Latin School of Chicago

Carol Mendelsohn '69 Carol Mendelsohn '69 never imagined she would one day study the intricacies of String Theory, be able to identify a murder weapon, figure out how a stun gun can cause a person to burst into flames, or work with bug trainers. But as the head writer and executive producer of "CSI: Crime Scene Investigation," Mendelsohn has spent the last 10 years helping create every word and plot twist on the top-rated television show. Along the way she has had to learn about forensic science, criminal justice and DNA technology – all while organizing a cast and production crew of some 200 for a new episode every week, nine months of the year. "It's my dream job," Mendelsohn says. "I used to sit in study hall daydreaming and making up television episodes in my head. Now I do what I used to do in study hall, but I get paid for it." In the world of television, the longevity and success of "CSI" and its siblings – "CSI: Miami" and "CSI: New York," which Mendelsohn co-created – is unusual. The pressure is intense. But even after a decade, Mendelsohn says the creative process continues to excite her. "Every day I go into an office with my writers where dry erase boards cover the walls," she says. "We can spend up to two weeks in the room together trying to figure out the next episode, and then we outline it all on the boards – the teaser, act one, act two, etc. That I love." At the same time, she is juggling pre-production, rewriting, filming and editing of other episodes, in what often seems like a never-ending cycle. But it is all she has known since quitting her career as a lawyer and moving to Los Angeles in the early '80s. "I had been practicing law in D.C. for five years and realized that I needed a creative outlet." Happily, a branch of the American Film Institute was located in the same building as her office, and Mendelsohn could take screenwriting classes at night. When MTM Enterprises, the company that developed programs like "Hill Street Blues" and "The Mary Tyler Moore Show," expressed interest in a script she had written, Mendelsohn packed up and moved to L.A. Once she was in California, unemployed and volunteering on student film projects, Mendelsohn wrote a "spec" script for the show "Remington Steele." "In those days there were maybe two screenwriting books and they all said: If you are going to write a spec script, write it for a show you love," she says. "They also said, make your script stand out. So, I wrote about an elephant framed for murder. That was the script that got me all my work. It never got made. But it got people's attention." Mendelsohn's first job in television was in 1984 for "Fame." She then wrote for "Hardcastle and McCormick," "Stingray" and "Wiseguy" and produced "Tour of Duty," "Gabriel's Fire" and "Melrose Place." In 2000, she helped launch the pilot episode of "CSI." Even in the early difficult days, when Mendelsohn didn't have a job or an understanding of how the television industry worked, she never second-guessed her decision. "I had a fire in my belly," she said. "I already knew that I didn't want to look back one day and realize that I hadn't tried to follow my dream." It's a career and passion that traces to Latin. Mendelsohn's love for creative writing, in fact, began some time around sixth grade, and she fondly remembers the blue typewriter her parents gave her to write her first novel. Even now, she says, her writing is enhanced by the appreciation for literature she learned in English classes with Richard Dolezal and Truxton Hare. However, more than anything, Mendelsohn says she appreciates the life lessons she learned. "My memories of Latin are homework and more homework," she says. "We were always writing papers, reading for class and preparing for tests. Latin was not an easy place. But it prepared you for life. "We had brilliant teachers who had such a thirst for knowledge. They just made you want to learn and understand." As Mendelsohn looks to the future – she has several new projects in development, including one for Showtime and two for CBS – she will stick to a formula that has served her well: "Don't censure your imagination," she says. "Don't put any restraints on it." It's my dream job. I used to sit in study hall daydreaming and making up television episodes in my head. Latin School of Chicago 35

• Cover