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ChiTownScreenwriting with Kat O'Brien Issue #10 | Chad B. Anderson On Starting & Sustaining Writers' Groups

ChiTownScreenwriting
Welcome back to ChiTown Screenwriting with Kat O'Brien!
In this week’s issue:
  • Chad B. Anderson On Starting & Sustaining Writers’ Groups
  • Tips and Tricks: Indie Film Hacks
  • Workshops and Events: Indie Budgets and Writers Rooms
  • Spotlight: Bullsh!t Alert - the Podcast

Kat's Notes
Big thank you last week’s guest contributor Maegan Poland, fiction writer and professor at Drexel University, whose debut short story collection What Makes You Think You’re Awake? was released June 1 by Blair Publishers. You can get your copy here.
Last week, Maegan’s advice explored being fearless in our creative work by demystifying some of the more opaque processes behind getting our work out there in an effort to make getting published and produced more accessible. The secret? Finding time, confidence, and support.
Inside this issue, industry insiders share what’s working for them. This week’s guest contributor, fiction writer and editor Chad B. Anderson, has helped inspire and shape our new Conversations with… series for ChiTown Screenwriting and discusses the importance of writers’ groups as a critical support for any professional writer building their network to connect to opportunities to get their work ready to show.
Our snackable reads include tips and tricks, workshops and events, centered on indie filmmaking hacks, and going inside the writers’ room, as well as a spotlight on a new comedy podcast to add to your playlist.
I’ve also opened our call for submissions to publish, produce, or promote your work or upcoming projects in this newsletter. Scroll to the end to find out all the ways we’re trying to optimize this newsletter to create opportunities for its subscribers. Thanks for connecting & engaging.
Conversation with Chad B. Anderson
On Starting & Sustaining Writers’ Groups
I’m excited to experiment with a new format for ChiTown Screenwriting’s Advice On Writing & Creating: Conversations With… writers, directors, producers, creators.
First up: Chad B. Anderson has published fiction in Salamander Review, Black Warrior Review, Nimrod International Journal, The Best American Short Stories 2017, Clockhouse, and Burrow Press Review, and he has been nominated for the Pushcart Prize. He has been a resident at the Ledig House International Writers’ Colony and was the Winter 2018-2019 writer-in-residence at the Kerouac House in Orlando. Born and raised in Virginia’s Shenandoah Valley, he earned his B.A. from University of Virginia and his M.F.A. in creative writing from Indiana University, where he served as fiction editor for Indiana Review. Currently, he splits his time between Michigan, and Washington, D.C.
As we transition to the post-pandemic reopening of our world, I know a lot of writers – myself included– find themselves navigating how to stay connected to the virtual communities they’ve built during this time, and how to connect to new ones that support creative work/life priorities that may have shifted for us over the course of the past year.
In my Conversation with Chad B. Anderson, we discuss the importance of maintaining a community and network of writers – how to start and sustain writers’ groups, and how to recognize when they’re not really supporting you. We also unpack strategies for writers across literary and cinematic disciplines on getting the most out of collaborative working sessions.
Chad B. Anderson is a writer and editor currently working on a novel.
Chad B. Anderson is a writer and editor currently working on a novel.
Chad is currently working on a novel-in-stories, with each story or chapter following a different member of a Black family across three generations, of which his short story “Maidencane,” which was in The Best American Stories 2017, is a part.
K.O. So, what types of writing groups are you in / have you been in? 
C.B.A. Besides my MFA workshop, I’ve been in either self-started, informal writing working groups with friends, colleagues, and friends of friends, or writing groups organized by a local community organization, such as the D.C. Public Library’s wonderful D.C. Writes group or the Writer’s Center in Bethesda, Maryland.
K.O. How did you start one, or figure out how to join one? 
C.B.A. The answer remains the same, whether I start or join one. When a creative project is “haunting” me, itching to get out, but I struggle to start or even finish it because of external factors—work, home and family obligations, social life—or just my own insecurity or lethargy, that’s when I personally find it helpful to join or start a writing group. Not everyone operates this way, but there’s nothing like the fear of potentially disappointing other people by not showing up or not submitting your story to get you to finish. My mother taught me to never show up anywhere empty-handed, so showing up to a writing group without a story to share feels like a faux pas. And if you start the writing group, you feel even more obligated to get that creative work done. Generally, I start a writing group by finding one other writer friend who’s interested, and then we put out feelers in our separate social networks to find others who might be a good fit. Make it clear when you’re sending emails or posting on social media that you’re looking for serious writers who will be reliable and considerate.
K.O. How do you build trust with the other writers reading your work? How do you determine what feedback is helpful? 
C.B.A. Be honest about your limitations, gaps in literary knowledge, genre or style preferences, etc. You may not be their best reader, and that’s okay. Let people know the kinds of stories you gravitate toward and the kind you don’t. But be open to trying out new spaces, genres, and narratives – that’s key to being a good reader and writer. While you may not be a big sci-fi reader, for instance, that doesn’t mean you won’t have useful feedback about the development of character or setting, point of view, or issues of clarity and style. At the end of the day, a story is a story, whether it’s a family saga set in Cleveland or a futuristic conflict on a planet far, far away.
K.O. Has it ever been hard for you to sustain your connection to a writers’ group? What are some of the challenges you’ve worked through in this process?
C.B.A. For me, it’s about personal connection. If I can appreciate the group’s members both as writers and as people, that’s a group that’s sustainable. And people have to be just as committed as you are. No matter how busy, they’re willing to show up and read your story eagerly and offer feedback that’s thoughtful. With any group, I recommend creating space to chat about life—what you’re reading, where you’re traveling, what’s happening with your pets, spouses, friends, what you’ve accomplished and what you’ve lost. You don’t have to overshare or be the very best of friends, but if you can’t laugh together, if you can’t share a little about your life, then sharing your writing will feel merely transactional, and that’s not sustainable because people are busy, and they won’t have the incentive to invest in your work. People are more willing to read your messiest of drafts if they care about you outside of what you put on a page.
K.O. What advice would you give other writers about how to start, join, or sustain their commitment to a writers’ group? At what stage(s) of one’s career is it most beneficial and why? Is it okay to join and leave? How do you know when it’s not working for you?
C.B.A. It’s time to bow out of a writing group if 1) it’s no longer serving you, challenging you, or helping you to move forward with your work; 2) or if you no longer have the bandwidth to contribute meaningfully to the group. The latter happened with me with a couple writing groups I was in recently. I loved both—including DC Writes (shout out to an incredibly diverse, passionate, dedicated group)—but between an increasingly demanding day job, some minor but persistent health challenges, and an impending move, I just couldn’t keep up or give the groups—let alone my own writing—the attention they deserved. And while it sucks, that’s okay. I’d rather bow out than to offer half-assed feedback or only show up when it’s my turn to be workshopped.
C.B.A. What do you think of workshops where the writers may be exploring different literary or cinematic classifications, types, genres – people writing short stories, screen plays, nonfiction, etc? What are ways to make these work and feel productive?
K.O. I love workshops like this because I find it can help us stay creatively fresh, and compels us to think outside the parameters of the conventions we may be used to upholding in our work – especially if we’re used to working in one literary or cinematic classification – the novel or novella, short fiction, poetry, pilot or feature, essay and article and documentary. But storytelling is storytelling and getting outside your typical genre, or intended platform for distribution can be so creatively liberating.
I find these workshops to be most productive when the goal is to explore the artistic intent of the piece —and not so much the conventions of the classification. To ensure everyone’s on the same page for a productive working session, I think it’s essential that the writers “in the room” are comfortable with this sort of creative agility, and they need to have confidence in their own ability to apply their experience, expertise, and skillset to a genre or type of writing with which they may lack some familiarity. So, the key to ensuring we all get the most out of these workshops is to group ourselves with others that are comfortable taking creative risks, and understand how to openly/playfully apply what we know about the conventions and values of our wheelhouse genre, type, classification, and intended platform conventions to support the artistic intentions of the writer whose piece we’re workshopping together.
K.O. What have you found to be most supportive – either broadly to your artistic growth, or narrowly to your editing process of a specific piece in this type of workshop setting?
C.B.A. I think it’s most helpful when a reader brings their authentic self (forgive the cliché) to my work. Comments on craft—structure, character development, dialogue, pacing—are always wanted and appreciated, but some of my best breakthroughs and useful feedback have been when someone highlights a cultural or historical reference or phrase that they didn’t understand, or that they did understand, and it resonated with them. For example, as a Black writer from rural Virginia, my characters often reflect my background and experiences, and so it’s useful to know when their perspectives, ways of speaking, customs, etc. come across as clear, relatable, familiar, strange, distracting, confusing, or eye-opening to my readers. Some of the most interesting moments in workshop are when readers of different racial or cultural backgrounds interpret something from my or a colleague’s work completely differently. For instance, how Black parents and their children interact, especially in historical settings, may seem completely normal and relatable to Black or even white Southern readers, while it may be surprising to others. And it’s my job as a writer to know whether the confusion or discomfort that readers experience is useful and serves the story or whether it distracts and detracts from it.
C.B.A. What advice do you have for writers exploring other literary and cinematic disciplines? … For a writer who may be interested in, say, fiction but who might be interested in breaking into screenwriting?
K.O. My best advice to writers who tend to write fiction and want to break into writing for screen is to remember that screenwriting is a blueprint for a film. So, while I personally value the craft and art form for its literary qualities in the writing process—not everyone views it that way. Voice and sophisticated word choice matters—but not as much as economy of storytelling. I would recommend reading screenplays for movies and shows you know and love (and there are so many sites with free scripts available), and watching how they’re translated to screen so you can see just how barebones the writing on the page might be at times—and understand how much more other collaborators on the film/show (the director, the actors, and all the various departments) bring to the process. There’s a lot that you don’t have to say.
K.O. What advice do you have for people who write for film and television, but who may be interested in breaking into writing literary or genre fiction – short stories, novels, or novellas?
C.B.A. Many of the skills one learns from screenwriting – showing not telling, economical storytelling (especially for short fiction and poetry), compelling imagery—are essential to writing any good piece of fiction. But fiction also provides an opportunity to sometimes shrug off the “sparseness” of the script and 1) play with language and 2) offer even more interiority and complexity for your characters and the world in which they inhabit. Regarding language, if it’s not fun and compelling for a reader, they aren’t going to want to read it. Think of words or language as the same as angle and light and color in a film. If a film is messily done, no one is going to want to watch, no matter how interesting the story is. Same with a novel or story, if there’s no attention paid to the language, people will tune out. And to the second point, fiction allows the writer more flexibility to go deeper into a character’s psyche and motivations. You can have pages of beautiful rumination and inner conflict that just wouldn’t work in a film when a character reflects on their life while sitting on their couch or talks out their problems with a friend. There can be beauty found in the meandering narrative—as long as it enriches a character or plot. Also, while action is important to fiction writing as it is to screenwriting, merely watching a character act sometimes isn’t enough in a story if their motives aren’t clear. In fiction you can get as close (i.e., first person narrative) or far (objective third person narrative) from a character’s perspective as you need, move back and forth in time in a sentence, evoke smell and taste and touch in ways that a film just can’t because its such a visual medium. And it’s important to remember that you describe your setting and characters clearly, vividly, and consistently throughout your work so that readers can properly visualize them as they will have to imagine them rather than have those people and places already painted and presented to them on the screen.
K.O. Do you have any advice to share with writers navigating getting their work seen by the right people at the right time, and getting published?
C.B.A. My very good friend Ellie once told me, years ago, that “Nothing is wasted.” She was talking about time, experiences, and relationships, because we learn and grow from them, but I think that’s the truth for writing. You will have drafts that will be miserable and that you’ll never want anyone to see. Or, you’ll have drafts you want everyone to see but no one will want to. That’s okay. There is a grace and a bravery in letting things go. But DO NOT throw anything away or delete anything. Keep it. Because I’ve returned to stories that I thought were irredeemable after months or even years away from them, and because of time or experience or age, I discovered that I knew just how to strengthen them. Or I just could see anew its value or relevance in the current cultural moment. In fact, every story I’ve published falls into one of those categories. I wrote a story and didn’t know what to do with it, didn’t think was worth sending out, or it was rejected enough that I gave up for a while. But one quiet, curious day, I opened that story up, dusted it off, and saw more clearly its holes or snags and somehow identified a solution that I hadn’t had when I worked on it originally. Another friend of mine, Danny Nguyen, an incredible writer based in San Francisco, once said, “Make your old stories work for you.” You may not publish them exactly as you once imagined. Maybe there’s only a paragraph worth salvaging, or maybe it just needs to hibernate for a time, but there’s a reason you wrote that story in the first place, so give it time, remember nothing is wasted, and when you’re ready, return to it and see how that story can work for you.
On My Feed: Tips & Tricks
Speaking of virtual communities… in April, when I launched this newsletter, I had just taken a deeper dive into screenwriter twitter – thanks to several of my former students turned colleagues and friends! Love when that happens! That’s how we create access to opportunities and make everyone else around us happen, too! – And I’m finding that it’s the perfect balance of choose-your-own-bandwidth-engagement opportunities for my frenetic-paced juggle-struggle lifestyle.
This was a good week for indie filmmaking hacks and advice from around the internet. Several of my friends in the indie filmmaking community were boosting and sharing smart tips for getting it done – for less.
Especially love these tips boosted by Dan Mirvish, indie film guru and co-founder of Slamdance. Read about the making of his latest film, 18 ½: a master class in crowdfunding and making a (period historical!) movie (during the pandemic!). The 18 ½ team has successfully raised funds to finish the film (congrats!), but are still crowdfunding (donate here) to cover costs connected to marketing & distro. Dan always offers a fun array of backer perks, including end credits (through this week!), IMDB credits, a sourdough, or cinnamon roll… and all backers will get a discount code for the 2nd Edition of Dan’s book, The Cheerful Subversive’s Guide to Independent Filmmaking, coming out July 6th.
Check out this rabbit hole of tweets diving into #indie #hacks:
  • manifesting your goals, self promotion, asking for help,
  • connecting to create opportunities, to your community,
  • stretching budget dollars on set,
  • great roundup of all the fests/labs/fellowships this year,
  • get organized and inspired by opportunities to get out there!
  • Thank you Dan Mirvish, Liz Manashil, Lucas McNelly, Sujewa Ekanayake, Ted Hope and Lauri Donahue!
Kat O'Brien
#Thursday #Thread today is a recap of some great #indiefilm #tips shared recently by @DanMirvish whose film career, tips, tricks, and strategies have been an inspo to me for years. Thanks Dan, and thanks to all your cool AF friends for sharing below! 👀#Craft 🧵 within 🧵💯
Kat O'Brien
Check out this mini 🧵on what @lmcnelly found inspiring listening to @DanMirvish on @LizManashil's podcast: https://t.co/QGHOeBZi3Y
Lucas McNelly
Yesterday I was listening to @DanMirvish on @LizManashil's podcast and said the best advice he ever got was to tell people you're making a movie and just start the ball rolling.

And since my entire film career happens on Twitter, I might as well do it here.
Lucas McNelly
This summer I'm making a micro-budget noir about a woman who finds a LOT of money in the walls of a house she just inherited and - SPOILER ALERT - turns out that other people want it back.
Lucas McNelly
The plan is to crowdfund it (obviously) and shoot late August/early September in Maine. I have some people lined up already, but will definitely need more.

PRO: Fun set. Summer in Maine. Lobster.

CON: Low pay. Ticks.

If you're interested in being involved, let me know.
Lucas McNelly
And now it's out in the world.
Lucas McNelly
Wouldn't you just HATE to make a movie here?

(photo doesn't include the new brewery) https://t.co/ldtGfPJblp
MidCoast Maine Series: Odd Alewives Farm Brewery
MidCoast Maine Series: Odd Alewives Farm Brewery
Sujewa, The Secret Society For Slow Romance (2021)
2 - At least one cast & crew (2 people) meal during each shoot day also doubled as an eating scene filmed for the movie. indie filmmaking secrets! :)
Sujewa, The Secret Society For Slow Romance (2021)
1 - Had a long podcast discussion w/ @KICKSEAT for the latest ep of The Slowdown - should be out early-mid this week. We talked about recent US indie film history, mumblecore film movement, Swanberg's career and All the Light in the Sky (we both like the movie), film critics...
Sujewa, The Secret Society For Slow Romance (2021)
@uknowKatOBrien - we talked a bit about Chicago indie film on this ep. Chicago indie filmmakers can contact @KICKSEAT or me and let us know about their work so we can perhaps include them in future podcast eps.
Dan Mirvish
This seems like an amazing list for #screenwriting labs, workshops, etc. https://t.co/Do5KsTqyMq
Ted Hope
I was musing on FB about wanting to be able to
sign up for an autofill of our calendars of
film festival deadlines, grant application deadlines, award submission & announcement deadlines, & the like.
Lauri Donahue kindly shared this:
https://t.co/SUejAbZUVM
On My Calendar: Writing Workshops & Events
If you’re zoomed out, you can still sign up to attend many virtual events and get the video recording later. We are in a unique time for unprecedented virtual access to amazing workshops and opportunities to continue to learn and engage as a community of content creators and collaborators. Thanks to my creative partner Tamika J. Spaulding @tjmadeafunny for curating this wonderful list for us!
  • WeScreenplay
  • TODAY Monday, 6/14 @ 11 am PT
  • Alliance of Women Directors & Seed and Spark
  • TODAY Monday, 6/14 @ 5 pm CT
  • Writers Guild Foundation
  • Tuesday, 6/15 @ 4pm PT
  • Writers Guild Foundation
  • Wednesday, 6/16 @ 4pm PT
  • A panel discussion and Q&A about the critically-acclaimed docuseries, SEDUCED: INSIDE THE NXIVM CULT
  • Women in Film & STARZ
  • Wednesday, 6/16 @ 5:30 pm PT
  • A panel discussion and Q&A on Hacks
  • Women in Film & HBOmax
  • Wednesday, 6/16 @ 7:00 pm PT
Writers' Spotlight: Someone You Should Know
Bullsh!t Alert originated as a stage show that ran from 2018-2019 at Judy’s Beat Lounge at The Second City. Based on a love of British Panel TV Shows, college friends Lily Herman and Danny Marshall had an idea to bring a new kind of live show to Chicago. 
Produced by Danny and Stephen Carter, Bullsh!t Alert was a team game featuring Danny Marshall as host, two captains and four guests from the greater Chicago comedy community. Guests included teachers, producers, writers, improvisors, directors, and even the creator of The Onion. 
After more than a year off, Lily, Danny, and Stephen wanted to bring Bullsh!t Alert back. Given the global circumstances, remotely producing a podcast made the most sense. That’s when they reached out to one of the first guests of the show and longtime writer and improvisor, Jeff Griggs, to take the hosting reins and bring a new perspective to the show. 
Each week, guests will join the show to compete with Danny and Lily to earn Jeff’s trust and points. The first episode premieres Tuesday, June 15th, on Spotify, Apple, and anywhere else you can find podcasts.
For episodes and more info, Like Bullsh!t Alert on Facebook and follow them on Twitter and Instagram: @bullshtalert
Connect & Contribute to #chitownscreenwriting
Writers and creators, in Chicago and around the world, please share ChiTown Screenwriting with anyone you think might enjoy it, and be sure to let us know how ChiTown Screenwriting can uplift or support you and your projects. As we continue to build community + opportunity, I’m actively seeking to hand the feature reins over to other voices besides my own. I got this party started, you can find me at the bar/on the dance floor, I want to put *you* in the spotlight/center stage!
Upcoming Issues | Call for submissions!
We’re looking for feature essays, random thoughts, creative pieces, images and/or videos exploring the following topics:
Ongoing Call for Submissions!
As this grassroots movement finds its voice and expands our reach, we’ll continue to solicit content contributions in the areas of:
  • advice on writing and creating
  • tips and tricks on twitter (tag me @uknowkatobrien if you got some!)
  • wisdom, think: self care, mindfulness, changemaking and more
  • workshops and events to continue our professional development, and foster opportunities for connection, and collaboration
  • as well as writers and creators you should know
  • cool projects launching that we should spotlight
Who’s someone that I should know, ChiTown Screenwriting creators? Ping me @uknowkatobrien.
If you enjoyed this, or have writing/creative life questions I can unpack and answer, or are looking for support to promote your work and projects, reach out and let me know? And please share widely! #grassroots #letsgo
Thanks for reading, and see you next week #chitownscreenwriting!
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Kat O'Brien
Kat O'Brien @uknowKatOBrien

ChiTown Screenwriting is a movement, a mindset, and a publication that I write and edit. We're building community by connecting creative collaborators to opportunities.

Each issue features advice on writing and creating, tips & tricks, wit & wisdom, workshops & events, and spotlights on artists you should know. Within those formats, we're sharing and unpacking strategies to navigate the business, as well as writing prompts and lessons in the art and craft of screenwriting to navigate professional development in the creative process.

As a screenwriter, producer, and changemaker with over 20 years experience in the film industry based in Los Angeles, and connected around the world, I'm here to share my own experiences as well as curated content in the form of wisdom and resources through conversations with my creative partners and collaborators, as well as special guest contributors from the ChiTown Screenwriting Community, and other inspirations throughout the twitterverse. I'm also a professor, wife, and mom and am always discovering new ways to find balance and sustain my creative goals and am excited to share that with you! 

Whether you're in Chicago or just love the ChiTown collaborator mindset (good peeps, generous support!), join us to connect to a community of creatives seizing opportunities to sustain their dreams, and support their professional/personal work/life goals. 

ChiTown Screenwriting is a local community that will welcome you when you visit to work or play in the City of Big Shoulders, with international reach, breadth, and depth of perspective. 

Join us to support fellow writers and creatives at all stages of their professional career, and to cultivate a critical discourse around the cultural relevance and future of independent storytelling.

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