Ashford acknowledges that she had to fictionalize the Masters and Johnson story much more of this season than in season 1 — including Bill's time at both Memorial and Buell Green, the return of Frank, Libby's relationship with Robert, and even Bill's impotence — because she wanted to return not long after the events of last year's finale, but which landed her in a relatively dull part of their career. In some cases, she extrapolated from history (Frank was, in fact, a plastic surgeon in Kansas City who had little to do with Bill as an adult), while others were invented out of whole cloth (Ashford understandably wanted to give Libby something to do, but there's very little recorded history of what she was doing or feeling during this time).
I don't believe that Ashford has an obligation to maintain 100% fidelity to the facts (nor is it possible to do so), but I also don't know that it's a coincidence that this season was much bumpier than season 1, which also deviated from history but in less central ways — and which tended to tie those deviations more directly to Bill and Virginia's work. Barton Scully is an invention, for instance, but one crafted out of pieces of people Bill knew in his career, and his story reflected both what Bill was trying to do with the study in the '50s and what he would do in the more controversial later phase of his career. Some of season 2's inventions were along those lines — Bill's stint at Buell Green, while shorter than it probably should have been (since it was a better way to integrate the civil rights movement into a show about human sexuality than Libby's time with CORE), helped dramatize his decision to give up a life as an obstetrician with hospital privileges to focus primarily on the study, while Frank's visit helped address Bill's abused childhood — but many more seemed there entirely to give characters like Libby, Betty and Langham things to do when they otherwise weren't all that integral to the main story.
http://www.hitfix.com/whats-alan-watchi ... w-frontier