A spoiled 13-year-old wrote this. Reading it today, I realize how incredibly lucky I was to be my father’s daughter even though as a PK (Preacher’s Kid), I felt pressured to be an “example” to others. The pressure didn’t come from my father. If anything, he urged me to be exactly who I was. Don’t act religious to please him. Don’t go Satanic to rebel. Listen to your own voice.
I didn’t get any static when I chose UCLA instead of a Lutheran college. He made no effort to direct me toward a more practical major than film writing. He was even fine when I married a Catholic.
I think the idea that PK’s should be held to a higher standard is a commonly held, rarely challenged belief. That’s why a casual observer like Jane’s mother could say, “Somehow, we thought the pastor’s daughter would be different.” It’s why Dusty Springfield sang about being despoiled by “the son of a preacher man,” not “the son of a plumber.” It’s just the way it is.
Growing up PK was a challenge I didn’t choose but in retrospect it was a privilege. I wouldn’t trade a minute of being Pastor Vance’s daughter to be anyone else.
I remember this well – my excitement was so intense it’s still indescribable. All of those times I came so close to my goal and missed taught me to lower my expectations. I didn’t let myself hope for more than another meeting. To learn my spec script had been optioned by a real producer for real money (not a lot, but more than I’d ever made writing before) seemed surreal. Part of me always believed I’d make it as a writer, otherwise I wouldn’t have pursued it – but another part saw a screenwriting career as a dream, out of reach. One of my high school teachers told me I wouldn’t be a real writer until someone paid me to write and I believed her – so, Steve Friedman optioning the script was validation.
In my dizzy euphoria, I assumed everything would be different now – my career would come easily. That proved overly optimistic. Steve didn’t make the movie and the option lapsed. The same script would be optioned twice more, by two different producers, and it attracted some top-tier female directors and talent, but as of today it remains unproduced. Doesn’t matter. It’s still one of the top ten days of my life.
In retrospect, it’s ironic my youngest son “vanished” the day after Vanished aired on NBC. (I wrote the teleplay, based on the Danielle Steele novel.) It’s about “a man and woman faced with an almost unthinkable tragedy – the mysterious abduction of their son.”
My fascination with kidnapped children began with a Reader’s Digest condensed book, Kidnap: The Story of the Lindbergh Case by George Waller. Half a century later, I’ve read almost every book on the subject (and there are a lot). IMHO, Bruno Richard Hauptmann was innocent, but we’ll never know for sure. That enduring mystery is one of the reasons the case still captivates. Kidnappers Leopold and Loeb also inspired their share of films and books but in their case, the mystery wasn’t who did it, but why. More recently, the 2007 disappearance of Madeleine McCann is a hot case and the subject of a new Netflix documentary.
Missing children – in fiction as well as true crime – capture public imagination because the stories speak to a primal parental fear. I suspect most parents survive at least one heart-stopping moment where their child appears to vanish and the previously unimaginable is agonizingly imminent. In a moment of clarity, you understand that one mistake – an instant of distraction – can shatter everything. Since all of us are human, all of us make mistakes. I made several. All my children terrified me with at least one disappearing act. Luckily, none of them were gone very long.
What looked like my lucky break was actually a crash course in how quickly “All my dreams are coming true!” can dissolve into no one’s returning my phone calls. Sadly, this was far from my last experience with emotional whiplash, careers version.
Still, Froug was right when he advised me to celebrate. Why not bask in the potential something amazing just might happen? So what if it doesn’t, this time? The near-miss zone is nothing to be ashamed of. Most people never get that close. Nobody gets there by accident. Somebody noticed you and said, “the kid’s got talent.” If they didn’t believe it, they wouldn’t waste their time. The least you can do is believe in yourself.
Legend has it, the average overnight success endures twenty to fifty rejections before they’re rewarded with that first life-changing YES. What are you waiting for? The faster you rack up the no’s, the sooner your dreams come true.
The script that earned me this near-miss – “Intimate Changes,” not the greatest title – never got produced, but it won me introductions to agents, producers and network execs, all pivotal in my later career. What felt like loss was only life unfolding more slowly than I preferred.
The first time I saw a commercial for a phone that shot photos, it looked absurd. Cameras were for taking pictures, phones were for talking. The combination could only weaken them both.
Obviously, I was wrong – so very wrong. Today, even though I have a good digital camera, I shoot photos with my phone. However, this brave new world was far in the future when I unwrapped my second-hand Vivitar. To me, it was state of the art; I couldn’t imagine asking more of any device.
As it turns out, there’s no end to things I couldn’t imagine then but take for granted today. Remote controls. Microwaves. Cheap calculators. Smart phones. Cars that come with screens and GPS. Watches that keep track of my steps, my heartbeat, my minutes of REM sleep.
And, of course, the unsettling reality that unknown corporations, foreign and domestic, know more about me than the people in my life. The amount of data that potentially could be harvested from this blog is scary. Why keep doing it?
Realistically, I can’t stuff the genie back in the bottle. What hits the net, lives there forever. And I kind of love it that after I’m gone, bits of my life will live in cyberspace.
This entry’s self-conscious attempt at being “lyrical” suggests I wrote it for others to read, not to bare my soul. One of my failings as a writer (or strengths, depending on your point of view) is my conspicuous lack of place description. It bores me in other people’s fiction, so why torture my readers?
Elmore Leonard’s ninth and tenth rules of writing are:
Don’t go into great detail describing places and things.
Try to leave out the part that readers tend to skip.
The parts I tend to skip are description – of place in particular, but pretty much everything else too. Some people love elaborate descriptions of food. I hate them. Unless it affects the plot – for example, if there’s arsenic in the quiche – it just doesn’t matter if the hero selects steak or salmon as his entrée.
One can argue what people eat defines aspects of their character. The guy who loves Popeye’s is rarely mistaken for the dude who dines at Nobu. That said, there’s no excuse for describing more than one meal per person per book. The reader doesn’t need to know and I don’t want to.
Technically, I’m not a hoarder – but I totally get what they’re doing and why. For years, it was impossible for me to recycle newspapers and magazines until I actually read them, regardless of how obsolete they might be. I’m more ruthless about recycling periodicals now, not so much because I can let things go as because I can google any article or story I need. Technically it’s progress, but is it really?
It’s harder to toss early drafts of my creative work because who knows? Someday I may need that bit of dialog in scene 3 of a movie that was DOA. Today, of course, I can save these gems on my computer, but I’m talking about the golden age of paper. Guess what? In my thirty-year career as a writer, I have never – not even once! – retrieved a piece of rejected dialog.
J is a different animal. He can trash yellow legal pads without scrutinizing every scribble. It’s true, he’s quicker to toss my rough drafts than his, but that’s because lawyers are legally bound to hang onto files for a specified number of years after a case concludes.
These conversations may not sound “deep” today (or was the word “heavy”?) I’m glad I wrote them down – otherwise, I’d have no idea what my sisters and I talked about as kids. Do you remember childhood topics of conversation with your friends? Your siblings? Your parents? Do you ever wish you’d written it down?
I have zero independent recall of the vast majority of days described in my diary. They sound vaguely familiar – like something I might’ve overheard or said – but it’s my diary telling me what happened, not any real recollection.
Oddly, I do remember this conversation with my father – it started with my short story and evolved into a discussion of coming of age. I can see him on the floor, repairing that cupboard in our Del Monte kitchen. He made such an effort to meet me on my own turf. He listened to my Beatles records, listened to the Doors. Being young and selfish, I didn’t respond with reciprocal interest in his world. I wish I had; he had more to teach me than I could ever teach him. That said, his purpose was never to indoctrinate – he wanted to know me.
These were heady, exciting days. The chance to adapt S.E. Hinton’s novel for the screen was the break of a lifetime and I didn’t want to blow it. At my pitch meeting, I impulsively volunteered to return to high school – posing as a student – to determine if contemporary high school cliques resembled those depicted in Hinton’s 1967 novel.
I was a novice at writing as well as posing as somebody I wasn’t. I’d written two spec scripts and an unproduced MOW. Technically, I knew what I was doing; I could perform at a high level in academia but what about the real world, for real stakes? The story meetings were intimidating. Facing blank pages felt terrifying. Add to that, the pressure to pass for a 17-year-old high school student when I was a 29-year-old married mother.
Because I was a nobody in a sea of somebodies, there’s no reason Jon Davidson should have recognized me – particularly since I worked all of three months at New World, ostensibly as Roger Corman’s assistant (my title) but actually as the receptionist (harsh reality). Jon was sweet to pretend; it gave my ego a tiny but desperately needed boost.
This was an exciting time. I loved the fast and furious pace of television versus the plodding development process in features. Most of my television credits are stand-alone MOWs (Movie of the Week), a 90s network staple. TV movies unfolded in seven acts, to accommodate six commercials. Ideally, all six act breaks were cliff-hangers, to ensure viewers didn’t channel hop when the ads started.
“Malibu Shores” was my only series experience. As co-producer, I worked long office hours with producers John Eisendrath and Joel Feigenbaum. After decades of writing at home on my own timetable, this was a shock to my system.
As staff writer-producers, we wielded more power than the directors we hired on a per-episode basis and the actors consulted us when they wanted to change a line. John and Joel insisted I veto the first request, to experience the thrill of saying “no” to a script change. That said, we could not say no to Aaron Spelling, broadcast Standards and Practices or the NBC executive in charge of the show.
In his novel Artistic Differences, Charlie Hauck compared producing a television series to chapter 37 of Moby Dick. I quote him below, slightly abridged. I highly recommend his book to anyone interested in staff writing.
“It’s exactly like chapter 37 of Moby Dick. Captain Ahab finally spots Moby Dick. He has a shot at him. And he gets a boat down in the water, a skiff or whatever. And he’s got these Asian guys rowing the boat. They’re not his regular guys – these are some kind of hotshot whaling experts. Anyhow, all these guys are rowing the boat. They really know what they’re doing…they’re Joe Whaler. And Ahab is standing in the back with this harpoon that he’s been sharpening for three years. And Moby Dick is flopping around, like, two hundred yards away. And all of a sudden, these sharks surround the skiff. They’re everywhere. And the sharks start taking bites out of the paddles of the oars. And the paddles are getting smaller and smaller, and it’s getting harder for the guys in the boat to row, and the whale’s not going to stay there forever, right?
But the thing is, the sharks don’t want the oars. They want the whale, just like Ahab and the Asian guys. But the sharks, who want the whale as much as anybody else, they’re the ones who make getting the whale impossible. You see?
And here’s the analogy. The whale is the television show. The hit series. Like, if it goes into syndication, everybody connected with it makes fifty million dollars. And the people in the boat, they’re the writers and producers. They’re the ones trying to get the whale, who know how to do it. And the sharks, the guys biting the oars, they’re the network guys, and the production company executives and the agents and everybody else who, when they don’t know how to get to the whale, decide, somewhere back in the swamp ova of the human brain, well, Jesus, I should do something, why don’t I try to sink the boat? And that’s exactly what it’s like trying to produce a television show.”