Adventures in storytelling by Bob Rector



One of the first photos of Marsha and I. We'd only been together a few weeks and were on location filming my outdoor-adventure film "Don't Change My World."

One of the first photos of Marsha and I. We’d only been together a few weeks and were on location filming my outdoor-adventure film “Don’t Change My World.”

Today, 12 December 2014, Marsha Roberts and I celebrate our 39th anniversary. Okay, maybe this is inappropriate for a blog but I don’t really care. It’s my blog.

We met while I was filming a big barn dance scene for an outdoor-adventure movie (very popular genre at the time) I wrote and was now directing. We needed lots of extras so we told everybody who was working on the film to call up relatives, friends, friends of friends, anybody who had a pulse, to show up. Marsha showed up because she was a friend of the cameraman’s mother whom we had already drafted to play a bit part. She brought Marsha with her.

I was in the middle of the barn positioning a couple of hundred extras when Marsha walked in the door. I saw her. I froze in space. So did every other guy in the place. It was like the old westerns when the hero walks in the saloon and the music suddenly stops and everybody turns and stares. Our eyes met and time literally stopped.

But I had a movie to make and quickly got back to work. I did notice that she was getting more hits than an Amazon give-a-way of a Stephen King novel. My heart sank thinking that by the time I finished shooting there wouldn’t even be bones left to pick over.

We finally wrapped about 2:00 AM. Earlier I had to shoot an exterior scene of the lead characters arriving at the dance. It was pouring and my fuzzy coat soaked it up like a sponge. Now that the lights were turned off, the temperature inside the barn dropped to near freezing and I was sitting in a folding chair out of the way, my teeth chattering.

I noticed somebody standing near me and looked up to see Marsha. She smiled with a twinkle in her eye and said the greatest opening line I’ve ever heard, before or since: “You look like you need someone to keep you warm.”

I was too dumbstruck to even speak. She sat down in my lap and put her arms around me.

She’s been keeping me warm ever since.



It was a bit wintry in north Georgia that night, in the 30’s and raining. The place they were shooting in was an old barn that had been outfitted for a dance, complete with a stage for the country music band and square dance caller. I was one of hundreds of people who showed up to be extras. There were dozens of cast and crew members hanging lights, dealing with make-up and costumes, moving around their new location in organized chaos. All of this activity centered around one man, the director, Bob Rector.

I was dressed in the warmest coat I had – it was honey-brown leather designed like a jacket, but it was full length. It had a broad lapel, big buttons up the front and a wide belt that showed off my trim twenty-three year old waist. When I walked into the Barn Dance that night, I was walking into a group of guys who had just come back from a month of shooting in the mountains of North Carolina, deprived of female companionship as it were… I have to admit, all hands on deck stopped what they were doing and turned directly towards me when I started to take off my coat. They just had to find out if what was underneath the coat lived up to the promise. Hey, I was twenty-three!

This is where my story differs from Bob’s. As far as I could tell, he didn’t look up from what he was doing, he was too busy. It looked like everyone except Bob turned, which was very disappointing!

Eventually I found a spot right behind the camera where I could see the filming better and I could watch how Bob pulled each element of the scene together. I couldn’t help but notice he drew everyone in the room towards him like a magnet. Especially me. He was not a tall man, but everything about him commanded authority, particularly his eyes, which were intense and smart. He had a stocky build, dark shoulder length hair, a full black beard and wore a Greek fisherman’s cap. His face had the look of a king from some ancient land. Yes, he was that compelling.

As they started filming, something happened that changed the course of my life. One of the characters in the shot started clowning around and the very serious and focused Bob Rector burst out laughing and couldn’t stop. He laughed from the bottom of his feet to the twinkle in his eyes. He was like a big kid. I fell in love with him right then and there, watching him laugh.

The rest of the scene played out just as Bob described. I didn’t think of the line before I said it, it just came out like that.

As it turns out, there were dozens of times that Bob and I almost met before that night. But the timing wasn’t right. We have traced our steps back to the beginning of what lead us to be together that night, finally at the same time and same place after so many near misses. There is no doubt we were guided by the Hand of Fate. And what is Fate, but God. We were lead to each other by God and I am eternally grateful for His intervention into our lives that night.

We have had 39 years to prove that love at first sight is real. Here’s to the next 39!





My wife and business partner Marsha Roberts has produced a long list of projects for outfits like Coca-Cola, IBM, Revlon, General Mills, and assorted branches of the military. She was once asked to explain exactly what a producer does. “Lunch,” she said.

Marsha Roberts performing her producer duties

Marsha Roberts performing her producer duties

Funny, but every entrepreneur knows what she’s really saying. The best way to close a deal is face to face and that means being there and that means travel and lodging costs, cab fare, restaurant tabs, and if you’re a woman, clothing and salon expenditures. In other words, it takes money to make money. Not original, but true.

The project Marsha is currently producing is for her book, “Confessions of an Instinctively Mutinous Baby Boomer and Her Parable of the Tomato Plant.” The book so far has sold several thousand copies and received rave reviews through normal social media outlets.


Her goal now is to expand her presence into the general bookselling marketplace and to use crowd funding as the mechanism to finance her endeavor. Rather than try to explain what crowd funding is (if you don’t already know), just click on the Kickstarter or IndieGoGo logos here to get the full scoop.


Marsha started by establishing an account with IndieGoGo (no cost involved). She felt it was more simpatico with the creative nature of her project. They provided a template into which she dropped the kind of info you’d expect: personal bio, project description, detailed info on exactly what you’re trying to raise funds for and why, etc.

The catch is in the etc. A clear and compelling reason has to be made as to why your project is worthy of someone’s donation; particularly why it benefits them as well as you. It is also customary to provide ‘perks’ for those who donate funds at certain levels. For Marsha’s project these range from signed copies of her book to custom “I’m A Mutinous Boomer” T-shirts.


But the centerpiece of a crowd funding home page is a video pitch about 4 or 5 minutes long, which is posted on YouTube. IndieGoGo automatically links it to your home page. Fortunately, Marsha and I both have decades of experience in film, video, and stage work so making the video pitch was not a problem. Here’s how we went about it.

Like any video production, it started with writing a shot-by-shot shooting script. We worked on this together and went through about a dozen drafts before we were happy with it. A lot of thought was given to setting and general approach. So many people who have read Marsha’s book said they felt as if she were sitting across the kitchen table, chatting with them over a cup of coffee. That’s what we went for.

We decided to shoot it in our dining room, but the wall was covered with curios we had collected during our travels around the world. When they were removed, we had a plain white wall. I shot a few tests of Marsha at the table and it was quickly obvious that the white wall was just too overpowering visually.

An early lighting test. The wall had been painted and the artwork temporarily propped up.

An early lighting test. The wall had been painted and the artwork temporarily propped up.

Our friend Richard Harrison, who did the cover art for my book Unthinkable Consequences, served as art director and decided to paint the wall a light beige. I shot more tests and the beige wall worked perfectly.

Rick then took a floor length painting Marsha had given me years ago showing an open French door leading out to a veranda overlooking the ocean. He used it to break up the wall and provide a feeling of depth. Opposite, he placed a pedestal topped with a flowering plant. On the table itself Rick artfully arranged Marsha’s laptop, several copies of her book, her Kindle and iPad, and a cup of coffee. The ‘set’ was ready.

Marsha picked out several outfits she thought might compliment the warm tones Rick had established and I shot tests of her in each of them. A red outfit trimmed in black worked best. It drew the viewer’s eye to Marsha, which was what we wanted, but blended in with the other elements in the frame.

A freeze frame from the finished video.

A freeze frame from the finished video.

We spent a day preparing to shoot. This consisted of lighting and makeup tests, shooting a few cut-a-ways such as her book on a bedside table, and rehearsals so that Marsha could feel comfortable in front of the camera and get her pacing right. Good pacing is essential in a pitch video. Frank Capra explained it to his actors this way: do your scene at the pace you feel comfortable with, then speed it up 25% and it will look right on the screen.

At the end of a very long prep day our microphone blew up on us. This was the small lavaliere mike Marsha would be wearing concealed under her clothing. While replacing the battery something snapped and it was dead as the proverbial doornail. To replace it with a compatible mike would take several days. We decided this would create too many negatives. We were set and Marsha was primed and ready to go.

The solution was to use the built-in mike on the camera. Not a great solution but workable even though it added a bit of a hollow sound because of the distance from Marsha to the camera. I shot several tests and found it was noticeable but not distracting. We decided we could live with it.

Getting ready for another take. Holding the slate is artist Richard Harrison, who served as art director for the video.

Getting ready for another take. Holding the slate is artist Richard Harrison, who served as art director for the video.

It took us two days to shoot the 4-1/2 minute video. Why? There were the usual interruptions that occur when shooting on location: trucks rumbling by, aircraft passing overhead, the guy across the street with his leaf blower, dogs barking, car doors slamming. Face it; we live in a noisy world.

We didn’t have a teleprompter, so Marsha had to memorize long passages, many of them filled with tongue twisters.

Only enough of the wall was painted for framing purposes. Notice I didn't bother to retitle the slate.

Only enough of the wall was painted for framing purposes. Notice I didn’t bother to retitle the slate.

Adhering to the accelerated pacing while keeping her energy and enthusiasm levels high also resulted in a number of blown takes. But Marsha came through like a champ (she always does) and by the end of the second day of shooting it was ‘in the can.’

There were a number of graphics that had to be created then converted to video, but I’m pretty good at Photoshop, so no problem. A number of photos also had to be converted to video complete with leisurely zooms and pans. For this I used a program called StillLife.

I edited our opus with Final Cut Pro which allowed me to fine tune color correction and density, add a few dissolves, drop in superimposed titles, adjust sound levels, and bookend the video with a short piece of music. Total editing time was about a day.

We posted the finished video to YouTube as instructed and voila, Marsha’s crowd funding campaign was ready to go live. To see how it all came together, click here.

The funds we’re trying to raise will be used to hire the services of a professional publicist who can secure Marsha and her book targeted media exposure beyond the reach of social media. This will include interviews, personal appearances, and book signings, which in turn will require travel expenses. There will also be advertising costs. If you are an indie writer, I hope you’ll visit the campaign site and see what we’ve done. This is a learning process and we want to share what we learn with other writers.

As many of you know, we toured our play Letters From The Front around the world for 15 years so we know what’s involved in getting the word out. We know how it’s done because we’ve successfully done it. Now we’re ready to do it for Marsha’s book. In the process, hopefully we’ll discover a pathway that other writers can follow and benefit from. Support from our fellow scribes can help pave that pathway.



Joining me today is Norm Clark, author of the spy thriller The Saladin Strategy. While reading his book, hints of who he is as a person seeped from the undertone of his writing style, and much of it I could identify with. For good reason as I learned after communicating with him.

We were both born in the midwest and our careers have taken us to many colorful places both in the U.S. and abroad. We were both military brats, him as a youth, me as an adult (long story). We’ve both done gigs in Yokosuka, Japan, though not at the same time. And we both wrote our first novels in ‘later years.’

I was so taken with The Saladin Strategy that I wanted to get to know more about what makes Norm Clark tick and share it with you on my RectorWriter’s Blog. To read my review, click here.

Norm Clark's slam-bang thriller 'The Saladin Strategy.' Click on image for Amazon page.

Norm Clark’s slam-bang thriller ‘The Saladin Strategy.’ Click on image for Amazon page.

RECTORWRITER: Norm, thank you for participating in my version of ’21.’ We’ve corresponded over the past year or so through various social media venues and have established a rapport as writers. In my review of your novel The Saladin Strategy I described it as “a slam-bang adventure story that moves at the speed of a Hellfire missile.” What’s the genesis of this fine book?

NORM: The storyline was born from an actual incident of a missing nuclear warhead six years ago and the resulting cover-up. I did take literary liberties with the end result for the benefit of the story. A major underlying premise for the book series is the importance of re-election to incumbents as opposed to our national security, which is a major component of the story.

RECTORWRITER: After reading Saladin, I assumed you must have had some experience in intelligence work because the labyrinth twists and turns woven into the plot and characters have a distinct ring of truth. How did you go about researching the inner workings of the spy world?

NORM: Growing up a Navy brat in San Diego created a military mindset that allowed me to become friends with several special-ops people in my adult life—Navy Seals, a Force-Recon Marine, and a Viet Nam era pilot for the CIA’s Air America. Their anecdotes and mission stories shared over many sessions of liquid refreshment provided untold hours of entertainment. Years later, at the onset of my writing career, the details from those conversations surfaced and became solid input for my books. The research came from a variety of sources: the headlines, Internet, local library, and television documentaries.

Author Norm Clark

Author Norm Clark

RECTORWRITER: Tell us a little about how you created the main character Jack McDuff.

NORM: The protagonist needs to be the focal point of the necessary conflict in fiction. Therefore, when I created Jack’s bio at the start of the series, it set the stage to force Jack into unsanctioned, rogue missions, which carries an underlying conflict theme throughout the stories.

RECTORWRITER: Tell us a little about how you formulate your plots.

NORM: For me, a factual event or scenario provides the most realistic seed to build a story around. Once decided, I create a minimal outline—start, turning points, and end. All are subject to change throughout the manuscript construction. When writing, I tend to outline one to three chapters ahead to stay in touch with my characters, their interaction, and the plot directions.

RECTORWRITER: Talk to us a little about writing good dialogue.

NORM: We’ve all heard the ‘Show don’t tell’ advice a thousand times. While a small amount of tell can be needed at times, I try to keep it to a minimum. Proper dialogue is a key element in fiction. It moves the story along to keep it from bogging down, introduces new information, escalates conflict and tension, and can give the reader a ‘cliffhanger’ to turn the page to the next chapter.

RECTORWRITER: What did you enjoy most about writing The Saladin Strategy?

NORM: The entire creative process was fun, but the times the story seemed to write itself was the most interesting for me. When I read what I input at those times, it was new to me, which seems crazy. It still needed editing however.

RECTORWRITER: Yes, when you reach the point where auto-writing occurs, that’s the best. What did you enjoy least?

NORM: The tedium of self-editing shared by many writers, and I am certain your name belongs on that list Bob, can be a painful process. For example, all writers can relate to that once perfect sentence in the draft that no longer works due to a rewrite and must be deleted for the quality of the finished product. Ouch!

RECTORWRITER: In film editing it’s called the face on the cutting room floor. In writing I guess it’s the words on the cutting floor. What attracted you to writing?

NORM: L. Frank Baum’s The Wizard of Oz turned me into a voracious reader at about the age of eight, but the writing bug surfaced in my mid-twenties when Eye of the Needle by Ken Follett planted the writing seed and prompted me to buy my first ‘How to Write Fiction’ book.

Norm and his wife Pamela vacationing at Mt. Rushmore.

Norm and his wife Pamela vacationing at Mt. Rushmore.

RECTORWRITER: I was inspired by Follett too. What other writers have inspired or influenced you most and why?

NORM: My early-adult reading was consumed by Mickey Spillane and Raymond Chandler who planted my head squarely in the mystery genre. The epic phase followed with Leon Uris’s Exodus and The Godfather by Mario Puzo, which thrust me into a lost weekend and prompted the purchase of another ‘How to Write Fiction’ book. More recent authors include Lee Child, Daniel Silva, and Brad Thor, who write in a similar genre to mine and serve as successful examples for me. I would be remiss if I did not mention your great book Bob, Unthinkable Consequences, which is a great example of an outstanding indie publication.

RECTORWRITER: Describe Norm Clark to us when he is writing.

NORM: His world is arm’s length when in the writing zone. Distractions are a death knell to the creative process.

RECTORWRITER: I hear you. What person has influenced your life most and why?

NORM: Unquestionably, my wife Pamela has impacted my life more than anyone else. She supports and understands my need to write, and prods me forward when I get lazy. So, hats off to the great lady in my life.

RECTORWRITER: Are your characters drawn from life, fabricated from the needs of the story, or developed in some other manner?

NORM: Fiction characters are created from a writer’s total experience with people in their lives. We draw on past friends and associates, family members, and total strangers encountered and observed for our character’s appearance, personality, and demeanor. There are times, however, we just make them up to fit the plot situation—whatever it takes.

RECTORWRITER: Well said. What other fields or professions did you work in before becoming a writer?

NORM: Most of my working career was spent in the ceramic installation field, with a notable exception. I spent three-and-a-half years doing wine and liquor promotion for a topnotch importer in New York, which was great fun and allowed much desired travel.

RECTORWRITER: How do you feel about the world of indie writing/publishing in its current state?

NORM: The indie business has realized exceptional progress from the growth of the electronic age with no end in sight. Major publishers denigrate the quality control of indie products on one hand and have jumped on the digital bandwagon on the other. They cite their expertise as necessary to improve the industry, but, in my opinion, their overall print output through the years disproves that claim. I’m convinced their interest in the ebook market is purely from a profit perspective with the price to be paid by indie-writers and the reading public. There may be a battle, but we have some big guns on our side too.

RECTORWRITER: How do you think it can be improved?

NORM: To my thinking, the 80/20 rule applies, where eighty percent of the sales are generated by twenty percent of the available product. Perhaps, the creation of truly, independent and unbiased reviewing companies to rate the indie products could be of benefit.

RECTORWRITER: Many indie writers share your sentiments. If money was no object, what would you do with your life other than write?

NORM: This is a no-brainer for me. I would resume my traveling days. There is however, a caveat here—the new sights, people observed, and cultures learned, would stir my writing blood and drive me back to the keyboard.

RECTORWRITER: What has been your most disappointing experience as a writer?

NORM: My first publication received a review with the header ‘Could be better’ and drove a dagger in my heart. However, when I read it, I realized it was a positive three-star review with great constructive criticism, and I derived much benefit from the input. No author, regardless their last name (ie: King, Grisham, Patterson, etc.) will publish a book loved by every reader. They receive their share of negative reviews. The most frustrating thing for all authors are the cruel, mean-spirited reviews received for no apparent reason, but they are part of the life we choose to live.

RECTORWRITER: What has been your most satisfying experience?

NORM: The host of unsolicited, unbiased reviews received from readers (many of them peers) that validate my choice to be an author. Quality reviews are the lifeblood of all authors.

RECTORWRITER: What do you think are the biggest pitfalls for aspiring writers?

NORM: Fledgling writers have no concept of the commitment required for even a modicum of success for their masterpiece. The learning curve is steep and infinite, but it is a reachable goal if they remain dedicated to their dream. Most do not realize they need to write a good book, properly edited, with a great cover for any chance at a successful publication. It is a long, hard road to a rewarding conclusion. If any would-be writers are reading this, do not be discouraged, it is a wonderful trip with many good friends made on the journey. Make up your mind to commit to your dream and start writing.

RECTORWRITER: How do you define success as an indie-writer?

NORM: Your peers and readers judge your validity as an author in many ways. The aforementioned review process with continued and growing sales issues the verdict on your success in the marketplace. My peer’s acceptance is of equal importance for me. Their interaction demonstrates acceptance in the writing community. This interview invitation from you Bob is a perfect example of the support rendered, and I thank you very much.

RECTORWRITER: My pleasure, Norm. Any other books in the works?

NORM: Book three of The Jack McDuff series, though untitled as of yet, is officially a work in progress. I hope to start writing very soon.

RECTORWRITER: In that case, I’ll let you get back to your keyboard. I’ve really enjoyed getting to know you better. Thanks Norm.

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For years it was only available as a script on 8-1/2 x ll 3-hole punched paper, and only to those who actually worked on the show. This is better.

For years it was only available as a script on 8-1/2 x ll 3-hole punched paper, and only to those who actually worked on the show. This is better.

What’s the difference between writing novels and writing plays? Both involve the ancient craft of storytelling. Both use words as the essential building blocks. Beyond that, well . . . Having done both, here’s what a play means to me.

Standing Os. Cheers. People coming up to me and shaking my hand, saying thank you, telling me what my play meant to them. Face to face. Night after night.

Wouldn't it be nice if this was happening when people read our books?

Wouldn’t it be nice if this was happening when people read our books?

We seldom get that response with our books. Perhaps at a book signing. Or when somebody writes a particularly flattering review. With my play Letters From The Front, I got it after every performance, year after year, all over the world.

I wish every writer was able to experience that.


After releasing my one (and so far, only) novel Unthinkable Consequences, I’ve often wondered how people responded when they read it. A few have been kind enough to leave enthusiastic reviews, but that was after they’d read the entire book and had time to analyze their feelings toward the work.

It’s very different with a play. The reaction is spontaneous and continuous. Night after night I sat in the dark with hundreds of others and watched and listened to their reaction while the performance was in progress. A laugh here, a tear there, a gasp, a groan, shuffling in their seats when their attention wasn’t being held completely, leaning forward when it was.


Do people react that way while they read our books? No doubt they do. We’re just not there to see it. Its been hard for me to get used to that.

That little observation aside, what is Letters From The Front about?

It’s been called an emotional roller coaster. I’ve watched audiences ride that roller coaster enough times to know that there’s evidently some truth to the statement. CBS Evening News called Letters From The Front “A patriotic tribute to the men and women who so bravely serve.” NBC’s Today called it: “A wonderful show.” The Shreveport Times said it was “A tear-jerking, hand-clapping, mind-blowing stroll through history.”

I guess it’s all those things.

A scene from the show. Katharine Hartgrove (Melanie Collup) reminisces about the war years in an opening letter to her grandson in Vietnam.

A scene from the show. Katharine Hartgrove (Melanie Collup) reminisces about the war years in an opening letter to her grandson in Vietnam.

Here’s the official blurb: This play weaves actual letters to and from soldiers and their loved ones going as far back as Valley Forge, into a story set during the waning days of WWII. The personal themes in the letters are honestly reflected, as is the commitment of everyday Americans to preserve freedom.

Popular essayist Katharine Hartgrove, whose son is fighting in Northern Italy, has been commissioned to write a play based on these letters. She enlists boyfriend, Johnny Chastain, America’s favorite radio wise guy, to assist her. He provides an unseen twist to the story, along with plenty of comic relief. When the laughter and tears subside, Johnny is the most unlikely of heroes and Katharine is healed from emotional scars that have haunted her for 20 years.

A scene from the show. Katharine Hartgrove (Della Cole) gets the phone call she's been hoping for. Beside her is boyfriend Johnny Chastain (Bob Curren).

A scene from the show. Katharine Hartgrove (Della Cole) gets the phone call she’s been hoping for. Beside her is boyfriend Johnny Chastain (Bob Curren).

Letters From The Front is a heartfelt and surprisingly humorous story of heroism, hope, and redemption.

Okay, but to me what the play is about is better summed up by a statement made by Katharine Hartgrove midway through the show:

“To me, this play isn’t about individual wars or the politics behind them or who was right or who was wrong. It’s about the fragile and precious nature of life. It’s about everyday people who suddenly came face to face with their own mortality, or the prospect of losing a loved one. It’s about people reaching out to each other, maybe for the last time. Each of these letters was affirmation on the part of the writer that at their darkest moment they were not alone.”

Couldn’t have said it better myself. It’s about people, what’s in their hearts, who they love, how they deal with life’s adversities. At the core is a conflict of massive proportions – World War II. Millions are thrown into the conflagration.

A scene from the show. Katharine Hartgrove (Michele Rosen) shares a poignant war letter with Johnny Chastain (Neal Matthews).

A scene from the show. Katharine Hartgrove (Michele Rosen) shares a poignant war letter with Johnny Chastain (Neal Matthews).

But Letters From the Front focuses on just two people as they struggle to understand, adjust, put events into some sort of meaningful perspective, and discover the depth of their love for each other.

Maybe the song As Time Goes By captures the sentiment best: “It’s still the same old story, a fight for love and glory.”

Inside the playbill handed out as people enter the theater there is a comment card. Over the years we’ve collected tens of thousands of them. Here are examples of comments from people who have seen the show.

Inside the playbills are comment cards

Inside the playbills are comment cards

~~ “I was touched beyond belief. I am a better person for having seen your show.”

~~ “I have never been so deeply touched as I have been with this production. You have brought the reality of the home front to light with such clarity and tenderness.”

~~ “You broke my heart and brightened my day. Fantastic!!”

~~ “Some of the best theater I have seen. Better than most from Boston and New York. Impressed!”

~~ “Uniquely heartwarming, tearjerking, hits home hard. Thanks.”

~~ “At the base of every conflict is the men and women who have fought it. The wants, needs, desires, and fears never change no matter the time or place. Your group presented this in a truly memorable way. P.S. I cried about ten times.”

~~ “It was without a doubt one of the most touching and patriotic shows I have experienced. It was filled with humor, tears, laughter, sadness, and a wonderful sense of being an American.”

~~ “Hits close to home, close to the heart.”

Della Cole originated the role of Katharine Hartgrove and was an audience pleaser for many years.

Della Cole originated the role of Katharine Hartgrove and was an audience pleaser for many years.

I hope you’ll take the time to read Letters From The Front. Being a play, it’s a fast read. It’s available both in print and Kindle at You can learn more about the play itself at the blog

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10 September, 2014 at 09:32

IMPAKTER is a classy new international Ezine about culture, style, society, and philanthropy. Here is my article as it appears in Impakter.

Scene from The Long and Winding Road starring Alva Sanders (maiden name)

Scene from The Long and Winding Road starring Alva Sanders (maiden name)

My previous Impakter article ‘The Birth of Music Video TV’ tells how The Now Explosion TV show was created and how I landed my dream job of making music video-films for the show.

’The Long and Winding Road’ by The Beatles was my first assignment. And almost my last. I had exactly one day to turn it into a music video-film.

That’s right. Twenty-four hours.

This was my audition piece. I wouldn’t be paid for it and the show was under no obligation to hire me if they didn’t like what I came up with. I was provided raw stock and processing. Everything else was up to me. No problem. I was a bull pawing the ground ready to charge.

A photo of me about the time I made The Long and Winding Road in spring of 1970

A photo of me about the time I made The Long and Winding Road in spring of 1970


You might say I couldn’t I miss with a Beatles song, right? Wrong. In 1970 The Beatles were the biggest phenomenon in pop music. It would be easy for my film to get lost in their shadow.

I had to do something special, something that complimented the lyrics yet stood on its own as a narrative, something that would still be compelling even without hearing the music.

Otherwise my career would be over before it got started.

I hurried home and loaded up my 45. Not a pistol, a record player. There was only two ways to listen to pop music in 1970: radio or 45 RPM records.

I played the song over and over trying to find the heart that The Now Explosion’s young audience could identify with. To me, it was about the loss of the first true love of your life, and the devastating heartbreak when that person rejects you.

I had two things going for me. I knew the perfect location: a winding country road not far away, and I knew who I wanted to be in the film: Alva Sanders.

Tight close up of Alva Sanders as she appears in The Long and Winding Road

Tight close up of Alva Sanders as she appears in The Long and Winding Road

I had worked with Alva on a short experimental film a few months earlier. She was lanky with long black hair, pretty, and had a graceful way of moving. When I called Alva, I didn’t ask her if she wanted to be in the film; I told her she was going to be in it and that I’d pick her up at 4:30 the following morning. She was quiet for a moment then simply said, “Okay.”

We arrived at a field of wildflowers near the country road location a half-hour before sunup on Friday morning, twelve hours before my deadline. It was late March, chilly and a little misty. Alva was wearing a thin shirt and bell-bottoms, and was shivering.

The first shot was a dreamy long lens angle of her running out of the rising sun toward the camera in slow motion. I positioned her and the camera directly in line with the sun. I asked her to tie her shirt up leaving her belly bare, a popular look of the time. Good thing 16mm is not high resolution enough to show goosebumps.

This became the iconic shot from The Long and Winding Road. The morning sun and Alva did all the work. I just turned the camera on.

This became the iconic shot from The Long and Winding Road. The morning sun and Alva did all the work. I just turned the camera on.

When the sun was above the horizon, I cued Alva and she started running, her long hair flying out beautifully. We got it in one take. We continued working through the shots depending on sun position. The scenes of the road itself we shot last because I needed the sun higher.

Alva didn’t just strike a pose and look pretty. We had talked on the drive that morning about what I was trying to accomplish. She listened quietly, asked a few questions. When I started rolling film, especially for the close ups, she was clearly channeling something inside and it comes across in the footage.

By 10:30 we were finished and drove back to her house. Her mother made lunch for us then we shot the scenes of her at the window. I had no artificial lights so had to rely on the natural light coming through the window. Fine with me. I wanted her to be almost in silhouette.

I was worried whether Alva could shed real tears for the camera and was ready to use artificial ones if needed. No problem. When I started rolling film, tears streamed down her cheek, but she didn’t over-emote, just stared out the window, the pain and sadness in her eyes appearing honest and real.

I grabbed a few more shots in downtown Atlanta, took the film to the lab, and an hour later was pulling into Ch. 36 on Briarcliff Road, the Now Explosion studios. My deadline was three hours away. The producer showed me to a closet-sized editing room and within minutes, film was flying.

16mm editing station very similar to the one I used to edit The Long and Winding Road. The equipment shown is exactly the same.

16mm editing station very similar to the one I used to edit The Long and Winding Road. The equipment shown is exactly the same.

As stated before, when the show’s creator Bob Whitney saw my finished film, his response was hardly enthusiastic. I also explained why.

I was devastated. I’d had my shot at my dream and blew it. I went home very morose and consoled myself that it would be run at least once or twice over the weekend. Come Monday I’d start looking for another job.

The show was broadcast “live” at the time with audience members calling in their requests – just like Top-40 radio. The DJs chucked and jived with them while a technician cued the videotape.

An hour or so into the broadcast I heard DJ Skinny Bobby Harper say, “And here’s a new one by the Beatles, The Long and Winding Road.” There it was on TV. My film. I just stood there and watched with mouth open.

Then something remarkable happened. The Long and Winding Road started running over and over again. It became the most requested film ever shown on The Now Explosion. The producer called the following day, told me I had the job and to report to work Monday morning.

That was 44 years ago. I still get emails today from people telling me how much the film touched them and how it has lingered in their memories for decades.

Blows my mind.

Not bad for a day’s work.

Thank you Impakter and Michele Bonanno for allowing me to contribute to your fine ezine.




on 24 July, 2014 at 09:00

IMPAKTER is a classy new international Ezine about culture, style, society, and philanthropy. I was introduced to its editor Michele Bonanno through a mutual friend in Rome. Here is the article as it appears in Impakter.

You may think Music Video TV began with MTV in 1981.  Think again.  That honor belongs to a show called The Now Explosion which first aired 14 March 1970.  It was the brainchild of Bob Whitney, a Top-40 radio jock.

How do I know?  Because I was there.

Whitney’s dream was to create TV programming that continuously played big rock hits featuring the hottest artists of the time.  The Beatles.  The Rolling Stones.  Jimi Hendricks.  Steppenwolf.  The Doors.  In other words, Top-40 radio with pictures.

Major networks scoffed at the idea.  In 1970 if it wasn’t a western or a sitcom, forget about it.  Forget about cable or satellite too as a means of distributing the show.  Didn’t exist.  Programs were delivered on telephone lines or on 16mm film reels and heavy 2” videotape reels via conventional freight.  No FedEx back then, just trucks, buses and airplanes.


In the photo: Bob Whitney

Whitney decided that if he couldn’t sign a deal with a major network, he’d create a network of his own.  He successfully strung together a number of independently owned UHF stations located around the country.  They loved the idea of youth-oriented programming occupying a massive block of airtime from noon till midnight every Saturday and Sunday.

Voila!  Music Video TV was born.

The Now Explosion was an instant hit.  Teens around the country danced in front of their TV sets every weekend.  The UHF stations that ran the show became the ‘cool’ channels.  And there was no more avid fan than yours truly, watching the show on WATL Ch. 36 in Atlanta, GA.


I was a twenty-two year old stock clerk at a big department store at the time and had dabbled in amateur 8mm filmmaking as a hobby for years.  When I discovered that the show’s production offices were located in Atlanta, I could hear destiny calling.  I immediately quit my job, much to my wife’s dismay, and sped off to Briarcliff Road, home of The Now Explosion.


No appointment.  No resume.  Not even a cheap suit.  The producer’s door was open so I marched right in and explained to her that I wanted to make films for The Now Explosion.

She said they weren’t hiring

I said I could do it better than the ones who were currently shooting

She said they weren’t hiring

I said I had some really great ideas that I was sure their young audience would love

She said they weren’t hiring

I said I’d do it for free

She said you’re hired

On her desk was a stack of 45-RPM records and she handed me one.  “Here’s a new release by the Beatles that’s starting up the charts,” she said.  “See what you can do with it.”  She then gave me three 100-foot loads of 16mm Ektachrome EF film and told me the address of the lab they used.

I looked at the 45’s label.  The Long and Winding Road.


By 5:00 PM the following day I delivered to her the finished edited film.  I had started shooting at sunrise that morning, had the film in the lab by noon and on the editing table by 1:30.  It was screened for Whitney who merely grunted and said they’d include it in the weekend’s roster and see what the response was.

Why the tepid reaction?  My film told a non-linear story of a young woman mourning the loss of her true love as she reflected on the long, winding road they had traveled together.  It couldn’t have been more different from the formula established for the show, mainly young gals and guys dancing against a Chroma key screen with splashy psychedelic effects added.

I thought I had been pretty stupid; that I should have stayed with the format, but that weekend my film was by far the most requested.  The producer asked me to come in Monday morning then hired me full time, complete with salary.

For me, The Now Explosion was a college degree in filmmaking that I got paid for.  In all, I made approximately 100 films.  I wrote the scripts, cast the players, found the locations, then directed, shot, and edited the films.  I was given free rein to do whatever I wanted as long as I turned in five finished films per week.


I didn’t hit a home run every time.  Far from it.  When you’re cranking out films that fast, you accept that you’re going to strike out a lot.  But overall I had more winners than losers.

The golden time for me was when I screened a film I’d just finished for Whitney and his eyes would light up and he’d turn to the entire staff and say, “Now that’s the kinda stuff we need more of!”

I’m gratified that forty-four years later people tell me how much some of The Now Explosion films I made still touch them, particularly The Long and Winding Road.  I believe the reason is because most of my films focused on story and character rather than just music.  I’ve always been a storyteller.  Still am.

Sadly, much of The Now Explosion programming was scattered to the wind and lost forever.  The good news is that the remaining films and videotapes are being archived, restored and digitized by the University of Georgia Media Archives department.  Bob Whitney asked me to help him preserve what’s left and I’m happy to do it.  It’s an important part of American TV history.

RectorWhitney&VidJockBobTodd2013   In the photo: Bob Rector, Bob Whitney and VidJock BobTodd 2013

The Now Explosion launched my career in films, TV, and stage that continues to this day.  It launched a lot of other careers too.  Today, music video production worldwide has become a major component of the entertainment industry generating hundreds of millions of dollars in revenue annually.

It should never be forgotten that the vision and genius of Bob Whitney made it possible.






Recently author Claude Nougat posted an article on her blog entitled, “The Author-Reader Amazon Revolution: Mirage or Reality?” I commented with a few personal observations and Claude thought they warranted a blog of their own. It has gotten very good response and so I thought readers of my RectorWriter Blog might also find them interesting.

Claude, your blog post The Author-Reader Amazon Revolution:Mirage or Reality? is a very informative and sobering article that once again leaves my head spinning about the book market today. But also conjures up some memories along similar lines.

The joys of shooting in the great outdoors. That's me in the plaid shirt.

The joys of shooting in the great outdoors. That’s me in the plaid shirt.

A little less than 40 years ago I jumped through these same kinds of hoops but in a different medium: film. I was part of a small production company that decided to make a low-budget feature film for theatrical distribution. The timing was right because several G-rated low-budget ‘outdoor-adventure’ films had done very well, chief among them was Grizzly Adams. The attraction to this genre for the filmmaker was that Mother Nature provided all the sets and most of the players (wildlife) for free. All you had to do was get the cast and crew to a really spectacular location and tell a reasonably entertaining story about a hero single-handedly fighting man’s abuse of nature. 

I was chosen to write, direct, and edit for the simple reason that I had more experience than anyone else involved, plus I was still riding on my fame from The Now Explosion. The film was titled Nature’s Way but before its release was changed to Don’t Change My World.

We made the film for next to nothing, just like today’s indie authors produce a book. In its initial screenings audiences responded very positively but to go into wide release, we ran into the same obstacles that indie writer’s face. We weren’t MGM or Universal or 20th Century Fox and they owned the game.

No animal was harmed while shooting the film. Not true of the cast and crew. We all had our share of bites and scratches.

No animal was harmed while shooting the film. Not true of the cast and crew. We all had our share of bites and scratches.

The major studios had long-established relationships with movie theaters around the world, as well as marketing and distribution operations that ran like the proverbial Swiss watch. On the other hand, we were, in effect, knocking on the door of each individual theater. They didn’t want to deal with someone who only had one film to peddle and no marketing machinery behind them. We eventually did sign with a small independent distributor who managed to get our film released nationally but playing at only one or two markets at a time, so the money generated trickled in and seldom covered expenses. Plus the theaters, since they were dealing with a small fry, slow paid, and sometimes no paid, us – something they didn’t dare do with the majors. When we protested they simply said, “So sue us.” 

The sad fact of life was that the audiences who saw the film loved it, but getting it in front of an audience was a constant uphill battle that cost more than we could possibly make, especially since much of the time we never saw the money that came into the box office. By the time the theater took its cut (much more severe than Amazon’s take) and the distributor took his cut (always with extra expenses added) and the advertising agencies took their cut, nothing was left (sound familiar?).

Producer George Macrenaris makes friends with our star. Behind him is the shack of the bad guys. These scenes were shot at Grandfather Mtn., NC.

Producer George Macrenaris makes friends with our star. Behind him is the shack of the bad guys. These scenes were shot at Grandfather Mtn., NC.

The film finally generated significant revenue when it went into non-theatrical release, primarily on cable channels like CineMax (HBO). It was also broadcast by the BBC and several other operators in Europe.

The US Navy purchased a hundred or so 16mm prints for showing onboard their ships. A specialty distributor who provided inflight movies for airlines licensed its use. Same for a distributor who supplied films for college campus theaters. And finally the film was released to the newly emerging home video market. The point being, we had to search out and broker all these deals ourselves.

Do these guys look beat up or what? I'm 2nd from the left, front, and next to me is future wife Marsha Roberts. We'd just met a few weeks earlier.

Do these guys look beat up or what? I’m 2nd from the left, front, and next to me is future wife Marsha Roberts. We’d just met a few weeks earlier.

And the same is true for indie publishers/writers. Anybody who has been in business, whether it’s selling books or selling paper clips, knows that it’s never easy and you have to work at it continuously. 

Selling is ALWAYS job one. During the 15 years we toured our play Letters From the Front around the world, selling and marketing was a nonstop daily job – and I mean every single day.

So I guess I come to this issue with a little different and perhaps more cynical (based on experience) but realistic perspective.

Editing. The part I like best. Just me and the film. Similar to writing.

Editing. The part I like best. Just me and the film. Similar to writing.

If there’s money to be made, then big money is going to control the market. Always. Never been any different since the beginning of commerce. Might makes right. 

Will fair play come into play? Don’t count on it. 

The question to indie writers/publishers is: what are you going to do about it? Throw up your hands and say the deck is stacked and I don’t stand a chance so to hell with it? Or, I have right on my side but I can’t win so I might as well not play? Are you going to take Amazon and the other major players to court and sue them for what you believe are unfair practices? Good luck. They each have teams of lawyers just waiting to bury you. 

Before you jump to the conclusion that I’m being dark or negative, please don’t. 

As the old saying goes, there’s more than one way to skin a cat (although why anybody would want to baffles me). Most of my professional life has been spent finding alternate routes around established institutions, with varying degrees of success. My first rule is to never let somebody else define my pathway to success.

Poster for "Don't Change My World"

Poster for “Don’t Change My World”

If I’m going to fail, I want to fail on my own terms. As far as indie publishing is concerned, my wife (a fellow author) and I are still experimenting and searching out alternative paths. It will take time but it always does. I’m confident that we’ll find a way that works for us. We’ve done it many times before.

The threshold we’re shooting for is not just to make money for ourselves, but to make money for somebody else, preferably a large well-funded organization. That’s what we’ve done before. We found a way to make money for major companies with our product, lots of money. Then they started writing checks to us, big checks. I’m not saying this is the only path. We’re all supposed to be creative people — so be creative about this too!

To be exceedingly trite, we don’t look at this as a problem, we look at it as an opportunity. A huge ground-floor opportunity. And we don’t expect anybody or any organization to do the heavy lifting for us. Maybe we’re naive. We’ll see.