competition

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.

May 11, 1965

The picture in the front of that diary - still hideous after all these years. — The picture in the front of that diary – still hideous after all these years.

In 1965, I was foolishly over-optimistic about how easy it would be to conquer my tendency to talk like it’s a race to the finish line (and the loser dies) whenever I speak to a group. The larger the group, the faster I gallop.

I call this facial expression "the Silent Scream". — I call this facial expression “the Silent Scream”.

Obviously, nerves – or more accurately fear – is the root of this malady. A doctor explained it’s due to a primal burst of adrenalin – speaking in public triggers a “fight or flight” response in my reptilian brain.

Given my father, a Lutheran pastor, delivered a sermon to a large seated congregation every Sunday, you’d think I might acquire this skill naturally – by osmosis. I did not.

I made up for it in small groups – such as my nuclear family – where I felt comfortable. There, I morphed into “Chatty Cathy”, a nickname I loathed. It was all Janet could do to get a word in edgewise.

My father recorded us after dinner and doing family devotions. I belted out every verse of every hymn I knew by heart, barely pausing to catch my breath. In my monotone shriek, it had to be excruciating. My father tried to slow me down. “It’s Janet’s turn. Let Janet sing.”

(atonal shrieking)

And on and on, all recorded for posterity. Clearly, I was desperate to entertain them lest they decide I’d become redundant now that Baby Janet was on the scene. Photographic evidence of my terrifying ordeal can be seen in my gallery, “Kathy Vs. the Alien Baby”.

May 9, 1993

Jim McCann, Judith Russell, CD Rowell, me and John outside the Great Western Forum.

I rarely watched sports at all (certainly not by choice) before my obsession – some might say my addiction – with the Lakers began. A novice at rolling with the ups and downs of a long season, I took every loss to heart. Viewing the game through the lens of a die-hard fan, I was outraged at how the referees routinely called phantom fouls (and otherwise screwed) my beleaguered Lakers. Did somebody pay them to make my team lose? When obsessed, my thinking gets increasingly deranged.

How did this obsession begin? My very first Lakers game – an early round of the playoffs, 1986. The Forum was shaking; Laker fans were confident they’d breeze past Houston on their route to a second NBA Championship. The Lakers led the scoreboard every single second of the game -– until the last one, when Ralph Sampson drained an impossible three and the Lakers were out. Dream over. If they’d won as expected, I probably wouldn’t remember it so clearly. The out-of-nowhere last instant loss was high drama, to say the least. I was hooked.

John’s theory was after a loss like that, they’d come back strong and win the championship the following year so we bought our first season tickets. We were high in the rafters but we made friends with the interesting crew of people who owned the seats around us and it was a great year. They did indeed win the championship. I almost fainted, it was so exciting. We videotaped the games (VHS) so – if they won – we could watch them again when we got home.

Yeah. We were really that crazy about the Lakers. And it was a blast to be a fan in 87, 88 and 89 when they won everything. Less so in 90 and absolute misery as I write this. I’ll never give my heart to another team, though. It can only be broken once.

When I wrote I was a “smidge” down, I was trying to manage my emotions. I’d read that using words that minimized pain could actually reduce one’s emotional reaction. It worked, but gradually I slipped back into my catastrophizing ways. This entry is a timely reminder it’s far better to be a “smidge” disappointed than bereft because my life is over.

April 11, 1988

Art Everett, the Hostess with Horrible Hair, Russ Carpenter

Amazingly, one of our guests this evening would win his own Oscar ten years from now in the very same venue (the Shrine Auditorium). It wasn’t amazing because he lacked talent, but because Oscars aren’t easy to come by. Our friend Art Everett’s friend Russ Carpenter (pictured, above and below) received the Cinematography Oscar for “Titanic” in 1998. (Cinematography Oscar for “Titanic”)

The rest of us are still waiting.

John Salter, Judith Russell, Terry McDonnell, Joyce Salter and Jon Crane (cut off)

Art Everett, Judith Russell, Russ Carpenter

March 23, 1976

I didn’t know Don Martin well – certainly not as well as Jon Crane, his best friend, or Christine Vanderbilt, his girlfriend. All of us lived together in the Law House at USC for six months in ’75. After John and I moved into our own apartment, Law House friends like Don and Anne Kurrasch came by to play bridge.

I don't have a single photo of Don Martin so I'm posting photos of the other people who lived in Law House and knew Don in the hopes they'll see themselves tagged and add either photos or memories of Don to this blog. From left to right above - Ned Meade, Jon Crane, James Dumas and Christine Vanderbilt — I don’t have a single photo of Don Martin so I’m posting photos of the other people who lived in Law House and knew Don in the hopes they’ll see themselves tagged and add either photos or memories of Don to this blog. From left to right above – Ned Meade, Jon Crane, James Dumas and Christine Vanderbilt

John and Don shared a semi-friendly rivalry – their regard and respect for each other was secondary to their burning desire to win – to be more successful. John could beat Don (and two or three additional opponents) at chess playing blindfolded, which impressed the hell out of me. Don’s academics were stronger. John had an edge; his parents were supporting him for three years of law school (this was renegotiated when we got married but that’s a story for another time.)

Don’s family couldn’t afford to fund his education. Fiercely ambitious, competitive and determined, Don worked his butt off and paid his own freight. Given his struggle to reach Law School, Don wasn’t about to slack off and blow it. Don stayed home and studied when everybody else chugged pitchers of Margaritas at El Cholo’s – although, to be fair, Don was a charter member of the “How many Tommy Burgers can you eat?” Club. He had the self-discipline to defer gratification.

John's Law House roommate, Mitch Iwinaga (left) & Ted Hannon, wife and dog with J. — John’s Law House roommate, Mitch Iwinaga (left) & Ted Hannon, wife and dog with J.

At the time of my diary entry, our circle of friends took Don’s recovery as a given – until Don died. His iron will was useless. Everything he learned about law went to waste. Would he have chosen differently if he could’ve glimpsed the future? Of course. What about his circle of friends, John and myself included? Did his death inspire us to live better today?

Michael Arnold, who was in charge of the Law House, with girlfriend.

Anne Kurrasch and Paul Samuels (obviously, a lot of these shots happen to be taken at theme parties)

From what I can tell, not much. We convince ourselves that what happened to Don won’t happen to us. We’ve got all the time in the world.

March 21, 1994

Roberta Gundersen, Sam, Bree Salter Rieber

For those of you who (like me) do not have photographic memories, here are the major winners that year.

Anne Kurrasch and Jake Jacobson - long-time friends - enjoy chatting. — Anne Kurrasch and Jake Jacobson – long-time friends – enjoy chatting.

William Atherton thinks the program is running a little long. Bree Salter Rieber in bg, smiling at camera.

Bree Salter Rieber with childhood buddy Thomas Dadourian

John with future law partners Jack and Mary Denove

This was a fun, easy party to throw. I ask guests to dress in formal regalia, as if they were really attending the Oscars. Slightly more than half usually follow through, not a bad average at our age.

The house-cleaning, such as it is, is on me, but not the food. I let people know it’s pot luck but do not specify what type of food they should bring. For those who prefer a conventional dinner, this adds to the night’s suspense. (We might wind up with 15 desserts, 15 appetizers or nothing but wine!)

Thomas and Marva Fucci, Bobbi Goldin, Moi

I issue ballots and everybody puts $2 into the kitty. One year we upped it to $5 per person which was just enough to jack everyone’s competitive drive to an obnoxious level so the following year we brought it back down to $2 – not really enough money to come to blows over. (Neither was $5 a head but go figure.)

Just for the record, I have never won an Oscar pool, which seems a tad unfair since I host the party (apparently, that doesn’t make me any smarter.)

By the end of the evening, Anne Kurrasch and Jake Jacobson appear to take their friendship to the next level. They will marry within the next couple years.

March 5, 1980

My sister, Janet, on set for the movie, 9 to 5 in front of Dolly Parton’s motorhome

A couple other pictures taken of Janet on movie sets, perhaps Rhinestone and Rocky IV

My sister Janet worked as an Assistant Director trainee on the movie 9 to 5. When they needed children – extras – for the day care scene near the end of the movie, she thought of her nephew CD. I suggested Marjorie’s daughter Jenny, about the same age. I’m guessing Marjorie’s sister Christine acted as guardian because Marjorie and I had both been around enough sets to know how dull they can be – especially if you’re there to chaperone a lowly extra. In retrospect, I wish I’d seized the chance to see iconic actresses like Jane Fonda, Dolly Parton and Lily Tomlin at work even if it meant hours standing around.

9 to 5 Daycare Scene - Jenny being held, CD to the far left — 9 to 5 daycare scene – Jenny being held, CD to the far left

Marjorie Arnold and I shared an apartment for a couple years while we were both at UCLA. She was an aspiring actress who landed commercials as well as parts on shows like “Room 222” and “Marcus Welby”. She was (and still is) a beautiful woman; some people described her as a “young Natalie Wood”. She was talented, too, and took her career very seriously.

Marjorie Arnold, 1972, when we were roommates

Living with Marjorie, I grew grateful I wasn’t an actress. If you’ve seen La La Land, you’ve got some idea how brutal and demeaning auditions can be and how rarely people realize their dreams and become big stars.

While rejection is equally pervasive for fledging writers, it seems to me – and I could be wrong about this – rejection is less personal for writers. A producer says no to my script, not to me as a person – or so I tell myself. I’ve never auditioned as an actress, but I suspect rejection in that capacity would feel more personal – as if they rejected me – even though, in reality, it’s probably not personal. They’re just looking for a different type.

February 23, 1964

The four of us in 1964 - From the left, Me, Natalie, Janet & Joyce — The four of us in 1964 – From the left, Me, Natalie, Janet & Joyce

From today’s vantage point, life looks simple in ‘64 but it didn’t feel that way then. I obsessed over what other people thought of me (which they didn’t, much). Subtle shifts in friendship sent me reeling. I stewed about my performance in school. I wanted to be number one in everything but I was afraid to be best at anything.

My need to be number one began in ‘53, when my parents shattered my fragile 2-year-old psyche by bringing my sister Janet home. I got their message loud and clear. If I’d been a better baby – cuter, smarter, more entertaining – they wouldn’t have needed another baby. I ran outside and bawled my eyes out.

It's nice to have Janet to play with sometimes. — It’s nice to have Janet to play with sometimes.

They flat-out refused to return her. Over time, I discovered she – and later Joyce – had some good points. Little sisters were easy to trick. Gradually both of them became fun to talk to. In fact, it was easier to talk to them than anyone else in the world.

We can talk to each other about things other people don't understand. Because it's a Knutsen thing. — We can talk to each other about things other people don’t understand. Because it’s a Knutsen thing.

Because we knew which buttons to push, emotions ran high. They could cut me to the bone, infuriate and inspire me, rouse my jealousy and my compassion. On balance, we shared more laughter than tears.

I trust them with my deepest secrets, my darkest self. When I fail and feel all is lost, my sisters raise me from the dead. They’ve got my back when I need them most. They love me when I don’t deserve it, believe in me when I give up. They’re the wind beneath my wings, my bridge over troubled waters. They light up my life. You get the gist.

We learn how to share precious puppies and kittens.

Maybe all things considered, what my sisters give me is bigger than the narcissistic wound Janet inflicted. Maybe gains always come with pain. Maybe I should stop whining about what happened 63 years ago.

Is it finally time to let this go? Now that we're all so mature? — Is it finally time to let this go? Now that we’re all so mature?

Nah. Not yet. More on this in my three photo blogs – When I was an Only Child (2 years 2 days of Bliss), Kathy Vs. the Alien Baby and And then there were three.

They're so happy and normal. I would be too, if everyone loved me best. — They’re so happy and normal. I would be too, if everyone loved me best.

February 20, 1978

The script I refer to here turned out to be my breakthrough spec script “At 17”, inspired by and loosely based on the brilliant Janis Ian song of the same title. I didn’t have the rights – I don’t know if anyone actually did – but ABC was developing it as a Movie of the Week (MOW).

Jani and I when we were both close to At 17 in real life.

My former boss at NBC, the late and much lamented Len Hill, was one of the ABC executives in charge of MOWs; my sister Janet was his assistant/secretary. He told me if I could write a brilliant script in the next ten days he’d consider it equally with the scripts the network paid for. Ten days isn’t enough to write a great script from scratch under any circumstances and it wasn’t the best of times for me. My son CD was 14 months old but well on his way to the terrible twos.

Most of my time and energy went into containing CD

Nonetheless, I gave it my best shot. The tension was so high I threw up on some of those late nights (gross, I know) but – with Jani’s assistance – I finished it. I don’t think Len or anybody else expected me to do it.

The problem was – it wasn’t good enough. The network preferred the writer who cashed their big checks. The rejection was so devastating I gave up until my pride and desire for revenge resurrected me. “I’ll show you,” I thought. “I’ll do a great rewrite and prove you were wrong to dismiss me.”

"I'll show you. I'll do a great re-write and prove you were wrong to dismiss me." — “I’ll show you. I’ll do a great re-write and prove you were wrong to dismiss me.”

Did I succeed? I think so. Although the film never got made, it was optioned three times and garnered interest from directors like Martha Coolidge and Amy Heckerling. Years after Molly Ringwald aged out of playing a teen-ager, she told me she would’ve loved to play one of the parts. To say the least, I would’ve loved for her to play it but my script didn’t reach her at the right time.

That’s the way things go. Big ups, big downs. Victories won, battles lost, it’s hard to quantify wins and losses when script quality is so subjective and the industry’s in constant flux. The bottom line is, were those ten sleepless days and nights worth it when I failed to get what I wanted? Would I do it again? Hell, yes. If I had my life to live over, I’d try harder, reach higher and risk bigger losses. The only way to fail for good is giving up.

February 4, 1972

There were no smart phones or Sony PlayStations - We played board games. — There were no smart phones or Sony PlayStations – We played board games.

I had no idea my guilt about dropping Kessler’s class would far outlast the relief. While I’ve got bigger regrets in my life, this one stays with me. Here’s why.

Kessler taught Poetry Writing, a small exclusive class for juniors and seniors. He only accepted ten students per quarter and you had to audition – present a piece of writing – to be considered. I gave him the play Luke helped me write – “The Lowlands” – and won a place. Even though it wasn’t a poem like most applicants submitted, he thought I had a “voice” and gave me a chance. I was thrilled.

Then I found out the class functioned like a writing work shop – I was unfamiliar with them then. Students were required to read their poems out loud to the class and then listen to everyone’s feedback. The prospect of reading one of my poems out loud petrified me. I knew from past experience that when I read out loud for others, a fight or flight response takes over and it turns into a race to the finish. My speech pattern is fast under the best of circumstances. I’m all but unintelligible if asked to read for an audience.

But that wasn’t the only thing that terrified me. Our first class made it obvious my fellow students knew a lot more about poetry – both reading and writing it – than I did. Consequently, I feared writing a bad poem as well as making stupid comments about other people’s poetry. I was so scared I dropped the class.

If I had it to do over again, I’d face my fear. Even if I’d been the weakest in the class, I would have learned something – maybe even made a few strides toward learning to read my work in public. Chickening out made me feel more like a failure than actually failing the class.

My regrets about this flooded back when I came across Kessler’s obituary in the LA Times, several years later. Some doors and windows open only once. I wish I’d summoned the courage to go through all of them. This wasn’t the only one I missed.

competition

October 27, 1994

May 11, 1965

May 9, 1993

April 11, 1988

March 23, 1976

March 21, 1994

March 5, 1980

February 23, 1964

February 20, 1978

February 4, 1972

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