vessel from anything but
the most sophisticated and powerful weapons. It is
automatically activated by the ship's sensors when an
unknown danger approaches. Note: The ship's Transporter
cannot be used while the deflector screen is operating.
If the vessel should be under attack, the power of the
deflector shield can be considerably increased, but at
a commensurate loss in ship's power and at maximum
shielding can only be maintained for a limited time.
The ship also has "navigational deflector beams" which,
guided by "navigational scanners", sweep out far ahead
of the vessel's path through space, deflecting from the
ship's course meteoroids, asteroids, or space debris
and ether objects which would cause damage should the
vessel strike them at this enormous speed. These are
all fully automated, operated by the vessel's computers.
TRACTOR BEAM
Something of the reverse of the deflector, i.e., a beam
that grabs and pulls rather than deflecting and pushing
something away. This beam has a maximum range of about
100,000 miles. It can be used to hold a firm position
alongside another vessel, pull a smaller vessel toward
the Enterprise or tow another ship cut of danger. Also,
the vessel's tractor beam can pull small space objects
within transporter range, whereupon they can be beamed
aboard into the Transporter Room. In short, the
"grappling hook" and the “towing line" of our future century.
COMPUTER
The logical scientific extension of a somewhat bulky and
limited computer of our own 20th century. Deep in the
heart of the vessel are rows upon rows of "computer
banks", in effect a giant electronic brain which runs
our vessel, setting course on command, automatically
maintaining it, operated the "life-support systems" which
include atmosphere and gravity, warn and take action
against unexpected dangers and so on.
_____________________________________________________________________
22.
COMPUTER (CONTINUED)
Also, the computer banks of the U.S.S. Enterprise literally
hold the entire body of recorded knowledge of the human
race. The ship's computers can be connected into any
intercom station or viewing screen and will (verbally or
visually) analyze practically any known information in a
matter of seconds. However, Mr. Spock's bridge position
connects most directly and completely with the ship's
computers.
COMPUTER VOICE
When an intercom station on the ship is connected into
the computer banks for a question, the answer is given
in our COMPUTER VOICE. This mechanical voice comes directly
from the vessel's "electronic brain" and deals only in
fact -- if an ambiguous question is asked, this voice
will so inform the questioner. It can be a disconcerting
experience for some, as it will also reject lies,
misinformation and so on. It has, for example, been
used in courtsmartial and other forms of trials, the
COMPUTER VOICE sometimes interrupting the proceedings in
order to correct a witness who has given wrong age,
erroneous birthplace, or any false statement of library-
record fact.
BEARINGS AND HEADINGS
Obviously space knows no north or south; directions are in
three planes rather than two. Our system for giving a
heading, bearing or direction is, for example: "unidentified
object ahead on a bearing of 37 Mark 211". Or the command:
"Turn to a heading of 112 Mark 14".
MEASUREMENTS
We use the metric system for most close and small measure-
ments, such as distance of another vessel lying alongside,
its size, etc. For long measurements, such as distance
between stars, we use light year measurements. For
example, the closest star to Earth is Proxima Centauri,
which is 4.2 light years away. Other stars in our
galaxy are hundreds or thousands of light years away.
NOTE: THE WRITER NEED NOT TROUBLE HIMSELF WITH COMPUTING
OR STUDYING SUCH TERMS– WE HAVE EXCELLENT TECHNICAL
ADVISORS WHO REVIEW ALL SCRIPTS.
For those who are interested, the term PARSEC is also used
in measuring vast distances -- Parsec is 3.26 light years,
or 19.2 trillion miles -- 206,265 times the radius of the
Earth's orbit. (Parallax of one second) .
______________________________________________________________________________
23.
MEASUREMENTS (CONTINUED)
However , the writer should keep in mind that the audience
often needs more understandable measurements and we often
vary the above statements such as: "That alien ship is
more than a mile in diameter!" Or, "That ship is a million
miles away and we're still being probed by its sensors!"
Generally, we use the more precise scientific measuring
terms in giving and answering bridge commands, go to the
less scientific, but more understandable, "audience termin-
ology" in exclamations and in private conversations.
Present-day example -- the weaponry control officers of a
modern-day naval vessel will always be very precise in
giving aiming orders, but might remark conversationally to
the man next to him, "They're still a mile out of range."
CAPTAIN’S LOG
The Captain's VOICE OVER, a portion of his dictated log
which we hear over establishing, silent scenes. We need not
see him dictating it, can assume we are hearing portions of
a record dictated later. VOICE OVER is rarely used in the
TEASER, since it tends to slow down the action there. How-
ever, it is almost always used at the beginning of ACT I,
recapping and explaining the back story and situation to
that point. At the writer's discretion., it can open either
acts or can be used as a "bridge" within acts, explaining
in terse, log--like fashion things which might otherwise
require many slow pages in diallogue between characters.
Most generally, it tells us where we are and what has been
going on, and sometimes it suggests the Captain's stream cf
consciousness, any fears or doubts he may have at the
moment. Keep in mind VOICE OVER itself can become tedious;
keep it as short and as much to the point as possible.
SUBSPACE RADIO
Lieutenant Uhura, Communication’s Officer, sits at this
control station. We use the term "subspace" since it is
necessary that communications from the Enterprise to its bases
are a “space warp" effect which travels at speeds far
exceeding even that of the Enterprise. If we did not have
such "subspace" or "space warp" communications, obviously
the Enterprise could warp off to a base and return faster
than a message could be sent there.
_____________________________________________________________________
24.
STARBASE
From past stories we can assume there are seventeen Star-
fleet Command Centers strategically located throughout our
galaxy. Their Commanding Officer usually has the rank of
“Commodore." These bases provide repair, supply, re-
placement of personnel and so on. They can also be used
for shore leave. The STAR TREK FORMAT is to use Starbases
with Starbase Commanders only when vital to a story, pre-
ferring to keep Kirk and the Enterprise far away and out
of touch, so that the dramatic decisions are Kirk’s. When
necessary, we can establish our distance from a Starfleet
Base is such that it takes hours or even many days for
subspace radio messages to be exchanged.
STARFLEET AND STARFLEET COMMAND
Naturally, there is a headquarters somewhere, general orders
and a whole command hierarchy. Again, we try to stay away
from it as much as possible. The galaxy is incredibly vast,
the problems out there are complex, and a Starship must
necessarily operate as a semi-autonomous unit. Most of our
best drama comes out of Kirk's lonely decisions. Stay away
from petty military politics ... it usually comes off as
unbelievable in our advanced century. Also, keep clear of
“space fleet maneuvers," "government yachts," and similar
Buck Rogers concepts.
GENERAL ORDER NUMBER ONE
The only Starfleet Order that concerns us in most stories.
It is a wise but often troublesome rule which prohibits
Starship interference with the normal development of alien
life and alien societies. It can be disregarded when ab-
solutely vital to the interests of the entire Earth Federa-
tion, but the Captain who does violate it had better be
ready to present a sound defense of his actions.
ORBIT
The Enterprise usually takes up what we term "standard
orbit" around a planet. Depending on a number of conditions
or needs, this distance can be from one to seven thousand
miles high. Our vessel was constructed in space and has
never felt the solidity of the surface of a planet. In
other words, it doesn't land, it stays in orbit.
CLOTHING AND RELATED GEAR
Except in exceptional circumstances necessary to a story,
our crew is always dressed in "standard uniform" or "dress
uniform." Unless an important story point, let us provide
“fatigues" and leisure wear as our budget permits.
_________________________________________________________________
25.
CLOTHING AND RELATED GEAR (CONTINUED)
Never have members of the crew putting things into pockets;
there are no pockets. When equipment is needed, it is
attached to special belts (as in the case of the communica-
tor and phaser).
We do not have space suits available or other forms of
environmental suits for hostile planet surfaces. These may
be obtained for special scripts but keep in mind that
we generally restrict our missions to "Class M" planets
(approximating Earth conditions).
STARDATE
We invented "Stardate" to avoid continually mentioning
Star Trek's century (actually, about two hundred years
from now), and getting into arguments about whether this
or that would have developed by then. Pick any combination
of four numbers plus a percentage point, use it as your
story's stardate. For example, 1313.5 is twelve o'clock
noon of one day and 1314.5 would be noon of the next day.
Each percentage point is roughly equivalent to one-tenth
of one day. The progression of stardates in your script
should remain constant but don't worry about whether or
not there is a progression from other scripts. Stardates
are a mathematical formula which varies depending on
location in the galaxy, velocity of travel, and other
factors, can vary widely from episode to episode.
LIGHT SPEED
186,000 miles per second, or approximately 670,000,000
miles per hour. A "light year" is the distance which would
be traveled in one year at that speed -- or approximately
5,800,000,000,000 miles.
SOLAR SYSTEM
A star (such as our sun) which includes a planet or planets
circling that star. In turn, these planets may have
satellite bodies circling them, known as "moons." ASTEROIDS
often circle suns, too, or can be found in deep space, and
might be generally described as "solar debris" left over
in the forming and/or destruction of celestial bodies.
GALAXY
Most simply stated, this is a cluster of billions of bil-
lions of solar systems, such as described above. Our
galaxy, the one which includes Earth, is a saucer-shaped
“star cluster" (we are seeing a part of it when we look at
the "milky way") and is approximately 100,000 light years
in diameter and 12,000 light years in depth at the center.
___________________________________________________________________
26.
GALAXY (CONTINUED)
Thus, to patrol only a small part of this gigantic cluster
of matter, our starship must be capable of traveling
hundreds of times the speed of light. Our galaxy has not
yet been fully explored by the Federation's starships
there are still vast unknown areas even in the sector
assigned to the U.S.S. Enterprise.
NOTE: Our starship will never leave our galaxy -- by
conservative scientific estimate, its uncounted millions of
suns and planets include at least several billion planets
quite like Earth -- more than enough adventures for even
an unusually long television run.
THE UNIVERSE
We won't pretend to be able to describe this, but, limiting
ourselves to the same kind of general explanation above, it
is made up of untold billions of billions of galaxies. If
the imagination is staggered by the distances between the
stars of our own galaxy, then the empty space between the
galaxies is almost incomprehensible. For this reason alone
our starship never visits other galaxies -- at even the
maximum warp speed of our vessel, it would take thousands
of years to even approach near our nearest galaxy neighbcr.
HUMAN
This term or the term "humanity" are used only when refer-
ring to man. It includes, of course, any of mankind's
descendants which may have colonized other planets. An
alien, which looks human, is generally referred to as a
"humanoid biped" or some similar descriptive term.
Vulcans are, for example, humanoid bipeds.
_________________________________________________________________
27.
SOME QUESTIONS AND ANSWERS
The mission of the U.S.S. Enterprise? Isn't it something like
that of, say, English warships at the turn of' the century?
Very close. As you recall, in those days vessels of the
major powers were assigned to sectors of various oceans,
where they represented their government there. Out of
contact with the Admiralty for long periods, the captains
of such vessels had broad discretionary powers in regulating
trade, bush wars, putting down slavery, assisting scientific
investigations and geological surveys, even to becoming
involved in relatively minor items like searching for a lost
explorer or school mistress.
Do the science fiction pros have any helpful hints for us?
Yes. Beware getting too wrapped up in The Wonder Of It All.
The quality of an sf tale is usually inversely proportional
to the pretensions a writer brings to it.
Is the starship U.S.S. Enterprise a military vessel?
Yes, but only semi-military in practice -- omitting features
which are heavily authoritarian. For example, we are not
aware of "officers" and "enlisted men" categories. And we
avoid saluting and other annoying medieval leftovers. On
the other hand, we do keep a flavor of Naval usage and
terminology to help encourage believability and identifica-
tion by the audience. After all, our own Navy today still
retains remnants of tradition known to Nelson and Drake.
I'm still confused about Earth of the STAR TREK century. You
said to make logical projections into the future, then turned
down my story.
Because the basis of it was an automated, regimented, in-
human Earth Federation of the future. We must have an
optimistic projection of man and his society if we are to
approve of and identify with Captain Kirk, the crew of the
Enterprise, and their mission. However, Earth colonies,
parallel civilizations, and alien cultures, can present any
range of problems leading to a story.
But projecting the advanced capabilities of your starship,
wouldn’t man at time have drastically altered such needs as
food, phvsical love, sleep, etc.?
Probably. But if we did it, it would be at the cost of so
dehumanizing the STAR TREK characters that only a small
fraction of the television audience would be interested, and
the great percentage of viewers might even be repulsed.
_________________________________________________________________
28.
Then must the starship crew be perfect humans?
No, you can project too optimistically. We want characters
with a reasonable mixture of strength, weaknesses, and
foibles. Again, believability is the key here. What kind
of men would logically and believably man a vessel of this
type? Obviously, they'd be better selected and trained
than the wild enlisted shore leave group in "MISTER ROBERTS."
On the other hand, they have not gotten too stuffy to enjoy
themselves and their senses on liberty in an exotic alien
city filled with unique pleasures.
But what about Earth men on other planets?
We'll find them in colonies, scientific bases, mining claims,
trading posts, diplomatic posts, and so on. These space
colonies and activities can be anything which results in an
entertaining, believable story, practical to photograph.
Don't ask us to create whole cities or alien landscapes--
we can suggest them only. However, do keep in mind the
possibility of aiming your story toward unusual local
locations.
And other civilizations?
Be creative, but practical here, too. Remember, "Class M"
planets will be often similar to many parts of Earth --
and with societies duplicating or intermixing almost any
era in man's development. Jungle backgrounds exist on back
lots, so what about primeval worlds? Or a pioneer-Indian
type culture? Lovely parkland exists locally, so do
unusual highly modern buildings, so do farms.
All right, I'll agree that with some ingenuity there may be
hundreds of' choices -- but what about the alien life on some
of these worlds?
Man-like creatures are the easiest, of course, some photos
in the casting books notwithstanding. Minor modification
of form, coloring and hair distribution can be accomplished
where necessary. But keep in mind at the same time that out
of the collected best science fiction stories of all time,
a surprising majority of them center on the more unique and
often more thrilling variations in attitudes, values,
morals, intellectual power and senses.
And I suppose, there are always stories which can be done wholly
aboard the starship?
Yes. A vessel of this size and complexity, along with a
crew of 430 contrasting individuals, would have to be a
pretty sterile place if it didn't contain many tales with
considerable entertainment value.
___________________________________________________________________
29.
Must stories always start aboard the U.S.S. Enterprise?
No. We also like stories in which we pick up our main
characters already on the surface of a planet, with the
essential elements of the story already going. Or, assum-
ing the preceding episode involved a highly interesting
planet or civilization, we may stay on that world and do
a second, or even third, new story there. This can help
a given story considerably, since it allows extra time and
money to be put into sets planned for multiple use.
I understand the concept of most landings taking place on planets
approximating Earth-Mars conditions. But will we never get to a
planet where gravity or atmosphere is a problem?
Yes, assuming the right story. Also some story will un-
doubtedly take us outside our vessel into space for repairs
or to investigate some strange object there. But generally
we will avoid space helmets and weightlessness since such
tales would more legitimately concern Earth's present era
of space travel. The aim of our format is drama and enter-
tainment based on character rather than on details of
technology and hardware.
What is Earth like in STAR TREK'S CENTURY?
For one thing, we'll never take a story back there and
therefore don't expect to get into subjects which would
create great problems, technical and otherwise. The "U.S.S."
on our ship designation stands for "United Space Ship" --
indicating (without troublesome specifics) that mankind has
found some unity on Earth, perhaps at long last even peace.
If you require a statement such as one that Earth cities of
the future are splendidly planned with fifty-mile parkland
strips around them, fine. But television today simply will
not let us get into details of Earth's politics of STAR
TREK,'S century; for example, which socio-economic system
ultimately worked out best.
I'm a little unclear about technological devices of the future.
Can we invent anything which sounds reasonable?
Simply think of something logical, with some kind of science
or projected-science basis. Generally best are projections
of things we have now or which science is beginning to
build now. For example, in the pilot we had a hospital bed
which continually monitored all the key bodily functions,
and in fact some advanced hospitals today are already doing
part of this and working on further improvements.
_____________________________________________________________________
30.
How much science fiction terminology do you want?
The less you use, the better. We limit complex terminology
as much as possible, use it only where necessary to maintain
the flavor of the show and encourage believability.
IMPORTANT: The writer must know what he means when he uses
science or projected science terminology. A scattergun
confusion of meaningless phrases only detracts from believa-
bility.
What about comedy and/or humor?
We hope STAR TREK and its characters are human enough and
varied enough to be capable of humor. We have no objection
to believable characters whose presence and attitudes create
legitimate opportunities for humor.
What about story outlines? How long? Any special format?
Most important. The STAR TREK production staff needs them
for proper pre-planning of episodes, keeping production
values high by getting multiple use of redressed sets,
effects, opticals, etc. A few suggestions:
a. Please feel free to send or bring in a rough outline
for discussion before nailing it down. We can often
save the writer a lot of unnecessary work at this
early stage.
b. To help our production people plan, please indicate in
outlines each change in set or location,
c. If in doubt about production practicality of a new
planet surface, alien life, or some kind of future
machinery, a general description or a "to be de-
cribed later" will suffice. Take advantage of cur
STAR TREK staff and the help they can give.
What have been the "big problem areas” in past story and script
submissions ?
a. Again, it has been in areas of believability. Many
otherwise good writers tend to pepper their science
fiction with "out of left field” coincidences, un-
explained and illogical actions, unmotivated character
changes, things they would never dream of perpetrating
on even a kiddies show script.
___________________________________________________________________
31.
( CONTINUED)
b. Illogical situations. For example, it is swallowing
quite a bit to believe a present day naval cruiser
like our Enterprise would be full or renegades and
mutineers. Or that our crew includes a World War II
Navy lower deck of grammar school graduate enlisted
men. We want the exotic, the inexplicable, the
terrifying -- but not in the U.S.S. Enterprise, its
organization and mission. The ship and characters
are our audience's tie to reality.
c. Intellectual rather than physical or emotional conflict.
We’ve received some interesting analyses of possible
alien civilizations, socio-economic speculation which
seemed brilliant to us. But the characters were
"sitting and talking" rather than "feeling, moving and
doing." They also fail cur "GUNSMOKE-KILDARE-NAKED CITY
Rule” -- that is, would the basic story, stripped of
science fiction aspects, make an entertaining episode
for one of those shows? Don't laugh, try it.
What about outright purchase of existing science fiction tales?
Yes. We're interested in the purchase of any sf story
which meets our needs. But to avoid duplication and con-
flict, a writing commitment should be first obtained. The
negotiations must be approved by or conducted by Desilu's
legal department.
Do you have technical advice directly available to the writer?
Yes. If you are on STAR TREK story or script assignment,
call our office and we'll put you in touch with the right
people. If you're on your own, we suggest you try to get
help through your local NASA office, a University, or from
the aero-space research and development industry.
Are you people on LSD?
We tried, but we couldn't keep it lit.