TELLING MY FATHER'S STORY ISN'T EASY

Ron Watermon • July 12, 2022

My Dad Died 50 Years Ago

St. Louis, MO - July 13, 2022 - My dad deserves to be remembered and to have his story told. My father died 50 years ago today at the age of 29. He died alone in hospital bed at an Air Force Base just outside of Madrid Spain. He left behind a grieving 26-year-old widow, a five- year-old son and a four-year-old daughter.

Last year, I promised myself I would use this anniversary to help tell his story. Candidly, I’m disappointed in myself for not being more prepared to tell his story today. I have no one to blame but myself.

I procrastinated. And I didn’t follow our proprietary STORYSMART system. Shame on me. He deserves better. In a weird sort of way, my failure to do it helps me better understand the challenge we face as a company helping other families.

Telling my own father’s story isn’t easy. Especially fifty years after he died. Many of the people who really knew him are dead too.

I wanted to share his story today because I’ve always been haunted by not really knowing my dad. Sure, I have a few memories. And I’ve heard numerous stories over the years. But that isn’t the same as getting to grow up with him in my life.

I don’t want this post to be about me. I had wanted it to be about him. I wanted to share more of his story, which I believe would be compelling in the hands of a better storyteller.

But the reality is that I didn’t do my work in time. I procrastinated until the end of last week before I made my trek to the basement to pull out our boxed up family museum. The Watermon family archive is a confederation of boxes of photos, documents and other ephemera. I suspect my collection of memories looks akin to that of other families.

Boxes, scrapbooks or albums of memories.

Our archives are not the organized collection of the St. Louis Cardinals. I should have Paula Homan on retainer and the Digital Archive Group or HeritageWerks on speed dial.

I’ll let you watch the video where I take ownership of my procrastination and do my best to share some details of my dad’s story. I promise to spend the time to piece more of my dad’s story together and use the journey to get my dad’s story assembled as an opportunity to both memorialize him and provide insights to others who seek to tell their loved one’s story.

My personal path and story drive my passion for STORYSMART. My story is like so many others. I wish I had a better to story to share about my dad when my son asks me about “grandpa in heaven.”

Doing a story justice requires work. It requires preparation, organization and a certain amount of collaboration. A good story has a simple structure with a clear narrative.

You need a skilled storyteller to weave a coherent narrative that connects with an audience. You could stumble into telling a decent story, but it is unlikely.

I see bad storytelling every day. Just look at all the poor videos people share online. There is a difference between a good movie and one that misses the mark. We can all spot it, can’t we?

Doing justice to my dad’s story will require more effort on my part. I am assuming the role of an interested historian. Over time, as I do my research and digitization work, I will share individual vignettes of his story.

I will follow an intellectual framework akin to what we are putting in place for families and athlete and celebrity clients. It will start with me digging into documents, photographs etc. and digitizing them so they can be used to tell his story. I will get interviews with the handful of folks still alive that knew him.

I’ll use the effort to help you and others wishing to preserve and share their loved ones story.

In the meantime, here are the basics about my dad’s story.

Ronald Wayne Green a.k.a. Wayne Donald Green was born in Bryan Texas on April 21, 1943.

His mother, Serina Mary Green, was from Missouri and his father Mr. Presley (I don’t know his first name) was from Mississippi. The couple was unmarried. I believe my dad’s father was a college student.

For the record, while I do like Jelly Donuts and have struggled with my weight most of my life, I don’t know if I’m related to the King of Rock ‘N Roll. That would require more research.

On February 1, 1946, the Children’s Aid Society of Missouri took custody of my father. When the state removed him from his mother’s care, my dad was so malnourished that he couldn’t walk. He was diagnosed with Rickets, a disease caused by a vitamin D deficiency that softens or weakens bones.

Irvin and Ruby Watermon over Overland, Missouri became my dad’s foster parents, providing him love and care. He began to walk and thrive in their care.

The Watermon’s formally adopted my father on January 13, 1960 when he was 16 years old.

My dad went to Ritenour High School, where he lettered in Football. He loved the game of football. After graduating High School, he took classes to become athletic trainer and followed a path into coaching football.

He joined the Air Force and was deployed oversees in both Libya and Japan.

While in Japan he fell in love with Judo, where he progressed from a white belt to a black belt. He also fell in love with Japan and the country’s people.

While I don’t have the exact sequence of events down, it was in this period that he started seeing my mother – Mary Ann Tierney of Lemay.

I have hundreds of letters between the two to go through as part of my due diligence in telling his story, as well as hers.

My parents married in 1966. I was born in April 1967 at the Air Force Academy in Colorado Springs where my dad was stationed. My sister was born the following year.

My dad was transferred to Torrejón Air Base in Madrid Spain. Our family moved to the base. I’m not entirely clear about what my dad’s job entailed, but know he was a Staff Sergeant at the base. He also drove a school bus and served as a coach of the High School Football team.

My earliest memories where in Spain. And my only memories of my father were from this period. We lived in base housing and had a white picket fenced yard across from a field where Gitanos (Gypsies) grazed sheep.

I remember going to high school football games and traveling a bit within Spain. I believe my parents loved their time in Madrid and know they entertained family visitors including my mom’s parents.

My dad started to suffer from headaches of a then unknown cause. I have conflicting accounts on the exact circumstances of my father’s death. I know he went to sleep in a hospital bed and never woke up. My mom was in the room next door, being treated for a broken ankle. Those are the facts as I know them.

He died Friday July 13, 1972.

A memorial service was held July 14th at the Air Force Base. My sister and I did not attend my dad’s funeral in Spain. Or the service held here in the U.S. I wish we had but understand why my mom didn’t want us to be there.

We moved to St. Louis after my father’s death, living with my Aunt & Uncle’s family for a few months while my mom regrouped. Over the years we heard many stories about our dad from loved ones and friends. While I have a strong sense of who he was, I still long to know more.

I will do my best to preserve and share his story. I urge you to do the same for those that matter most to you.

Everyone deserves to be remembered and have their story told.

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Your Clear Eyes, Full Rights, Can't Lose Playbook.  If you’ve ever watched Friday Night Lights, you know the phrase: Clear eyes, full hearts, can’t lose. It’s the mantra Coach Taylor preached to his team. But when I look at the 35-year storytelling journey of Friday Night Lights—from a reporter’s notebook to a bestselling book, then a film, a beloved series, and now talk of a reboot—I see a slightly different mantra: Clear eyes, full rights, can’t lose. Because underneath the inspirational football story is a lesson we can draw from in how one journalist’s immersive reporting became a durable, multi-platform franchise. And for me, it’s a perfect demonstration of a pathway we advocate for at STORYSMART®. It all starts with investing in good clear-eyed journalism. It is the single most important investment you can make in developing a true story. When you take control of your source material to tell a true story and develop your story properly, your story can live on for years far beyond the page. I’m a big proponent for adopting a story franchise mindset when approaching storytelling projects. That is why I tell clients to think like a studio executive by adopting a media mogul mindset. When you open your mind to that, it opens the doors of possibilities. The storytelling journey of Friday Night Lights helps illustrate what is possible, as well as offer other lessons on what to do and not do in designing your own professional storytelling path. How a reporter’s notebook became a franchise In 1990, journalist Buzz Bissinger published Friday Night Lights: A Town, a Team, and a Dream. It wasn’t just another sports book. He moved his family to Texas to immerse himself in this story. Bissinger spent a year in Odessa, Texas, embedded with the Permian High School Panthers, capturing the obsession, pressure, and community identity that revolved around high school football. He conducted hundreds of hours of interviews and built his narrative from a deep archive of source material. Every interview he conducted is his work product, what I often refer to as copyright protected storytelling source material. Make note of that. That depth of Buzz’s reporting gave the book credibility. It also gave it power as intellectual property. It was a fantastic book that was a hit.
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July 22, 2025, St. Louis, MO - There’s a line in Jerry Maguire that has always stuck with me. Young Ray asks his mom, “What’s wrong, Mom?” And she replies: “ First class is what’s wrong, honey. It used to be a better meal. Now it’s a better life. ” That line hits hard. Because access—access to opportunity, tools, and professionals—changes everything. And when it comes to storytelling, access has long been unequal. For decades, only a small group of insiders had the power to tell stories at the highest level. If you weren’t already in Hollywood or publishing, your story stayed in coach—often ignored, misrepresented, or lost. I wrote STORYSMART® Storytelling for ALL to change that. This book is a roadmap. It’s designed to give you—whether you’re a public figure, entrepreneur, athlete, or someone with a life story worth telling—the same tools used by insiders. The same strategies that power studios, presidents, billion-dollar production companies, and bestselling memoirs. It’s also deeply personal. I’ve seen too many remarkable true stories disappear because people didn’t know how to protect them—or worse, were taken advantage of. I’ve felt like an outsider myself. And I know what it means to want your story told right. That’s why I developed the STORYSMART® Framework. To empower people with meaningful stories to protect their rights, preserve their vision, and share it with the world—on their own terms. I’m making the Author’s Note from the book available as a free PDF download as part of this post. And if you’ve got 90 seconds, I invite you to watch the short video message from me below. This is your story. Let’s tell it the right way. About The Book In a world hungry for authentic narratives, STORYSMART® Storytelling for ALL™ : How to Take Control, Own Your True Story and Profit Like a Hollywood Insider delivers a rare insider’s guide to turning a true story into a cultural and financial asset while maintaining control. Designed for public figures, entrepreneurs, and individuals with powerful life stories, the book introduces the STORYSMART® Way, a step-by-step framework to organize, preserve, and professionally develop your story for books, film, and television. The book pulls back the curtain on how stories move through publishing, Hollywood, and streaming—and empowers readers to navigate the process like seasoned insiders. Topics include copyright and licensing, collaborating with elite-level professional filmmakers and ghostwriters, developing a pitch-ready treatment, and monetizing true stories through publishing, streaming, and merchandising. STORYSMART Storytelling for ALL is available currently as both a paperback and e-book. It will be available soon be in hardcover and audiobook formats. About the Author Ron Watermon is the founder of STORYSMART®, a cinematic storytelling consulting service and story development film studio. A lawyer, filmmaker, and Emmy-nominated television producer and writer, Ron’s led strategic communications for an MLB team, advised high-profile clients, and has produced both film and television productions. Ron lives in St. Louis with his family. Learn more about Ron at storysmart.net and ronwatermon.com #STORYSMART #StorytellingForAll #NewBook #MediaRights #TrueStories #BookLaunch
By Ron Watermon April 24, 2025
We are honored to share some big news. Our documentary, A Steak Guerrilla in St. Louis: The Dr. Arturo Taca Story, has been selected as one of five projects to receive funding from the St. Louis Film Project , a collaboration between the Regional Arts Commission (RAC) of St. Louis and Continuity . This recognition comes from a highly competitive pool of 115 applicants. The grant—up to $100,000—represents a decisive vote of confidence in our story and our approach to telling it. It also offers meaningful momentum as we enter the next phase of production. Most importantly, it reinforces what we believe: Dr. Arturo Taca’s story matters and deserves to be told. A Story Rooted in St. Louis — and Felt Across the World “A Steak Guerrilla in St. Louis” is a documentary rooted in the unlikely convergence of midwestern Americana and Filipino resistance. It follows the story of Dr. Arturo M. Taca, a Filipino surgeon and political exile who made St. Louis his home while taking a stand against Ferdinand Marcos's brutal dictatorship. Before terms like “fake news” and “disinformation” became common in American discourse, Dr. Taca uncovered the truth behind the Philippine president's fraudulent war record. That investigation began here—in dusty archives just outside of St. Louis—and set off a chain of events that toppled a brutal dictator. Our film uses a hybrid storytelling format, combining animated reenactments, interviews, and archival research to tell this story in an emotionally resonant and visually striking way. The Grant That Helps Make It Possible The St. Louis Film Project grant, funded through RAC and administered by Continuity, is part of an initiative to uplift the film community in St. Louis. RAC’s press release states that the fund was created to “support local filmmakers and organizations to tell stories rooted in St. Louis.” The evaluation process was rigorous. “Choosing five projects from over 100 submissions was no easy feat," said Vanessa Cooksey, President of RAC. "The talent and stories presented were incredible.” That’s why being one of the five chosen is more than just a financial boost—it affirms this story’s value and connection to our community. It means much to us, and we don’t take it lightly. A Delayed Start But a Firm Deadline While the grant announcement arrived months later than initially expected, we’ve been working behind the scenes to be ready to go once we receive funding. With this grant officially in place, we’re full steam ahead. The grant contractually obligates us to deliver the completed film by January 2026. That’s a fast turnaround in documentary filmmaking, especially for a story with historical depth, international relevance, and a visual style that blends live action with animation. That means every day counts. While the grant covers significant production costs, it also comes with essential parameters: 75% of funds must be spent within the City of St. Louis. We’re proud of that requirement—it aligns with our belief in investing locally and elevating regional talent. But it also means we must be innovative, strategic, and resourceful with every dollar we spend. We have our entire team in place, minus one critical position. We need a gifted DP to join our elite team. We are eager to work with a tremendous city-based production company or cinematographer who calls St. Louis home. If you know a great cinematographer who would like to join us, please have them email me at ron@storysmart.net. Why We’re Still Seeking Donor Support Even with the RAC grant, bringing this film to life in the way it deserves will take more. Animation, archival licensing, original score composition, color grading, distribution planning—it all adds up. And some of this can't be sourced in a way that fits grant guidelines. And because of the ambitious deadline, we’ll need to scale quickly without cutting corners. That’s where you come in. We’re seeking additional donor support to help us: Expand our animation sequences and visual storytelling capacity. Secure the rights to key archival materials that deepen the film’s historical accuracy. Shoot at least a couple of interviews with key individuals who live outside our region, including the Philippines. Invest in editorial and post-production tools that allow us to move efficiently without sacrificing quality. Ensure the finished film reaches the broadest possible audience, from film festivals to classrooms to international broadcast platforms. Your contribution—no matter the size—helps ensure that Dr. Taca’s story is told with the care, accuracy, and cinematic impact it deserves. If you believe in the power of truth-telling… if you value stories that connect communities and illuminate buried history… we hope you’ll consider becoming a supporter. Click here to donate Learn more about our film at steakguerrilla.com A Final Word: Why This Story Matters Now We often think history is distant, locked away in textbooks or museums. But A Steak Guerrilla in St. Louis reminds us that history is constantly being rediscovered—sometimes in our backyard. It’s a reminder that exile doesn’t silence the truth, that one person in one city can stand up to a dictator and change the course of a narrative written in lies, and that the work of defending democracy happens quietly, persistently, and often without recognition. Now, it’s time to give that recognition. With this grant—and with your support—we’re going to finish the film. And when we do, we’ll bring a hidden chapter of St. Louis history that reverberates far beyond our city limits. Thank you for sharing this journey with us, and a special thanks to each member of our talented filmmaking team. I'm grateful for your willingness to work to bring this story to the screen, your patience through this process, and your unselfish (uncompensated) work to make it happen. I have no doubt it will all be worth it! --Ron Watermon, Executive Producer & Director, A Steak Guerrilla in St. Louis: The Dr. Arturo M. Taca Story
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