Star Trek Deep Space Nine: Trials and Tribble-ations

Star Trek Deep Space Nine: Trials and Tribble-ations

by Diane Carey

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Almost a century ago, Captain James T. Kirk and the crew of the Starship Enterprise™ first encountered the irresistible (and astonishingly prolific) life-form known as the Tribbles5, resulting in one of the most unususal adventures in the annals of Starfleet.
Now Captain Benjamin Sisko and the crew of the Defiant are transported back in time to that historic occasion, where Darvin, a devious Klingon spy, plots revenge against Captain Kirk. Using the seemingly harmless tibbles, Darvin attempts to destroy Kirk -- but for the misplaced residents of Deep Space Nine™ saving the original Enterprise willbe nothing but "tribble."
An exciting new novel based on the most mind-boggling STAR TREK: DEEP SPACE NINE adventure of them all!

Product Details

ISBN-13: 9780743420839
Publisher: Pocket Books/Star Trek
Publication date: 09/22/2000
Series: Star Trek: Deep Space Nine Series
Format: NOOK Book
Pages: 144
Sales rank: 1,026,322
File size: 1 MB

About the Author

Diane Carey is the bestselling author of numerous acclaimed Star Trek® novels, including Final FrontierBest DestinyShip of the LineChallengerWagon Train to the StarsFirst StrikeThe Great Starship RaceDreadnought!Ghost Ship, Station RageAncient BloodFire ShipCall to armsSacrifice of Angels, and Starfleet Academy. She has also written the novelizations of such episodes as The Way of the WarriorTrials and Tribble-ationsFlashbackEquinoxDecentWhat You Leave Behind, and End Game. She lives in Owasso, Michigan

Read an Excerpt

Introduction: Trials and Tribble-ations

By David Gerrold

I have now spent more years on this planet known as "the guy who created thetribbles" than I spent wondering what I would be when I grew up; if I had known Iwas going to be "the guy who created the tribbles" for the rest of my life, Imight have thought twice about it. When I wrote it, I just wanted to write onegood Star Trek episode, just to prove I could do it. And I was deliberate abouttwo or three things in the script. In particular, I wanted each of the ancillarycharacters to have something important to do, not just open hailing frequenciesor fix the doubletalk generators. One of the things that I had learned in IrwinR. Blacker's screenwriting course was that "every character gets his page."I loved these characters; not just Kirk and Spock, but McCoy, Uhura, Scotty, andChekov, too. I wanted each and every one of them to have at least two or threegood pages. And I think that's one of the reasons why they all enjoyed the scriptso much; it was a chance to show a different side of their characters, a chanceto have some fun. For me, of course, the real fun was watching the actors say thelines I had written. I had been watching them for weeks, studying the way theytalked; I spent hours on each scene, listening to their voices in my head, tryingto match the way they spoke in the dialog I wrote.And, of course, there was other stuff to learn, too; one day, for instance,producer Gene L. Coon pointed out to me that there were no pockets in theuniforms. "But where do they keep their money?" I asked."We don't use money. We use credits."

Okay....When William Shatner and Leonard Nimoy and the others finally brought the dialogto life, I was thrilled; they found things in the script, ways to say the lines,things to do with the action, that made the whole thing even funnier than I hadimagined.The only real disappointment for me came as a result of having writtenin a single line for myself. The part of Ensign Freeman. And Gene L. Coon hadtold me I could play the part; but then at the last moment, it didn't happen. Iwas too young-looking. Too skinny. So Shatner's stand-in got my line of dialog.*sigh* "The Trouble with Tribbles" was first broadcast on December 29, 1967. Ihad just graduated from college, and I invited all my former classmates over tomy house to watch the episode with me. They watched it as an episode and had aterrific time. I watched it as a terrifying collection of production values thatmostly worked, sort of, but not quite the way I had imagined it, and, oh, dear,why did they use that take instead of the other one? That's the problem with being on the soundstage; later on, when it's all puttogether, you can't see the show; you can only see the production of it. But myfamily and friends enjoyed the episode, and they congratulated me on my firstprofessional credential, and it was otherwise a wonderful night. But I remember,quite clearly, that at one point I said, "It's only a television show. Thirtyyears from now, who's going to remember it?"Duh.The answer was, everybody is going to remember it!Copyright © 1996 by Diane Carey

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