Please follow us now on our new site:
http://chanelandrow.wix.com/chanelandrow
Chanel and Row's (un)professional chronicles
Sunday, April 6, 2014
Tuesday, March 25, 2014
Are You in the Cast? - #14
It was open house at the theater today. A celebration to commemorate
their many years in existence. Everyone, meaning those not even interested in
art, or students looking for a free meal, were welcome. The board members were
allowed a certain time to come in before the ‘public.’ They were provided an
interesting musical performance and first dibs at the booze and food. At
4:00pm, I came downstairs from the office to help set up. At 5:00pm, the board
members started trickling in. By 5:30pm, all of the board members attending
were present. And at 5:31pm, I noticed that all of the board members were older
PONC men and women.
Was I surprised? Absolutely not. But when I surveyed the
room for a brown face, it also became very clear to me that all of the theater
administrators were also PONC, with the exception of two staff members, out of
about thirty staffers.
Am I surprised about this fact as well? Again, absolutely
not. I’m dispirited. When I look at the theater’s Education Department, I’m
puzzled that not one brown face exists. Philadelphia is 44% black. One of the
brownest cities in America. The schools the theater has teaching residencies in
are WELL over half brown… I offer this, not to take away from the talent and
care the director and teaching artists bring to that department and to those
students. Having worked with them, I know they are completely invested in the
students. I mention this simply because seeing a person that looks like you in
any field you have not had exposure to challenges and raises your expectations.
It makes what the students thought was unachievable, or only for a particular
subset of the population, achievable.
ANYway. I’m fully aware of the vanilla industry I’m
entering. And also fully aware that a little chocolate can go a long way. But
it can’t just be me. Those running this industry have to open their minds to
color as well. And not just color on stage. That’s the easy part.
One of the board members at the open house asked me if I was
one of the actors in the show, which has an all black cast. I was wearing my
nametag, which stated my name and position. The nametag was white and my
clothes were dark. The nametag could have easily been the first thing you saw
when you looked at me. But she assumed that because I was one of the few brown
faces in the building, I was among the cast.
It’s this consciousness that brown faces are not in theater
administrative positions that has seeped too far deep into their minds. And can
you fully blame them, when they don’t see us in board meetings, etc? Do we as
minority theater companies enlist PONC on our boards? We have to.
Write me back,
Chanel, still pondering
________________________________________________________________________________________________
I totally agree about “when you see people like you out there,
you believe that you, too, can achieve what they are”. This is a fact. This is tied in with barriers to equality and
the power of subtle racism- while it might not impact someone directly on the
surface, over time always being the token or the only one in the room
representing views on issues pertaining to race/culture/heritage which may not
be the dominant view in the group – that can break someone down.
I think for me, at some point, I stopped seeing color. Raised as a kid from a very militant and self
loathing Asian man who experienced racism first hand when looking for jobs in
the 1970’s well below his education level (he’s an architect who would get
denied for factory work) when he first immigrated, I was raised on stories of
distrusting ‘the man’, looking out for yourself and not letting anyone walk
over you- no matter what.
What I discovered when I began to work was that as an Asian
American female who was smart and hardworking I was actually sought after
because of the diverse qualities I offered.
Accompanied with a strong skillset and work ethic, it was hard to turn
me down. This shaped my perspective when
dealing with PONCs in the workforce and hiring space. I wasn’t angry like my dad was, I used my
edge advantageously and maybe even slightly manipulated a PONC or two in my
favor (if that’s possible).
Now, I hyperactively engage with race, color, and diversity
because I don’t want to lose connection with what my dad experienced. And maybe because of this my POV may be a bit
more polarizing than who I really am. I
try to write strong Asian characters who act against stereotypes.
I think you’ve got to fly under the radar and take into account
everything you’re seeing while you’re ‘inside’ at the internship gig and
network and build connections on any level you can (maybe even if they may be
too vanilla) because until you’re in a position of power to be an exec or
administrator in the theater world… you’ll always be seen as a subordinate and
not a peer.
It sucks that no one before you has done this (and it’s 2013),
but you know… it could be you that breaks barriers for that young gay black
girl living in Baltimore that wants to be a playwright or work in Theater. It may even help that girl to stop seeing
color and believe her talents and skills are enough qualification for success
and employment in theater.
Anything’s possible,
--Row
--Row
Tuesday, March 18, 2014
Getting Material Read - #13
DEAR CHANEL:
So have I told you that in less than a month of being in town I can say that I’ve queried managers and two asked to read my material? That’s pretty cool. I haven’t heard back and I’ll follow up in the upcoming week. One guy wanted the TV pilot and then asked for a feature and the other guy asked for the pilot and a few weeks to read it…
I’ve also developed a cool friendship potential working relationship with a woman I met through a job op that we are currently both no longer working and she’s reading another feature I have… so I’ll see what she thinks.
Also to get that writer’s room punch up gig I turned in a couple pages of the TV pilot and she thought they were funny… which is why I got invited to the session. But it’s nice to have other people read material who don’t know/are related to me, aren’t in school with me or one of my professors because then I really get a sense of how the material is hitting.
I was sort of thinking maybe I should try and join a writer’s group here, but I’m not sure. I’d need to find the right one. I know you’ve been trying to find a suitable group in your end of the country – thoughts?
--Row
___________________________________________________________________
So have I told you that in less than a month of being in town I can say that I’ve queried managers and two asked to read my material? That’s pretty cool. I haven’t heard back and I’ll follow up in the upcoming week. One guy wanted the TV pilot and then asked for a feature and the other guy asked for the pilot and a few weeks to read it…
I’ve also developed a cool friendship potential working relationship with a woman I met through a job op that we are currently both no longer working and she’s reading another feature I have… so I’ll see what she thinks.
Also to get that writer’s room punch up gig I turned in a couple pages of the TV pilot and she thought they were funny… which is why I got invited to the session. But it’s nice to have other people read material who don’t know/are related to me, aren’t in school with me or one of my professors because then I really get a sense of how the material is hitting.
I was sort of thinking maybe I should try and join a writer’s group here, but I’m not sure. I’d need to find the right one. I know you’ve been trying to find a suitable group in your end of the country – thoughts?
--Row
___________________________________________________________________
To writer’s group? To not writer’s group? To writer’s group!
Do you think there is writer’s group potential in the women
artists of Girls on Top Productions? Or is that strictly for those specific
projects? Or maybe you and a few women from that prodco can form a writer’s
group? You seem to mesh well with those folks, so a writer’s group seems to be
a natural progression of that good meshing.
What the hell is a writer’s group? I feel like I’ve been to
enough of them to know when they work and when they don’t. But of course, it’s
all about your own personal expectations, needs and desires. At it’s best,
writer’s groups are no more than ten people. I recently went to a writer’s
group and close to forty people were present. WTF? And most of the feedback was
so general or so dependent on taste that it was NOT helpful for the writer.
A writer’s group has to encompass varying levels of talent
and/or experience. I do believe you can be a mediocre writer, but be a kickass
note-giver. The worst feedback is: I liked it. I could give two bowel
movements. Why did you like it? Specifically?
And the feedback in writer’s groups can’t be all esoteric
and theoretical either. Something the school environment unfortunately
encourages. It has to be grounded in something. Writing structure and/or
industry experience.
I’m still searching for my group. Until then, I have to
suffer through more school workshops high on theoretical commentary. At least I
know what I don’t want out of a writer’s group. It’s just so essential to
constantly have FRESH eyes reading your work…
…So I’m thrilled that you are getting the affirmations every
writer needs in this industry. You have done more in one month in Los Angeles
than some have the energy or confidence to do in one year. When next September
comes around, I just hope I’ll be able to reach you in between your TV writing
gigs and big exec meetings.
Write me back,
Chanel
Chanel
Tuesday, March 11, 2014
Intellectual Crushing - #12
I have an intellectual crush on Dr.
Greg Carr. I know you’re wondering who the hell Dr. Carr is. He’s a professor
at Howard University. And blew my mental back out with his lively discussion
about the state of the black community and the history that precedes and affects
it. He was speaking on a panel following a presentation on the 50th
Anniversary of the Birmingham bombing of the four little girls. Where am I
going with this, huh?
I wish we could see more of the Dr.
Carr’s on television. I melt like a witch being doused with water every time I
see a stereotypical black character on television. Because I know generally
it’s a person of color who is perpetuating that stereotype now. I know we don’t tower over TV networks like puppet masters,
well, Oprah does, but we can refuse to write defaming images of ourselves,
right?
The same evening I was blessed with
Dr. Carr’s eloquence, I met the executive director of a landmark black theater here
in Philly. She gave me a tour. I met all of the staff members. She told
everyone that I would be interning there once a week. I was elated, but I had
extreme hesitation. Ninety percent of the staff members are women over fifty.
Would they be open to my ideals? My modernity and militancy? I waited for a
call anyway. Excited for her to call. I never got that call. The following week
I called. The first time, I got a busy signal. They can’t only have one line?
So I called again. And again. I got a busy signal all three times. So the
phones don’t work even work?
The executive director and I only
met by chance. She did not know a thing about me, but what I offered. But after
visiting their website later on that evening. And touring the theater. I became
conscious of the plays they typically produce. Plays with mostly stereotypical
black characters. And as much as I wasn’t interested in immediately lobbying
for my own work to be produced there, I feel they might never be interested in
producing my work. My work often points the finger at the ‘traditionals’ that
make up the black community, as well as those neo-colonials (this is not the
same as PONC). My work delves into homosexuality and issues individuals or
communities would rather keep locked up in a cupboard.
Of course there a number of writers
actively writing about racism, sexual orientation, ageism, sexual assault,
adoption, gun violence, public education, prison industrialization, etc. But
unfortunately, those works rarely permeate mass media the way negative images
do. I dream that one day Nene Leakes or Tyler Perry changes their mission in
life, or their enemy target and focus it on the ills affecting the community
they are a part of. And that more of Dr. Carrs begin to permeate mass media.
Write me back,
Chanel
(p.s.: More power to those seasoned women running that
theater. They need our help!)
____________________________________________________________________________________________
DEAR CHANEL:
We cannot attempt to guess what is popular, what will make money and what audiences will flock to – hence why you don’t see more of the Dr. Carr’s on TV and why you DO see a perpetuated stereotypical black character. This character is bankable, time and again it creates jobs and money so it is overused and will continue to be until is not longer fiscally viable. Why this character is more often than not portrayed and written by a black writer is beyond you and I. If we could predict popular market trends then we would be in charge of Hollywood, wouldn’t we? What I can speak to, is that change starts somewhere and at some point someone decides that she wants to read a different narrative. She searches and searches for this alternative story and despite her deepest and most thorough searches Google fails her and she is unable to find the story that speaks to her… so what does she do? She writes it her own goddamn self. What does this mean? Ultimately, validation.
We cannot attempt to guess what is popular, what will make money and what audiences will flock to – hence why you don’t see more of the Dr. Carr’s on TV and why you DO see a perpetuated stereotypical black character. This character is bankable, time and again it creates jobs and money so it is overused and will continue to be until is not longer fiscally viable. Why this character is more often than not portrayed and written by a black writer is beyond you and I. If we could predict popular market trends then we would be in charge of Hollywood, wouldn’t we? What I can speak to, is that change starts somewhere and at some point someone decides that she wants to read a different narrative. She searches and searches for this alternative story and despite her deepest and most thorough searches Google fails her and she is unable to find the story that speaks to her… so what does she do? She writes it her own goddamn self. What does this mean? Ultimately, validation.
But for the purposes of this
response… while many respected people who are older and established have an
image, persona and reputation for producing particular stories with certain
types of characters… that was their path and it was shaped by what they decided
to do in the early stages of their careers – just as we are, now, beginning to
be tested. Those early trailblazers
chose to ‘conform’ or say something that was acceptable, producible or
indicative of a perceived status quo. It
was more important to propel their brand and writing within this system instead
of stepping outside of it and saying… what if I want to introduce a different
narrative? What if I say that which no
one wants to even whisper about? What if
instead of saying it I shouted it over a loudspeaker?
I look at your work and voice
–exactly like this. One day we’ll be
established and old(er) and ‘respected’ that comes with time not necessarily
bodies of work. While maybe these women
might have been great lead-ins and resources, if your overall governing
philosophies of story content and theme don’t match… what realistic
relationship besides utilitarian would you have had? If there’s one thing I’ve certainly learned
in this town it’s that no one is giving anyone favors because they’re the
‘same’. No one’s here to help out
another black person or another gay person- they’re here to help out the
talented, strong voices and those that have something to say that other people
will happily pay to listen.
What I’m saying is that you’ll
find your group and those that want to celebrate and promote your work proudly
– they might not be a canon of black female playwrights who are the foundation
of the institution of black theater. But
wouldn’t you rather have someone who believed in you than looked like you on
your side? Isn’t that what the
stereotype suggests… because we all look alike and check the same boxes, we’re
the same and will react similarly… we don’t.
Boomsnap,
--Row
--Row
Tuesday, March 4, 2014
Creative Vibes & Money - #11
So… I am officially a Girl on Top! Girls on Top Productions (GTP), the new
prodco that I mentioned in a previous letters asked me to come on board to
direct and write!!!! It’s super
exciting. We had our first meeting a
couple days ago and while it was long it was exciting and I felt creative which
was awesome. All of the girls are really
great people each with her own skills and assets to contribute but we all
seemed to gel nicely in the creative/development meeting… which we both know
coming from classes and workshops in graduate programs how difficult it is to
really find a nice creative balance where people are actually LISTENING and
HEARING each other as opposed to thinking and waiting for their turn to talk.
Similarly, a week ago I responded to an ad on CL, and while
those are always hit or miss – this one was for a ‘punch up’ session on a TV
pilot with a young (mid 20’s) WOC, anyway she was super cool and really
awesome. Why she had invited three white
dudes, with varying and limited experience and myself, still boggles my
mind. But the point is that in the
‘writer’s room’ I felt alive and I felt like this is where I’m meant to be:
breaking story and finding ways to make shit funnier and better and just
elevating ideas with people who are on the same level as I am and crafting
stories.
The good news is that how I felt five years ago about comedy
television writing is still the same today, if not even more passionate which
is good – particularly after I’ve been educated and learned actually what it is
that I decided I wanted to do.
The underbelly, and isn’t there always an underside to it all…
is I’m not getting financial reimbursement – YET. It’s hard because I sort of do this dance in
my head and it lightweight stresses me out to the point where I get temporarily
depressed and play bingobash for hours at a time, or plants vs. zombies – my
zone out the world ipad games lol. I
think – I need income, I need cash flow… but then I say I don’t really need money right now, I’ve got some
savings and maybe I should just ride it out a little longer so I don’t join the
work force and can focus on keeping my head clear and keep working on my
writing. Or I’m trying to find a job
that’s more than a barista, waiter, cashier type of gig that is in line with
the career path but isn’t a full time crappy assistant where my boss sucks my
soul and squeezes 75 hours a week out of me.
But sometimes the stress of waiting for the line of money to run out
debilitates me and anchors me to my couch where I spend half the day doing
nothing.
Conflicted,
--Row
________________________________________________________________________
What is bingobash? I swear I read your letter, but this is
the second time you have mentioned this game, and I have no idea what it is.
And I am intrigued about what you’re spending hours at a time doing? Is this
game really that engaging? Should I play?
Anyway, CONGRATULATIONS. Finding a group of artists that you
vibe with is rare and paramount to your survival in this industry. I mean
neither one of us can produce art in a bubble. I suppose we could decide to
perform one-woman shows on stage or on Youtube, but that’s not really what
attracts us. I’m SO happy that these group of women are doing what they are
doing and that you are hopping on board in the beginning stages. It will be an
amazing journey to grow with them. Who knows what might become of the work that
you do...
On another note, you and this damn CL. The women and the
gigs, huh? It’s just a one-stop shop for you, eh? Though I’m not quite sure I
gather what this ‘punch up’ session is about. Are you leaving something out?
Did someone go all CL on someone else in the writer’s room, as I would normally
expect a person from CL to do? Are you hiding a murder from me? Please tell me
more. Unless you are hoping to keep it in the underbelly.
Speaking of the underbelly. Financial sustainability will
always be peeking out from wherever we are trying to find fertile ground. Like
effing bad weeds you can’t kill. I try to look at my financial stresses the
same way I view my student loans. I’m never going to pay those suckers off, so
I’ll just give that heifer Sallie Mae whatever I feel like it until I die.
She’s not going to stop me from living, buying a home, traveling, drinking fine
wine (or hell, wine from a box), eating expensive meals when I desire, and so
on. BUT if I so happen to hustle well enough to have a Broadway hit, a credit
on a television show AND sell a screenplay, then Sallie might get a little more
change from me. But it would probably take all three successes for that to
occur. Alls I’m saying, though hypocritically, is life always has a way of
working out, with or without our worries.
If you do need cash, consider working outside of the
industry, if nothing inside the industry floats your boat. Though the coffee
shop gig might annoy me at times, it’s refreshing to be in a job where I don’t
have to think because mental exhaustion kills my creativity.
Write me back,
Chanel
Tuesday, February 25, 2014
Tell Your Story - #10
DEAR ROW:
As I grapple with staying true to my voice, I came across this quote by Neil Gaiman:
“Tell your story. Don't try and tell the stories that other people can tell. Because [as a] starting writer, you always start out with other people's voices – you've been reading other people for years… But, as quickly as you can, start telling the stories that only you can tell – because there will always be better writers than you, there will always be smarter writers than you … but you are the only you."
I needed that affirmation. I am loving my voice more everyday.
As I grapple with staying true to my voice, I came across this quote by Neil Gaiman:
“Tell your story. Don't try and tell the stories that other people can tell. Because [as a] starting writer, you always start out with other people's voices – you've been reading other people for years… But, as quickly as you can, start telling the stories that only you can tell – because there will always be better writers than you, there will always be smarter writers than you … but you are the only you."
I needed that affirmation. I am loving my voice more everyday.
Write me back,
Chanel
_________________________________________________________________
DEAR CHANEL:
This is definitely a fantastic quote and one that if more writers invested in, would either:
I think a real writer will go through all three at varying points in her career.
This is a great go-to when you need that extra support. It also applies well to comedians, song writers, lyricists, and anyone putting out original content.
Sometimes it's hard writing against the current and putting stock in your own identity. This totally affirms that.
--Row
DEAR CHANEL:
This is definitely a fantastic quote and one that if more writers invested in, would either:
#1. Feel more confident in their expressions
#2. Stop writing and live more so they would have enriched expressions
#3. Realize they're not unique at all and stop regurgitating the same crap over and over again and quit
#2. Stop writing and live more so they would have enriched expressions
#3. Realize they're not unique at all and stop regurgitating the same crap over and over again and quit
I think a real writer will go through all three at varying points in her career.
This is a great go-to when you need that extra support. It also applies well to comedians, song writers, lyricists, and anyone putting out original content.
Sometimes it's hard writing against the current and putting stock in your own identity. This totally affirms that.
--Row
Tuesday, February 18, 2014
Success Is Proximity - #9
DEAR CHANEL:
I was watching one of my favorite shows – Shark Tank and this one entrepreneur said –
“To build wealth it’s all about proximity, you hang around four broke people… you’ll be the fifth. You hang around even just one billionaire that proximity can impact your life.”
Which brings me to my letter topic of today and it’s about calibrating skill set and occupational goals. While my artistic career isn’t necessarily quantifiable like wealth/money are – the growth rules still apply and it all has to do with looking for work in the right wheelhouse with the right trajectory and timeline.
The difference between a goal and a dream is that a goal has a timeline, so what’s my or I suppose OUR timeline for our careers? How does that work with writing? If writing is rewriting and if you’re a writer you’re a writer because you like to write and you write everyday and keep honing in on your craft whether or not you sell... Then how does this timeline/deadline target work for a goal such as ours?
I suppose that is the major question…
Maybe that’s why you and I are together writing this blog and sharing this experience with each other and all those that decide they want to read and share in this journey with us.
I was watching one of my favorite shows – Shark Tank and this one entrepreneur said –
“To build wealth it’s all about proximity, you hang around four broke people… you’ll be the fifth. You hang around even just one billionaire that proximity can impact your life.”
Which brings me to my letter topic of today and it’s about calibrating skill set and occupational goals. While my artistic career isn’t necessarily quantifiable like wealth/money are – the growth rules still apply and it all has to do with looking for work in the right wheelhouse with the right trajectory and timeline.
The difference between a goal and a dream is that a goal has a timeline, so what’s my or I suppose OUR timeline for our careers? How does that work with writing? If writing is rewriting and if you’re a writer you’re a writer because you like to write and you write everyday and keep honing in on your craft whether or not you sell... Then how does this timeline/deadline target work for a goal such as ours?
I suppose that is the major question…
Maybe that’s why you and I are together writing this blog and sharing this experience with each other and all those that decide they want to read and share in this journey with us.
Back to the grind,
--Row
_________________________________________________________________
_________________________________________________________________
DEAR ROW:
I could not have said it better: Dreams are
goals without a timeline. Nicely put. But I do believe writers can have a
timeline. I’m a fan of baby accomplishments:
Accomplishment #1: obtain an MFA – you can check that off
Accomplishment #2: move to Los Angeles – ditto
Accomplishment #3: get an internship – ditto
Accomplishment #4: and a start-up directing gig – ditto
You have a working timeline. And you’re moving and shaking. Writers have timelines. Sometimes it’s internal, and sometimes it’s the deadlines we give ourselves and post on walls. And other times it's the deadlines given to us externally. Regardless, give yourself your own timeline. We can only plan so much of what happens outside of our writing caves, but we can plan how productive we are within our caves.
But I really do feel you have the rest covered...
Write me back,
Chanel Accomplishment #1: obtain an MFA – you can check that off
Accomplishment #2: move to Los Angeles – ditto
Accomplishment #3: get an internship – ditto
Accomplishment #4: and a start-up directing gig – ditto
You have a working timeline. And you’re moving and shaking. Writers have timelines. Sometimes it’s internal, and sometimes it’s the deadlines we give ourselves and post on walls. And other times it's the deadlines given to us externally. Regardless, give yourself your own timeline. We can only plan so much of what happens outside of our writing caves, but we can plan how productive we are within our caves.
But I really do feel you have the rest covered...
Write me back,
Subscribe to:
Posts (Atom)