She left the group before the third season, however continued to compose scripts on a freelance premise. These included "The Undertaking Incident", "That Which Endures" and "The Best approach to Eden". She disliked a portion of the changes made in "The Endeavor Incident", such as the extent of the cloaking device, and found working with her replacement difficult as the new story editor didn't understand the basics of the arrangement such as what the transporter did and how old Leonard McCoy was intended to be. Her freelance status implied that she could compose for a few arrangement, including westerns once again.[6] In 1969 she was nominated for a Scholars Guild of America Award for an episode of Then Came Bronson entitled "Two Percent of Nothing".

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Tracks Listing:

1 Big
2 Sha Sha Sha
3 Too Real
4 Television Screens
5 Hurricane laughter
6 Roys Tune
7 The Lotts
8 Chequeless Reckless
9 Liberty Belle
10 Boys In The Better Land
11 Dublin City Sky

Dorothy Catherine "D. C." Fontana (conceived March 25, 1939) is an American TV script author and story editor, best known for her work on the first Star Trek franchise and a few western TV arrangement. After she attended Fairleigh Dickinson College, she moved to New York City quickly to work for Screen Pearls as a secretary, however before long moved to Los Angeles where she worked in the composing pool at Revue Studios.

She became the secretary for Samuel A. Peeples, to whom she sold her first story, "An Abundance for Billy", for the arrangement The Tall Man. Her underlying work was credited under the name Dorothy C. Fontana.

After Peeples left the studio, she moved to work for Del Reisman, a producer on The Lieutenant. The show was created by Quality Roddenberry, and after his secretary became sick, Fontana covered. The Lieutenant was cancelled after one season, and Roddenberry started taking a shot at Star Trek. He had Fontana stir up one of his ideas into the episode "Charlie X", and after she re-expressed "This Side of Paradise", he gave her the activity of story editor. She continued in this post until the end of the second season when she wanted to seek after her freelance composition work. She was nominated for a Scholars Guild of America Award for an episode of Then Came Bronson.

Roddenberry took Fontana back to compose for Beginning II, and then as story editor and associate producer on Star Trek: The Animated Arrangement. During the 1970s she worked on various arrangement such as Logan's Run, The Six Million Dollar Man and Buck Rogers in the 25th Century.

Roddenberry hired her to take a shot at Star Trek: The People to come, yet while she was given an associate producer credit, the experience soured the association with Roddenberry and resulted in a claim put to the Journalists Guild of America. She later composed an episode of Star Trek: The Cutting edge just as the plots for a few of the franchise's video amusements, in addition to a comic story and an episode of the fan-made arrangement Star Trek: New Voyages.

Conceived in Sussex, New Jersey, Fontana was raised through her childhood in Totowa, New Jersey, graduating from Passaic Valley Local Secondary School in 1957.[1]

Fontana decided at 11 years old that she wanted to become a novel writer.[2][3] During her childhood, she composed repulsiveness stories highlighting herself and her friends. She attended Fairleigh Dickinson College, where she graduated with an Associate degree as an Executive Secretarial major.[4] After she graduated from college, she left New Jersey to go to New York City, where she found a new line of work working at Screen Jewels as the lesser secretary to the President of the studio. Not long after his death, she returned to her home state quickly, at that point moved to Los Angeles. She gained work in the composing pool at Revue Studios,[2] functioning as the secretary to essayist Samuel A. Peeples during his time on the western TV arrangement Overland Trail.[5]

At the point when that arrangement was cancelled,[4] they moved onto The Tall Man, and she sold him a story called "An Abundance for Billy".[5] She was 21; it was her first story sale.[2] She continued to work with Peeples on the western TV arrangement Outskirts Circus.[6] During the course of her work with Peeples, she sold six story ideas, including one on Shotgun Slade for Nat Holt.[4] She was restricted in that particular episode, since the arrangement allowed for four primary talking jobs for every episode, including the principle character. Another episode on which she worked had to be re-composed to expel any outside scenes, as it was down-pouring during the shoot, which couldn't be delayed for the climate to change.[7] These were altogether created under the name of Dorothy C. Fontana.[4] Peeples moved on from the company, yet Fontana stayed and returned to the composing pool.

She saw a position open taking a shot at a Marine Corps based arrangement called The Lieutenant and applied;[8] Fontana started filling in as a secretary for producer Del Reisman.[6] Around this time she adopted the name "D.C. Fontana" for her composed attempts to keep her pitches being prejudged based on her gender.[4] The Lieutenant was created by Quality Roddenberry, who she ended up working directly for after his secretary became sick. So Fontana was drafted into the job, while another person covered her post with Reisman. In the wake of finding out that she wanted to become an essayist, Roddenberry encouraged her.[6] In 1964, she published her first novel, a western called Brazos Waterway, with Harry Sanford.[3]

After that arrangement was cancelled, Roddenberry started to chip away at Star Trek, and so Fontana was introduced into science fiction, which had not been an enthusiasm of hers.[2] Following encouragement from producer Robert H. Justman,[5] and as she had been taking a shot at the show from the beginning of the development, Roddenberry assigned her the undertaking of composing a teleplay on an idea he had for an episode from the underlying pitch called "The Day Charlie Became God".[2][9] She worked the reason into the script for "Charlie X", in spite of the fact that she gave Roddenberry the story credit, despite re-working it and just assumed the teleplay praise for herself.[10] It was broadcast as the second episode of the series.[11] In spite of the fact that this was an adapted story, she likewise stated "Tomorrow Is Yesterday" from her very own underlying idea. By the middle of the principal season Steve Carabatsos, the story editor, had already left the production, and it seemed that the second editor, John D. F. Black was likewise looking to leave,[6] so Roddenberry gave Fontana the errand of changing the episode "This Side of Paradise".[2][6] He and the system were satisfied with Fontana's work, and she became the new story editor[2] instead of Roddenberry's secretary in September 1966.[12]

She in this manner came up with the ideas for the episodes for "Adventure to Babel" and "Friday's Child". There were different works which she was formally credited with based on the Scholars Guild assertion that were just re-composes of episodes.[6] She later recalled completely re-stating "A definitive Computer", as the first essayist was reluctant to roll out the recommended improvements. She said this was a common issue, "You either had to do a light clean, some of the time just on dialog and then you assumed no praise for that of course, because it would not be reasonable, however when you truly do a complete script update, at that point it needs to automatically go into the Scholars Guild for arbitration."[6] She was one of four essayists to re-compose Harlan Ellison's "The City on the Edge of Forever",[13] alongside Roddenberry, Quality Coon and Carabatsos who had every made change at different occasions to the displeasure of Ellison.[14] Fontana's draft, submitted on January 23, 1967, was superseded by three further forms by Roddenberry.[15] A portion of her deals with Star Trek were credited to the pseudonym Michael Richards.[16]