As someone who tries to mix writing for film, TV, radio, and stage, all while trying to be a parent, I'm always curious as to how other people manage to pull it off. I realized that this blog can provide a chance to talk to folks about how they juggle creating in different media, and also about being an artist and a parent. Today marks the start of what will be a series of weekly "Juggler Interviews" with some of my favorite writers and creators and role models.
First up is Jamie Pachino, whom I first met years ago, and whose stage plays, Waving Goodbye and Splitting Infinity, remain two of my favorite plays. (The Boston reading of Waving Goodbye was a truly intense theatrical moment for me.) As her plays gained more national attention, she also made a move to Los Angeles to write for film and television. She's had great success writing for film and television, and most recently has been a writer for the show, Fairly Legal. And she's the mother of two lovely kids. She was kind enough to take a few minutes from her busy schedule to reflect on how she's managed to make it all happen.
You
were having great success in Chicago as a playwright, and then made the
decision to move to LA to also write for film and television. Right around this same time, you gave birth to your son. So you were making a huge transition
to a very different city, becoming a parent, and engaging in a whole new modes
of writing—how did you balance it all? Were
there times at the beginning, where you said to yourself: “What have I
done?” And was there a
point where you realized, “Oh, this is going to work out.”
I
left for Los Angeles in June of 2002 when I was 6 months pregnant with my son.
Some people thought I was insane. But in my head, it was the perfect time: I
had a brother in LA with two kids, close friends (one about to have his first
child), an agent, a manager, and a blind script deal with DreamWorks. It was
actually the way I always dreamed about moving to one coast or another: with
a job and a life already in place. I’d spent the previous two years traveling
to New York or LA about every two months to “take meetings” with various film
folks. So I felt like I wasn’t coming out here with no idea what I was getting
into. From a parent perspective the idea was: let’s go where there’s family,
friends, potential money to be made and sunshine. It’s such a cliché, but you
really can’t underestimate the sunshine, especially with kids.
That
said, it was definitely a big transition to parent/writer—something I still
juggle every day. There are definitely times I still think: what have I taken
on? But the truth is, I’ve worked hard to surround myself with a support
network of smart, creative, loving friends and colleagues, and married a man
that understands what I’m trying to do. I don’t know that I’ve ever been 100%
sure it’s “worked out” for good, but thankfully whenever it’s been touch and
go, something has come along to make it work. (Jamie now knocks on wood).
As
your film/television career started to gain speed, you had your daughter. (How old are they both now?) How do you manage to juggle writing
and parenting? And you have
an additional challenge in that your husband, Lindsay Jones is a highly
regarded sound designer and composer for theater, film and television, and spends a
lot of time on the road.
My
daughter came along 4 years after my son (they’re 9 and 5 now—4th
grade and kindergarten). When they were babies, I was a “half time” mom—I had a
sitter 4-5 hours every weekday, and did the “mommy and me” life the other part
of the time. Of course, that also meant that when I was on deadline, I woke up
at 5am to write before they got up, wrote during naps, and stayed up after
their bedtimes to get things in (still do—often), but that’s the trade off I
wanted to make in order to be a present parent and pursue this work. I also
tend to write pretty quickly, so I can be productive in shorter bursts (and
pushing a stroller is a gold mine, in terms of working out a writing knot). Since
they became school aged, it’s definitely become easier, in terms of managing my
time.
The
complication definitely comes with Lindsay’s work schedule. He’s gone about two-thirds of the year, so that’s the crazy part. It was much harder when the kids were
little, and it still has its challenges (especially now that one does
gymnastics and ballet and the other does karate and baseball in addition to all
the other parts of managing kids’ lives).
You
recently got a job writing for the
show, Fairly Legal. What was
it like writing for episodic television? Was it easier, family-wise, because
the demands are fairly consistent? I’ve
heard nightmare stories about the writing schedule for some TV shows, and I
always wonder how parents pull it off.
I
heard all the same stories about the writing schedule for TV shows, so I didn’t
even pursue it until this past year, when my daughter was going to head off to
kindergarten. I thought… well, let’s give this a shot. I had written a spec
pilot as a sample, and my representatives starting send my work around. I knew
it was a long shot, with my (non-existent) series experience, so I didn’t
expect much. The Fairly Legal gig came around very quickly and very
unexpectedly, and fell into place beautifully. I started work right before
Lindsay was going to be home for two and a half months straight, the offices
were 3 blocks from my daughter’s preschool (it started this past summer before
she started kindergarten), and it was 10 minutes from my house (unheard of, in
LA).
The
irony is, for the last year or so I’ve been loudly moaning about wanting to get
back into a rehearsal room with a play. Writing TV movies and features, as I’ve
been doing the past few years, is lucrative and fascinating work, but it’s very
lonely. Unlike playwrighting, you don’t end up in a rehearsal room at the end
of it. Once you’ve handed in your script, that’s pretty much the end of your
involvement. So I’d been desperately missing the collaboration of a theatre
rehearsal hall and the people who help you tell your story—but that was the
irony—I found exactly what I was looking for in the writer’s room of the show.
Our room (and not all shows are like this—believe me I’ve heard the war stories)
has been this hilarious, collaborative, thriving place where you get support
and clarity in your storytelling—and a voice. Each of the writers was assigned at
least one episode to write, and the showrunner kept the full vision in his head
(much like a theatre director)—and this particular showrunner has five kids, so
we made it home by dinner time nearly every night. I don’t think I could have
asked for a better experience (and many TV writers I’ve talked to honestly
don’t believe me). Like I said, all I do is knock wood—and hope the show gets
picked up for another season so I get to do this again.
As
for the childcare of it all, Lindsay was home for part of it, and took on much
of the role I’d had for the last 9 years, which was fun for both of us. When
fall rolled around, I hired an after-school sitter who picked the kids up, did
homework, and got dinner on the table. (She also cleaned up, put the forms I
had to sign in one place, and packed lunches—the wife I always wanted!) so it
all went very smoothly.
The
experience wasn’t better or worse in terms of the parent-juggling aspect of it,
but the job itself made life different for all of us because of how happy I was
in my work. I think it’s great for kids to see their parents pursuing a
dream—knowing the hard work it takes to pull it off sometimes —but also the
great rewards, in those rare times it really comes through.
What
are you working on right now? Do
you still find time to write stage plays?
I
do find time to write plays! (I don’t think I could ever give it up). I have a
new one called SOME OF THE PEOPLE, ALL OF THE TIME that’s circulating, and a
new one I’m about 30 pages in— in the percolating stage. I’m also working with
the fabulous composer Georgia Stitt as the book writer on her revue SING ME A
HAPPY SONG, which she was just revising at Sundance Play Lab. Two older plays
of mine, WAVING GOODBYE and THE RETURN TO MORALITY also have productions in the
next few months.
On
the
film side, a terrific director and star asked me to write a feature on
spec that I’m about halfway through, and hopefully I’ll wrap that up in
time
to come back for season 3 of Fairly Legal (set your DVRs—Friday nights
at 9pm,
starting March 16th on USA Network!).
I
read an interview with playwright Jason Grote recently about his experience
writing for Smash, and he was very positive about it. One aspect he said was very different
from theatre, though, was who you’re in contact with as a writer. When we work in theatre, we spend a
lot of time in the rehearsal room with the actors. He found that wasn’t the case for
television. Do you have the
same experience? Creatively,
who do you spend the most time with when you’re working in TV/film? Do you get to be on set, and how does
that inform your writing process?
Part
of this I answered above. But the rest of the answer is that our show shoots in
Vancouver, so we have limited access to the actors—though a very collaborative
office in LA. I did get a chance to visit the set twice (once for each of the
episodes I wrote), which was a marvelous experience, but it’s not so much the on-set
visits that have informed my work, as much as watching dailies (what’s shot on
a day to day basis) and the director’s cuts of episodes that come in. Over time you begin to see what works
best for each actor, for the show, and for storytelling purposes, and adjust.
That’s been a great education.
More, the real writing education has been what I’ve learned from our
showrunner, co-executive producers and the other writing
staff—who are my primary points of interaction. Many of them have been doing
this job for years and are walking encyclopedias of what works and what
doesn’t. It’s the other huge joy of the job for me—that after so many years of
working alone in my own house, to be able to walk down the hall and ask someone
to work out a joke with you, or re-jigger a plot point, or read a scene in
process—it’s like a revolution. It’ll definitely be hard to go back to writing
alone in my home office again.
Do
you feel that moving to LA is a necessity for someone interested in writing for
film/TV? After you moved,
did you find you were still able to maintain your theatre contacts in Chicago
and on East Coast?
I
think that moving to LA is necessary for series television work (even though
some shows are shot in other cities, most keep their offices in LA—our office
is 100 feet from The Good Wife, for example). For features it’s definitely
easier to be in Los Angeles. It’s a cliché but so much of the work I’ve gotten
has been because I’ve been able to grab lunch or coffee, or I run into people
at a network’s offices who were looking for someone, or I’ve made friends with
people who are doing the work I’d like to be doing. It’s like any business,
networking is part of it, and if you live outside the network it definitely
takes a toll. For me, I feel like I laid the groundwork when I was living in
Chicago, but I’m not sure I could have pulled off the rest of it if I still
lived there. It’s certainly possible if you have a great agent (and you really
can’t get far into this world without one) to make the connections and get read
for these jobs, but you’d have to be willing to come out here for the
interviews/pitches, etc. to land the job. (As an example, one of our writers on
Fairly Legal got the job while he was living in New York on a Friday and
started in LA the following Monday. He also got married the Sunday after that,
so you can see how your life can get upended…!).
As
for maintaining theatre and Chicago/east coast contacts, Lindsay and I still
keep an apartment in Chicago, and my agency (Abrams Artists) has an amazing NY
theatre department who keep my work circulating through those channels.
Ironically, many of the strongest contacts I made in Chicago have moved on to
other theatres and cities anyway, and honestly, Facebook has been a godsend for
staying connected to them. I personally haven’t had the same kind of time to
devote to the business of theatre, so I feel that some of my trajectory there
has suffered, but that was a choice I made, so I can accept that. It doesn’t
mean I give up on theatre, it just means that road may be a little longer.
Any
other advice/words of wisdom for writers who are trying to balance parenting
with writing and budding writing careers?
Ugh,
I’m loath to give advice to anyone about parenting, much less parenting and
writing. I think everyone has to feel his or her own way through it. Some are
happier devoting more time to the children and less to the career, for some
it’s vs. vs. I found the right balance for myself—and that’s really all it
comes down to—what works for your
particular family and your situation.
What are you willing to sacrifice and what can’t you compromise? That's
personal and unique to every writer or parent. Sometimes you
don’t figure it out until it’s happening —and adjustments are made.
There have
definitely been times as a woman and a mother that I’ve wondered where I
might
be if I hadn’t had kids—but the point is moot. I wanted to be a mom.
I wanted
to be a successful writer. I would find my way to work it out. I’ve got a pretty good sense of when
the kids are getting what they need and when they aren’t, (or maybe I don’t,
and we’ll all be in therapy when they’re teenagers), but we adjust. Everything
is in motion, and I’m always open to what comes next and what’s best for
everyone.
Thanks for taking the time for all this, Jamie.
You can read more about Jamie and her work on her web site: www.jamiepachino.com. FAIRLY LEGAL premieres March 16th on USA Network.
(The two episodes she wrote will air April 6th and May 18th.) Her movie, Blue Eyed Butcher, premieres this Saturday on Lifetime.
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| From Waving Goodbye, co-produced by Steppenwolf and Naked Eye in Chicago |
Next Wednesday, I'll talk to novelist and fellow stay-at-home dad/writer, Mike Cooper, about his new book, Clawback.
