Hello. I'm so glad you have decided to turn to this page in order to read my story. Very glad indeed. I'm not sure why I'm glad exactly, because I'm not going to gain anything from you reading it, especially since you aren't actually going to - but I am glad, just the same.
Before I tell you anything in this foreword, I believe it is my duty to tell you that the story doesn't actually exist: I haven't written it, and I'm not going to write it, so I won't add the word yet to the end of that sentence. It is quite possible, however, that the story does exist in another reality, so if you know how to switch realities, and are able to find the one in which the story does indeed exist, I hope you enjoy it. I'm sure I would have put a lot of effort into writing it, assuming it was me that wrote it in this other reality. (I hope it was, because otherwise the real writer may take me to court if he ever finds himself in this reality and discovers that I haven't written it here.)
Something that occurred to me while I was thinking about the story was how funny it would be. This may be connected to the fact that I wanted to write a funny story, so perhaps isn't worth mentioning. On the other hand, another thing that occurred to me is that oranges aren't red. And what's more, they don't taste, smell or sound red either - in fact, as far as sound goes, they don't make any noise at all! Quite why that thought popped into my mind, I can't be sure. Maybe I was thinking along the lines of "things that either are or aren't red." Oranges, of course, fall into the latter category, categorically speaking.
Relevantly, there is a connection that oranges do have with red. They are round - well, spherical, really - as are red balls. You could change the shape of the orange, by making it interact with a sledge hammer, and so negate this particular connection with red in that the orange will no longer be round - well, spherical, really - but rather a flat squidgy mess. You could try the same with red balls and, while it would work to a degree, I don't really think there is a valid comparison.
Tomatoes, on the other hand, would react to the sledge hammer as do oranges, and are red into the bargain - so even after the orange/sledge hammer interaction process an orange still maintains a red connection. Also, at the point of interaction, both oranges and tomatoes share another similarity which, in the case of oranges counteracts the fact, as stated above, that oranges don't sound red: both oranges and tomatoes make a sort of squishy sound at the point of contact with the sledge hammer.
It is very likely that, at this stage, you are starting to think "what has all this got to do with little red space ships?" The answer lies in the implications of the above: Connective Matter Transformation Technology. The fact that oranges can undergo a heavy transformation and still maintain a valid connection with red - a connection that has transformed itself into another, entirely different connection - may well play a heavy part in the story, especially if it actually existed. I have deliberately said 'may' in order to keep you in suspense. I don't want to give too much away at this stage - not that there is anything to give away, as you already know.
One thing I will reveal, however, is that there are no little red space ships in the story. I'm pointing this out now so as to pre-empt the question "well, where are the little red space ships?" The rather misleading title is another ploy at keeping you in suspense - you can make no reasonable guesses as to what the story is about from a title that bears no relation to the plot. I didn't necessarily have to call it Little Red Space Ships in order to bring about this ploy - I could just as easily have called it, for example, Lassie Gets Rabies, and the title would still have no relevance to the plot, because Lassie is most definitely not in the story.
In fact, all the characters in the story are very transparent - primarily because there aren't any. It would be very difficult, I think, to devote any part of a non existent story to introducing the characters therein. Very difficult indeed. This means that you will never get to find out why Harry - the most important of the non existent characters in the non existent story - sellotaped a milk bottle top to his forehead in the fourth non existent paragraph. This is an example of a paragraphical displacement phenomenon - similar to a temporal displacement phenomenon - and gee whizz, I typed the two words 'displacement phenomenon' twice without any typing errors, and I've now made that three times, except that I did make a typing error the third time (and have corrected) which just goes to show that I was pushing my luck, but that is completely irrelevant.
Anyway, as I said, the mention of the fourth paragraph of a non existent story - which therefore has absolutely no paragraphs whatsoever - is an example of a PDP (if three times was pushing my luck, four would have been positively shoving it) in that the concept of the paragraph has been displaced from a non existent state to a non existent but spontaneously considered and written about state, which is quite possibly complete nonsense. However, everything else I've written here is probably complete nonsense, so at least its consistent nonsense.
I hope you enjoyed not reading the story :-)