The production story of “The City on the Edge of Forever” began in the spring of 1966 when Gene Roddenberry was given the go-ahead on the series from NBC. He had decided that he would approach some of the top science fiction writers who were also experienced screen and television writers to write episodes of Star Trek. Among them were Theodore Sturgeon, Richard Matheson, Jerome Bixby, Jerry Sohl, Robert Bloch—and Harlan Ellison.

Harlan’s idea in rough was the discovery of a planet where all time meets and an adventure which takes Kirk and Spock back through time to Earth of the Depression era. It was to be a genuine and poignant love story for Kirk.

The idea was approved, and Harlan went to work on the story outline. The writing of the outline seemed to take a long time. Producers don’t like to badger writers about delivery. Most of them are also writers, and they understand the reluctance of writers to face the blank page or computer screen. Besides, it was not uncommon then for a writer to be juggling two or three assignments at the same time, having one in outline, one in first draft, and one in final draft. Other stories came in. Then scripts. Weeks went by. No Ellision.

Finally the outline for “The City on the Edge of Forever” was delivered, and it was received with glad cries of enthusiasm from Gene Roddenberry, Desilu and NBC. Harlan received a prompt go-ahead for a first-draft script. The series was deep into production by then, and Roddenberry wanted “The City on the Edge of Forever” scheduled soon. But—no script.

Granted, Harlan was going through an emotionally intense and difficult period—the breakup of one of the shortest marriages on record. On the other hand, we needed the script. Desperate measures were called for. Roddenberry set aside a desk in the assistant directors’ room and asked Harlan to come in and work on the script in the studio. Every day. Please.

Harlan arrived with his manual typewriter and a record player and set up shop. There are some stories told that Roddenberry had to lock the door of that office to keep him working—but Harlan got out the window. The stories say Roddenberry had the windows nailed shut—and Harlan still got out. Well, they are just stories. Harlan did spend time visiting the set, but that’s considered necessary research for a writer. When a show hasn’t been on the air yet, freelance writers must have an opportunity to study the actors’ speech patterns and delivery, the little gestures and nuances each one brings to his or her role, and—most of all—the character relationships which are being built episode by episode. The script for “The City on the Edge of Forever” began to emerge page by page, and finally it was done.