Episode 305 - Writing for Passion, Not Platforms with John Gaspard
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John Gaspard discusses WRITING FOR PASSION, NOT PLATFORMS, including why he chose to write a passion project instead of a market-driven book, how research into HAROLD AND MAUDE AT THE WESTGATE THEATER turned into a richly visual history, what indie authors can learn about marketing from a cult film’s unlikely success, and why creating the book only you can write may be the most rewarding path of all.
John is author of the Eli Marks mystery series and the Como Lake Players mystery series. He also has several other stand-alone novels, including “The Greyhound of the Baskervilles,” “A Christmas Carl,” “The Sword & Mr. Stone” and “The Ripperologists.” He hosts "Behind the Page: The Eli Marks Podcast." In real life, John's not a magician, but he has directed six low-budget features that cost very little and made even less - that's no small trick. He's also written multiple books on the subject of low-budget filmmaking. Ironically, those books made more than the films. John lives in Minnesota and shares his home with his lovely wife, several greyhounds, a few cats and a handful of pet allergies.
Episode Links
https://www.elimarksmysteries.com
https://www.albertsbridgebooks.com
https://www.youtube.com/@behindthepagetheelimarkspo5241
John’s previous episodes:
Episode 180 - The Top 6 Lessons Novelists Can Learn from Movies with John Gaspard
Episode 145 - Speech to Text and Back Again with John Gaspard
Episode 128 - Lessons from Filmmaking for the Indy Author with John Gaspard
Referenced in the interview:
https://www.designforwriters.com/
Companion episodes:
Episode 171 - Outside-the-Box Content: The Story behind "The Canadian Mounted" with Mark Leslie Lefebvre
Summary
In this episode of The Indy Author Podcast, Matty Dalrymple talks with John Gaspard about writing passion projects, turning research into a compelling book, and the lessons indie authors can take from the unlikely cult status of the film Harold and Maude. Their discussion covers topics ranging from the history of the Westgate Theater in Minneapolis, to the process of gathering and licensing visual material, to the importance of creating a book that delights the author first, regardless of market trends.
HOMETOWN ROOTS AND CULT STATUS
John shares how his personal connection to Harold and Maude began as a teenager in Minneapolis, where the film played for two years straight at the Westgate Theater between 1972 and 1974. While the film initially failed upon release due to poor marketing and being used as a stand-in when The Godfather was delayed, it found new life at the Westgate. A local columnist encouraged people to attend, and the theater’s reputation for showing offbeat comedies helped build momentum. “It was a perfect confluence of an odd movie in a theater that was known for odd movies,” John explains. The consistent audience support in Minneapolis contributed directly to the film’s eventual cult classic status, later replicated in cities like Detroit, Toronto, and Paris.
LESSONS FOR INDIE AUTHORS
Matty draws a clear parallel between the film industry and the publishing industry. Just as Paramount executives admitted they had “a great movie and were the wrong company to market it,” traditional publishers may not know how to market books that don’t fit their established formulas. John agrees, noting that understanding who your audience is and how to reach them is crucial for indie authors. This story illustrates how sometimes the mismatch between product and marketing channel—not the quality of the work itself—determines early success.
CHOOSING TO WRITE THE BOOK ONLY YOU CAN WRITE
John describes how his brother encouraged him to write a book about Harold and Maude after seeing how much knowledge and personal experience he had with the film. Instead of attempting a broad history of the movie, John focused on the two-year run at the Westgate Theater and its impact on the film’s cult status. This became his book Held Over: Harold and Maude at the Westgate Theater. He emphasizes that he always writes for himself first: “I could think of three people who would want to read this book—me, the assistant manager of the theater, and the granddaughter of the man who built it.”
John acknowledges that not every project is market-driven. He pursued this one because it was the book he wanted to see in the world. “If you love it, there’s going to be an audience for it somewhere,” he says, encouraging other indie authors to consider projects that may not have broad commercial appeal but hold deep personal meaning.
THE RESEARCH PROCESS
Much of the episode details John’s research approach. He visited historical societies, examined old newspapers, tracked down architectural blueprints, and connected with descendants of the theater’s founder. For instance, he discovered that the Westgate Theater was originally built in 1935 by a violinist-turned-insurance agent who wanted a venue that could host both films and live music. Though the founder died within a year, the theater survived for decades, eventually playing a crucial role in the cult status of Harold and Maude.
John also explored the history of the film itself, piecing together its production challenges and its uneven reception. He notes that many of the sources came from painstaking reviews of newspaper archives and interviews. “Every question I had, for the most part, I was able to find answers to if you’re willing to sit down and go through newspapers.com and read every year what’s going on with the word Westgate.”
VISUAL ELEMENTS AND BOOK DESIGN
John wanted his book to be as visually engaging as it was textually rich. He included photos, movie posters, and original ads. He also drew on personal material, including Super 8 footage he shot at the two-year anniversary event when actors Ruth Gordon and Bud Cort visited the theater.
To produce the book, he worked with the UK-based design firm Design for Writers, who had already created covers for his Eli Marks mystery series. They handled the interior design of the 160-page, full-color book. John provided notes on where each image should be placed, and the designer handled layout and captions. He was surprised at the affordability of the project—under $2,000 for design, with another $3,000 spent on licensing images.
COPYRIGHT AND LICENSING CONSIDERATIONS
John consulted a copyright attorney early in the process. Her advice was clear: license any photo where rights are available. For photos without clear ownership, fair use can apply if the image is transformed, for example by adding captions that provide historical context.
He also addressed the use of vintage newspaper ads, many from companies and publications that no longer exist. Licensing costs varied widely, but John noted that some of the most valuable material came from the Minnesota Historical Society, which provided images for as little as $25 each.
MARKETING AND OUTREACH
John acknowledges that promotion for such a niche book is limited. He has already connected with Harold and Maude fan groups on Facebook and local history groups in Minneapolis. He has arranged to appear at local theaters when they screen Harold and Maude, where he can talk about the book and sell copies. Bookstores in the Twin Cities remain a natural outlet, given the strong local connection.
Beyond that, John admits he does not plan to launch an extensive marketing campaign. However, Matty encourages him to consider broader historical and cultural angles—such as writing about Depression-era theaters or mid-century film culture—as potential pathways to reach audiences beyond Harold and Maude fans.
QUOTES THAT CAPTURE THE MESSAGE
Several comments from John summarize the key takeaways for indie authors:
· “This is a book of a lifetime. I may never see that money again, but it’s something I’ve learned over the last 50 years how to do, and now I can do it.”
· “Anything that you can license, license it. If someone is proclaiming they have the rights to it, get it from them.”
· “If you love it, there’s going to be an audience for it somewhere.”
These remarks underscore the combination of practicality and passion required to take on a niche project.
THE INDIE AUTHOR MESSAGE
The broader message for indie authors is that sometimes the most rewarding projects are those that speak to your personal interests rather than market demand. While John had no illusions about the potential audience size for his book, he found joy in the research, the writing, and the finished product. He reminds listeners that indie publishing allows for such freedom: “Why else are we indie writers and publishers unless we can make the books we love?”
CONCLUSION
This episode highlights the importance of creative independence, careful research, and thoughtful design. John’s journey with Held Over: Harold and Maude at the Westgate Theater demonstrates how indie authors can take a deeply personal project and turn it into a polished, professional publication. Along the way, he offers practical lessons about marketing missteps, licensing rights, and budgeting for a passion project.
The key lesson for indie authors is clear: while writing to market has its place, there is lasting value in creating the book only you can write. Whether or not such a book finds a wide audience, the process itself can be deeply rewarding, and in the current publishing landscape, it is more possible than ever to bring these projects to life.