When I asked Jeri to contribute to this page, one of the things she said was ‘My part was miniscule.’ That started me thinking, because she did indeed only write one script but perhaps one of the secrets of ThunderCats’ success is that virtually everyone involved, no matter how small or brief their role, entered the spirit of the show wholeheartedly. There have been times when I have written just one or two episodes of a show, not felt a real part of the process and undoubtedly made no real contribution! Later, I’m going to attempt to analyze the reasons for ThunderCats’ success and extraordinary longevity. Spoiler: I have no idea! Over to Jeri:
In 1983, a major recession hit Canada (where I had immigrated from the U.S. years before and became a dual). The recession negatively impacted my income as a voiceover artist (commercials, jingles, numerous animated series) and television/stage writer. Hence, like a handful of top Canadian talent, I headed for New York.
After months, I got through the doors of Rankin/Bass, did a bit of voiceover work and learned quickly that they were in need of script writers. Having written for several Canadian sitcoms, a live action family series and being the recipient of the Emmy equivalent for adapting my stage musical “Clowns” as a CBC tv special, I got a chance to write for both Thundercats and Silverhawks. I was thrilled but nervous. Writing for the genre was new to me. 
The script was The Mumm-Ra Berbil and when I reviewed the show for this note it made me smile.
Peter Lawrence was welcoming, mega-smart, and supportive. Now, this is before computers, so when it came to rewrites, it was a nightmare — carbon paper and having to start retyping from page one with every iteration. Also, the animators were in Japan and all over the Far East – and were operating under the ‘Rankin/Bass’ system which meant that we had to describe in great detail more or less every frame that we envisaged. Purple smoke emanates from the fiercely bubbling cauldron, rising through the air, twisting and turning. As it climbs, it becomes varicolored, flashing like forked lightning. The writer really was the director, usurping – or certainly treading on the toes of – the storyboard artists. But that was the system. It gave R/B a very high degree of creative, production and financial control.
Something I remember with delight: creating the character, Zero the Memory Thief for Silverhawks. 
He had a reel-to-reel tape embedded in his chest. (This was before digital.!)
Now, when I watch old clips of the shows, I am wowed at how incredibly vibrant, creative and innovative they were. Hats off to its creators and to its fans. My part was miniscule.
I continue to write — two different columns in the Haliburton Echo/County Life; and my books, “Vessie Flamingo Outshining the Moon” and “Maybelle’s Cure for What Ails You” are available on amazon. Been writing as: Jerelyn Craden for many years. www.jerelyncraden.com