This entry is part of the Insecure Writers’ Support Group – a group of writers helping each other deal with insecurities that are part of the writing process.
A consistent problem that I’ve always had when writing is getting the rough draft of the story down on paper. I enjoy the research and world-building – for instance today I’ve been looking at animals that are able to control electricity for background to a science fiction idea. I also enjoy structuring stories – building a kind of scaffolding to outline the key events, how the characters are going to change and when the key pieces of information will be revealed to the reader. But I struggle when it comes to writing the first full version of the story.
Lately I’ve been putting a bit of thought into the role names serve in fiction, about how they give a first impression of a character, place or culture.
One of the Star Trek franchise’s major alien races are the Ferengi, who began as accidentally comical characters in The Next Generation, developing into overtly comic characters who played a major part in Deep Space Nine. I was surprised to encounter a variation of the word ‘feringhee’ several years after first hearing it in Star Trek, in George MacDonald Fraser’s Flashman, set in 19th century India. The alien species’ name came from a derogatory word used by Indians for foreigners, apparently particularly directed at white foreigners.
Production staff on the show have confirmed that this was the genesis of the word, with producer Robert Hewitt Wolfe stating that “Ferengi is, after all, the Persian word for foreigner, particularly for European.”
It’s difficult to work out the reasoning behind making this choice (particularly as not many of the target audience, in 1980s America, probably would have been aware of the meaning of the word) but it was a conscious choice to reference this meaning.
For those with only a superficial understanding of the Star Trek franchise, the first 6 films followed the original characters – Kirk, Spock, McCoy, Scotty and all. There were then 4 film starring the The Next Generation cast – Picard, Data, Worf. The 11th film, directed by JJ Abrams has a time-travel/history-changing central idea, and stars the original characters at a younger age, played by different actors.
Into Darkness is the 12th film in the Star Trek franchise overall, following directly on from the 11th.
Star Trek Into Darkness is exciting, fast-paced, filled with obvious references to previous parts of the franchise, but there were a few times that made me laugh at how little skill the material was handled with.
I didn’t find Final Frontier, a notorious mess, as bad as Into Darkness. I’m pretty certain I laughed more at The Voyage Home, but that’s actually meant to be a comedy.
I’ve been thinking about what I liked and didn’t like in each, and have come up with 4 components to doing Star Trek right. It should be
Have strong character definition and interaction
Have meaty moral or philosophical arguments
Take place in a well-structured universe with understandable scientific and political rules, even if the science differs from what we know to be true.
Most versions of Star Trek don’t meet all four – for example the first film (The Motion Picture) is incredibly slow, failing the first requirement. First Contact doesn’t have much in the way or moral arguments, and there are notorious episodes that fail all four, even from the classic series, such as Spock’s Brain, where aliens steal… Spock’s brain. Into Darkness certainly meets the first requirement – being up there with the best of Star Trek in excitement, and achieves a pass on the second requirement, even though it’s a mixed success.
The third and fourth it fails miserably.
I’ve been thinking, both while watching and reviewing the first 7 films, and after seeing Into Darkness, about what I like and dislike about Into Darkness. I’m going to put a few thoughts down.
As a warning, the following is going to be absolutely packed with spoilers for Star Trek Into Darkness. Read on at your own peril.
The new Star Trek film, JJ Abrams’ second and the twelfth overall, is now in cinemas both in America as well as the UK (and presumably in one or two other countries).
Writing for the Ann Arbor Review, I’ve looked back across all 7 previous films starring the original characters, and reviewed them collectively, giving my thoughts on how the films measure up against each other, and purely as entertainment in their own rights.
While I don’t want to spoil what I have to say, Star Trek V is a total mess.
I hadn’t realised quite how much they vary in subject matter and style, but I enjoyed going back and rewatching some films I’ve not seen for quite some time.
The following contains spoilers for The Walking Dead up until episode 2.07.
The Walking Dead has just reached it’s mid-season finale here in the UK. Like many people who want to enjoy the visceral thrills of seeing a man beat another man to a pulp while remaining in denial about the serial killer within, I’m a fan.
The adverts in the week leading up have shown bits from the upcoming episode. Where The Walking Dead is different from many other programmes, is that rather than showing action shots from a variety of scenes, that look exciting but are difficult to gain any meaning from, The Walking Dead adverts on the FX channel have been an extended scene, taken, I think, from the preview at the end of the previous episode.
Like many across the world who want to be writers but keep putting it off, I’ve been taking part in NaNoWriMo.
But rather than using the month, as intended, to get an entire novel written, I’ve used the thing for two different purposes – to get a short story written, and to get started with writing a blog.
The blog so far has been a partial success I’d say – got a fair few things down there, starting to get into a rhythm.
The short story, a science fiction story set on a space ship in the distant future (I never said it was anything profound) is something I’ve went back to on and off for a few years.
I’ve had greater problems with this. Mainly around self-consciousness – I tend to feel, when I’m writing, ‘did I do this right? Does this work?’
So I’ll obsess over whether jokes are funny, action sequences are exciting enough, and so on.