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‘Intimacy’ genre stimulates author’s 30-year tale of success

By P.J. Standlee

From the time of her first published science-fiction story in 1975, it has taken editors, publishers and TV show producers almost three decades to catch up to Kyrene Corridor writer Jacqueline Lichtenberg.

Lichtenberg, who recently moved to west Chandler from New York City, has been writing for more than 30 years and is credited for her influence in the mixed genre writing category known as “intimate adventure.”

Essentially, the category blends character study with a melting pot of other genres, from science fiction and romance to action, horror and the paranormal.

Explains Lichtenberg:

“Intimate adventure is the result of replacing the ‘action adventure’ style with the ‘intimacy’ style of writing--but with an intimacy that has little to do with sex and everything to do with psychological visibility, personal and spiritual growth through emotional honesty.

“It emphasizes the kind of emotional honesty that requires true heroism. ‘Intimate adventure’ mixes easily with any genre.”

Best known for her so-called Semi~Gen series (the first book, House of Zeor, was published in 1974) about the evolution of the human race into two species and their co-existence, Lichtenberg has never stopped writing.

Nor have her legions of fans, who have taken up the Semi~Gen universe and written literally hundreds of their own fan fiction (http://www.simegen.com/).

“Up until a few years ago, editors wouldn’t publish mixed genre. It had to be pure genre. But that’s what the fans want,” Lichtenberg said. “Buffy the Vampire, Angel, Highlander—it’s all intimate adventure--the whole mess of it.”

With the help of coauthor Jean Lorrah, Lichtenberg has put out a number of Semi~Gen books over the years in addition to other works, many of which are scheduled for reprinting.

“The success of these books isn’t by accident,” she said about the longevity of her Semi~Gen series. “The audience loves it; I have second- and third-generation fans of this series.”

Lichtenberg added that her books at the time of the printing were not taken seriously because of their mixed genre. It was difficult for editors to categorize them, difficult for marketers to find niches for them and difficult for bookstores to figure out which shelf to put them on.

Now, Lichtenberg said, intimate adventure-themed stories and TV shows are in demand--all thanks, she said, to the very first intimate adventure show that captured the imagination of generations to come with its own books,  TV shows, fan fiction, conventions and movies--you guessed it, Star Trek.

Like many others, Lichtenberg became fascinated by the show and helped produce Star Trek fanzines and a Star Trek welcome committee. With a nod from producer Gene Roddenberry, Lichtenberg was the primary writer of the first novel on the Star Trek phenomenon and its fans in 1975 called Star Trek Lives! (published in 1975 by Bantam), after the show was canceled.

The premise, Lichtenberg said, focused on the number of effects the show produced, including the devotion of female fans to a science-fiction show, which Lichtenberg called the “Spock Effect.”

“Star Trek consists of a number of effects. A person can see one effect and completely miss the other part. Each effect hits a different audience,” said Lichtenberg.

The “Spock Effect” suggests that most of the audience was interested in the personal relationships developed throughout the show through strong characterization and story lines. Other effects, such as the scientific details and action, would be picked up by other audiences, but the combination of effects is what made Star Trek a highly successful show.

In her book Star Trek Lives!, Lichtenberg also included an excerpt of her first book in the Semi~Gen series, House of Zeor.

Based on Lichtenberg’s approach to intimate adventure, House of Zeor books became popular soon thereafter which, she said, proved her theory on the genre.

“Intimate adventure has not so much changed how or what I write as it has given a name to what I found missing in the science-fiction and fantasy of the 1950s,” Lichtenberg said.

“When I was growing up, science fiction and fantasy were considered of interest only to young boys. But I was a girl, and I loved tales of true heroism--except those tales had something missing in the definition of heroism.

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