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		     HOW TO SUBMIT CREATIVE MATERIAL
			 (last updated 11/13/92)

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 story for Pocket Books
 4) Submitting art to DC Star Trek comics
 5) Submitting stories to DC Star Trek comics
 6) Submitting art or stories to Malibu Deep Space Nine comics
 7) Submitting parodies to Usenet
 8) Obtaining Hackman's TOS Guide
 9) Obtaining Vidiot's TNG Guide
10) Obtaining Copies of Parodies
11) Obtaining other creative works
===========================================================================

1) SUBMITTING SCRIPTS FOR TNG:

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

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.

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.

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)

---------------------------------------------------------------------------
2) SUBMITTING SCRIPTS FOR DS9:

Paramount is  NOT accepting  scripts  for Deep  Space Nine  until after the
series premiers in January 1993.  They will be returned.

---------------------------------------------------------------------------
3) 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 for Pocket is Simon & Schuster Building, 1230 Avenue of the 
Americas, NY, NY 10020.  The editors are Dave Stern and Kevin Ryan.

---------------------------------------------------------------------------
4) 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.

---------------------------------------------------------------------------
5) 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.

---------------------------------------------------------------------------
6) 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

---------------------------------------------------------------------------
7) 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.

---------------------------------------------------------------------------
8) 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
	DIRECTORY:  ~ftp/pub/StarTrek

	FTP SITE:   ftp.coe.montana.edu (192.31.215.240)
	DIRECTORY:  /pub/STARTREK/st-tos

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.

---------------------------------------------------------------------------
9) 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:

mammoth.unr.edu (134.197.40.241) in the  /pub/guides/startrek directory and
ftp.coe.montana.edu (192.31.215.240) in the /pub/STARTREK/st-tng directory

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.

---------------------------------------------------------------------------
10) 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 from rec.arts.startrek  and alt.startrek.creative.   They are
available via anonymous ftp or via email.

	FTP SITE:   ftp.cis.ksu.edu (129.130.10.80)
	DIRECTORY:  /pub/Startrek/stories

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"

---------------------------------------------------------------------------
11) 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 ]

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   Again, if you know of any other topics that should be included in 
this list, feel free to email me at one of the addresses below.

		--Otto "HACK-MAN" Heuer
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