Art of the Deal (Star Trek: SCE)

Home Fires by Dayton Ward. Age of Unreason by Scott Ciencin. Balance of Nature by Heather Jarman. Breakdowns by Keith R. Breakdowns by Scott Ciencin. Aftermath by Christopher L. Ishtar Rising Book 1 by Michael A. Ishtar Rising Book 2 by Michael A. Buying Time by Robert Greenberger. Collective Hindsight Book 1 by Aaron Rosenberg. Collective Hindsight Book 2 by Aaron Rosenberg. The Demon Book 1 by Loren Coleman. The Demon Book 2 by Loren Coleman. Ring Around the Sky by Allyn Gibson.

Orphans by Kevin Killiany. Grand Designs novella by Dayton Ward. Failsafe by David Mack. Bitter Medicine by Dave Galanter.

Sargasso Sector by Paul Kupperberg. Grand Designs by Dayton Ward. Paradise Interrupted by John S. The Art of the Deal by Glenn Greenberg. Creative Couplings, Part 1 by Glenn Hauman. Creative Couplings, Part 2 by Glenn Hauman. Small World by David Mack. Creative Couplings by David Mack. Malefictorum by Terri Osborne. Lost Time by Ilsa J. Identity Crisis by John J. Fables of the Prime Directive by Cory Rushton. Security by Keith R. Wounds, Book 1 by Ilsa J. Wounds, Book 2 by Ilsa J. Wounds by Ilsa J. Out of the Cocoon by William Leisner.

Blackout by Phaedra M. The Cleanup by Robert T. Progress by Terri Osborne. The Future Begins by Michael Schuster. Echoes of Coventry by Richard C. Distant Early Warning by Dayton Ward. Many Splendors by Keith R. What's Past by Terri Osborne. Turn the Page by Dayton Ward. Troubleshooting by Robert Greenberger. The Light by Jeff D. The Art of the Comeback by Glenn Greenberg.

Signs from Heaven by Phaedra M. Ghost by Ilsa J. Remembrance of Things Past: Yeah, when I was a kid I wanted to be an artist. I had started reading comic books at a very early age and I remember being around eight or nine years old when I started writing and drawing my own comic books.

When I look back at the way I had developed and grown during that time as an artist, had I kept with it, who knows where it would have gone? But it was so time consuming and as I started college I became more and more consumed with that, and I really didn't have time to sit there and just pore over ever detail and really try to refine the artwork.

I realized that I had a way with words; I always liked writing, so I just completely shifted over to the writing. Instead of writing and drawing stories, I decided to write them. So you've been a Star Trek fan for a very long time, watching it in syndication in the 70's? I remember that it used to be on every night at 6 o'clock and my older brother and sister were first generation Star Trek viewers and they loved watching the reruns on Channel 11 here in New York City.

I was a little kid and I used to fight with them all the time. I wanted to watch The Brady Bunch , but they were the older ones so they won out more often than not and I used to watch it with them. It was actually the first movie that made me a fan; my sister took me to see it, that's when I really fell in love with it. I was familiar with the characters, but after seeing them on the big screen, that's when I really became a fan. How did a Marvel editor get the opportunity to work on Superman? Superman is published by Marvel's biggest rival, DC Comics.

It was essentially like DC was Lucasfilm and Marvel was Paramount, in terms of how the characters break down. I got to edit Superman because I came up with the idea of doing a one-shot book pitting Superman and the Hulk against each other, and the two companies liked the idea enough that they reached a deal to publish the project. As the person who conceived it, I got to edit it.

I'm actually one of the few people who can say that he was a Marvel editor but got to edit a story featuring Superman. The Hulk is one of my all-time favorite characters and I've always liked Superman, so to be the one who put the two of them together was a blast. I had a good time with that project.

Well, I didn't grow up with TNG, it started during my first year of college. I was past the age where it would have made a big impression on me the way the original series had. I just never developed a love and affection for TNG the way I did the original. I grew up with them. It meant a lot to me to be able to say that I worked on these characters that I grew up with and loved. I look at TOS as something very meaningful in my childhood and while growing up.

For me to write those original characters was like slipping on an old comfortable pair of sneakers. In the second issue of Untold Voyages , "Worlds Collide," you chose to stay with what had at that point already been established about Saavik. But I understand that Paramount offered you the opportunity to take the character in another direction? Those provided the bulk of Saavik's back-story. I remember thinking, "Wow why did they take that out of the movie?

There was also an issue of the original DC comic book series from around , which did an "origin of Saavik" story that tied in with what Vonda McIntyre did in the novelizations, but also went off on its own tangent as well. So to me, there was no question as to how I was going to handle Saavik in the comic books. The Pandora Principle established that Saavik's birth was the result of a Romulan experiment. So I had to take that out, but I was able to maintain the rest of what I wrote. I turned in my plot for issue 2 and we were working with a really good guy at Paramount, a guy named Chip Carter, he was the guy in charge of approving the comic book scripts.

He came back and said, "You know, it's never been established onscreen that Saavik is half Romulan, so we encourage you not to be bound by the previous versions of her origins. She's never been portrayed as anything but a full Vulcan and we encourage you to come up with a new origin for her. I think today I've developed as a writer to the point where I would probably accept the challenge of trying to do it. Of trying to come up with a whole new origin that the fans would like so much that they would accept it, but back then, I just didn't feel confident enough that I could.

But I'm grateful to Paramount for letting me do it the way I wanted to. Were there other changes Paramount wanted? I had also added a credit in my script that said "Special acknowledgement to the works of Vonda McIntyre, Mike Barr who wrote the DC comic book , and Carolyn Clowes," but for some reason, Paramount asked that it be taken out. I think they didn't want us to refer to anything that wasn't directly connected to the Marvel series.

But I wanted to give credit where credit is due, so whenever I have spoken about that particular story I've always given credit to those three people because I wouldn't have had much of a story without them. I tried to follow faithfully what they had established about Saavik, but put my own spin on it. For those unfamiliar with Untold Voyages , how would you describe it? It was a five issue limited series and each issue took place one year further into the second five year mission of the Enterprise under Captain Kirk.

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It picked up from the end of The Motion Picture , which ended with Kirk back in command of the Enterprise, and it's always been conjectured that Kirk took the Enterprise on a second five-year mission from that point on. The first issue took place in the first year, the second issue in the second year, and so forth.

They way I structured it was that each issue would spotlight a different character. Issue one "Renewal" was very much a Captain Kirk story. Issue two "Worlds Collide" was Spock and Saavik. Issue three "Past Imperfect" was McCoy. Issue 4 "Silent Cries" was the remainder of the crew, and with issue five "Odyssey's End" , the focus was back on Captain Kirk.

Issue four, "Silent Cries" focused quite heavily on Sulu. The way it worked out, because I'd already dealt with Kirk, Spock, and McCoy in the first three issues, was that with number four it was Sulu and, as they used to say on Gilligan's Island , "the rest. Since I hadn't used Dr. Chapel in any of the other issues I figured that instead of having McCoy fill the medical officer's role it would be a good chance for Chapel to have a moment or two.

There is a line in that issue I was sure was going to get yanked out by Paramount but it actually saw print. Just before the action starts in the story, when they still think they are on a routine mission, they are all sitting around the bridge, sort of shooting the breeze having a conversation about what they feel are the scariest missions they've ever been on while on the Enterprise. They all look at him like he's got a third eyeball.

So I had Chekov explain that he had just come aboard a few weeks earlier and he was assigned to Engineering, but even Scotty doesn't remember him being in Engineering, so they are all like, "Sorry, Chekov. We always just think of you as the navigator, the guy on the bridge. But they were fine with it.

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I have to give Paramount credit. They let it go through and it's gotten a good response over the years. But the most memorable experience I had working on that issue was when I met Sulu himself, George Takei! I was actually working on the Sulu story when I met him, and I told him I was writing a comic book story about his character.

So his eyes light up and he says to me, "Oh? You're writing a story about Captain Sulu? And I told him I knew all that, too, because he'd talked about it in various interviews. So then I tried to explain to him that my story took place BEFORE he became a captain, that it shows a younger Sulu learning what it takes to command a ship. So he then asks me, "Well, do I become a captain by the end of the story?

And he says to me, "Well, who wants to read that? I'm a captain now! Any hopes of seeing the five Untold Voyages stories reissued, perhaps bound together as a collection?

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I have no knowledge of any plans to reprint it, but it would be very nice. Let's talk about your upcoming Starfleet Corps of Engineers book. I must admit that when I first saw the title list for this year's S. No, it's not a Ferengi story.

Star Trek: The Art of Juan Ortiz - The Next Generation

The title The Art of the Deal is kind of an in-joke. The reason why I called it The Art of the Deal is because Donald Trump came out with a book several years ago with that title, so I'm kind of riffing off that, because the central character is an entrepreneurial tycoon, sort of in the mold of Donald Trump in that he has a lot of involvement in real estate.

He's really a conglomeration of all the big business types that I have read about or had experience with. He has that sort of mentality and he's the central character so I couldn't resist the title. Actually, this was originally written as a TOS story, and the genesis of the story was very much centered on Captain Kirk. It was really about him and a ghost from his past that had been established in one of the original TV episodes, and that's where the idea for the story stemmed from.

For whatever reason, it didn't sell, but the original name of the story was An Empire to Build because of the efforts of the tycoon character to build his empire. When I completely rewrote it as an S. So is there a heavy focus in the story on Captain Gold? It really was a total rewrite, completely overhauled to fit the S. When I first proposed the S. I sent it off to Keith R. De Candido the editor of the S. Obviously the tycoon is the central character because it all centers on him. I do get to play with Gold's background a bit though, and that was a lot of fun.