David Watkinson grew up in Southern New Jersey where he excelled in art outside of school and science in school. When it was time for college, David’s father convinced his mother to keep secret from David the fact that he had been offered an art scholarship to Carnegie Mellon University. Instead, his father insisted that David accept a full four year Navy scholarship that he had won through competitive exams, interviews and appointment by a U.S. Congressman.
As a result, David went to the University of North Carolina in Chapel Hill to major in physics and naval science with a focus on being a carrier pilot during the Viet Nam war. After three summers on active duty training to be either a Navy or Marine officer along with a small amount of training as a pilot, David bailed out of the Navy program.
After graduating from UNC with a degree in psychology, David moved to California to pursue life as a “hippie” artist anti-war activist living in a collective in Berkeley. While there, David had various jobs including dance teacher, but mostly worked as a therapist in the Berkeley Radical Psychiatry Center (doing Gestalt, Reichian BioEnergetics, and Transactional Analysis therapy.)
During his time in Berkeley, David rubbed elbows with heavy hitters on the political Left. Having been drawn to the Left by his interest in peace, freedom and civil rights, David became concerned by the far Left’s tendency to give lip service to those ideals while actually working to implement opposite outcomes.
In addition, David found a blind faith in fundamentalist materialism on the left that was analogous to the blind faith of fundamentalist religious people on the right. He felt such rigidity was incompatible with his commitment to objectively evaluate the nature of reality while considering all the evidence. For example, when David was studying hard science at UNC, he welcomed the opportunity to visit Dr. J. B. Rhine's famed Parapsychology Institute at Duke University.
After studying film at San Francisco City College, David moved to Los Angeles to pursue a career in Hollywood. He got his start in show business as a story analyst for Mary Lazar and her literary agent husband, Irving “Swifty” Lazar (who represented Truman Capote, Noel Coward, Ira Gershwin, Cary Grant, Moss Hart, Ernest Hemingway, Vladimir Nabokov, Cole Porter, and Tennessee Williams to name just a few!)
David began working in film production as an Assistant Director on low-budget features and an academy award nominated dramatic short. During that time, he was represented in New York by the literary agent Evelyn Singer and in Hollywood by the Lynn Pleshette literary agency. After having one of his screenplays optioned a few times, David's next screenplay was written as the first part of a trilogy.
However, David felt that he did not yet sufficiently understand the deep metaphysical and philosophical issues involved in the stories that he wanted to tell. Consequently, he stopped writing and began a many year project of study and research on the subjects covered in his trilogy.
At the same time, David began working in the new field of computer animation for film. After many years of work on big budget features as an interactive animator, David switched to television to have more time for his research. While working on the television show Bones, head writer / co-executive producer Scott Williams said to David, "You're a great writer. I look at some guys and think - how did they become working writers and I look at a guy like you and think - why aren't you a working writer?"
One answer to Scott's question is that David didn't want to write just for the sake of writing, but only wanted to write when he felt he had something really worth saying. Having finally completed his years of research, David now feels that he is ready to share what he has learned. Consequently, he is currently writing two screenplays in a series that has a metaphysical orientation.
In addition to writing fiction, David has also written non-fiction. For example, click on the "Healing the Great Divide" icon on the left to read his discourse on the history of 20th century art and its transformation in the 21st century. Or click on the other icon to see the feature article he wrote for a national magazine to introduce the concept of virtual reality to the readership of a national magazine for professional videographers.