Different Drummers Touches Audiences

by Mary Jane Honegger

Different Drummers

by Don Caron & Lyle Hatcher

According to  retired Spokane financial adviser, Lyle Hatcher, there is a market for family-oriented movies that elicit emotion through the telling of true stories that touch the audience without dependence on Hollywood special effects and hype.

After years of retelling a personal story of inspiration, Hatcher decided it was time to share his tale with the world. Teaming up with Don Caron, a former sound supervisor for North by Northwest, the two spent the next ten years creating Different Drummers – first as a screenplay, then as a book, and lastly as a movie. 

“Prepare to have the wind knocked out of you...in a good way!”

John Robideaux - Robideaux Marketing

Different Drummers is based on an unusual true story about events that took pace in 1965 involving two fourth-graders. David, wheelchair-bound by Duchenne Muscular Dystrophy, is growing progressively weaker, while his friend, Lyle, has a problem with an ever-increasing energy level.  David informs Lyle that their teacher is about to die and claims that God told him. When their teacher does die, a doubtful and confused Lyle convinces David that he can teach him to run, secretly viewing this as a way to test the existence of God.

Different Drummers is a coming of age story that deals with the issue of hyperactivity, the crippling realities of childhood muscular dystrophy, the medicating of school children as a means of controlling behavior, and an exploration of the existence of God through the eyes of a child. This true story is at once heartbreaking and uplifting - each viewer's journey will be unique...and unforgettable. - Website

Hatcher and Caron wrote the story as creative nonfiction, telling the story the way they wanted.  They did not pay attention to Hollywood insiders who say family-oriented stories are not what American audiences want.  Some of the things that set this film apart:

1. Hatcher and Caron became co-authors, co-directors, and co-producers, retaining total control over the project.  The two also provided much of the financing.

2. The film is not “based” on a true story as are most creative nonfiction projects. According to Hatcher, “It is a true story.” He says nothing was either added or deleted in an effort to increase cinematic impact.

3. The film was not written to appeal to specific movie demographics.

4. Hatcher made the decision to use the real names of the characters in the story, honoring his strong commitment to tell the true story.

5. The movie was filmed where it happened, in Spokane. In fact, some of the scenes were shot in the actual homes and buildings where they originally took place.

6. There is no violence, sex, or profanity in the film.

7. The film questions the existence of God with no apology.

Their hard work paid off. The screenplay won the top award for outstanding screenplay at the Houston Film Festival out of a field of 3,500 and other awards; the book sold by the thousands; and the movie continues to draw capacity crowds and inspire moviegoers wherever it is shown.

Based on a true story, Different Drummers is one of those uplifting films that makes you want to go out and live life with everything you’ve got . . . Misty Layne - Rogue Cinema

Different Drummers touches lives, Hatcher told a film group last week. He says people pass the books from one to another and come back to see the movie time and again. Different Drummers is showing in Kalispell (already sold out) and Salt Lake City soon. After that Hatcher is unsure where the movie is headed, but retains faith the movie will become a blockbuster.

 Visit the website at www.differentdrummersmovie.com to learn more about the movie and an upcoming DVD release.

The following is an excerpt from the Different Drummers website:

From It has been forty-plus years in the making, but David’s story is finally being told, thanks to the persistence and faithfulness of his childhood friend, Lyle Hatcher, and the help of David’s mother, Gloria Dahlke. The boys’ friendship is beautifully detailed in Different Drummers, a book that was recently made into a movie and filmed on location in Spokane, the same place where their story originally took place.

The two boys never imagined their lives would become the subject of a book, let alone a movie. They were young and just living ordinary lives in North Spokane in the early 1960s, attending elementary school, collecting bugs and getting into a fair amount of innocent trouble. But their friendship, which included David’s struggle with muscular dystrophy and Lyle’s hyperactive nature, left an extraordinary legacy. There are no drugs or alcohol, no sex, profanity or dysfunction in this story, yet it’s compelling in its simplicity. It’s a true story focusing on David’s intrinsic relationship with God and Lyle’s determination to test the existence of God; it tells the events of the boys’ lives and their time together, including the death of David at age 13.

“Too many people have lost their way and are in despair,” says Gloria Dahlke, David’s now 91-year-old mother, who still lives in Spokane. She is sure that her son’s story will reassure those who are lost and in despair, and will give them hope. That’s why she’s excited that now, more than four decades after her son died, his story is being told. For her, thee book and the upcoming movie fulfill her son’s dying wish.

Part II Nell Shipman: Making movies at Lionhead Lodge

By Mary Jane Honegger

Intrigued by Nell Shipman’s story, I purchased a couple of books about her time in the Pacific Northwest and recently finished reading Lionhead Lodge, a first-hand account of Nell’s adventures in Spokane and North Idaho written by Lloyd Peters, a Spokane youth who caught the acting bug while watching Mary Pickford in Rebecca of Sunny Brook Farm at “the beautiful new Clemmer Theatre in Spokane.”

In his autobiography, Peters shares the delightful tale of how he and his brother, Ray, got started in the movie industry through a little bit of luck and a mail order ad that offered “movie lessons and a twelve-hour talent tester with make-up box by James Cruise for only $15.00.”

Well, that is my picture career.  I got into the movies, 

practically in my own backyard! - Lloyd Peters

Inspired by the Pickford movie, the two young men ordered the kit.  Once they mastered everything from “clowns to witches” they decided to offer their services to the Washington Motion Picture Corporation, a movie company with a recently built movie studio at Minnehaha Park in the Spokane Valley.  The studio had produced one movie, Fool’s Gold with Tyrone Power and Victor McLaglen in 1918. 

The two, carpenters by trade, applied for work and were hired part-time, building sets for various pictures.  The studio later hired their father and suddenly the whole family found themselves in the movie business.

In 1922 Hollywood actor Wellington Playter came to town and started a movie school at the studio called the “Playter Photo Players.”  The boys signed up for classes twice a week.  At $10.00 per lesson, that was a lot of money for the time, but the boys were determined and their parents decided to support them.  Peters learned a lot during the months he took classes and says he got “his money’s worth.”  

The author, as he played in Wolf's Brush,
Mt. Lookout.

By the time Nell Shipman and her collection of animals arrived, the three Peter’s men were familiar faces around the studio.  The local headline read, “Movie Star from Hollywood to form company with local Businessmen.”  Nell and her director, Bert Van Tuyle, formed Nell Shipman Productions and set to work on her first film at the Spokane studio, The Grub Stake.  The men were hired to be in charge of the carpenter shop and were to build eleven sets for the movie.  Lloyd, with his great makeup expertise, also ended up playing six different characters in the film. 

Nell feeding bears in cages built by Lloyd and Ray Peters
at Lionhead Lodge on Priest Lake.

 The Lloyd brothers followed Nell to upper Priest Lake when she and Van Tuyle decided to move their movie studio to the North Idaho wilderness.  Throughout the next exciting couple of years, they worked as both carpenters and character actors, often again playing more than one part in the same film.  If not acting, they were building cabins, sets, or cages for Nell’s many animals at both the Minnehaha studio and later at the movie studio on Priest Lake, which Nell named Lionhead Lodge.

Lloyd recounts the challenges of making movies in the North Idaho wilderness – the rough roads, lengthy boat trips, ticks in the spring, and dangerous

ice and snow during the winter months.  He shares tales of lugging movie cameras and equipment on early morning hikes to get to location and tells how Nell kept spirits up for cast and crew with her smiles, praise and her good sense of humor.  He remembers hikes in the surrounding mountains to look for new locations with Nell and her son Barry, who later became a successful Western movie writer. 

Nell was so pleased with my work today

that she stood up with me for a picture

with my own camera.  To me this was very

special.  

In the end, a couple of bad breaks ended Lloyd and Ray’s career in the movies.  Financial difficulties dogged the production company and bad health undermined Van Tuyle.  In what Lloyd calls uncharacteristic of the man, he became angry and fired both brothers a day apart.  Despite being fired, Lloyd remembers his movie experience fondly and regards both Nell Shipman and Bert Van Tuyle as being remarkable and talented people.

 I want folks to know they just don’t come any finer than Nell Shipman and Bert Van Tuyle. – Lloyd Peters

Although Peters never followed his acting career, his fond memories of the three action-packed years he spent working with Nell Shipman never left him.  He enjoyed sharing his memories through interviews and his written account, Lionhead Lodge.

Lionhead Lodge, Ye Galleon Press, 1976, can be purchased on Amazon.  

Nell Shipman Films

In 2007, local producer, director, and editor, Paul Brand, of Pretty Good Productions; and the Idaho Film Collection at Boise State University, produced At Lionhead, a documentary that follows the story of silent movie actress, director, and producer Nell Shipman from 1922 to 1925 at her production studio called Lionhead Lodge on Priest Lake in northern Idaho.  The film, written by Boise State University professor Tom Trusky, stars Bonnie Bedelia as herself and includes archive footage of Nell Shipman, Lloyd Peters, Joseph Walker and Barry Shipman.  Trusky, who died in 2009, was a noted film historian who was known for recovering the films of Nell Shipman.  The film, can be found on Nell Shipman DVD VOLUME 3, From Lionhead Lodge.

Brand worked on all three volumes of the Nell Shipman's Collection.  These DVDs and other books about Nell Shipman can be purchased online at the Boise State University Bookstore.  

Nell Shipman DVD VOLUME 1- A Girl From God's Country

Nell Shipman DVD VOLUME 2 - The Short Films

Nell Shipman DVD VOLUME 3 - From Lionhead Lodge (Includes all of Nell Shipman's surviving films made in Idaho.)

NOTE: All the photos, with the exception of the book cover and the final photo, were scanned from the book Lionhead Lodge.

Nell Shipman - The scenic beauty of Spokane & North Idaho drew a Canadian movie pioneer to the area in the early 1920s.

By Mary Jane Honegger

Nell's strength and tenacity, her love of life and incredible will to survive, made her stand out, not only in a man's world but also in the global community because of her interest and work in animal welfare and ecology. She leaves behind a rich legacy with her restored films and autobiography.

Nell Shipman is one of Canada's unsung motion picture pioneers and was a true heroine both on and off the screen. She is deserving of far more recognition for her contributions and accomplishments. - Joel H Zemel (Nell Shipman: Brief Historical Backgrounder)

Nell Shipman, a beautiful Canadian actress, writer, director, and producer; moved to Spokane, Washington in the early 1920s to join the fledgling movie industry in the area.  A contract actress for Vitagraph Studios and one of the top movie stars at the time, Nell arrived in true Hollywood style with her director, Bert Van Tuyle, a staff of 20 technicians, her substantial wild animal zoo comprised mostly of animals common to the Northwest; and plans to make a movie. 

She partnered with Wellington Playter, an actor she had worked with in Back to God’s Country, to film a play she had written, The Grub Stake, at the Playter Studio, in Minnehaha Park in the Spokane Valley.  Nell was writer and associate director of the film which was shot with a $180,000 budget.  Unfortunately, due to the bankruptcy of her distributor, the film ended up in prolonged litigation, making money tight for Nell to continue making films.

Undeterred, and drawn by the rugged beauty of North Idaho, Nell and Van Tuyle decided to move the entire company to Upper Priest Lake in the North Idaho Panhandle to focus on making films centered on the character she had played in God’s Country and the Woman (1915) and Back to God’s Country (1919). 

These action-packed adventure melodramas, in which the heroine is called upon to rescue her husband and defeat the villain, were immensely successful. – Kay Armatage, The Girl From God's Country

Following a well-orchestrated plan, the movie company and zoo were soon perched among the towering pines on the northern edge of Priest Lake after a grueling journey by truck and a perilous 22-mile boat ride.  The crew built a new zoo to house the animals and other buildings as Lionhead Lodge, Nell Shipman’s movie camp, took shape.   

From this location, Nell and her crew filmed several movies, each time scouting out striking new locations which often made shooting difficult.  The hardy crew trekked to each location, lugging along their cameras, reflectors, make-up boxes, food and necessities for the animals which included huge rolls of wire netting and wooden boxes of peanuts and candy to keep them under control.

Despite low funds, Nell’s spirit never flagged.  Her cheerful demeanor and indomitable spirit kept her cast and crew at task despite cruel weather, harsh conditions and, sometimes, no pay.  During her time at Lionhead Lodge film camp and studio, Nell produced a series of short films, Little Dramas of the Big Places.

Sadly, by the mid 1920s, Nell Shipman Productions came to an end when she and other independent studios were forced out of the industry by the large Hollywood studios.  Unable to feed and maintain her animals, she was forced to donate them to the San Diego Zoo. 

With her movie production career at an end, Nell turned her energy toward writing novels and screenplays.  She died on January 23, 1970, shortly after completing her autobiography, The Silent Screen and My Talking Heart.  Her son Barry, who was 14 when she was in Spokane, followed in her footsteps, becoming a prolific screenwriter with a focus on Westerns; and her granddaughter, Nina Shipman became a recognized actor in the 60s.

Memorial Canadian Postage Stamp

In 1996, Canada Post introduced a limited edition series of stamps depicting one frame of a Canadian film from each decade since 1896. A scene (with Wellington Playter) from Back To God's Country honored Nell Shipman's contribution to 100 years of Canadian Cinema.

The Nell Shipman Awards of Excellence in Filmmaking

The Seattle Chapter of Women In Film is named after Nell Shipman, “director, producer and actress, a pioneer of early cinema.”  Inspired by her indomitable spirit, talent and courage, WIF Seattle began hosting an awards ceremony honoring that same spirit in contemporary female filmmakers of the Pacific Northwest.  This black-tie “Academy Award” style gala provides recognition for talented Northwest female filmmakers and showcases their work. The awards include: The Career Achievement Award
The Light of the Community Award, The Spirit of Nell Award, and Production Excellence Awards in multiple categories.

Films of Nell Shipman (either or all: writer/director/producer/star):
The Ball of Yarn (1910); Outwitted by Billy (1913); One Hundred Years of Mormonism (1913); God's Country and the Woman (1915); The Pine's Revenge (1915); Under the Crescent (1915); The Fires of Conscience (1916); Through the Wall (1916); Baree, Son of Kazan (1917); The Black Wolf (1917); My Fighting Gentleman (1917); The Girl From Beyond (1918); The Home Trail (1918); Cavanaugh of the Forest Rangers (1918); The Wild Strain (1918); Back to God's Country (1919); Something New (1920); The Girl from God's Country (1921); A Bear, A Boy and A Dog (1921); The Grub Stake (1923); The Light on Lookout (1923); Trail of the North Wind (1923); The Golden Yukon (1927); Wings in the Dark (1935); The Clam-Diggers's Daughter (1947) 
 

Read more about Nell Shipman

Nell’s amazing story is told in her autobiography, and other books about early motion picture history.  

The Silent Screen and My Talking Heart, an autobiography by Nell Shipman

The Light On Her Face, by Joseph & Juanita Walker

The Girl From God’s Country: Nell Shipman and the Silent Cinema, by Kay Armatage, 2003

Several of Nell's films are available on video through the Idaho Film Collection and Boise State University.

The Benefits of Joining a Writing Support Group

Sandpoint Film Festival at the Panida Film Festival, Nov. 2, 2013

Just a few days ago I was treated to the heady experience of seeing my first screenplay up on the big screen and hearing audience laughter and applause for my words. First excitement; then happiness; then appreciation. My excitement was in seeing Root Bound in a movie theater. Happiness washed over me when the story touched the audience. And my appreciation for my membership in writing groups blossomed as I became aware of how far I have progressed since the day I first overcame my fear and visited a writing group.

Actor James Pendleton, Director Rebecca Cook and
screenwriter Mary Jane Honegger enjoy the moment
following award at Sandpoint Film Festival.

Without the inspiration, motivation and mentoring I received from members of the Coeur d’Alene Chapter of the Idaho Writer's League I would not have become a writer. Without the mentoring and support of members of Northwest Independent Film & Video Entertainment Society (kNIFVES) I would not have become a screenwriter. Of course my family support was essential (especially my spouse), but in addition to that "attagirl” attitude I received from my family, the information, advice and expertise provided to me by those writing groups enabled me to step up on that stage as a screenwriter. 

Root Bound director Rebecca Cook shares information onstage at the
Sandpoint Film Festival while screenwriter Mary Jane Honegger and
Festival Director Janice Jarzabek share the limelight.

For me, joining writing support groups enlarged my world and enabled me to break outside the solitary box I created around my writing. These groups held informative monthly programs with plenty of networking opportunities; and sponsored classes, workshops and conferences. Through these groups I learned of writing opportunities, grew to appreciate critiques of my work and found mentors whose encouragement helped me set higher goals for myself as a writer.

Jennifer Lamont Leo chats with friends at
2008 Idaho Writer's League Meeting.

Most importantly, I found friendship with other writers by joining these groups. They were writers. They understood. They appreciated why it takes me so long to find the right word or phrase. They commiserated with my rejections and urged me not to give up; they buoyed me up when I flubbed (big time); and applauded when success came my way. They showed up for my premier or sent their best wishes.

Nancy Owens Barnes supported my screenwriting from the beginning. Several years ago the two of us decided to learn how to write a screenplay. We attended our first screenwriting workshop in Kalispell together and ordered screenwriting software with the same hopeful expectation. Nancy not only read my first draft of Root Bound, she agonized with me through years of rewrites and cancelled production schedules. As a writer, she understood. She was the first person I called when the project was done. She and her husband Tom attended the Root Bound premier.

Sitting in the same row with her were fellow bloggers Liz Brinton and her husband Nick and Jenny Leo. Other bloggers, Kathy Dobbs, Ana Goodwin and Jennifer Rova, had sent their well wishes prior to the showing. Together the seven of us have been blogging on Writing North Idaho for nearly three years. We all met at the Idaho Writer’s League.  I know it sounds cliche, but their support means the world to me.

WNI Blogettes at Newman Lake retreat in 2011.  From left:
Jennifer Rova, Jenny Leo, Liz Brinton,
Mary Jane Honegger, Nancy Barnes & Kathy Dobbs.

On second thought, I’m going to amend my opening statement. My heady experience was not just in seeing my first screenplay up on the big screen … it was in seeing my first screenplay up on the big screen while surrounded by family and friends who support me as a writer.

With that much support I was already a winner even before the opening credits rolled.  I hope you'll check out a writing support group near you or take a look at the many online networking opportunities for writers.  Good luck!

2013 Root Bound
Audience Choice Award
Sandpoint Film Festival

I would also like to express special thanks
to my husband Larry for his willingness to support
the many extraordinary requests he gets
as a result of my writing career.
Thanks, Hon!

Sandpoint Film Festival Win for Root Bound

Screenwriter Mary Jane Honegger (left) and director Rebecca Cook celebrate after their big win at the Sandpoint Film Festival at the Sandpoint Film Festival.

It doesn't get any better than this!  Last night, surrounded by family and friends (including three of my fellow bloggers), I watched my first screenplay touch an audience.  For me, the laughter was just as exciting as the applause and wining the first place Audience Choice Award was icing on the cake. (Just a note - we won first place, not second as was incorrectly announced at the festival.)

I met many wonderful, creative people at various festival events during the weekend am especially grateful to Rebecca Cook for sharing the weekend with me and helping me through the dreaded experience of being called onstage.  Our executive producer Robynn Sleep's gracious gift of her charming  family Pend Oreille Lake cabin was a delight and made a wonderful weekend even better.

Never, never, never, never give up. - Winston Churchill

Holy crap! I'm a screenwriter!

Each morning I pull a small slip of paper out of a Quote-of-the-Day box that was a Christmas gift from one of my sisters.  On the paper is a positive quote that, more often than not, strikes a chord within me.  A recent quote read, “Never, never, never, never give up” – Sir Winston Churchill.

Once again, the advice fit.  After years of false starts, “Root Bound,” the short screenplay I wrote in 2009, will premier at the The Sandpoint Film Festival on November 2.  The only reason this all-volunteer film made it to the festival – tenacity.  We never, never, never, never gave up.

Writing is most often a solitary profession, but once a screenplay goes into production, it becomes a team sport that is exciting, confusing, remarkable and frustrating – all at the same time.  The trick is to find a good team, and I certainly found one with the kNIFVES (Northwest Independent Film & Video Entertainment Society) members and Rebecca Cook and her legion of amazing filmmaker friends who volunteered their time and talent to the project.  I might have written the words, but these amazing people brought my words to life. 

We have been in post production since July and the challenges continued right up until the festival deadline – but we made it thanks to our hard working editor, Seth Mead, who gave up sleep (and almost his job) to finish “Root Bound.”  Together with Seth’s eye for detail, DP Joey Stageberg’s special touches and Rebecca Cook’s direction and support, the finished product is something we can all be proud of. 

My youngest son once told me that a fellow kindergartner – a girl – had punched him while they stood in line.  His interpretation of said assault: “Holy crap! I have a girlfriend!”  My interpretation of this weekend’s premier of “Root Bound?”  Holy crap!  I’m a screenwriter!”

Several years ago a Hollywood screenwriting professional told us (a room full of wannabe screenwriters who paid dearly to hear his words of wisdom) that Hollywood doesn't need any more 60-year-old retirees who think they can write a screenplay. As I happened to be exactly 60 that year, his words hit a nerve with me ... and I did give them some thought ... then I went back to work on my dream of becoming a screenwriter.
  

Never, never, never, never give up.   – Winston Churchill

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Different Venues to Being Labeled A Writer

Jennifer Rova
Does the title mean you have to write a New York Times "Top Ten Fiction" books in order to be or think of yourself as a WRITER? Does this mean that you have your name above the title in your mystery book? There are  twenty categories of writing that will define you as a writer.

      

 Pinterest.com "Writing" Original source unknown.

 Play writing---the writing is challenging but more so finding someone to produce your play is harder. A limited number of plays are produced each year and you have to have connections or be at the door when opportunity knocks.

      Poetry---a difficult way to earn a living. There just isn’t interest in today’s world to support poetry. Competitions are numerous however.

      Resume---not a strong wage earner but combined with other types of writing, it has its niche.

      Magazine articles---a popular form of writing. You may write for women’s magazines like Good Housekeeping and Family Circle, men’s magazines like Esquire and Men's Health or specialty magazines such as Iowa Farm Wife that hire outsiders to write for them on a per story basis. Some of the racier magazines pay up to $1.00/word. The lead-time is up to a year ahead.

      Screenwriters---writing screenplays for TV or movies. Movies pay a lot especially if the movie is a success and you have negotiated your contract well, as can writing for a hit TV series.

      Nonfiction---this category contains many subgenres. The stories must be true and accurate. They can be biographical books or articles, stories about any subject for any variety of audiences such as horse riding, sheep tending, sewing, camping, fitness, biographies, etc.

Academic---academicians must “publish” which is doing research, writing about it and finding the appropriate venue for publication. Other academic writing is for the bragging rights of having an article you wrote published in some credible magazine or online but there is often no pay. The pay for the former is that you are allowed to keep your job!
 Speechwriters---these jobs are mostly in the political arena but also may be part of another job like being the VP of a large company where you are asked to write the presentation/speech for your boss. 
Greeting cards---these jobs pay adequately and can be steady employment if you work for a company like Hallmark. These businesses often use freelance writers when they want new materials.
Columnists--- a work-your-way up profession. Writers usually have undergraduate college degrees in journalism or political science and start writing anything for small newspapers. Given time, opportunities and good work, you may be offered a job at a bigger newspaper until you have a reputation for something----adroitness, insight, sharp analytical abilities or a certain savvy or humor in an area.  A steady column may be offered for writing regularly in a newspaper or magazine. This can lead to full books outside of the newspaper job. Fareed Zakaria writes for TIME magazine while Ann Landers and her sister wrote advice columns for newspapers.
Journalists are similar to columnists. Most have college degrees. Some are all-category writers while others specialize in business, coverage of war or near-war situations, local stories, and politics. Some may write a series of articles following an ongoing event or through sleuthing, uncover a scandal or expose fraud.
Copywriters are among the best-paid writers. They are the people who write ads like “Folgers coffee. Mmm, mmm, good” and “Bounty the quicker picker upper.” There are other aspects to copy writing and it pays well, again up to $1/word. It can be freelance or on-staff positions in ad agencies. The ability to sell anything, window cleaner, a fantasy story, a pair of skies or a political mystery all use the talents of the copywriter to market the product.
 Songwriters---most people do not think of writing songs as a writing profession. It is combined with the ability to also write music or collaborate with someone who writes the music and you write the words like Rogers and Hammerstein.

Ghost writers---a decent paying freelance job with little or no glory. A famous person will “write” her memoirs but you do the actual writing based on interviews with the person. You may get your name mentioned or not. “My Life” by Sandra Bullock with Jane Doe”, Jane being the ghostwriter, or “Elizabeth Smart: My Story” without  your name. (Both are fictitious books made for this blog example.)
Game writers---if you are into computer games, you know the market for video game stories is huge. This writer works with a team of artists and computer specialists to make a video game that appeals to a certain age group. If you write a successful one, it can be part of a series. You can always moonlight as a fantasy or Goth writer in the evenings.   
Grant writers---freelance or work on staff for a not for profit organization that needs funding. You write or petition a targeted foundation, company or business for money for a specific project through a “grant proposal.” This type of writing takes the understanding of how a not for profit organization functions, what its needs are, the details and goal of the project for which the organization is seeking funding. Writers take a percentage of the grant money when it is given (and nothing if the NFP does not win the grant money), or gets a straight fee or is part of a full time job with the agency.
 Fiction---children’s books, ‘tweens, and adults, plus many genres like mystery, romance, fantasy, sci-fi, crime, or learning for children among others. This field is wide open and well known. It can lucrative and is always hard work both writing and marketing your work.   
Online---this can be writing a web site for a business, your own blog or writing for an e-zine. Some businesses pay you to write about their horse stables or golf course while with your own blog, you write for something other than money unless companies pay to advertise on your site.
 Sermons---a specialized niche for a specific profession. It takes insight, knowledge of religion, and determining the right angle for his/her congregational demographics.
  Newsletters---this can earn you a profit after a lot of hard work and time building an clientele. Some businesses hire freelancers to writer a monthly newsletter for its clients or staff. If you freelance, you will need to build up a series of clients in order to earn a living at this type of writing.

Then there is travel writing, cartoons, letters, toasts, short stories, long stories...You can write. Sit down, get busy and good luck!

InkTip: Should you post your script online?

Crawford Anderson-Dillon, a London movie producer, recently spoke during a kNIFVES (Northwest Independent Film & Video Entertainment Society) luncheon meeting.  In addition to his background in corporate productions, Anderson-Dillon has made several short movies and is now working on his first full length feature – a romance thriller that is being shot in the Post Falls area – a script he discovered on the Internet. 

Anderson-Dillon said he read around two thousand scripts before finding American Romance on InkTip, an online script website.  He read the script and contacted the writer and the rewrites began.  That surprised me because other movie professionals I've met recommended writers never post their scripts online.  So I decided to do a little research to shed some light on the subject.  

There are several websites that offer to post your scripts online for a fee.  The most popular are InkTip, Black List, Spec Scout and ScriptPimp.  Since Anderson-Dillon used InkTip, I decided to focus on their services.

The Pros

According to InkTip President Jerrol LeBaron, the mission of InkTip.com is threefold:

• Help the producer easily find a good script
• Save time for the agent and manager in locating the right people for their clients' scripts, or new clients
• Greatly increase exposure for the screenwriter

Today, InkTip has more than 2000 registered industry members who now have access to writers' scripts and they currently average more than one script produced per month. 

How InkTip works for Screenwriters:

Listing your script on InkTip means entertainment pros (qualified producers, representatives, directors and more) looking for good scripts and writers will gain 24/7 access to your work.  

To register a script with InkTip, a writer must submit a logline and synopsis, but according to InkTip information, the majority of writers choose to upload their entire scripts and/or treatments in the belief that offering the entire script allows the producer or representative to download and begin reading without delay, increasing the writers’ chances of selling their script.  In addition, scripts are often viewed as writing samples by representatives and/or producers, which may lead to other writing jobs.  Through their membership, writers are able to track who is downloading their script, synopsis or treatment.  Viewing this activity enables them to determine if their logline or synopsis (or entire script) is effective. The cost is $70 per listing for 6 months ($65 with auto-renewal)

Who Will Look at your Script on InkTip:

 InkTip scripts are free to qualified producers, directors, agents, managers, and name actors and the site ensures that all entertainment pros undergo a thorough background

The Cons

Is  InkTip a great place to post your screenplays?

In an online post, Ken Miyamoto, a working screenwriter and former studio reader/story analyst, outlines a couple of problems he sees with listing your script with InkTip or any online site.  He alleges that InkTip exists as a business to “benefit from the want and need of screenwriters, “ which he sees somehow as a disservice to writers. 

His second argument against InkTip is that it makes screenwriters lazy and complacent because they list their script then just sit back and wait instead of working hard for themselves.  “Don't expect ANYONE to come to you.  Ever.  You want a career in screenwriting?  That's your dream or goal?  Go for it.  Do the work.  Take your stuff directly to the people that can make your movie.  Those that have the means.  Those that have the talent.  Those that can further your career.”  

He recommends writers first develop some good concepts and good writing strengths, then use their computer or get on their phone and get busy to find a way to the right person.  He believes that once that person sees you have a great script, they will see your talent and contact you.  “ACT LIKE A PROFESSIONAL.  Professionals don't pay people to take their script and leave it on some website with thousands of others.”

One other subject that often comes up is whether or not someone will steal your script if you put it online.  I have heard from several script professionals that only amateur writers are unwilling to share their ideas, loglines or scripts.  They recommend sharing your work to find out if it is a good concept and whether or not people like it.  Although they admit it happens on occasion, they argue that it is a safe bet that a movie professional will contact you if he likes your script and/or your writing.  And who knows?  I believe that once you begin putting something out in the universe that makes it much more likely to happen.

What some writer clients have to say about InkTip:

I think InkTip offers people who live away from Hollywood & New York a chance of exposure not available before the Internet age. - Max Whilom

 I've been a member for about 2 years now, and it is just fantastic - not only as a means by which to reach producers and have your work accessible to them, but also as a way to gauge what's going on in the marketplace and follow purchasing trends. Keep up the good work!  - Nicole Jones

I wanted to let you know that I've removed my script, "A Means to an End", from InkTip today with good reason. Damon Chang of Subtitled Films has optioned it. I couldn't be happier! Thanks for providing a wonderful site that actually, with a little patience and perseverance, makes things happen.  - Matt Jarrett

My Analysis

You should spend time checking out InkTip or any other website where you may be thinking of listing your script.  I'm sure you'll find many more pros and cons.  The fact that I know of one successful writer whose movie is being produced does mean that listing your script may work, but I do agree with Miyamoto’s thinking that if you just place your script online and then merely keep renewing it, you may be slacking off the work it takes to find out if you have a quality script and an avenue to production.  On the other hand, I disagree with Miyamoto’s assertion that InkTip is not a viable option for writers because they make money off us.  While this is most assuredly true, for those of us far from Hollywood, the ability to reach qualified industry professionals may outweigh the relatively small fee. 

Note: I'm hoping to interview the writer while the movie is in production so I can gain his view of InkTip from a writer's perspective.  I'll let you know any tips he shares.  

Go to InkTip.com for more information on their services.
Check out Ken Miyamoto's post at: www.quora.com/Screenwriting/Is-Inktip-a-great-place-to-post-your-screenplays

Crawford Anderson-Dillon

Production Director

 Hub Media

Privately Held; 1-10 employees; Media Production industry

January 2006 – Present (7 years 9 months)

Anderson-Dillon runs the London office of Hub Media, a corporate communications company specializing in video and new media.  He also runs and develops the drama department.  He is currently shooting his first full feature romance thriller in Post Falls, Idaho.    

Screenwriting: Behind-the-Scenes

Root Bound Wrap Party, June 28, 2013  

A few of the Root Bound crew. From left: Leon Crandell, Larry Honegger, Mary Jane Honegger, 

Joe Dellwo, Rebecca Cook, TV Kippes, Kendra Sherrill, Paul Brand, Julie Rich, Crystal Reiber, 

Joey Stageberg, Kathryn Birdsall, John Gessner, Seth Mead, Bryan Peterson & Camryn Barker

I used to think there was a big difference between writing a screenplay and writing a novel.  But the truth is, the elements of writing a good story are the same in either media.  The biggest difference, as I recently discovered, is what happens with your project once it goes into production. 

First day of shooting - June 1, 2013
Crew readies for boat scene on Spirit Lake.

With a book, the author must first write the book, then find an agent, a publisher, or decide to self-publish.  The author next makes marketing plans – all in all, a fairly isolating process.

Similarly, my first screenplay, Root Bound, a short 17-page project, began as a solitary endeavor.  I spent many hours learning the proper screenwriting format, creating an engaging story, developing believable characters and writing authentic dialogue.  However, once kNIFVES (Northwest Independent Film & Video Entertainment Society) chose it for production, my solitary experience ended and I found myself taking a dip into an exciting world filled with creative, passionate people; each dedicated to their craft and to turning my words into a film.  The process was amazing. 

Second day of shooting - June 2 - Spirit Lake

Make-up artist Kara McCollum puts final touches on

actors Daniel Knight and Kathryn Birdsall.

When watching the Academy Awards, I used to wonder why winners thank so many people – and how they remember all those names.  Now I understand.  There are the producers, those in the directing department, the camera guys, the sound guys and the editors.  Then there are the grips, the gaffers, the production assistants, the costumer, hairdresser and makeup artists; not to mention the locations manager, props master, script supervisor, transportation captain, set designer, casting director and the folks in craft services who feed everybody.  Did I forget the actors?  

Because the production was a work force training project and we were all volunteers, director Rebecca Cook did her best to ensure the shoot was a first-class experience for all.  The tone on set was friendly and welcoming, the food provided was outstanding and the mentors patiently shared their expertise with those of us less experienced.

Director Rebecca Cook gives direction to Actor James Pendleton 
while Script Supervisor Tracey Vaughan keeps track of dialogue.

Paul Brand - Key Grip & Gaffer                 Camryn Barker - Camera Operator

With a cast and crew of over 40, it took us a little over five days to shoot what will become about a 17-minute film.   Several were 12-hour days with a 7:00 a.m. call.  Now that’s dedication!  Shooting on weekends only, we shot on the water and on a deck at Twin Lakes, in a bank conference room in Coeur d’Alene, at a lawnmower race in Spirit Lake and at a production studio in Post Falls.  Together this team spent literally hundreds of hours volunteering their spare time to turn my little story about North Idaho into a reality.  

Third & Fourth days of shooting - June 8 & 9 - Coeur d'Alene

Camera, lighting and sound crew at work.  In foreground from 

left: Joey Stageberg - Director of Photography, Camryn 
Barker - Camera Operator & Michael Notar - 
Line Producer & 1st Assistant Camera.  

 Each scene presented its own challenges which the crew met with patience and professionalism – never once letting the challenge of the next shot get them down despite enduring everything Mother Nature threw at us: a cold day, a rainy day and one sweltering day.

It was quite an adventure.  In fact, just hearing the actors speak their dialogue was an adventure for me.  I was mesmerized the first time I heard each line.  Thrilled.  The second time, I scrutinized each and every word, listening for continuity and fluid conversation.  After that, I lost interest in the words and just became one of the crew, working on locations, props, set design and/or as a hard working production assistant (go-fer).

Actors James Pendleton & Ron Ford on monitor.  

Each week Rebecca invited me and a few others to watch the dailies, the scenes shot the previous weekend.  As we reviewed each shot, she would record any problems she saw and make a note of her favorite take to help speed up the editing process.  I said little, tongue-tied with awe at the scenes coming to life on the screen and the perfectionism to which the scenes I wrote were being subjected.

 We held a “wrap” party after our final shoot and still have the world premiere and the film festivals to look forward to once the editing is complete and the music is added - two important steps before Root Bound is finished.  Our editor Seth Mead is already hard at work and Aaron Birdsall (our sound mixer) has agreed to write original music for the film.  More hard working volunteers!

Fifth day of shooting - Spirit Lake
The crew sets up on Maine Street during
the Big-Back In Lawnmower Race.

The experience was overwhelming at times for this writer who is used to a lot of quiet time sitting at my desk … but I loved it.  I met actors and professionals who believed in my story, worked with a lot of talented people and made a bunch of new friends.  It just doesn’t get any better … unless we got paid, of course.  C’est la vie!

Watch for Root Bound to be released around September 1, 2013. We plan on having showings in the North Idaho area and the film will be entered in multiple film festivals including the Sandpoint Film Festival in November and SPIFF (Spokane International Film Festival) early next year. Hopefully my fellow WNI bloggers will join me for the Sandpoint premiere on November 2, 2013.  See you there!

Main character Brad Carlton (James Pendleton) races his lawnmower,
(#7) Ida-Mow, during the Big Back-In Lawnmower Race.  As scripted ... he won.

Root Bound 

A kNIFVES Production

Production Team

 Executive Producer - Robynn  Sleep

Line Producer/1^st Assistant Camera - Michael Notar

Screenwriter/Locations Coordinator - Mary Jane Honegger

Director - Rebecca Cook

Director of Photography - Joseph Stageberg

Gaffer/Key Grip - Paul Brand

First Assistant Director - Kendra Sherrill

Camera Operator – Camryn Barker

Script Supervisor - Tracey Vaughan

Sound Mixer/Composer - Aaron Birdsall

Sound Assistant - JohnGessner

Sound Assistant – Myles Milliman

Script Supervisor – Tracey Vaughan

Wardrobe Assistant - Mica Pointer

Hair/Make-up Designer - Kara McCollum

Props Master - Bob Johnson

Transportation Captain – Larry Honegger

Casting Director - Crystal Reiber

Second Camera Operator - JoeDellwo

Editor - Seth Mead

Craft Services - Arianna Arends

Apprentice Director - Dee Dee Ferenez

Production Assistant /Grip - TV Kippes

Production Assistant /Post - Leon Crandell

Production Assistant - Bryan Peterson

Production Assistant - Caden Butera

Art & Marketing - Joshua Nicholson

Graphic Design - Melody Daines 

EPK Production Coordinator - Julie Rich

EPK Filming – Jonah Vigil

EPK Filming - Rachelle Price

EPK Filming - Stephen Byrum

EPK Filming - Leo

 Actors

James Pendleton – Brad Spencer

Daniel Knight – Pete Spencer

Kathryn Birdsall – Liz Spencer

Aaron Kimling - Jake

Ron Ford – Ted

Damon Mentzer - Nathan

Evan Clements - Steve

Kimberly Tolson - Jessie

Crystal Reiber – Amanda Carlton

Bryan Peterson - Crew Member #1