Interview With Karyl
Miller
Interviewed by Keith Justice
Karyl has written for "The Cosby
Show," (pilot and premiere season) "The Mary Tyler Moore Show,"
"Lily Tomlin," "My Sister Sam," "Kate and Allie,"
"The Cosby Show," "Love Sydney," "Diff'rent
Strokes," "Erma Bombeck's Maggie," "Maude,"
"Sanford and Son," (co-written with Richard Pryor) "Barney
Miller," "Bob Newhart," "The Mary Tyler Moore Show,"
and many others. She won an Emmy for best writing for her "Lily
Tomlin" special.
So, first things first. How did you get your start as a comedy writer?
I had no training whatsoever, unless you count endless hours yucking it up in front of the tube, scoping my
favorite sitcoms. In fact, I had been working as a designer for one of America's largest Junior dress
manufacturers in New York, when my song writing ex-hubby, baby, and I moved to L.A.
The rag biz in L.A. was a total snore compared to the glitz and glamour of show biz. "Comedy writer" seemed like the perfect job title, since the worst thing
a young housewife and mother could be called at that time was "a young housewife
and mother."
I wrote at least six failed spec scripts. It took me two years to sell my first
episode, but along the way, I met everybody who was anybody who was funny in Hollywood. At Paramount, comedy writer Garry
Marshall was producing "The Odd Couple," "Happy Days," "Laverne and Shirley," and other shows. He
hired me to write dozens of one minute silent comedy bumpers that went between the segments
of the original "Love American Style." It was great training and ( in case you're interested), Garry wrote about me and other young writers in his book.
Finally, I wrote a spec "Mary Tyler Moore Show," and that episode changed my life. I was hired to write
episodes for "Mary" and I was also hired as a staff writer on Lily Tomlin's first special - both on the same
day! From then on I had more jobs than I could handle. The Tomlin special was nominated for an Emmy for
best writing. One night, less than a year later, I had three shows on the air in
a row!
You have an extensive track record of writing for some of America's most
successful comedies. Can you give us a listing of your credits?
"The Mary Tyler Moore Show," "Lily Tomlin" (two specials, two Emmy nominations and ONE EMMY, a
Writer's Guild of America Award nomination, The American Academy of Humor Award, and the Rolling
Stone Best TV Show of the Year Award), "The Cosby Show" (premiere '84 record breaking season), "My
Sister Sam" (costarring Pam Dawber and the late Rebecca Schaeffer), "Kate and Allie," "Love Sydney"
(starring Tony Randall), "Diff'rent Strokes," "Erma Bombeck's Maggie," "Maude,"
"Sanford and Son" (co-written with Richard Pryor), "Barney Miller," "Bob Newhart," and many others too obscure for Nick at
Night. I've also written many half-hour pilots and a few movies-of-the-week..
I've written five or six feature scripts (two optioned), and I sold a movie script to Kevin Costner and Warner
Brothers and afterwards, I spent a year developing the script with Kevin and his people at TIG Productions.
No, it hasn't been filmed yet, but someday it might!
Any of these programs stick out in particular as rewarding experiences or
personal favorites?
Writing on the staff of a TV show is like going away to summer camp, but instead
of canoeing, you get to sit around a table all day writing jokes with six of the
funniest people you ever met in your life. Like camp, the food is awful, but you
make a bunch of new friends and log a lifetime of amazing experiences. You have the privilege of writing for some of the most talented actors
on the planet, and on top of that they pay you like a super model (and I'm only 4' 11"!)!
Every show has a story, but being one of the few women writers on staff was something I definitely had
to get used to. Early in my career, I was hired by CBS for a special to be shot on location in London. I was the
only woman on the writing staff. I thought I was one of the guys till one night they after work
they all decided to "go out and get laid." Good thing I packed my needlepoint!
Winning an Emmy had to be a remarkable moment for you. Can you tell us
about that experience?
I had been nominated for an Emmy the year before and lost - so that was like a dry run. The year I won my
Emmy was the only time in the history of the Emmy Awards that the nominees were told ahead of time that
we had won. I guess they had been having lots of no-shows, or something. I certainly would have come,
in either case. Anyway, knowing you're going to win doesn't necessarily make it
less stressful. I was awake all night the night before, having nightmares about
running up on stage and tripping over my long gown and falling out of my high heels in front of millions. So,
Emmy night, I put rubber bands around my shoes to hold them on. This totally cut off my circulation, so
when they finally called my name and I stood up, I almost fell down!
Okay, a pre-pro writer thinks he or she has the goods to be a successful
sitcom writer. What is the first step that person needs to take to get in the door?
You need at least ONE PERFECT, CURRENT, SPECTACULAR half-hour spec script. However, DO NOT send your script to everyone in Tinsel Town the day you finish
writing it just because you think it's the greatest thing ever written! Stop yourself! You are just having a bad case of what I call First Draft Fever!
You've accomplished something. Congratulations! Now, sleep on it. Then get a really
critical friend (or a writing pro if you know one) to read your script and critique it. Be willing to make changes on your script even though it may take
more time. Remember, RE-WRITING is really what good writing is all about! Finally, when you're really ready, have access to free
Xeroxing so you can send zillions of copies of your revised and improved masterpiece to any and all who
will read it and/or the cousins and hairdressers of people who will read it.
A television staff writer is certainly a coveted job and not easily come by.
Aside from being a good writer, any suggestions on how to get into this field?
As a Supervising Producer, I read hundreds of scripts from new and seasoned writers every season in order
to select the best writing staff. Unfortunately, being a great writer on paper is just step number one. After that, there's an
interview, and that's pretty scary if it's your first time. Just remember that the producers are on
your side. There's nothing they'd like better than to find out that you have a pleasant and funny personality and
that their search for a staff is completed with the addition of you!
What are traits that you think separates a good comedy writer from a
mediocre one?
Mediocre is the definition of every writer but oneself - right?
So, what's on the horizon for you? Any new projects we should look out for?
I've been asked to write a book for neophyte sitcom and screenwriters! I can't believe I'm actually asking
people to send me their scripts, but I've got to do the research. I'm going to be knee-deep in reading, but it
will be fun! On top of this, I'm working on a half-hour pilot for Universal, trying to find a new
home for my column, and hoping to squeeze in a few speaking engagements in my spare (ha ha!) time. And did I mention I skate 15 hours a week? Whew!
Wrapping this up, any final tips or advice you can give to our readers
hoping to someday make their mark in Hollywood?
Log on to my WEB site (www.MillerReport.com)
and don't forget to thank me in your Emmy or Academy Award acceptance speech! And Good Luck!
Visit Karyl's website by clicking
here.
