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Subject: FAQL: HOW TO SUBMIT CREATIVE MATERIAL From: Otto Heuer #3 <ottoh3@cfsmo.honeywell.com> Date: Tue, 1 Feb 1994 06:05:58 GMT Organization: mailEnteringNews @HTC To: alt.startrek.creative Posted-Date: Tue, 1 Feb 94 00: 05:58 -0600 Received-Date: Tue, 1 Feb 94 00: 05:01 CST Lines: 856 Archive-Name: faql.alt.startrek.creative.submissions HOW TO SUBMIT CREATIVE MATERIAL (last updated 20 January 1994) This posting is intended to help those that wish to submit creative material, including TNG scripts, Pocket Books novels, Art or Stories to DC Star Trek Comics, and Parodies to Usenet. It also contains information on where to obtain creative material. For a list of acronyms used in this post please refer to the ACRONYM posting in rec.arts.startrek.misc. =========================================================================== 1) Submitting a script for TNG 2) Submitting a script for DS9 3) Submitting a script for VOY 4) Submitting a story for Pocket Books 5) Submitting art to DC Star Trek comics 6) Submitting stories to DC Star Trek comics 7) Submitting art or stories to Malibu Deep Space Nine comics 8) Submitting parodies to Usenet 9) Obtaining Hackman's TOS Guide 10) Obtaining Vidiot's TNG Guide 11) Obtaining copies of parodies 12) Obtaining other creative works =========================================================================== 1) SUBMITTING SCRIPTS FOR TNG: NOTICE: The last day for submitting TNG scripts was 1 December 1993. You are too late! If you were planning to send in a TNG script, you may wish to do a quick re-write and try turning it into a DS9 or VOY script. Paramount has finally received permission from its legal department to read and purchase fan-submitted scripts. You do NOT need an agent (though it helps), and the scripts do NOT have to be solicited. It's now gotten so bad that there is a room filled to the rafters with boxes which are labeled by month (the month the script came in). There are 3 or 4 people on staff who do NOTHING but read the scripts, and submit the more interesting ones up for further consideration. These people are not, and CANNOT be, Star Trek fans... they are there to judge a story on its merits. You do have to send for a Paramount Release Form, which has to be legally executed. Address a stamped, self-addressed, legal-size envelope and send it with the request for a Release Form to Michael Piller or Eric A. Stillwell (Star Trek Script Coordinator) at: Paramount Studios Star Trek Offices 5555 Melrose Ave. Hollywood, CA 90038-3197 (213) 956-8301 Also, it may be a good idea to ask for the one-page ST:TNG Script Submissions suggestions as well. TNG Script info requires $.52 postage on a 9x10 envelope or larger. Anything smaller will be returned wiith no info. Paramount can't pay to fold all those sheets of paper. Paramount STRONGLY suggests that you obtain a ST:TNG Writer's Guide from Lincoln Enterprises, since they do NOT send out sample scripts. They want a teaser of 3-5 pages and five Scenes of 9-11 pages. Total scripts should be 53 to 58 pages. After the Powers That Be make enough cuts, it'll end up as about 43 minutes of airtime. This should bring it to around 11,000 words. For an agent, contact the Writer's Guild of America (one in NYC and one in LA) and ask them to send you an Agent list, then start writing query letters to those agents that have indicated they are willing to consider new authors. Writers Guild of America, West 8955 Beverly Boulevard West Hollywood, California 90048 (213) 550-1000 Writers Guild of America, East, Inc. Agency Dept 555 West 57th Street New York, NY 10019 (212)-767-7800 Send money order for $1.29 and SASE (no letter of expalnation necessary). Two people have posted the submission guidelines: ZYGILEWICZ@delphi.com and rsvanc00@nx24.mik.uky.edu (Randolph S. Vance). RSV said he would be posting the guidelines on a weekly basis Real Soon Now. Paramount now has a limit of two speculative script submissions per writer (or writing team). If you submit a third script it is returned unread. The form attached to such scripts states that if you are submitting through an agent, they will consider any number of scripts. Paramount gets more than 3000 spec scripts for TNG from fans every year. Every one of these is read and written up in a two-page "coverage" (a detailed synopsis). Michael Piller reads every one of these coverages. About 1 out of 10000 teleplays are bought outright and they make only minor mods. More likely, they will buy the story idea and re-work the teleplay (1 out of 200). Even if your story/teleplay isn't workable, if your writing shows promise (1 out of 40), they'll have you pitch (either in person or over the phone). If you want further info on submitting a script to TNG, call 213-956-8301. That's the 24-hour script hotline that Paramount set up. Besides the Writer's Guide, here's some other useful information you can get from Lincoln Enterprises: 8001 - ST:TNG Writer's Guide $9.95 1106 - How to sell a script by D.C. Fontana $3.95 1101 - Original (TOS) Writer's Guide $4.95 1109 - ST:TNG Character Biographies $7.95 Include $2.00 shipping for up to $10.00 worth of merchandise, $0.50 for each additional $5.00 worth of merchandise. Prices accurate as of 7/90. Lincoln Enterprises 14710 Arminta St. Van Nuys, CA 91402 (818) 989-4978 ($15 minimum by credit card) In closing, here are some helpful hints (some of which are from the submission guidelines, others were lifted from helpful hopeful writers): Exciting drama has always been about PEOPLE. Even with our 24th Century high tech gadgets and spaceships and such, the producers want stories that explore the human condition. Stories that involve emotional, psychological and personal stakes. Anything that touches on the experience of being human. Look for stories that emphasize our family of characters: Picard, Riker, Geordi, Worf, Beverly, Troi and Data. The secret of Star Trek has always been in makling the audiewnce identify with the crew. When stories feature an exciting guest character, the tale MUST focus on how the outside character(s) and events affect our people. Our characters must still drive the show and ultimately learn from the experience. Make sure your story is character- driven as opposed to plot-driven. Emphasize interesting and futuristic sociological stories. Ask yourself: What is the story about? Explore an interpersonal theme and develop the plot to say something meaningful about it. Look for a good, simple science fiction premises along the lines of "The Host" (Beverly falls in love with an intellegent parasite that changes bodies) or "The Nth Degree" (Barclay is suddenly gifted with extraordinary intellegence). The producers are looking for fresh, ORIGINAL material. Look for stories that involve encounters with interesting new alien lifeforms, but avoid repetive story themes that include Klingons, Romulans, Vulcans, Borg, etc. Also avoid war stories, political stories and time travel stories; and premises involving broken down ships, abandoned vessels and random distress signals. Avoid stories that involve expensive production costs, such as: excessive guest cast or children, numerous new sets, film locations outside studio, excessive special/visual effects, and bizarre creatures that require costly make up and costumes, etc. No more stories about Jack Crusher. He's dead, Jim! Do not submit material involving characters from the original series (i.e. Kirk, Spock, McCoy, etc., or their descendants). No exceptions! Do not submit sequels to previously aired episodes. Stories of this nature are the purview of our professional staff writers and are usually developed and written in-house. This is also true of stories involving Guinan, Q, Wesley, Mrs. Troi and other recurring guest characters, for the most part. Do not submit TWO PART episodes! Base your science fiction on elements extrapolated from generally accepted science theory. Avoid fantasy, swords & sorcery, psi-forces and mysterious psychic powers. Believeability is crucial to a succesful story. Do NOT bog down on technical details. Star Trek has a staff of technical wizards who get paid to worry about these things! Remember: People details are more important. No sequels. Remember, season seven is looming, and if Paramount wants to tie up any loose ends, they will--in house. My advice is to write such a mind blowingly brilliant episode that its sequel is one of the movies. Remember Wrath of Khan? Keep up to date. Make sure you know what's already been done, and even if your idea is stunningly wonderful, if it has vaguely been done before, toss it out, or re-write it as a novel Pocket Books are bound to do it --- but you need an agent for them too. Remember this is the hard and fast rule --- Paramount is looking for excuses to reject you, not save your ass. Don't give them the excuse. Richness of character. Make sure your script adds new facets to characters that Paramount didn't know were there. Now don't be absurd and write Worf in an episode as a secret cross- dresser (Save that for Riker) But extend and exert the characters. Even if you've come up with the most intriguing alien race ever to enter Trekdom, it won't mean didly if Picard simply yawns bored in their direction, and trots off to the ready room for a quick hand job over Betazoids monthly. Although come to think of it... Crew gamble. Now, Paramount's official word is they want to see the crew act as a crew. But just take a look at the episodes They're doing. Virtually all single character based. Well look at the credits for those episodes. In house! Eureka!!! You've guessed right! If you have a single character based show forget it. The way Paramount seems to operate is, write a story, If they like it, they'll buy it... then re-write it. So if you have some really good social commentary, put it in a script that could apply to any of the characters, and Paramount will decide who they want to apply it too. Bear in mind, the actors complain every week that they want an epsiode on their character, so Paramount will love you of you give them a story that can sit on ice for a month until that pre-maddonna screams foul, they can dig it out, re-focus on that character, and everyone is fine and dandy. The Jewel. Write the most tantalizing, polished, risky, challenging, provoking script you can as a centerpeice to show what you can do, and be satisfied with the knowledge that no one will buy it. Why? Well, Paramount is notorious for not taking chances on rookies, but if you strut your stuff, they might invite you to pitch, or they might even ask you to do a re-write. (If you have the luck of the Gods) But importantly, agents work the same way, and if you can get a response out of Paramount other than thanks, but no thanks, it might make an agent salivate like a Ferengi -- and then you're in business. Second Guess the House. Sit down folks and take a long hard look at the direction the show is going in. Actually it's not that difficult. Remember, if you've seen it, don't do it. So second guess the future. Pay attention to the sub-text. The Klingon civil war was easy to spot, the Kahless episode was smoke screen to the real finale to season six --- the return of the Borg. But ask yourself, what is the Big Picture going on here? Everyone on the Enterprise has been so self absorbed that the Borg is supposed to come as a big surprise --- but the surprise might be even bigger. There are some issues that have been touched on for ages now, that no one has addressed. But ask yourself --- where is all this leading me? For anyone who's a history major, this is simple stuff. Take the episodes as a history. When you look at it that way, there are very few avenues of choices to explore on a social level. Now, if you can make the Enterprise visit a strange new world for once, Great!!! But Messers Piller and Sternbach seem particularly averse to that recently... Writer's Guild it. Once you have your insightful, well formulated masterpeice on paper, get it to Writer's Guild of America with the attributed fee and get the script registered. (In the library, the "literary Marketplace" will have the address) Paramount will then think twice about ripping you off, but only twice. Remember, they cannot be sued if something is like something else, but legally that only goes so far. If something resembles something too much, then it becomes blatant --- and a whole host of problems arise. But you stand a better chance if you have had it registered first. Pot Luck. Since seven seems destined to be the last season, I'd be inclined to take pot luck with a release form, and a registered script. Getting an agent takes anywhere from six months minimum upwards, and this time next year there is no TNG --- we think. Once that's done: Sit back relax. --------------------------------------------------------------------------- 2) SUBMITTING SCRIPTS FOR DS9: Paramount said they will NOT accept scripts for Deep Space Nine until after the series premiers in January 1993. They will be returned. The December/January issue of the Writer's Guild Journal lists Deep Space Nine as "Submissions through agents only." Meaning they wouldn't accept unsolicited spec scripts the way TNG would. At a writers' workshop given by Ron Moore, Brannon Braga, and Lolita Fatjo in April 1993 it was stated that they still aren't accepting scripts for DS9. Lolita Fatjo mentioned in April 1993 that they probably wouldn't be accepting DS9 scripts until September. 26-27 November 1993 New York City Creation Convention: Spec scripts *are* being accepted now. --------------------------------------------------------------------------- 3) SUBMITTING SCRIPTS FOR VOY: Just wait. :-) --------------------------------------------------------------------------- 4) SUBMITTING A STORY TO POCKET BOOKS: This comes through Peter David from Kevin Ryan at Pocket Books: the official Pocket Books Star Trek Novel Submission guidelines. ** Due to the overwhelming number of submissions that we receive, Pocket Books can only accept solicited, agented manuscripts. A comprehensive list of agents can be found in THE LITERARY MARKETPLACE ** ========== FORMAT: All manuscripts must be submitted typed, double-spaced, on one side of non-corrasable typing paper. The page number and your name should be at the top of each page. Your full name and address should appear on the first and last page of the manuscript (yes, include your phone number). ========== PROCEDURE: Submit the first three chapters with a detailed synopsis (four to six pages) of the entire plot. Due to the large volume of submissions we receive, our reply can take anywhere from one to six months...so please be patient. If we're interested in publishing your novel, we'll contact your agent with an offer. We may ask for revisions, and may also ask to see the completed novel before reaching a decision. ========== CONTENTS: We're only interested in full-length adventure novels of roughly 70,000 words (about 250-300 pages). We cannot use short stories, poetry, biographies, romances, blueprints, or trivia books. In a one-sentence description, we're looking for exciting science fiction stories featuring the Star Trek characters we all know and love. All material is subject to the approval of Paramount Pictures, who are very concerned about maintaining the integrity of the characters and the Star Trek universe. Absolute consistency is a practical impossibility, but some major themes to avoid include: * Traveling in time to change history or learn something, rescue someone, etc. * Having a tear in the fabric of reality which could destroy the universe. * Pon farr in Spock. * Death of a major, established character. * Any plot which hines on or describes in detail sexual relations (normal, abnormal, and so on). We are not interested in books that suggest anything other than friendship between Kirk and Spock or any other crewmembers. * Any plot that mixes the Next Generation and the original crew. * Data becoming human. Plot elements to avoid with respect to specific characters: Kirk: no offspring or close relations not already established. Also, no childhood or current sweethearts; though, you can create temporary love interests. Spock: no sisters, brothers, half siblings (beyond Sybok), offspring, sudden reversions to emotion, sex. The Vulcan mind-meld has already been seriously overused of late. No explanations of the "Vulcan Way" beyond what has already been done in the TV series or movies. McCoy: no offspring or close relations not already established. We can no loner use castmembers who have left the show (no Tasha Yar or Dr. Pulaski). For any regular castmembers--same rules as per Kirk. Also, other crewmembers: in general, avoid trying to definitively map out a character's history much beyond what has already been done in the movies or television episodes. Of course there are guidelines. Disobey them at your own peril if necessary to your story--but remember, you were warned. Thank you for your interest in STAR TREK and good luck with your writing. Best, The Star Trek Editors. The address is: Pocket Books Simon & Schuster Building 1230 Avenue of the Americas New York, NY 10020 (212) 698-7000 The editors are Dave Stern and Kevin Ryan. --------------------------------------------------------------------------- 5) SUBMITTING ART FOR DC'S STAR TREK COMICS (Thanks to Ernie Poprto for this section) DC Comics Artists' Submission Guide How to Submit Art to DC Comics: Please submit photocopies -- NEVER send your original art. You should submit comic-book pages as samples; pin-ups and paintings will not demonstrate your ability as a comics artist. While we will look at all types of samples, it's best that you focus your skills into *one* medium, either pencilling, inking, coloring, or lettering. Send your samples, along with a self-addressed stamped envelope for their return, to: Submissions Editor, DC Comics Inc., 1325 Avenue of the Americas, New York, NY 10019. You should receive a reply in four to six weeks. If you send samples to an individual editor, there is no guarantee you will receieve a response. If you are showing your portfolio or samples to a DC editor at a comics convention, be sure your presentation package is neat and that you follow the guidelines contained herein. Pencillers: Pencillers should submit 4-6 sequential comic-book pages *in*order,* showing the progression of a story through a series of pictures. It's best to make up your own story sequence, artistically advancing it from panel to panel, from page to page; if you choose not to create your own story, you can either work with a writer friend or rework an existing comics story (without copying it). Your storytelling should exercise strong pacing, a very important factor in comics art. Make sure your story is easy to follow and moves along clearly; it's better to draw a story well in traditional block panels than to try to impress your audience with overly complex layouts and artistic gimmicks. Your pencilling samples should also demonstrate your basic ability to draw. Drawing comics requires more than simply rendering heroic action poses: you must be able to draw the average guy on the street, metropolitan buildings, cars, animals, a suburban neighborhood, aliens, trees, hamburgers, the depths of outer space -- anything you may find in a comic book. Your art should display skill in drawing human anatomy and perspective. You should be able to draw people in different types of clothing and a variety of poses, from an old woman hunched in a chair to a muscular super-hero punching through a wall. To this end, it's best that you do not limit yourself solely to comics as your reference and inspiration -- life-drawing classes and/or books and artistic study are also very important parts of your educational process. Professional comics pencillers work within a 10" x 15" image area on a piece of Strathmore artboard that measures 11" x 17". They usually lay out their pages with a lead pencil or a non-repro blue pencil, and finish their art with a lead (mechanical or wood-clenched) pencil. Inkers: Inkers should submit photocopies of both your inks *and* the pencils you have inked, so comparison between the two can be made. Some prospective inkers submit samples they've inked over the pencils of an artist friend. Another way of securing pencil sopies for inking is to approach a comics penciller at a convention and ask for photocopies to work over. If you have no access to either of the above, write DC's Submissions Editor for samples -- but you *must* include a self-addressed stamped 9" x 12" envelope. Preferably, you should submit inking smaples from several different pencillers so that we can determine your versatility. A comic-book inker's job is to add depth and clarity to the pencils without obscuring the penciller's work. In creating depth on a comics page, an inker must vary his line weight to give each panel a three-dimensional feel; it's essential that objects in the foreground look and "weigh" differently from objects in the background. In creating clarity, the inker must clearly delineate the penciller's drawings and add black to the art. Professional comics inkers use a variety of brushes and pens when working, as well as a reputable brand of artist's waterproof india ink. Corrections can be made by using one of several types of white paint. Letterers: Comic-book letterers are responsible for lettering captions, word and thought balloons, electric (jagged line) and whisper (broken line) balloon shapes, panel borders, title lettering, credits, and sound effects. Caption and balloon lettering should be easy to read, with slight "breathing room" between letters and words -- cramped lettering is unacceptable. Story titles and sound effects should be lettered in a bold, open style. There are two ways to submit lettering samples to DC Comics: you may letter onto full-size photocopies of comic-book pencils (to learn how to secure copies of pencils, consult the inking section of this submission guide), or you may submit 3-4 pages of lettering, without art, on 8-1/2" by 11" paper. Don't forget to demonstrate *all* facets of lettering, from balloons to sound effects. Professional comics letterers create their words by employing an Ames lettering guide for spacing, and one of a variety of pens -- ranging from a crowquill to a filed-down calligraphy pen -- for words. Ballooons and ruled panel borders are usually done with a firm, one-weight pen. Colorists: Comic book coloring is an essential part of comics storytelling. The colorist's job is to interpret the art and story in color, adding dramatic effect, depth, atmosphere, mood, and clarity. The colorist must be aware of the most important characters and objects in each scene and page, making sure they are spotlighted and made clearly clearly visible to the reader. This often requires coloring some people and things differently than they would appear in life. For example, if a panel features Guy Gardner standing amidst a crowd of dozens of people, Guy could be colored normally, while the others should be "kocked out" -- colored in a monotone (or a series of related muted tones) -- to ensure that Guy Gardner is clearly seen in the panel. Colorists may create mood by taking further liberties with realism. For example, if an artist has drawn a sequence of panels wherein Lobo grows very angry, a variety of reds -- a color often used to convey anger -- could be used on Lobo himself and in the background. Blue and green would conversely establish a placid feel. Colorists should submit 4-6 pages of fully colored comic-art photocpoies. Most colorists work on reduced photocopies (art reduced 64% onto 8-1/2" x 11" paper). If you need photocopies to color, send a self-addressed stamped 9" x 12" envelope to DC's Submissions Editor with your request. Professional comics colorists use Dr. Martin's dyes, although colored pencils or markers are also acceptable. AND DON'T FORGET: A) ALWAYS send photocopies -- never send originals! B) Include your name, address, and phone number on each page of your samples. C) ALWAYS include a self-addressed stamped envelope with your submissions, with *ample*postage* included for the return of your photocopies (if you so desire). DC Comics cannot be held responsible for the safety or the return of any original manuscripts sent to us. D) All submissions-related correspondence with DC *must* be handled through the mail. NEVER phone DC to discuss your submission. We receive dozens, sometimes hundreds of submissions a week, and it would be impossible for us to find the time to follow up on each of them over the telephone. E) There are a finite number of books published by DC and an infiite number of people who want to write for them, so competition is fierce. Only the best work available is published by DC. --------------------------------------------------------------------------- 6) SUBMITTING STORIES FOR DC'S STAR TREK COMICS (Thanks to Ernie Poprto for this section) DC Comics Writers' Submission Guide How to Submit Stories to DC Comics: Please submit photocopies -- NEVER send your original manuscript. Send your writing submission, along with a self-addressed stamped envelope for a reply, to: Submissions Editor, DC Comics Inc., 1325 Avenue of the Americas, New York, NY 10019. You should receive a reply in four to six weeks. You may also choose to submit your writing samples to a DC editor whose creative sensibilities mirror your own. While some editors are glad to evaluate work from new writers, there is no guarantee you will receieve a response if you follow this route. If you are planning to show your writing samples to a DC editor at a comics convention, please bear in mind that the convention environment is not conducive to reading a writer's work or evaluating his or her potential. It's best to make a personal contact with the editor at the convention, then leave photocopies of your writing with him or her. Writing Format: You must sell an editor of a story *idea* first, not sell the full script or plot. With this in mind, you should submit a story *springboard* -- a brief, one-page, double-spaced typed story concept. When constructing a springboard, think of of the back-cover copy of a paperback novel; a well-written one will make you eager to immediately buy the book and read what's inside. Your goal is to make the editor ask for *more* from you. If you interest an editor in your story idea, then s/he will probably ask for a plot synopsis from you. A submissions plot synopsis should, in 3-5 double-spaced typed pages, explain your story's concept, pacing, characterization, and resolution. NEVER submit a full script or a full plot iunless you are instructed to do so. Many prospective writers spend countless hours crafting lengthy scripts for their potential debuts; while this enthusiasm is appreciated, DC editors unfortunately lack the time to read scripts from new writers. Start small and work your way up. Stylistic Requirements: Proper spelling, punctuation, and grammar are mandatory when submitting comics writing. A springboard or proposal filled with errors will certainly fail to impress an editor. All writing submissions must be typed double-spaced on one side of the paper. Hand-written or printed submissions will not be seriously considered. A comic-book writer must develop the ability to think in pictures instead of words, but then use words to supplement the pictures. No matter what genre of comic books you are writing for, a comic-book story must convey, in both words and pictures, action, movement, and urgency; a sense of drama and grandeur; and "larger than life" excitement. Internal logic and consistency are also vital. In today's comic-book market, *continuity* is very important, so a comics writer must be familiar with a character's continuity before attempting to write that character. Make sure you've read enough of the character's comics to fully understand the series' current continuity -- *and* the personalities of the cast. We all share common feelings, emotions, and experiences. Tap into these feelings and use them in your stories, regardless of the type of story. Comics dialogue must flow naturally from character to character and not seem forced or stereotypical. Each character in your story should have his or her own personality and speech pattern; when your characters are fully flushed out, you'll find they'll almost write the story for you. You are writing for comic books, not for TV, movies, or novels, so you should learn comic-book terminology and use it in all your submissions. An excellent "bible" for research is the book _Comics_and_Sequential_Art_ by Will Eisner. Writing for DC Characters: Avoid submitting story ideas for our major, regular characters. Superman, for example, stars in four monthly titles, and his continuity is planned in detail many months before publication; there's no way for you to be aware of those continuity plans. The BATMAN and JUSTICE LEAGUE titles are also mapped out far in advance, and they, along with SUPERMAN books, are "cream of the crop" assignments that go only to our most seasoned writers. A good way to sell a story to DC is by selling a springboard for an inventory or fill-in issue of one of our continuing titles (bear in mind the previous paragraph, though) to the editor of that series. When you're submitting a single story, do NOT propose any major changes in the character's continuity; those revisions are saved for the regular writers. Another way of breaking into DC as a writer is by submitting an idea for eaither a character who's currently in limbo or an original creation. be forewarned, however, that one of our regular writers may already be working on reviving the same character you are interested in; this is a chance you take. Even if you original story isn't accepted, it may prove your writing potential to an editor who could use you elsewhere. Story Length: DC's standard format titles all feature 22-page stories. Our New Format titles feature 24-page stories, while our Deluxe Format books have 25-page stories. Stories planned for shorter or longer page lengths will not be considered. AND DON'T FORGET: A) ALWAYS send photocopies -- never send originals! B) Include your name, address, and phone number on each page of your samples. C) ALWAYS include a self-addressed stamped envelope with your submissions, with *ample*postage* included for the return of your photocopies (if you so desire). DC Comics cannot be held responsible for the safety or the return of any original manuscripts sent to us. D) All submissions-related correspondence with DC *must* be handled through the mail. NEVER phone DC to discuss your submission. We receive dozens, sometimes hundreds of submissions a week, and it would be impossible for us to find the time to follow up on each of them over the telephone. E) There are a finite number of books published by DC and an infiite number of people who want to write for them, so competition is fierce. Only the best work available is published by DC. --------------------------------------------------------------------------- 7) SUBMITTING ART OR STORIES FOR MALIBU'S DEEP SPACE NINE COMICS I would assume that the same sort of guidelines used for DC would be apropos for Malibu. Malibu Comics plans a regular monthly series and quarterly specials and is assembling the various creative talents for the books. Writers and artists are encouraged to submit samples via main with a self-addressed stamped envelope (no phone calls) to: Malibu Comics Star Trek Submissions 5321 Sterling Drive Westlake Village, CA 91361 --------------------------------------------------------------------------- 8) SUBMITTING PARODIES TO USENET If you have written a parody (or even a serious story) that is trek-related, feel free to share it with the rest of the Usenet community. The proper place to post it is alt.startrek.creative. Some sites do not carry the alt group, however. If your site does not, you can still post it to the alt.startrek.creative newsgroup by sending it via email to alt.startrek.creative@ucbvax.berkeley.edu, and an automated posting mechanism will post it for you. If you want to make sure everyone (including the folks who don't get a.s.c) has the chance at seeing your prose, you have a choice: (A) post a message in rec.arts.startrek.misc saying that it has ben posted to a.s.c and that people can mail you if they don't get the group, or (B) post it to r.a.s.misc and bear any flames that might pass your way. This has been found to be a good way to get feedback on scripts before submitting them to The Powers That Be. --------------------------------------------------------------------------- 9) OBTAINING HACKMAN'S TOS GUIDE Hack-Man's TOS Guide (HTG) is available fully-formatted to all who can interpret AppleWorks IIgs formatting. This formatted version is no longer supported (effective 8/1/1991) and is rapidly becoming out of date. A plain ASCII version is now available (and completely up to date) via anonymous FTP at the following sites: FTP SITE: uh.msc.edu (137.66.1.8) DIRECTORY: ~ftp/pub/StarTrek FTP SITE: ftp.coe.montana.edu (192.31.215.240) DIRECTORY: /pub/STARTREK/st-tos (moved to ftp.uu.net site?) FTP SITE: ftp.uu.net (192.48.96.9) DIRECTORY: ??? It contains everything you'd ever want to know about the TOS episodes (and a lot you don't :-) No updates are being made to the formatted version since I can't maintain both versions easily, and more people can make use of the unformatted ASCII version. --------------------------------------------------------------------------- 10) OBTAINING VIDIOT'S TNG GUIDE Vidiot's TNG Guide (VTG) (which contains all kinds of useful info like names of actors, actresses, etc.) is available by anonymous FTP at: FTP SITE: ftp.uu.net (192.48.96.9) DIRECTORY: /usenet/rec.arts.startrek/STARTREK/* All the information needed (which files to get and what to do with them (unpacking, printing, etc.)) is in the README file at the same sites. The guide is also available by anonymous UUCP from Mike Brown at Phone: 608-274-9275 Baud: 19200/2400/1200 Login: anonuucp Password: none (it will not be asked) The main directory is ~nuucp/guides. In there you will find a file called dir.list. Get it, as it will list all of the latest files that are in the guides' directory. After you get it, study it and then request the files that you need. This area contains more than ST:TNG guides and lists. The area will be under constant changes, as new lists and updates will be added. You can also purchase a pre-printed copy from Mike himself. --------------------------------------------------------------------------- 11) OBTAINING COPIES OF PARODIES Chuan Chee (ckchee@dgp.toronto.edu) has collected a huge number of the Star Trek parodies from rec.arts.startrek and alt.startrek.creative. They are available via anonymous ftp or via email. FTP SITE: ftp.coe.montana.edu (192.31.215.240) DIRECTORY: /pub/STARTREK/parodies The filep.files contains an index to the parodies. The parodies themselves are packed into groups; the archive p.01.tar.Z contains parodies 010 through 019. If you don't know what ".tar.Z" means, ask your system administrator. email: [ no longer supported - may be set back up later on some site ] Note: Please use ftp if you possibly can. Sending large amounts of email is considered bad manners by system administrators. There's also a "fortune" file for both TOS and TNG with humorous and/or memorable quotes from the episodes. These fortune files, as well as this FAQL and the monthly posting of Star Trek Actors' Other Roles are also available on ftp.coe.montana.edu (for ftp only). - - - - - - - - - - - - - - - - - - - - - - - - - Joseph F Young (jfy@cis.ksu.edu) has collected a huge number of the Star Trek parodies (11 MB in August 1993) from the rec.arts.startrek and alt.startrek.creative newsgroups. They are available via anonymous ftp or via email. FTP SITE: ftp.cis.ksu.edu (129.130.10.80) DIRECTORY: /pub/Startrek/stories DIRECTORY: /pub/alt.startrek.creative GOPHER: gopher.cis.ksu.edu All files are compressed using the UNIX LZW ".Z" compression used by the "compress" and "uncompress" programs. For non-UNIX systems, there are sourcess and binaries available to handle files in this format on various archive sites. EMAIL (UUCP): ...!rutgers!depot!mailserver EMAIL (internet): mailserver@cis.ksu.edu The server accepts commands given in the body of the mail messages; help is available with the command "help". A listing of the files in the story archive may be obtained by "dir -l /pub/Startrek/stories" - - - - - - - - - - - - - - - - - - - - - - - - - More Star Trek stories are archived at: FTP SITE: procyon.cis.ksu.edu DIRECTORY: /pub/Startrek/stories --------------------------------------------------------------------------- 12) OBTAINING OTHER CREATIVE WORKS Where can you find Star Trek parodies, pictures (GIFs, PostScript drawings, ASCII artwork, etc.), scripts, fortune/quotes files, and tech manuals)? Many of the monthly postings (FAQLs, MUSIC, TOS LISTS, TNG LISTS, etc) are archived at milton.u.washington.edu (for FTP). If you don't have FTP access and want to use the mailserver, send email to amigo@hardy.u.washington.edu with the subject line of "server". For help with the server, put the word "help" in the body of the message followed by the word "end". The list of anonymous ftp sites with Star Trek related creative stuff has been expanded and spun off to its own monthly posting. Please refer to that list if you are looking for a place to obtain Star Trek related material. People without ftp access can find lots of trek-related stuff (including these FAQLs) on the Memory Alpha BBS (607) 257-5822. Other good sources for information (on both series) are: "The Making of Star Trek" by Stephen Whitfield (Ballantine/Del Ray 68) "Star Fleet Technical Manual" by Franz Joseph (Ballantine/Del Ray 75) "Star Trek Blueprints" by Franz Joseph (Ballantine/Del Ray 75) "Star Trek Concordance" by Bjo Trimble (Ballantine/Del Ray 76) "Star Trek Compendium" by Allan Asherman (Pocket Books 81, 87, 89) "The Klingon Dictionary" by Marc Okrand (Pocket Books 85) "Mr. Scott's Guide to the Enterprise" by Shane Johnson (Pocket Books 87) "The Worlds of the Federation" by Shane Johnson (Pocket Books 89) "The Writer's/Director's Guide" (new editions put out for each season) FASA has the "Officers Manual", but it has been pulled or denounced by Gene since it contradicts a lot of what has been said on TNG or in the Writer's/Director's Guide (Betazoids are NOT from Haven, Star Fleet did NOT think of creating the post of counselor when they discovered telepaths, etc.) Roddenberry told them to stop publishing the manual until they corrected the inaccuracies, but instead FASA made 2-3 more printings. They will be releasing a new edition that has been worked out with Paramount, and Richard Arnold has said (in 1991) somewhat enthusiastically that it is going to be quite nice and met with Gene's approval prior to his demise. FASA recently published the long-awaited canon manual, the First Season Sourcebook Update. Unfortunately, some of the information is already outdated, such as the Betazoid homeworld is STILL not Haven, although that was stated in the first season episode "Haven". And of course you can get lots of Trek stuff from Trek cons and magazines (Starlog seems to be the most popular). Lincoln Enterprises themselves are at most conventions, and they sell writer's guides from every season along with final scripts from episodes (about US$12 apiece). In fact, these scripts even have scenes that are cut out due to the episode running long. rec.arts.startrek.info's FTP site is scam.berkeley.edu (128.32.138.1) in the directory ~ftp/misc/trek-info. The deanna.gif file is available at jumbo.hartford.edu in ./pub/tng/gif/147.gif and ./pub/tng/tga/147.tga.Z, so stop asking :-) [ Anyone know of more sites for Postscript drawings, GIFs, ASCII pictures, serious scripts/novels, etc.? --hm ] [ Any ftp site have the "Sam Donaldson as a Vulcan" picture? --hm ]