Writing

November 21, 1973

When I met Larry Payne in November of ’73, he was one of two McCall’s west coast advertising salesmen working under the supervision of Mr. G. Don Draper was decades away, but (in hindsight) I saw a guy on his way to becoming Draper unless he made significant changes. Not that there’s anything wrong with being young, successful, handsome and charming – all of which describe Larry and Draper. The difference is, Larry wanted his life to be more than a slick Madison Avenue ad for success.

My family at Janet's house along with Larry Payne — My family at Janet’s house along with Larry Payne

Astute as ever, Larry’s secret spiritual leanings flew far under my radar – not too shocking since I quit McCall’s less than three months after I started. My best friend Gail replaced me and when Gail moved on my sister Janet got the job. Via this grapevine, I heard what Larry was up to from time to time. One thing I never suspected was that – of the two of us – his name would appear on book jackets long before mine.

Cut to the present. Hopefully, I’ll fill in the middle someday. Today (from the bio on back of his book) “Larry Payne, Ph.D., is an internationally respected Yoga teacher and back specialist. He is Founding President of the International Association of Yoga Therapists, founder of the Yoga program at the J. Paul Getty Museum, co-founder of the Yoga curriculum at UCLA Medical School and founding director of the Yoga Therapy Rx and Prime of Life Yoga programs at Loyola Marymount University. Most Recently co author of his 5^th book, Yoga Therapy & Integrative Medicine Turner Publishing.”

Here’s the best part. More than forty years after we parted ways at McCall’s – we are now FB friends – and he’s just as charming as he used to be.

November 18, 1995

What’s not to love about travelling to research a writing project? For starters, producers must fly writers First Class – something my Midwestern roots won’t allow me to do for myself. It’s superficial, but it made me feel important. Another benefit, for some – free alcohol. All I know is, the diet Coke they serve in first class tastes the same as it does in economy.

In the early days, I fantasized jetting to Paris for a true-life story but apparently very few Parisian lives are MOW material, (link to Movie of the Week). The stories I got hired to write unspooled in tiny Texas or Louisiana towns where the top hotel stood side by side with the local slaughterhouse. This is not to knock small towns or southern states; I’m from rural Iowa myself (Graettinger and Estherville, anyone?) However, as quaint and charming as Kickapoo, Kansas, might be, no one will ever mistake it for Paris.

With my cousins at the tiny Spencer Iowa Airport

I liked everyone I interviewed except the cold-blooded killer in the high-security Texas prison. Getting to know the people made the job fun. What made it hard was their desire for their stories to be told truthfully, like they happened in reality. I couldn’t bring myself to tell them that regardless of how dramatic and compelling their tale might be, inevitably “a true story” dilutes to “inspired by a true story” or, worst case scenario, “inspired by a concept based on an idea related to a possibly true story.”

A real life business trip - Brad Wigor was one of the producers on this movie. — A real life business trip – Brad Wigor was one of the producers on this movie.

This particular tale of young love in the bayou was not produced, which was disappointing but not surprising. In those days, maybe half the scripts a network developed got produced (which is still a significantly higher ratio than feature projects in development). What did surprise me was my sympathies shifted from the love-struck kids to the Mom. A tad troubling, since I built my career on angsty teens, not their uptight parents living lives of quiet desperation. Was it possible my struggle with my rebellious teen son was turning me into one of “them”?

Yeah, I think so. About time, too.

October 29, 1968

Mr. Farrington thought he was doing something nice by calling attention to the fact I was writing a book (long-hand, in a spiral bound notebook, not exactly a professional effort). Ironically, his instincts were correct – I did crave attention, I still do sometimes – I just didn’t want to work (perform) for it. As discussed in prior blogs (link), work in any capacity isn’t one of my strong suits.

"Kathy, tell us all about your novel." — “Kathy, tell us all about your novel.”

In this case, the problem was deeper and more complicated than sloth. I’m an introvert – a loner. In a group – be it therapy, a classroom or a party – I position myself on the fringes or in corners and feign disinterest in their social games. Secretly, I’m far from indifferent. In fact, I’m obsessed with other people’s opinions – of me. I want to impress them and I want something else I can’t admit. What I can’t ask for, I try to steal.

I’m talking about attention. I want people focused on how special I am. I want to fascinate with my quirks, my habits, my trivia. I want the cover of Time and Seventeen magazine. I want Johnny Carson to devote a week to mesmerizing me. What am I prepared to do to make my dreams come true?

I want Johnny Carson to devote a week to mesmerizing me.

Nothing, actually, but let’s call it my “counter-intuitive” strategy. I try to hi-jack attention by falling mysteriously silent. Some concerned soul will ask what’s going on. The more secretive my answers, the more people want to know.

Don't Pay Attention to Me! — Don’t Pay Attention to Me!

To say the least, it’s far from foolproof. As often as not, people ignore the dull girl with nothing to say, in which case I fume in frustration and resent them for being shallow and stupid. For someone who claims to treasure solitude, I blubber like a baby if I’m not invited to the party where everyone else will be. I do not want to go, understand. But life loses all meaning if I’m not invited.

October 27, 1994

Writer’s Guild arbitrations are similar to lawsuits, in a way. Sometimes you’re forced into them against your will. All competing writers have an opportunity to present their case in a statement and there’s money at stake – credited writers split future residuals (uncredited writers get nothing) and usually a bonus is tied to whether or not a writer receives credit. In addition, a produced credit ups your asking price on your next job. (Usually. At least it used to.) In other words, there are stakes in this game worth fighting for.

Just like lawsuits that go to trial, the outcome is never certain. Three anonymous WGA members read all the material submitted by participating writers and independently reach a decision about who deserves credit and why. Majority rules. If there’s no agreement between the three, the Guild gets them all on a conference call until consensus is reached.

I’ve participated in several arbitrations, all of them stressful. The suspense ends relatively quickly – most arbitrations start and finish in two weeks or less. I’m a nervous wreck until the phone call from the Guild, informing me of the determination. So far I’ve prevailed in all of them probably because I walk away if I feel my claim for credit is less than rock solid.

I worried obsessively about the lawsuit referenced above, probably because – not being directly involved – I had no control over the outcome. As it turned out, J was right – my apprehension was unwarranted, nothing catastrophic happened. Our insurance companies settled things long before it went to trial. If we were served with a similar lawsuit tomorrow, though, I’d freak out again with fear we’d lose everything.

I would have made a terrible lawyer because I deal so poorly with uncertainty and ambiguity, the state in which all the trial lawyers I know live. “Doesn’t it feel good to roll the dice?” J asked me during one of my arbitrations.

No, it’s excruciating. It’s why I don’t gamble, either. I have to settle for J telling me it will be okay.

October 19, 1994

A. Martinez and Perry King on left; Felice Gordon and myself on right. A mystery, beyond that.

This was the first and only time I traveled to the set of one of the MOW’s I wrote (other than shows that shot in LA, in which case I might drive ten miles – to Occidental, for instance, where they shot “She Cried No”). I’m not complaining – it’s boring on set unless you’ve got a job (and maybe even then, just saying). I was excited about a trip to Minnesota, especially with Joe Maurer, Brad Wigor and Felice Gordon, three producers who became friends. The fact they issued the invitation to me at all speaks volumes about how well they treated their writers.

A. Martinez, Me, Connie Selleca, Felice Gordon

In Minnesota, I sat through a table reading of the script – an extremely high-tension exercise for me. It’s mortifying when a line I wrote – especially a line intended to be funny – dies in front of the full cast and crew. There’s no ambivalence; it’s not a judgment call. Lines work or not and the thud is deafening when they don’t. I say nothing, draw a skull beside the clunker in the script, and slink down further in my folding chair. If I don’t die of humiliation, I’m expected to fix what I failed to get right the first time – fast. This close to production, every wasteful delay bleeds money.

Someone failed to focus this shot of me and Joe Maurer.

After the reading, I accompanied Joe, Brad and the director – Bill Corcoran – on a location scout. By sheer coincidence (or cosmic design, you decide), we drove past Bethesda Lutheran, the hospital where I was born. In honor of this karmic connection, Corcoran insisted I leap out of the van and pose for a historic photograph (see below).

Me in front of the hospital where I was born.

I sat by Felice on the return trip to LA and – along with other fascinating facts – discovered Felice was Jean Shrimpton’s manager when Jean was the ultimate supermodel girls like me longed to look like.

As if this wasn’t enough excitement, my youngest hit double-digits and turned ten. Too much was happening, too fast. And I loved every minute of it.

October 15, 1964

Hmmm, “Stage-struck.” Based on the sizzling synopsis, I’m baffled it failed to become an international sensation. Unfortunately, the title – the characters – and the story-line – are all too typical of what I generously considered “creative” writing at thirteen. My oeuvre was stories about junior high girls, one popular and one brainy, frequently involving show biz.

Sandy and I could make almost anything fun - or funny. — Sandy and I could make almost anything fun – or funny.

Mr. Uebel was one of my favorite teachers although I was a nervous wreck in his room, I was so desperate to impress him. Mr. Call, our Spanish teacher, was great too, as evidenced by their musical duel. The innocence of these times seems unreal from the perspective of 2017 yet I can unequivocally swear life actually was this innocent, this simple – at least at Jefferson Jr. High.

At thirteen, it never crossed my mind to rebel against a teachers or authority figure – and to the best of my knowledge, none of my classmates did either. Maybe Jefferson got lucky and employed teachers with big personalities who loved teaching.

This shot clarifies where I found inspiration for my fictional character - the unpopular brainy girl. — This shot clarifies where I found inspiration for my fictional character – the unpopular brainy girl.

Full disclaimer – far from being anything close to a radical dissident trouble-maker, I was a kiss-up sycophant who idolized my teachers. I made it my mission to be teacher’s pet (not exactly a fast track to popularity, in case you’re wondering). More often than not I succeeded, not because I was so special or brilliant (although I liked to think so) – I just tried harder.

My dad giving sister Janet a horsy ride on what was probably a family night.

Looking back, I regret how eager I was to be free of our Friday family nights. Little did I know that once gone, those nights could never be recaptured in quite the same way. I should have treasured and prolonged every last minute.

Unpopular nerd girl captured in family setting.

September 20, 2016

I felt terrible about being tardy on the very first day of a nine-month class and the panicked rush to minimize the damage made me even more nervous than I would have been anyway (which is pretty darn anxious). A fight-or-flight surge of adrenalin takes over when I have to speak in front of a group of strangers and unless I’m very careful, I talk at supersonic speed. I felt like I was making a terrible impression on this new group of kids which flustered me even more. There’s an obvious solution – think less about how I’m coming across and more about the kids I’m here to teach. Gradually I leveled out. I took some admittedly poor photos of my class that first day.

They weren't being rude and texting. I asked them to take selfies and email them to me - to help me me learn their names. — They weren’t being rude and texting. I asked them to take selfies and email them to me – to help me me learn their names.

This was the first day of my second year teaching Screen Writing Symposium at Columbia and I couldn’t imagine ever liking a class as much as I liked my first class. I kept up with them (as much as you can with occasonal updates on Facebook) but I actively missed our Thursday afternoons in Room E. I struggled to remember the names of my new students. I thought, it will never be the same.

Josh Andersen, Kevin Salcedo, Peter Zaragoza, Kaitlyn Hutchins, Justin Thompson, Alex Falcon, Charlotte Scrivener, Holden Weihs, Ryan Brennan. Not pictured: Tanner Novotny

I was right; it wasn’t, in the same way my second child isn’t the same as my first and my third is quite different from both siblings. Inevitably, every class – especially one that meets four hours a week for nine months – develops it’s own unique identity. Comparing them is futile, they’re both special – irreplaceable – in their own way. Just like I miss the kids in my first class on Thursdays, I miss the kids in my second class (except, I taught them on Tuesdays, Fridays, and finally Mondays, so I didn’t associate them with a day).

top, l-r: Jarred McClarty, Kendall Collins, Danae Fishman, Andrew Levin; bottom, l-r;David Alvarez Faith-Ann Bishop, Ryan O'Donnell, David Lugowski. Not pictured: Michael Akkerman, Natalie Frank — top, l-r: Jarred McClarty, Kendall Collins, Danae Fishman, Andrew Levin; bottom, l-r;David Alvarez Faith-Ann Bishop, Ryan O’Donnell, David Lugowski. Not pictured: Michael Akkerman, Natalie Frank

I hope to keep up with them as they traverse the real post-college world, probably via Facebook. I’d like to see all of them again too. I fantasize that if and when I retire, I’ll host a party at my house for all my former students and the ones that show up will regale me with the highs and lows of their careers. Hopefully, their wins will far outpace their losses.

September 17, 1979

My career had yet to begin. I was closing in on a paying gig as a writer but it hadn’t happened yet. If you’re in my situation – no prior job, no WGA membership, no credits – you need to do what I did. Seek out fellow young, hungry producers or directors, work out stories with them as a team, pitch them to anyone who will listen.

I was fortunate to find a friend and champion in David Bombyk, a smart, ambitious, charming guy from Michigan. He was a year younger than me. We laughed a lot when we got together to gossip or break stories. I can’t remember who slipped my spec script to David – Martha Coolidge? Kip Ohman? David and I partnered on several spec pitches and a couple of bona-fide (paying!) development deals but – alas – none of our joint efforts survived to see the light of day.

David made it big without me when he found, developed and co-produced “Witness” in 1985. The same year he produced “Explorers” and in 1986 he produced “The Hitcher” with his friend Kip Ohman.

Kip succumbed to AIDS in 1987 at age 41. I met David for lunch a few months later. He looked haunted and thin; he talked about how hard it was sorting through and dispersing Kip’s belongings after he was gone.

It was the last time I saw or spoke to David. He died on January 20, 1989, age 36. His mother got in touch with me shortly after the funeral and sent me a beautiful ceramic vase David wanted me to have. He collected them.

She was charged with the excruciating task of sorting through and dispersing her son’s possessions. I can’t imagine how painful that must have been.

AIDS took a lot of good people, especially in the 80s. For me, David Bombyk was one of the great ones. Unfailingly kind, loyal to his friends and brilliant when it came to developing scripts. Witness has long been a staple in screenwriting classes to illustrate a near-perfect script. I see David’s fingerprints on it. I don’t know if I’d have a writing career at all if David hadn’t believed in me before anyone else did. I’ll always be grateful; I’ll miss him and his laughter forever.

September 10, 1996

This was an exciting, productive time in my writing career. Maybe a few lucky screen and television writers enjoy steady careers uninterrupted by unemployment; I suspect the majority, like myself, are either overbooked or out of work and terrified their career is over. My specialty, which kept me employed – mostly by NBC – during this period was my speed. I could deliver a Movie of the Week (MOW) ready for production in two weeks. It might not win any Emmys or Humanitas awards, but no one needed to use a pseudonym or hang their heads in shame.

I felt the pressure but didn’t mind it; I thrived on the crazy deadlines. I enjoyed and respected the creative people I worked with. I loved how MOWs (especially green-lit ones!) went into production minutes after I handed in a script. None of the months and years of development that went into film assignments only to wind up abandoned when the studio regime changed.

NBC Loomed large in my life and my cousin Craig and his wife Karen (who shares my exact birthday - year and everything) when they visited us in California. — NBC Loomed large in my life and my cousin Craig and his wife Karen (who shares my exact birthday – year and everything) when they visited us in California.

Another perk – television writers exert considerably more control over their work than feature writers; this is far truer for staff series writers than MOW writers. Either way, you are far less likely to be rewritten in television than features. That said, I did my fair share of MOW rewrites as well as originals; my name doesn’t appear on some of them because, unless it’s a page-one rewrite, it’s difficult for second or third writers to get credit and it always involves a WGA arbitration.

Outside in the NBC parking lot with Craig and Karen Thu again.

Kanan Road – which became Malibu Shores – has a special place in my heart because it was a backdoor pilot for a series which was ordered into production early in ’97. It turned out to be short-lived (being scheduled at 8 PM on Saturday nights – what some people called “the Tower of London” because that’s where NBC shows awaited execution – didn’t help. Especially since the target demographic was teens). That said, I learned a lot and appreciated every minute of it. I’m grateful to everyone who made it possible.

NBC Dropped the ball on this one.......... — Did anybody drop the ball, who knows?

Borrowed “Unexpected Wisdom”

I recently read a blog by Dan Sapone that resonated with me – and I think it might have the same effect on some of my fellow Boomers. It’s about where we were and where we are, the need to balance security and risk, and whether parents have the courage to risk allowing their children to choose paths other than those chosen by the parents. Here’s a link if you want to check it out. https://convivio-online.net/unexpected-wisdom/

Musings Reading Reviews Writing
Tagged: Anxiety Change Danger Daring Future Milestones Plans Risk Security Selves Superstition Transition

Writing

November 21, 1973

November 18, 1995

October 29, 1968

October 27, 1994

October 19, 1994

October 15, 1964

September 20, 2016

September 17, 1979

September 10, 1996

Borrowed “Unexpected Wisdom”

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