Production Guidelines
by David Eversole and Randall Landers
Created: September 11th 2010
Updated: October 17th 2018

"For me, fantasy must be about something, otherwise it's foolishness... ultimately it must be about human beings, it must be about the human condition, it must be another look at infinity, it must be another way of seeing the paradox of existence."
—George Clayton Johnson
... first and foremost a group of Star Trek fan productions.

A fan film is a nonprofit film made by fans, based on a copyrighted work (usually a television series, sometimes a movie). Iconic characters may be recast, or new characters may populate the "universe" of the original work.


Project: Potemkinproductions are set on the U.S.S. Potemkin, NCC-1711. The year is 2296-2299 (the era of Star Trek VI: The Undiscovered Country and the opening scenes of Star Trek: Generations.) The Potemkin is an up-rated Constitution III-class (such as the U.S.S. Enterprise, NCC-1701-A). Project: Potemkin concluded their series run October 24th 2016.
You can view the Project: Potemkin's productions here:

Our remaining productions are set in the outreaches of Federation territory. The time frame is currently 2201. There are 43 colonies in the outer reaches of Federation space in Quadrant 9, Sector 72 (often referred to as 'The Back Forty-ish'), and they need continued support from colonial support vessels, border patrol ships, hospital ships, heavy cruisers, deep space exploration, diplomatic and investigative ships, even warships. The planets are basically agrarian, with a few scientific and medical outposts present. Also present in the sector are Klingon colonies, Romulan outposts, Orion planets, Tholian seed worlds, and a plethora of alien worlds, some inhabited, some not. It's a broad tapestry upon which we can convey our stories.

The Starship Tristan Creative Group's productions are set on the U.S.S. Tristan, NCC-2587, a Constellation-class starship. It follows the adventures of a colony support ship. Starships like the Tristan provide defense, scientific and medical support, diplomacy, shipping and transport, search and rescue, from the extreme to the mundane. Tristan has been assigned to provide support for those 43 colonies. It isn't going to be easy… Starship Tristan began filming in 2015. Its first production, “Moving Day,” won an Independent Star Trek Fan Film award in 2016. Fifteen other productions have already been released as well. Four or five such productions are shot each year.
You can view the Starship Tristan Creative Group's productions here: https://www.youtube.com/playlist?list=PLN2PsJbAILgmMXdXt8kcfd-5s8tDDeqoa&fbclid=IwAR3hep-9Ewz1DVIz6NNCUqfVrAuBl73Z-QLTyvh-lFed7h9HSzsmK07ZUfw

The Starship Deimos Creative Group's productions are set on the U.S.S. Deimos, NCC-2787, a Phobos-class starship. This productions features the adventures of a border patrol ship in Sector 72. The planets are a tempting target for pirates, an easy 'back door' into the Federation for smugglers, and rich, tempting worlds for those wanting to expand their territory. The vigilance and dedication of its crew are the only thing between those colonies and those who would do them harm. Starship Deimos began filming in 2015, with its first productions released in 2016. Three or four such productions are shot each year.

You can view the Starship Deimos' Creative Group's productions here: https://www.youtube.com/playlist?list=PLN2PsJbAILgmE2VxkT82dNKv2CihnN4Xi&fbclid=IwAR0KdIyBuf3O2-KlcKunyw3OK8ehDNVZJMg7dqmyjsOozWNYdFL5DUu8hGc

The Battlecruiser Kupok Creative Group's productions are set aboard the I.K.C. Kupok, a K’t’inga-class battlecruiser conducting military operations near Federation space. This production features an entire cast of Klingons and is told from the perspective of that crew and their captain, HoD Kesh. There are plenty of stories, adventures and conflicts in the Alpha Quadrant that don’t involve the Federation! To date, Captain Kesh and the I.K.C. Kupok has appeared in Project: Potemkin’s “Shovel of Kahless” (2014) and “Battle at Alawanir” (2015) as well as Battlecruiser Kupok's “Sanctuary” (2016), “A Gathering Storm” and “Soul of Honor” (2017). Only one production is shot per year, with possible vignettes shot as well.
You can view the Battlecruiser Kupok Creative Group's productions here:

The Starship Endeavour Creative Group's productions are set on the U.S.S. Endeavour, NCC-1895, a Constitution III-class heavy cruiser starship like the Enterprise-A and the Potemkin. Endeavour is a capital ship in Quadrant 9, Sector 72. As such, its captain is generally considered one of the senior most of his fellow ship commanders in the quadrant. The Endeavour’s commanding officer is Captain Zachariah Houston, a hard man to deal with, but an even harder man to prove wrong. Only one productions is shot per year.
You can view the Starship Endeavour Creative Group's only release to date here:

The Starship Triton Creative Group's productions are set about the Excelsior-class U.S.S. Triton, NCC-2529. The Triton is the flagship of Commodore Eugene Alwine. Its primary function is diplomatic and investigatory missions. Alwine is Starfleet's senior officer in Sector 72, and all starship commanders answer directly to him. Alwine does not mince words. His executive officer, Commander Janice Rand, has left the Excelsior under less than desirable circumstances. Only one production is shot per year.
You can view the Starship Triton Creative Group's releases here:

The Hospital Ship Marie Curie Creative Group's productions are set aboard the recently designed and released Naucrate-class light cruiser, U.S.S. Marie Curie, NCC-2179. A very small ship with no weaponry, it is crewed by doctors, nurses and medics. The captain of the Curie is the former executive officer of the Triton, and she regards this command as the fulfillment of the ideals of Starfleet. Its designer, Robert Callahan, serves as its chief engineers. The rest of the crew all are there to render aid and assistance wherever needed. Only one production is shot per year.
You can view the Hospital Ship Marie Curie Creative Group's only release to date here:

Other starships may be visited from time to time as well. If you're unsure of which production you'd like to write for, don't worry. You can write a generic script, and we'll place it with the creative group we feel would best tell your story!

Studio 3 – Potemkin Pictures, as we’ve named the facilities in Pelham, Alabama, consist of a bridge, transporter room, a Sickbay, officer’s quarters, Klingon bridge, briefing room, and turbolift. We even have a large green screen permanently set up we use for whatever interiors you can imagine, and we have several additional green screens for exterior shots as well. There are even plans for a shuttlecraft. Sets are constructed only as needed, but always keep in mind the necessity of a set: Is it necessary for the script?

Central Alabama has quite a diverse number of biomes. We have old forests of deciduous trees, young forests of coniferous trees. We have Cyprus swamps, and farmlands, waterfalls, rivers, lakes and streams. We have mountains, grasslands, and hills and plains. We will also be filming in the coastal regions of Florida (Atlantic Ocean -- lots of waves -- and the Gulf of Mexico (minimal waves)). We have some natural caves, a sandy shoreline without a shore, and even nearby is Providence Canyon -- Georgia's little Grand Canyon. The architecture is equally diverse; we'll have access to some really modern facilities and some really run-down buildings that look as though they've been nuked. We also have several places like the Tannehill Historical Ironworks State Park in McCalla, Alabama; Sloss Furnaces in Birmingham, Alabama; and Moss Rock Preserve in Hoover, Alabama. So don't worry about the locations; you write the story, and let us find the right place to film it.

The pleasure of working with like-minded Star Trek fans, the joy of seeing your story brought to life by actors on the small screen, and appropriate screen credit. Sorry, but that's about it. This is, by its nature, a non-profit endeavor. CBS-Viacom-Paramount has set down a set of guidelines by which we can utilize their intellectual properties for "fun." We want to keep it that way. Production length is limited to 15 mins (which is roughly 12-14 pages of script), and we abide by their guidelines to the best of our interpretation and ability.

First and foremost we are looking for science fiction stories that fully utilize and maximize our characters. We don’t want a technobabble-filled script spoken by cardboard characters, nor do we want a room full of angst-filled losers whining about how nothing ever happens... while nothing is happening. In other words, if asked if we want plot-driven stories or character-driven stories, our answer is a resounding "YES!"
We are a "low budget" production. Honestly, make that "no budget." Please don’t send us a script wherein two armies of five thousand fully costumed and accoutremented foot soldiers clash on a fantastic alien battlefield littered with crumbled statuary erected to long-since-forgotten Old Ones. We’d much rather the epic clash in your story occurs between one of those soldiers and a member of our crew, and that the clash be of wills and character.

Scripts cannot be more than 14 pages in length, but don’t think they must be 14 pages long. They should be only as long as necessary to tell the story. Do NOT pad your script. If your script runs 12 pages, let it run 12 pages. If it runs 9 or even 4 pages, let it. Don't get hung up on the length, modern-day script structure, acts, epilogues, teasers. Be flexible, and we will be, too.
Due to the sporadic nature of funding and mounting a fan production, we want exciting standalone stories.


  • Avoid Modern Trek species such as the Ferengi, the Borg, Species 8472, the Vidians, and even the Denobulans.
  • Avoid the events of the 2009 Star Trek movie, Into Darkness, and Star Trek Beyond (collectively known as JJ Trek) as that is an alternate universe.
  • Avoid references to the series, Enterprise. It takes place in an alternate universe.
  • Avoid references to the series, Discovery, or any of its related productions. It takes place in an alternate universe.
  • Avoid references to other Star Trek fan films. We may, at our discretion, refer to other ships, but only under certain circumstances.
  • We are not accepting sequels to original series episodes/movies, or prequels to productions from the latter Star Trek series’ episodes or films.
  • Sexuality, sexual preferences, racism, and other "message" stories are not what we’re looking for. This is the 23rd century; gender preference should be no more remarked upon than the preference of blondes, brunettes or redheads (of either sex!) today. Our characters and crew would not think to vocalize such trivialities.
  • No "Mirror" or "Alternate Universe/Timeline" stories will be accepted.
  • No "Evil Twin" or similar themed stories will be accepted.
  • No parodies or outright comedies. Stories may have humor, but don’t let it be the focus of your script. Tell a funny story if you want, but bear in mind our productions are not out-right comedies even though some of our shorter productions are often deliberately humorous.
  • No "Section 31" stories will be accepted.
  • No musicals will be considered.
  • No stories pitting our crew in endless arguments and clashes with each other. These are professional space explorers. Though they may disagree with each other fervently, there is nothing personal about it. Don’t build a story around trivial arguments.
  • Avoid modern popular culture references. As wonderful as it may be to have a lovely contemporary ballad playing on the soundtrack, we ask that you refrain from suggesting we do so in your script. As cute as it may be to have our characters growl out Nirvana, Beastie Boys and Limp Bizkit songs, we again ask you not to do so. Putting aside any debate over whether or not most of the musical artists and hits of the 20th century will be known three hundred years from now -- even allowing that the music of The Beatles (to pick the most obvious example) might be somewhat known then -- there is the present day issue of royalty rights. Even though CBS-Viacom look the other way when we use their creations, we seriously doubt that Misters McCartney and Starkey, Miss Ono and Mrs. Harrison, or whoever owns the Apple catalog these days, will be as generous.
  • Likewise, we ask that you refrain from having our characters use present day slang, or make references to current events (unless you have written a time travel script, of course). None of our captains would threaten to "pop a cap in yo ass," nor would they compare the political machinations of Planet X to those of the Reagan, Clinton, Bush or Obama administrations. Surely in the intervening three hundred years there would be far more relevant and immediate slang and political events to reference. Invent your own.
  • Avoid excessive references to Star Trek (The Original Productions). Please don’t have our characters "name drop" the characters and incidents from the original productions unless it is absolutely vital to your story. If your script concerns the tribbles, you may certainly invoke Sherman’s Planet for flavor, but please don’t have one person encapsulate the entire plot of "The Trouble with Tribbles" to another.

Courier or Courier New, 12pt.
The following tab settings are approximate, if you’re off, no one will kill you.
Left margin -- 15 (1½ inches—1 tab from the 1” line)
Character name -- 35  (3½ inches—4 tabs)
Dialogue -- 25 (ends around 55-60 at most--2½ inches—2 tabs)
Parentheticals (only if absolutely necessary) -- 30 (2 inches—3 tabs)
Right margin -- 75 (one inch in from the right edge of page--7½ inches from the left)
Top/Bottom Margin -- 1 inch
Page Number -- 70-75, top right, approximately ½ inch from top of paper
CAPITALIZE the characters’ names in the narrative when they first appear in your script and over their dialogue and in scene headers if used as such. Otherwise, use an initial cap and then small case letters.

Modern screenplays and teleplays rarely use the famous "CUT TO" (or DISSOLVE TO, etc.). One scene follows another; it is a given that the editor will have to cut to the next scene.

Do not number your scene headers (aka slug lines).

Without trying to crimp your style, we ask you to please, PLEASE refrain from writing camera-heavy scripts. Avoid directing on paper. Do not tell our director if we need a close up, a two shot, an over the shoulder shot, or a long shot. Do not tell our director to rack focus, to dolly forward, dolly back or whip pan. Do not use "wrylys" -- parenthetical directions telling the actor how to deliver the line. Let your dialogue speak for itself and let our actors act.

Because no script is more than 14 pages in length, there is no need to break it into acts. You can have a teaser and an epilogue, but rarely do we need to create artificial constructs to add to drama at the end of an act. Simply write the script using the tried and true Aristotle codified structure (beginning, middle, end), but for heaven's sake, don't assume you must emulate the original productions' format!).

"Encounter With K’Bob"
A desolate stretch of barren, dry, sandy wasteland, dotted by maroon/gold/blue alien trees or shrubs. A small thatched hut, similar to the Earth time period 1454-1459, stands by one of the weird withered alien trees. "Rain on the Scarecrow," by John Mellencamp, plays on the soundtrack.

Captain Grigory and Lieutenant Landon materialize (use the transporter effect from TOS for old times sake!)
They draw their phasers.

They walk toward the hut.


K’BOB, like most of his race, very vicious and mean, is a Klingon warrior, a member of the House of H’Cup, to be precise, about 35. He watches them.

(surprised, but yet
viciously, in Klingonese,
Oh, darn!

as they draw closer.

Lieutenant Landon, circle around back
while I approach from the front.

Aye, Captain Grigory.

Landon jogs, no, SPRINTS, behind the hut.

Grigory takes a manly, self-reassuring breath of air, walks calmly, yet cautiously, to the hut’s door.



"Encounter With K’Bob"
A desolate stretch of wasteland, dotted by the occasional tree or shrub. A small thatched hut stands by a withered tree.
CAPTAIN and SECURITY materialize, draw their phasers, and walk toward the hut.


K’BOB, a typically arrogant Klingon warrior, about 35, observes Captain and Security through a narrow opening in the hut wall.
      (in Klingonese, SUBTITLED)
       Oh, darn!
as they draw closer.
       Circle around back.

       Aye, sir.

Security hurries behind the hut.
Captain takes a deep breath, walks to the hut’s door.
                                                      FADE OUT.


While the above example is certainly not the pinnacle of writing excellence (all this could be accomplished by the captain giving hand signals, nor is there a great need to know exactly what K’Bob said), notice that unlike the first, we did not tell the director how to direct, nor did we tell the actors how to act. We did not include details (the House of H’Cup) that could not be SEEN onscreen at that moment.
You will also note that we don’t list which characters will appear. We simply say CAPTAIN because sometimes a cast member is not available. We also have the same issue with SECURITY. By not being so specific, we can actually replace the characters with available actors.
Trust our actors to add any little nuances to their characterizations as they portray the characters that, for the most part, they themselves created.
Lastly, please note that we did not use 1985 Midwestern rock songs, etc., etc.



We don’t want this. You've basically written yourself as the author, director, actor(s), editor of this production (to name some of the many roles you've taken on), and it's just really pretentious.


Yes, we are certainly aware that many professional screenwriters (Harlan Ellison springs to mind) do write incredibly detailed scripts, indicating every angle, every zoom, every nuance. To put it succinctly: I've met Harlan Ellison, and you're no Harlan Ellison.


If you have any questions, PLEASE ASK THEM. The only feedback we get from our production guidelines is when people come to us with a question about this prohibition or a request for further edification and explanation.
Above all, remember, we’re here to have fun!



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The persons and events in this program are ficticious. Any similarity to actual persons or events is unintentional.

Produced in 2018 by POTEMKIN PICTURES

Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use. No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.