We recently connected with Caitlin McCarthy and have shared our conversation below.

Hi Caitlin, thanks for joining us today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.

On May 18, 2005, the day after celebrating my father’s birthday, a pivotal colposcopy revealed shocking news: I had been exposed to DES (diethylstilbestrol) while in the womb.

If you’re scratching your head wondering what DES is, you’re not alone. I dove headfirst into the research and what I found wasn’t pretty.

DES is a dark chapter in medical history. It’s a toxic, carcinogenic synthetic estrogen that doctors prescribed to millions of expecting mothers from 1938 to 1971 in the US — and even longer in other parts of the world. It came in pill form mostly, sometimes as an injection, and shockingly, it was even mixed into prescribed prenatal vitamins. That’s how it got to me — my mother unsuspecting of its presence in the prescribed prenatal vitamin she trusted.

The fallout? It’s grim. DES Daughters face a rare risk of vaginal cancer, while mothers who took it have a higher breast cancer risk. There’s even potential trouble for DES Sons, like increased chances of testicular cancer. Reproductive issues, infertility, and complicated pregnancies add to the laundry list of effects. And it doesn’t stop there: emerging research suggests that DES altered gene functions, possibly making the effects of prenatal DES exposure cross-generational. It has also been hypothesized that prenatal DES exposure may have led to gender-related effects in some children. There are a number of other suspected effects, including auto-immune disorders, but many of these effects are still awaiting further research.

When I first learned all this, I was floored. Then came the devastation. But instead of staying down, I picked myself up and decided to take action. That’s when my screenplay, WONDER DRUG, started taking shape.

I kicked off my journey in London, meeting with Sir Ralph Dodds, whose father Sir Charles Dodds created DES. It turns out Sir Charles never meant for DES to be used during pregnancy. But once he published his discovery, the genie was out of the bottle. With Ralph’s guidance, I dug into archives at The Royal Society, hauling back stacks of photocopies to Worcester, Massachusetts, where I live and teach English Language Arts full-time at an urban high school.

I spent the next year emailing, calling, and interviewing DES researchers, historians, and activists. I even gained a scientific advisor, P. Harry Jellinck, who worked directly under Sir Charles Dodds as a graduate student for a Ph.D. in the 1950s.

Once ready, I wrote the first draft of WONDER DRUG in a fever — literally. The flu was sweeping through my school! But I pushed myself to meet the HamptonsFilm Screenwriters Lab’s deadline. In collaboration with the Alfred P. Sloan Foundation, the HamptonsFilm Screenwriters Lab encourages the submission of scientific screenplays. Wonder of all wonders, I got in! That lab turned out to be my big break.

Now, WONDER DRUG is in pre-production with Lori Singer directing, Lori Singer and myself co-writing, Stephen Nemeth/Rhino Films and myself producing, and Vanessa Hope serving as Executive Producer. It’s a dream come true — proof that persistence pays off, even in the face of the toughest challenges.

Caitlin, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

My journey into screenwriting began unexpectedly at Brockton High School, an urban public school in Massachusetts. As a mid-career professional enrolled in the Massachusetts Institute for New Teachers (MINT), I was transitioning from high-tech public relations to education. Part of my training involved observing a master teacher, but when the teacher didn’t show up on the first day, the students turned to me, the only adult in the room. Despite not yet being allowed to teach, I had to take charge quickly. “Let me see what’s going on,” I said, rushing across the hall for help.

And that’s when fate intervened in the form of Diane Ayache. She helped sort out the confusion that day and we later crossed paths again at lunch. During our conversation, I mentioned I had just finished writing a novel. Diane responded enthusiastically, saying she should introduce me to her cousin.

As luck would have it, Diane’s cousin turned out to be Oscar-nominated director Matia Karrell.

Imagine my surprise when Matia emailed me from Los Angeles, asking to read my novel. Without hesitation, I said “yes.” A few weeks later, over lunch in Boston, Matia asked if I could adapt my novel into a screenplay. Despite having no prior experience with screenwriting, I accepted the challenge.

I dove into learning how to write a screenplay, despite my initial struggles. Matia graciously guided me through the process, providing invaluable feedback.

Since then, I’ve been fortunate to have another influential mentor, producer Stephen Nemeth, who formed and heads up Rhino Films, the independent film company that originated as a division of the iconoclastic record label Rhino Records. Stephen has been a stalwart supporter of my screenwriting journey since the 2013 Squaw Valley Screenwriters Conference –but we later discovered we had, in fact, met in 1984 at Game 2 of the NBA Playoffs between the Boston Celtics and the Los Angeles Lakers. I was in the 8th grade, seated with my dad second row center court. To my amazement, I spotted movie star Timothy Hutton a few seats down, seemingly next to Andy Gibb. I correctly identified Tim as the Oscar-winning actor, who graciously autographed my program. And as fate would have it, the man I mistook for “Andy Gibb” turned out to be Stephen! He’s a rock star in his own right — a producer, mentor, and a true gentleman advocating for feminist ideals.

Throughout this journey, I’ve pursued screenwriting while teaching English Language Arts at Worcester Technical High School, often waking up at 3 am to write before my workday starts at 7:10 am. I write feature screenplays, one-hour teleplays, and screenplay adaptations. My stories tackle political and social issues with a wink, blending humor with heartbreak while always staying focused on action.

In addition to WONDER DRUG, my projects include:

** The screenplay adaptation of Rory Samantha Green’s rom-com novel PLAYING ALONG. Rory’s previous book “Charlie’s Checklist” was featured on Oprah Winfrey’s first children’s book club.

** Partnering on writing/creating a TV series with Lynsey Murdoch (BBC Scottish Voices 2020), developed with financial assistance from the Scottish Government and the National Lottery through Creative Scotland and produced by Pirate Productions.

** Winning the open writing assignment for a supernatural mystery inspired by real events.

My awards include Academy Nicholl Top 10 female writer; “Featured Script” on The Black List website; honoree on The Bitch List; and Mass Cultural Council Dramatic Writing Fellow ‘21.

My motto is “Work Conquers All.” It encapsulates my belief in the power of dedication, perseverance, and effort to overcome challenges and achieve success.

For you, what’s the most rewarding aspect of being a creative?

It’s the exhilarating whirlwind of adventures at prestigious film festivals and immersive screenwriting labs, where I’ve had the privilege of meeting and learning from industry legends. More than that, it’s the surreal experience of connecting with childhood idols and forming genuine friendships along the way.

At Worcester Technical High School, launching a screenwriting elective for seniors has been deeply gratifying as I witness them unearth and cultivate their own storytelling gifts.

My overarching goal has always been to weave narratives that not only entertain but also enlighten and educate. Each screenplay I craft carries the potential to provoke thought, spark conversations, and ultimately make a significant impact in the world. For me, that’s where the true reward lies — using the power of storytelling to inspire and connect with audiences on a profound level.

Is there something you think non-creatives will struggle to understand about your journey as a creative?

Screenwriting isn’t merely about putting words on paper. It’s a discipline that demands extensive study, honed talent, and acquired skill. Every movie and TV show hinges on a script — without the writer, there’s simply nothing for anyone else to do. We’re the ultimate job creators in the industry.

And here’s another twist: you don’t need Hollywood or fit a specific mold to succeed. You can write from anywhere, at any age, any gender. While barriers exist, a killer script breaks them down. Writing isn’t just about words; it’s about smashing stereotypes and shaping stories that resonate across boundaries.

Contact Info:

• Website: https://www.caitlinmccarthy.com
• Instagram: @Caitlin_McCarthy_Writer
• Facebook: @CaitlinMcCarthyWriter
• Linkedin: @CaitlinMcCarthyWriter
• Twitter: @CaitlinMcWriter
• Youtube: @CaitlinMcCarthy

Image Credits

Christine D. Peterson. Pure Style Photography. The Boston Globe. IMAGINE Magazine. The Sunday Post. The Black List “Featured Script” Poster.