Identify the coherence techniques in these two paragraphs. (Underline the technique and write in the margin the name of the technique.) As Gene Roddenberry's James T. Kirk, William Shatner was the embodiment of Kennedy-era sensitive macho: articulate, reasonable and commanding, but always game to buss an intergalactic babe or bust a Klingon jaw. If it was the role of a lifetime for Shatner, that was not his decision to make. Fans, and the particular properties of the television medium, would make it for him. A low-ratings earner from the getgo, Star Trek nevertheless began to build its unprecedentedly rabid fan-base almost instantly. It was organized fan pressure that convinced NBC to leave the show on for a third season, and it was eventually fan pressure that made William Shatner realize that, if there was anything worth clinging on to (so to speak) for a lifetime, it was the role of Jim Kirk. It first hit him in New Jersey in 1970. After 79 episodes, Star Trek had been cancelled, and the combination of an expensive divorce and a residual-free contract with Paramount, which owned the series and Kirk, soon left the actor every bit as broke as he'd been when Roddenberry first called. By 1970, he was doing summer stock for money, but not enough money that he didn't have to cut costs by driving from job to job in a pickup with a camper shell on the back. As Shatner recalls it, he was asleep in the camper, when a six-year-old boy knocked on the door. The kid had seen the strange sleeping apparatus and wanted to ask the inhabitant of the camper if it was a spaceship. Imagine his surprise when Captain James T. Kirk of the Starship Enterprise came to the door. It was then that Shatner began to realize the extent to which Star Trek, which would soon run in syndication across the States and 100 countries, had taken a life of its own. [Source: Pevere, Greg, and Greig Dymond. Mondo Canuck: A Canadian Pop Culture Odyssey. Scarborough, Ont: Prentice-Hall, 1996. 202.]