The WIFV DC Mentorship Program

 Welcome Dylan Graves, Comstock to media and monuments. thank you for coming on.   to talk about the mentorship program for women in film and video of Washington DC.

Thank you so much for having me. It's great to be here. And I'm very excited to share with you about  the mentorship program and how we got to where we are. 

So could you explain, what is the mentorship program?

So the women in film and video mentorship program is designed to bring together media makers and to provide them with information activities, and Prompts to help them engage. And we wanted to give them a real nice avenue for connecting. And so we created the mentorship program, revitalized the mentorship program two years ago.

Um, Put it into place. And then a year into it, we realized that it was not simply enough to bring people together, but that we needed to provide folks, um, some parameters for those who maybe didn't have a mentorship relationship previously, or were new to the engagement, giving them some structure, both in terms of how they interact with one another, but then also trying to provide information around which they could gather to discuss.

So. We ended up writing a curriculum to help undergird the program and what we wanted to see as well was that we were going to have something that would help the program persevere into the future. Even as leadership changed, we would want to be able to make sure that we have something to hand off to the next generation of folks who were gonna be leading that.

So,  with that we created, a 12 month curriculum that parallels the arcs of the season. As well as,  the arc of one's creative career, if you will. Although I know that in media making, there's nothing conventional about what we do. So at least trying to provide some structure around being a new media maker and how you can make the most of learning from an experienced media making.

So, can we talk a little bit about the curriculum  I'm really proud of our curriculum.  first of all, I think it was your idea to do it theme wise by the seasons and by the month.  and then we have a couple of discussion questions, videos, articles, things like that to, to really share.

Can we go through that thought process? So what inspired you to do by theme?

when I think about the way, um, I see my experiences as a media maker, having played out when I looked at the grand arc of it all, I could see that there were components of what I thought the seasons paralleled. it's a timeless way to structure something that uh, is accessible. It's approachable and it kind of helps people get in the mood, the mindset. And so in the, in the curriculum, you know, we. And say, you know, this is the month of March and in the month of March, this is when the Roman God of war Mars took to action.

And so kind of trying to give people a way to think  about the program and then that informs the things that we then try to put into the curriculum itself. we are very proud of it for having worked on it.

As hard as we did. Um, the information that's included is includes 34 videos, 21 articles and 16 document templates. And we included document templates because we really wanted to make sure that this was a useful resource and that it could serve a wide variety of people. And so we wanted to actually give people tools with this curriculum to build.

So videos that are focused on the female perspective on filmmaking. And specifically we even look at challenges, female filmmakers have come up against and wanting to make sure that it is coming from, um, that sort of perspective and, and wanting to account for our membership. Um, and so things we consider in the mentorship curriculum are starting out with how to have a thriving, mentorship relationship people.

At first weren't really. What is a mentor, what is a mentee and what should our activity or interaction look like? And then understanding industry roles, then goal setting, and plan making, understanding the importance of thinking like an entrepreneur. Then focusing on grant writing, attracting development for partners development partners for your documentary leadership skills, managing the ups and downs of work.

First feature film challenges.

right.

Script writing for fiction. And non-fiction how to pitch a video, how to market yourself as a filmmaker business negotiation, networking tactics, managing finances as a freelancer taxes as a freelancer work life balance and self care insurance considerations for freelancers setting, healthy boundaries, ethics in the workplace.

And basically. Business etiquette. We wanted to give a really well rounded approach to a year long experience with women in film and video.

Yeah, and I think . We did a really good job  we had a whole application process for those who wanted to become mentors or were interested in becoming mentors and those who wanted to be mentees. Um, and so could you kind of share a little bit of that process?

Yeah. What we realized is that it was easy just to ask if people wanted to be involved, but what was harder is getting an understanding of why they wanted to be involved. And ultimately the why is more important than the what, and what we found in the first year is that just giving people the opportunity to connect doesn't mean that they would connect.

And so we had to. Learn from the first year. And then in working through the second year, be much more, um, focused on what the strengths of the individual were and what those strengths were gonna be. That would keep them engaged with another person that they would feel confident and excited to share. Not just something like, oh, I mean, I'm doing this out of obligation.

We wanted people to feel mutual. Gratification out of it. And so, um, looking at how are the ways that we can build in value to the experience for both sides of membership, those who are the mentors and those who are the mentees. And we also wanted to be clear that we didn't just limit this along the age lines of age.

And so we had people who were younger mentors with older mentees, and we found that that worked out just fine, but what mattered the most was the way in which we paired them. And so the second year, We focused a lot more on making sure that the matches were gonna be sustainable.

Yeah, and that was, we had a good wide range. And also to clarify, even though it's women in film and video, and we do focus a lot on female filmmakers and media makers, there are mentors and mentees that are not just female in this program, at least this year.

Yes. Yes. That is true.



Absolutely. I wouldn't be where I am as a filmmaker and as a company owner, and as an artist, if it weren't for the presence of strong creatives in my life as, as, as a young man, and those were more often than not strong female creatives. And I worked at a small, independent documentary house in Virginia working.

With the proprietor of that business. Amy Gerber, stro on a socially conscious documentary at the age of 14, about the MIS memorialization of public events in history. And that really kind of got me thinking about how I would want to use film in my own life. And then later in Los Angeles at paramount, it was mainly.

Um, these strong female creatives over top of me, giving me advice on how to proceed with my career. And so part of the appeal on women in film and video is it's a service opportunity, but it's also a learning opportunity and I'm gratified by both of those experiences in the mentorship program.

Yeah, I was gonna ask you, um, Have you been a mentee? And have you been a mentor? You sort of touched on that, but if you can elaborate

Sure. So, um,  I was at this small school in Virginia, and I heard that this filmmaker had moved to town and she was opening up shop just around the street from where my school was.

And so when I was 13 years old, I walked down to her office. I knocked on her door and I said, hi, I'm Dylan. I wanna learn from you. She was the only filmmaker I had known of in my town. And so I figured it was really an awesome opportunity, but what I discovered more than anything in that situation was this type of attitude that has enabled me to succeed in other areas.

And that is the ability or willingness to have curiosity and then ask questions based on that curiosity. And so for me, I wanted to always try to imbue those who were gonna participate in this program with an understanding that the onus is upon them to make the most of this opportunity and that in. So they should be making more opportunities for themselves.

Um, so I, I, that's how I got to where I ended up getting, which was just the willingness to find it.

Right. And I think particularly those who are storytellers and media makers and just creatives, we do have that curiosity, but this is for.  any profession I feel like, or any field, as long as you have that curiosity and drive, having a mentor is very useful.

 especially when we're looking at something, which is tends to be as non-conventional, as media making. I think that creatives bring a lot to the table that, you know, isn't accounted for and a resume, but is still very important to who they are. And I feel that having a mentor in your life you're able to make the most of what your professional goals are while also being able to manage interpersonal relationships effectively.

It's a team business more often than not. The ability to work well with others. And the ability to demonstrate initiative is first and foremost.

And so I saw the true value in mentorship is being able to give people something that they could work with that would. Greatest sense to them and in a personalized manner that would endure this. Wasn't just about skill development. This is about interpersonal development and connection and developing a passion for within a person that will help them go on to do things that really matter for them.

And those they love.

I feel like that also was what drove you to want to be in the committee of the mentorship program? Was it it already sort of existed in WC or it never existed?

The mentorship program did exist for a period of time, but it was My understanding was, was pretty spotty. And the problem was is that there was a change of leadership pretty frequently. And that meant that in terms of exchange of knowledge and handing through or over understandings of the way that things were run, I, I, I, wasn't a part of it.

Then I, I recognized a need. Um, we were looking to redevelop committees and I put my hand up and I said, I wouldn't be here if it weren't for a mentor or five. So let's find a way to fold that. Something that I already see as integral to women in film and video, which is a community of support.

I kind of wanted to be part of the committee to, to learn about more of our members. Um, and I like connecting people, and I've learned a lot, What makes a good mentee and what makes a good mentor? 

This is something that I actually was very clear with myself and, and I hope others when I was developing the curriculum. And the way I put it was that the, with mentorship was for, was created to forge meaningful relationships, which aid in the media maker's passion for and understanding of their craft.

The objective is that if pursued with fidelity, The relationship can foster skills, confidence in faculty with the industry and result in growth, the point and the key line there, or a part of line is that if pursued with fidelity. And so to answer your first question about what makes a good mentee it's, um, initiative, curiosity, tenacity drive, and it is the willingness to forge something on your own.

I believe in doing so you get the most from what other people have to share and having done so themselves.

I was just gonna say for a mentee, don't be afraid to ask questions. Like that's what your mentor is for.

we talked about what makes a good mentee, that, that drive that curiosity. Um, what about what makes a good mentor?

When thinking about what makes a good mentor, I think about the importance of perspective and being able to be open to helping others. It's mutually beneficial. It's mutually gratifying. I have heard from the participants, um, the, the mentors who've said that it's a very gratifying experience to have the chance to share this back with someone, help them navigate their own path.

I would say for mentor. That perspective is something that's earned over time, and that is a gift and a benefit that the mentee doesn't have. And I think that that's probably one of the best tools to leverage for a mentor is just, um, perspective with compassion, frankly, play.

 My last question for you is what are your hopes for the mentorship program as it continues, we're halfway through the second year. Do you have any goals at the end of the year, five years from now? And so.



My goal or my hope for the mentorship program is that it is something that'll continue to exist. I hope that this is something that is valuable to the participants and I hope it is something that.

as we develop programming, um, it's my hope that it will be recognized as an important component of what women in film and video has to. I think that in this community, being able to provide a place which foreground the exchange of information and care for one another, frankly, that when that is recognized, People will want to see it continue and people will want to step up to help lead it and people will want to innovate on it. And the thing is about the curriculum.

It's meant as a dynamic tool to change over time. And it's something that was built for with, and will change with, with, My hope is that we get this right, so that it becomes an attractive component of our C.

Yeah, I think we're getting there by our second year, this curriculum, a lot of people  I remember when I would send out the  monthly curriculum, they're like, wait, what are we doing with this? I'm like, it's a tool for you guys to use. So there was a little bit. What, what is the purpose for these documents or these videos and these questions being asked of us? Like, do we need to do that? And we're like, it's up to you. And I think in, by next year, those who sign up are, will have more mentors and mentee applicants, cuz they've heard of how much more involved the program encourages.

 one of the benefits we noticed? In the creation of the curriculum was a shift from ambiguity in participation to empowering people, to choose how they wanted to interact, but giving them a structure around which to operate and people before, for lack of material or understanding the relationships fizzled.

Now what I'm hearing as I reach out to the individual participants. They're very gratified and they're not using it to the T it's not a requirement. It's a suggestion. And we include a mentorship agreement form as well as evaluation forms so that we are again, giving the membership tools that are beneficial to their development and understanding.

And this curriculum has shifted the way folks feel about their participation. And I think that the nice thing is is that by putting the care into the curriculum, it makes the participants feel cared for. And when they feel cared for, they don't feel as though their knowledge or experience is just in vain, but rather there's a platform that has been provided for them to share it.

And I'm, I'm hoping that. As we get more positive feedback. And as we hear about these enduring relationships that are forged to this program it is my hope that it'll be seen more broadly and more valuable a part of women in film. And

Where would you like to send people if they were interested in learning more about not just our mentorship program? That's one question, but if they're interested in mentorship or starting a mentorship program, were there any resources that you found particularly useful?

Yes, video consortium is very useful. They've got a strong mentorship program themselves. They've got a variety of wealth of resources and, um, they've been doing this for a bit. So I would, I would point people in that direction. this was a program that was scrapped together from a, a wide dispersion of, of various items and, and documents and educational resources.

But as far as places to look, a Google search is a good place to start, but I'd also say video consortium, um, as far as wanting to learn more about the women in film and video mentorship program, and also for those interested or for those curious. I would direct them to our email, which is with mentorship, gmail.com.

do you want to share anything about your work

Sure. You asked me how I got started as a mentee and how I got started as a filmmaker. I work in issue based short form documentary filmmaking.

I create media assets that solve problems and hope to change the way people think. I like to use video as a tool. And what I found is that I took a very self-created path. I did not go to film school. I took something that mattered to me, the why, and I found a what video that is not an easy thing to figure.

If you're not pursuing a conventional path. What I found was a mentor and I found a mentor at the age of 13, and what that showed me was the opportunity to employ ingenuity and tenacity and service of making your dreams a reality. There wasn't a conventional path for me to follow. And so finding a mentor was the most logical.

Offshoot of this passion to create, but not necessarily knowing the right way to create something that I hadn't even seen before myself.

Wow. Really nice to share. Thank you for sharing with that. and you also have a new website too.



Yes. Um, I'm a survivor turned video advocate as well as a nationally credentialed victim advocate. And for the last 10 years I've been working in trauma informed media. And so that is my specialty. And, You can learn more about that at graceful force dot.

 thank you, Dylan, for coming on.  and I'm, I feel like you'll be back on the podcast for our third year on the mentorship program or our fourth year. And it'll be like our third or fourth or fifth season of media and monuments. I feel like we're doing a great job.

I'm so happy to have the chance to work with you and Steve on the mentorship committee. And thank you for doing the great work you're doing with media and monuments.

Thank you.