
something. I’m not sure exactly of what, but it was a good thing.
Third, it helped that certain parameters were drawn. I was skittish over the idea of having stories set in
“current”New Frontier continuity, because I was worried over the logistical nightmare of how so many
visions might impact on the ongoing narrative. We could, of course, just do an anthology of meaningless
“They Go to a Planet and Stuff Happens and Then They Leave” stories, but what would have been the
point? If we were to do the firstTrek anthology based on a non-TV seriesTrek universe, we had to do
something more special than that. It was at that point we decided to go backward instead of forward. All
the characters have rich, detailed histories that have been hinted at in some way, shape, or form. Some
have been catalysts for entire stories (McHenry, for instance), while others have yet to be explored.
Feeling this was fertile ground, the writers were set loose on the characters’ backgrounds, free to set
stories in some of the most emotional and challenging periods in our heroes’ lives before they joined the
Excalibur. (The single exception is the oft’ mentioned, but never-told-until-now tale of Calhoun and
Shelby’s honeymoon-from-hell, written by yours truly. When you make the rules, you get to break them.)
Did I spell out what all the stories should be? Lord, no; I’m notthat organized. In several instances I
suggested specific time periods in which to set stories. And one tale originated entirely from my saying,
“Gee, wouldn’t it be cool if we had a story where…” The vast majority of endeavors, however, are
entirely the invention of the individual writers. But I vetted them all, commented on them all, had changes
made where needed, and oversaw the whole thing.
I’m emphasizing this not out of a compulsion for self-aggrandizement, but because when the anthology
was announced on my website, a sizable number of readers instantly expressed reservations. They
claimed the attraction ofNew Frontier for them was the uniformity of vision in the world conceived by
John Ordover and myself. I’ve been the sole writer, and they were uncertain over the idea of suddenly
bringing in over a dozen new voices to the mix.
So I want to take this opportunity to assure anyone who is furtively reading this intro in a bookstore
trying to make up his or her mind, or anyone who has already plunked down the money and is hoping it
was well spent, that our lineup of writers has done a sensational job in taking us back to before it all
began. That they have presented key moments in our characters’ lives as well as, if not better than, even
the most ardentNew Frontier fan could possibly have hoped.
If anything,New Frontier is elevated by this anthology. It’s one thing when a single writer produces a
body of work. But when talented writers want to jump into the pool and splash about, suddenly it
becomes more than just a series of books. It becomes a true universe, a nice bit of mythos building, of
different creators saying, “This is a particular piece of the universe that appeals to me. Come share it.”
Shout-outs go once again to: Keith DeCandido, associate editor supreme; John Ordover, whose idea
New Frontier was; Kathleen David, my wife and a superb editor in her own right; Glenn Hauman and
Bob Greenberger, who expressed early interest and were fonts of ideas; Paula Block at Paramount, one
of the most eminently reasonable “powers that be” in the world; Bill Mumy, from whom I copped the
all-purpose profanity “Grozit”; and, ultimately, you the readership.New Frontier was in abeyance for a
while as the popularity ofSir Apropos of Nothing changed a one-shot novel into a three-book deal.
There are limits to what even I can turn out in a year. But we’re back now, and we thank you for your
patience and your continued support.
Peter David
Long Island, New York
June 2003