One thing about having a career that's as eclectic as mine has been --
dark fantasy/horror novels to mystery series to SF stories to comedy -- is
that you learn a lot of techniques that you don't normally encounter. So
yes, I definitely carried over a few lessons I learned from that experience.
My theory is that if you're doing any sort of mystery for TV, once the full
story is laid out, you should be able to go back and watch the show again, and
suddenly all the pieces lay out, they make sense. The trick is to get the
viewer to interpret the clues one way, then tilt the mirror slightly to show
what they *really* mean.

In the series, G'Kar won't be hitting on the station's resident telepath,
but he will try a few more times via other means to get his hands on a
telepath.

We're going to be doing a lot on the Psi Corps toward the middle of the
series, btw. There's quite a bit in D.C. Fontana's new story, "Legacies," and
in a script I just finished, "Mind War." The more I play around with the
notion of legalized, licensed telepaths, the more room there is for all kinds
of intrigue.

Today, incidentally, I finished the outline for "Chrysalis," which will
be the last episode of this season, though we'll be shooting it much earlier,
about 2/3rds through the run. It's a real corker in which we absolutely kick
over the table and all hell breaks loose *bigtime*. This one I'm *really*
looking forward to writing.

jms