As the season of giving begins and a new year approaches, Sundress Publications and the Sundress Academy for the Arts (SAFTA) are raising money to build a creative platform for the LGBTQ+ community of Knoxville, Tennessee.
Now in its fourth year, OUTSpoken is a program from the Sundress Academy for the Arts that will take place through 2017. We seek to create a space in which local communities can record and perform the experiences of sex- and gender-diverse individuals in the South.
Our goal is to raise $1,000 to cover the cost of workshops, event and rehearsal space, promotional materials, and more. It is our goal to make the entire event free to participants and audience members this year. All donations are tax-deductible.
OUTSpoken begins with a series of writing workshops in January, February, and March, where community members will develop their experiences into poems, monologues, narratives, or other literary forms. These pieces are then revised and eventually performed in a staged reading. Participants will have the option of working with actors to bring their writing to life or of performing their writing themselves. The three-month workshop series, followed by a showcase of personal work, unites the community through art and expression.
As the LGBTQ+ community faces a nation divided and charged by politics, we believe it is more important than ever to build a space where all are welcomed, accepted, and celebrated. To learn more about the OUTSpoken program and campaign, visit generosity.com/community-fundraising/outspoken-needs-your-help. All donations are tax-deductible.
OUTSpoken is an exciting new program from the Sundress Academy for the Arts (SAFTA) that aims to amplify the experiences of the LGBTQ community of Knoxville, TN. By creating a platform for sex- and gender-diverse individuals in the South where they can share and perform their experiences, the program is able bring understanding into the entire community and unite them with art.
LGBTQ writers from all over the country can submit a wide range of work to OUTSpoken, including poetry, nonfiction, spoken word, and video submissions of a monologue, dramatic piece, or film. Writers can submit up to three poems, 1,200 words of prose, or five minutes worth of performance or film clips. Winners will receive publication in Stirring: A Literary Collection and free admission to the June, 2016 OUTSpoken performance in Knoxville. All submissions should be sent with third-person bio to firstname.lastname@example.org by March 31, 2016.
The OUTSpoken performance will also include creative work developed as part of our three-month workshop series, which began in January and continues through March. These workshop participants have the opportunity to participate in the staged reading in June, showcasing their work personal work.
As LGBTQ issues gain greater visibility, it is crucial that we explore the complexities of sex and gender diversity respectfully. In order to create a meaningful dialogue, we must acknowledge and listen to the stories, experiences, grievances, arguments, and counterarguments of all sex- and gender-diverse persons.It is our sincerest hope that this project will illuminate the struggles of Southern LGBTQ persons and celebrate sex and gender diversity in East Tennessee and beyond.
How do you move from being a writer in the corner to a writer at the table? Writing may happen in solitude, but careers are built on community. This panel will explore how to create accessible writing communities—particularly among marginalized, underserved and non-traditional writers—where members provide feedback and share information about craft, publication, and more. Panelists will discuss existing resources for developing platforms and cultivating support in real and virtual communities.
How do writers find communities for peer support, mentorship, and inspiration, especially if they face geographical, social, or cultural barriers? This panel will provide vital information about how to build such connections through virtual learning, social movements, local writing groups, and online platforms. Panelists include prose writers, poets, playwrights, and screenwriters who have made it their mission to build communities that are inclusive, dynamic, and responsive to their members.
Tell me briefly how you came to writing.
Shaula Evans: I was an early and voracious reader. I wrote plays that my neighbourhood friends performed on the stage my father built in our basement. My brother and I also made up horror stories and recorded them on a cassette player; we’d play them back in the dark and scare ourselves to death. I had a disheartening experience with a university creative writing class that turned me off creative writing for many years, but I came back to creative writing as the house writer for a theatre group and I’ve been writing in a range of forms and styles ever since. When I lived in Japan, I was editor-in-chief for three monthly journals (in English, Japanese, and Portuguese) and wrote non-fiction for a number of publications, which was my start in post-academic non-fiction writing and editing.
Ashley C. Ford: I’ve always loved storytelling, and for a long time I assumed I would go into acting. It wasn’t until my Sophomore year of college that I realized I could give this writing thing a shot. I was quite content once I changed my major to English, but when I took my first class for creative nonfiction, I fell in love.
Colette Sartor: I came to writing as an adult looking for a way out of an ill-chosen career as an entertainment lawyer. While I was still practicing law, I took classes at UCLA Extension Writers’ Program and at USC’s MPW program. I finally realized that I wouldn’t take writing seriously until I left law altogether. Once I quit, I spent a year writing, taking classes, and applying to graduate school, and then spent two years at the Iowa Writers’ Workshop completing my MFA. It was only in graduate school, though, surrounded by a community of writers who took themselves seriously and who were as in love with the written word as I was, that I started calling myself a writer.
Leigh Stein: At 19, I moved to New York City to go to acting school, and instead of getting close to the other students in my program, I spent a lot of time alone in my dorm room posting stories and poems to my LiveJournal. I had my first short story published that year and realized that I could pursue this other thing I loved (writing).
Tell me about a specific community that has been critically important to you along the way.
Shaula Evans: I am deeply indebted to Francis Ford Coppola for the Zoetrope.com website he launched in 1998, which hosted a vibrant and dynamic community of screenwriters, poets, and short story and flash fiction writers. I was an active member in the early days of the site where I had the opportunity to learn from incredibly talented people. Those years were highly prolific for me, in no small part because of the stimulation and feeling of momentum that came from being around people passionate about writing.
Ashley C. Ford: The community of writers I’ve met and made online have been essential to any success I’ve had as a writer. I met my mentor, Roxane Gay, online in 2010. Since then, I’ve been building community as authentically as I can, and trying to be as supportive as they are to me.
Colette Sartor: Both UCLA Extension Writers’ Program and The Iowa Writers’ Workshop have been essential to my development as a writer. As a student at UCLA Extension, I worked with gifted teachers who encouraged me and supported my decision to attend grad school. I also met lifelong friends with whom I formed a writers’ group that still meets today.
It was at Iowa, though, where I started thinking of myself as a writer. The beauty of being in an MFA program is that you become part of a community where people live, breathe, and talk writing. We compared ass-in-the-chair time. We read each other’s work and argued passionately over whether our characters were believable enough, real enough, driven enough by desire. Plus, many of the people I met in grad school became lifelong friends, the way my UCLA Extension friends did.
And writer friends are an essential part of being a writer. The actual act of writing may be a solitary endeavor, but on every other level, writing can be a communal experience. I rely on my community of writers—whether from UCLA Extension, Iowa, my UCLA Extension writers’ group or my writers’ group formed by women who attended my college—for advice, support, honest criticism of my writing. I can bounce ideas off these friends, read them rough drafts and cover letters, and I know I will get honest yet supportive responses based both on the work on the page and my vision for what I want that work to become.
Leigh Stein: I found a really supportive community on LiveJournal in the early aughts, and some of the people I met there are still my close friends today. More broadly, the Internet has always been the place where I go to find community: from LiveJournal to Facebook (I administrate a private group of over 30,000 women writers) to Twitter. I’m a high school drop out without an MFA. I would not have been able to write three books without the community I’ve found on the Internet over the last 11 or 12 years I’ve been pursuing writing seriously.
The word community implies a symbiotic relationship; there is as much give as take. While you gained a lot from community as a writer, you’ve moved on to create opportunities for others to access support, mentorship, inspiration, and connection. Tell me about that.
Shaula Evans: I have run two workshops within the Zoetrope site (in the private office area): a creative writing workshop for writers in different media to discuss craft and play writing games (for over 10 years); and a comedy workshop that explores the theory and practice of writing comedy (for over 5 years). In 2012 I launched a public forum for film, TV, and comedy sketch writers called The Black Board which ran for two years. My current website, ShaulaEvans.com, offers support and inspiration to writers—I have plans to expand it to build on some of the features of my previous projects but for the moment I’m too busy with my own writing, a good kind of problem to have. The focus of all my community-building efforts is to create safe and inclusive creative spaces.
Ashley C. Ford: Sometimes I’m simply enthusiastically supportive of the work those in my community put out, sometimes when I have to turn down work I direct it their way, and sometimes it’s just late night gchats about what’s hard, what’s good, and what we hope for our futures. Most of being a good community-member is the same as being a good friend.
Colette Sartor: I’ve benefited so much from being part of numerous writing communities: UCLA Extension, Iowa, my private writing students, the various writing groups that I’ve sought out. I wouldn’t be able to write without my community. My writer friends give me honest, brilliant feedback that bolsters me and inspires me to work harder, write better. My writer friends and students alike inspire me with their brilliance and thoughtfulness and willingness to bare themselves for the sake of their work.
I try to give back as much as possible by meeting with students and friends to discuss their options in pursuing their writing dreams: Do they go to graduate school or stay in Los Angeles and build a community of writers here? How can they meet other writers? What writing communities exists here? I’m constantly emailing students about readings to attend, new magazines to check out, podcasts to listen to, books to read. I plaster my social media accounts with links to inspirational articles and essays about craft and literary life. I’ve created a Writers’ Resources page on my website where I list links to online writing communities as well as links to posts about craft, publication, and blogging. And I’m always willing to write recommendations for friends and students whose work I know well. I wouldn’t have gone to graduate school without the encouragement and recommendations of some very generous teachers and mentors. I want to do the same for other people who are looking to expand their own writing communities and advance their own craft.
Leigh Stein: In 2014, I was so inspired by the online community of women writers of which I was a member that I had the idea to organize a conference, so we could connect face-to-face. This idea became Out of the Binders, a 501c3 dedicated to increasing the diversity of voices in the media and literary arts, and BinderCon, our semiannual, bicoastal professional development conference. I co-direct the organization with Lux Alptraum, and we oversee a team of about 30 volunteers across the country. Organizing BinderCon has been one of the most challenging and rewarding experiences of my life.
What are some potential pitfalls or drawbacks of writing communities?
Shaula Evans: Some of the major pitfalls I’ve encountered include:
1. (Lack of) Moderation
Whether a writing community convenes on- or offline, it is imperative to establish a healthy culture where no one is bullied and writers feel safe to take creative risks. Good communities don’t happen by accident. It takes a great deal of work, conscious decision-making and social engineering to make a community feel welcoming—and most of that work should be invisible to the community at large.
2. Social Pressure
I’ve witnessed a number of workshop-oriented communities where there was social pressure to write in a certain way. Some specific examples:
– Pressuring writers who are not white, cis, het, male, etc., to write in a way that conforms to the expectations of members of the local dominant culture, rather than writing in their own voices and writing from their own experiences.
– Subtle encouragement or rewards for writing to please the subjective tastes of a workshop leader or workshop regulars—i.e. writing for short term peer popularity vs writing to grow or excel in one’s own voice.
– An unchecked herd instinct to mimic the style of a popular member.
The unifying theme is the problem of one or more people imposing their own writing views and preferences on other writers. Going back to #1 above, good hosting or moderation are one of the critical strategies for making sure this sort of problem doesn’t happen.
3. Gaming the (Formal) System
I have belonged to a number of writing communities that had formal review systems, where participants had to write a certain number of reviews before they could submit their work for revision. The problem with setting up formal systems is that they inherently incentivize certain behaviours; in the case of formal review systems, some writers will feel they come out “ahead” by writing the bare minimum review in order to earn their submission opportunity, which shortchanges both the reviewer and the writer whose work is being reviewed.
Good moderation can mitigate this problem, but my preferred solution is not to set up formal systems at all. (Avoiding formal review systems may run into problems of scalability for larger communities but can work well for small- and medium-sized groups.)
Ashley C. Ford: Every once in a while, there’s someone in the community who feels like competition is more satisfying than being empowering of their fellow community-members. Those are usually people who only know how to be motivated by competition, which isn’t necessarily a bad thing, as long as it doesn’t keep you from celebrating your community’s wins. If you can’t do that—bring yourself to be genuinely happy for someone else’s success—it’s hard to be a healthy member of that community.
Colette Sartor: There’s always the danger of conformity. I don’t believe that MFA programs necessarily encourage or even demand that students produce a generic kind of writing. That’s something of a myth people like to pull out when bashing degree programs. In fact, I found that my fellow grad school colleagues produced a glorious array of writing styles and stories, each with unique, identifiable voices that they maintain to this day. It’s the same with my students, both from UCLA and in my private classes: these students come in with a spark, a viewpoint that is uniquely theirs. It’s my job to nurture and encourage that individual voice, not to conform it to my vision of what fiction should be.
The danger of conformity that I’m thinking about is more individual in nature, one that I’ve encountered and succumbed to myself. When you immerse yourself in a community of writers, particularly in a writing group, you find yourself tempted to produce writing pleasing to that particular group of people, whose opinions you so value and whose praise you grow to crave. It’s human nature, to want to please those you’re close to; however, that need to please can encroach on your writerly vision, stilt your voice in an unnatural way. When I first started writing and didn’t have a great deal of confidence in my own voice or in my ability to tell stories worth reading, I found myself trying to write pretty, flowery metaphors and similes to please my first writers’ group, or to craft happier, more uplifting endings in a story that needed to be darker simply because I knew I’d get a more positive response from my group. My writing suffered for it.
The solution is to take care in building your writing community around you. Trust your writing only with those whose goal is to help everyone in your community realize each individual’s vision of the stories that person’s trying to tell. Even more important, trust yourself to know what’s best for your own work. Listen to criticism with an open yet inquisitive mind: does the person offering critique understand and appreciate your vision? Is that person’s criticism geared toward helping you advance that vision? If so, then listen away, knowing that it’s your job to take whatever criticism you find valuable and incorporate it into your work in a meaningful way that reflects your voice and style.
Leigh Stein: Money! I’m not paid a salary by the organization, but I spend about 20 hours a week administering the Facebook group, organizing events, strategizing marketing opportunities, writing our conference program, booking speakers, etc., etc. It’s obviously a project I’m passionate about, but it’s ironic that I donate so much of my time to helping other women writers advance their careers (and get paid). So much valuable, necessary work in the literary community is being done by collectives and nonprofits, and they need our financial support, not only our high-fives and gratitude. I’m thinking of VIDA, WAM!, the Belladonna poetry collective, and Brooklyn Poets, to name just a few.
What are your top five community resources, especially for writers who face geographical, social, or cultural barriers to access?
Ashley C. Ford:
3. Blogs of writers you enjoy (and the blogs THEY follow)
4. Online writing courses
5. The library
Colette Sartor: Building your own writing community can mean going to graduate school, but that isn’t your only option. You can build your own writing community wherever you live. To do so, you need to meet other writers, both in your own city and around the world. This task is made easier by the numerous online resources and communities for writers. Here are a few:
– Most cities, no matter how small, have a thriving writing culture, if you know where to look. I’m lucky enough to live in Los Angeles, where there are several great reading series (e.g., at Skylight Books, Vroman’s, the Aloud series, the Hammer Museum series), as well as writing classes and seminars. The key is figuring out where the literary “hub” of your city exists. Ploughshares did a great series of articles a while back called Literary Boroughs, which highlighted literary culture in various communities. Also look at libraries and local bookstores for readings by published authors. Writers flock to readings, both for the joy of hearing beautiful work read aloud, and to meet and congregate with other writers.
– Writers’ conferences are a great way to meet other writers and to experiment with being part of a writing community. When I was first thinking about becoming a writer, I attended the Sewanee Writers’ Conference and Squaw Valley Community of Writers. At both conferences, I met writers and authors with whom I still stay in touch. Conferences can be pricey, but most of them offer some kind of financial assistance in the form of fellowships and/or work-study. Poets & Writers offers a great database of conferences and residencies to help you narrow down which conferences might be right for you.
– PEN Center USA offers a wide variety of resources to writers, from onsite, affordable seminars with outstanding writers, to posts and interviews about craft, to programs like the PEN Center Emerging Voices Fellowship that provide new writers without access to writing communities various tools to help them launch writing careers—like mentorship by professional writers, seminars, public readings, classes, and a small stipend for eight months.
– There are vibrant writing schools/communities that have popped up all over the country such as Grub Street, Sackett Street Writers’ Workshop, and The Center for Fiction. Each of them offer classes taught by outstanding professional writers as well as other community components. Some also offer fellowships to facilitate writers in need.
– There are online literary communities like Figment and Fictionaut that offer writers the support of a literary community through discussions and chats, critiquing groups, etc. Many of them are free, or at least have free components. Take care, however, to explore the sites and make sure you’re comfortable with the tone of that particular community. Sometimes the anonymity afforded by online communities can result in negativity that is more easily controlled in onsite communities. And take care about posting work there. Many journals consider your work “published” if you’ve posted it online in a group that isn’t private.
Leigh Stein: The BinderCon scholarship program (we award up to 50 scholarships to each conference, and this fall we offered travel stipends to trans and GNC attendees, through a grant we received from the Esmond Harmsworth Foundation). Also, BinderCon NYC will be livestreamed (free!) for the first time ever, thanks to the Harnisch Foundation. Would also recommend checking out VONA writing workshops for writers of color, WAM! (Women, Action, and the Media) with chapters and events around the country, The OpEd Project seminars, and Hedgebrook (fee-free writing residencies in the Pacific Northwest for women writers).
Lisa Mecham (panel moderator) writes a little bit of everything and her work has appeared or is forthcoming in Mid-American Review, Juked, and BOAAT, among other publications. She serves on the Advisory Board for Origins literary journal and as a Senior Editor for The Scofield. A Midwesterner at heart, Lisa lives in Los Angeles with her two daughters. Online at lisamecham.com and @lmecham.
Shaula Evans (not pictured) is a writer, editor and translator. Born and raised in Canada, and educated in Montreal, France and Japan, she currently resides in New Mexico after spending 6 ½ years traveling around North America in a Mini Cooper. You can find her online at shaulaevans.com and on Twitter at @ShaulaEvans.
Ashley C. Ford (not pictured) is an essayist and editor currently living in Brooklyn via Fort Wayne, IN.
Colette Sartor‘s stories and essays have appeared or are upcoming in Kenyon Review Online, The Chicago Tribune, Colorado Review, Carve, Printers Row Journal, Hello Giggles, The Good Men Project, Slice Magazine, and elsewhere. She teaches at UCLA Extension Writers’ Program as well as privately. Find her colettesartor.com or follow her on Twitter at @colettesartor.
Leigh Stein is the author of the novel The Fallback Plan, a collection of poetry called Dispatch from the Future, and a memoir forthcoming from Blue Rider Press in 2016 called Land of Enchantment. She co-directs the literary nonprofit Out of the Binders.
OUTSpoken is a second-year program from the Sundress Academy for the Arts (SAFTA) that will take place in Summer 2015. Our goal is to create a platform for the LGBTQ+ community of Knoxville, Tennessee, and its surrounding areas to record and perform the experiences of sex- and gender-diverse individuals in the South.
Registration for the OUTSpoken workshop series is now open. On-site participants will be a part of three workshops over the course of three months in order to create, edit, and produce a piece of art to be performed during SAFTA’s OUTSpoken events in Summer 2015. Workshop attendees will work with professionals in performance, prose, and poetry to compose and tell their own stories.
Workshops will be held on January 17th, February 21st, and March 28th, 2015 and run from 1PM to 3PM at the Sundress Academy for the Arts. Cost for the workshop is $25 for one, $45 for two, or $60 for all three. (Participants who attend at least two on-site workshops will be eligible to perform their piece at the OUTSpoken events later in the year.) Scholarship applications are also available on our website.
As LGBTQ issues gain greater visibility, it is crucial that we explore the complexities of sex and gender diversity respectfully. That said, we realize that unity cannot and must not be silent, and that in order to create a meaningful dialogue, we must acknowledge and listen to the stories, experiences, grievances, arguments, and counterarguments of all sex- and gender-diverse persons.
Two weeks after a breathtaking premiere, Adam Crandall, SAFTA’s Performing Arts Assistant, reflects on his experience organizing and producing OutSpoken, his first original production for SAFTA in which members and allies of Knoxville’s LGBTQ community combined to share their unique stories of love, loss, and life.
It’s been about two weeks since SAFTA’s performance of OUTSpoken, and it has taken this long for me to truly grasp what we accomplished through this program. As director, designer, actor, and organizer of this production, I was so absorbed with the technicalities of all the pieces coming together that I never really had the chance to reflect on the completed puzzle.
Before I directed OUTSpoken, I had previously learned a little about the directing process through an All Campus Theatre’s production of Almost, Maine. However, I quickly realized that directing an already established play is very different than building a production from the ground up. With OutSpoken we were constantly adding and changing different scenes as the writers and actors worked on translating written word into performance pieces. It became a completely organic process—one in which I had to sometimes just step back and let develop on its own.
As a member of the Knoxville queer community, June was a very special (and busy) month for me. I performed with the Knoxville Gay Men’s Chorus for the first time at a crowded Bijou Theatre in front of an amazing and positive audience. I then had the opportunity to march in my first Knoxville gay pride parade with my SAFTA family and enjoyed the largest Pridefest the city has ever seen.
After all this celebration, it was then time to share OUTSpoken with the rest of the community. Leading up to the performance on June 28th, I had no idea what to expect. Would all the pieces come together? Would our planned blocking work out in the actual venue? Would anyone even show up to watch us crash and burn?
Luckily, plenty of people showed up and they didn’t have to watch us crash and burn. The amazing performers and crew created a very intimate experience for the audience that I have never witnessed before. That night, the Tennessee Valley Unitarian Universalist Church became a safe place where Knoxville’s LGBTQ community could come together to share their experiences of love, loss, and life. Many times during the evening as I sat on stage as a performer, I forgot I was acting and became lost in the stories being shared—some of which I had never heard until that night.
Throughout my internship with SAFTA—which started way back in January—OUTSpoken has taken many different shapes. Although the end product looked very different than many of our initial ideas, the end goal was always the same: to share the voices of Southern LGBTQ people with the rest of the community. We accomplished our goal.
Adam Crandall is a graduate of the University of Tennessee’s Theatre program, where he was involved with both Clarence Brown Theatre productions as well as student productions with All Campus Theatre, including his directorial debut Almost, Maine. He serves as the Director of Theatrical Arts at SAFTA.
Rehearsing the piece “Singing Blue/Straight Girls”, (from left to right) Sean Madison Kelley, Amber Autry, and Molly Kessler, with dir. Adam Crandall in the background.
OUTSpoken (a one-night event) will be going up next Saturday, the 28th at 7PM at the Tennessee Valley Unitarian Church. Molly Kessler will be one of seven performers lending their talents to the pieces showcased in the production. Having been an actor since her freshmen year, she wrote her first play “I See London, I See France” in 2013. She will be performing the poetry piece “Singing Blue” as well as playing a supporting role in the prose piece “Steel”.
ES: How did you get involved with OUTSpoken?
MK: Well, I was contacted by Adam [Crandall, director] who organized the event.
ES: OUTspoken presents a series of separate written pieces, along with poetry readings, by local LGBT and ally writers. Can you tell us more about the pieces that you are a part of?
MK: The piece is a poem called “Singing Blue” and Adam’s joined it together with another poem called “Straight Girls”, and it’s sort of a back-and-forth: both pieces are about gay women pining after straight girls, and realizing that it’s an unattainable or unrequited love. So, Sean Kelly, who’s performing “Straight Girls”, and I are doing this back and forth.
ES: One of the themes common to both “Singing Blue/ Straight Girls” as well as the other piece you are involved in, “Steel”, are people dealing with relationships, or potential relationships, that aren`t working out. Do you have any personal connection to the type of issue these pieces are exploring?
MK: Yeah, I think we all do. It doesn`t necessarily have to be romantic but just, trying to be friends with somebody or trying to work with somebody when you have incompatible personalities. It doesn`t even have to be romantic. I can think of dozens of situations like that, sexual preference aside.
ES: What do you, speaking of both the pieces you’re in, hope to achieve? Do you come in with a specific goal in my mind, with these projects?.
MK: I just come into it hoping to tell the story. Because that’s what I assume part of the goal in writing it was, to convey some sort of emotion or tell a story, and I hope it comes across and does the story-teller justice.
Director Adam Crandall (left) directs Taylor Jackson (right) in OUTSpoken piece “Banging”.
ES: Of course, OUTSpoken is more than just a night of story-telling. There’s also a wider social issue being promoted. What kind of role do you think a production like this plays in the big picture of giving voice to LGBT people in our community?
MK: I think that the kinds of stories we’ve told for a long time don`t really show that side of human experience. But we’re showing those who may not know a lot about LGBT issues, that they’re real people, showing them go through things that everyone can relate to. It helps you understand that it is a human experience, and that we are all the same.
ES: So, would you say that the performing arts, like theatre and film have a special role to play in promoting that kind of understanding?
MK: Well, yeah, because it’s entertaining. And when people are entertained, they listen. Even something like the difference between news programs and Jon Stewart and Stephen Colbert-people get their news from shows like that now, because it’s entertaining and they retain it. And in our production… the pieces are so beautiful, and you can`t help but listen.
ES: So we’ve talked about performance- what about writing? Do you have a lot of experience with, say, writing poetry?
MK: Well, I’ve written poetry, but I don`t show it to anyone because it’s just goofy and stupid. It all rhymes, and it’s all Seussy and not about anything real. I have written a play, which was not fiction but based on my experience studying abroad in France.
ES: Having both performed and worked in a written form, would you say you have a preference?
MK: I much prefer writing, myself. The difference for me… I don`t know, it’s not that I feel more connected to my words… I feel more connected to someone else saying my words than I do when it is myself saying somebody else’s words- if that makes sense. I feel more comfortable with someone else saying my words, than me saying someone else’s. Because I feel like I don`t do them justice.
ES: How about your future plans? We were talking earlier about how you were planning on moving to Chicago. What do you plan to do once you get up there?
MK: Yes. Some friends and I, including Amber Autry, who is also in the show, are planning on moving there sometime in September. I want to take some classes with Second City and Improv Olympic. I’m not sure quite where that will go, I’m really interested in writing more than performing, but life takes you places, and you don`t know where it will go. And that’s exciting, and also terrifying.
ES: One more question. Do you have a favorite LGBT pop icon?
MK: It’s gotta be Ellen. Without a doubt Ellen. It will always be Ellen.
Erik Schiller is a graduate of the University of Tennessee, where he received his BA in Anthropology and English, with a minor in Theatre. He has been performing in live stage and film productions in Knoxville since 2009, working with local companies that include the Clarence Brown Theatre, Yellow Rose Productions, and Badland Pictures. In addition, he has served as Secretary for All Campus Theatre at UTK, is a founding member of the guerilla theatre troop Shakespeare Unauthorized, and has had poetry published in the Phoenix Literary Arts Magazine.
We are excited to announce the premiere of OUTSpoken, a theatrical review written and performed by the local LGBTQ community and its allies.
OUTSpoken began with a series of writing workshops, where community members developed their experiences into poems, monologues, narratives, or other literary forms. We also received many submissions online from writers and artists around the country, which were then revised and transformed into performance pieces.
Some participants worked with local actors to bring their writing to life, while others will be performing their writing themselves. It is our sincerest hope that this project will help create a platform to record, perform, and illuminate the experiences and struggles of the Southern LGBTQ community, as well as celebrate sex- and gender-diversity in East Tennessee and beyond.
The event will include performances by Adam Crandall, Donald Rickels, Molly Kessler, Sean Kelley, Amber Autrey, and Raven Mason, and will feature the writing of T.A. Noonan, Erin Elizabeth Smith, Andrew Emitt, and more!
OUTSpoken will take place on Saturday, June 28th, at 7:30pm at the Tennessee Valley Unitarian Universalist Church. Tickets can be purchased in advance from the SAFTA website for $10 or at the door for $15. A percentage of the proceeds will go to support the East Tennessee Chapter of GLSEN (Gay, Lesbian, & Straight Education Network).
Knoxville, TN—Between January and May, the Sundress Academy for the Arts (SAFTA) and Sundress Publications, its parent organization, invited submissions of poetry, prose, theater, film, and other forms of socially conscious performance for its OUTSpoken program. Making final decisions was difficult, as we were stunned by the power, beauty, and variety of the entries received.
Our overall winner is Dee Stribling for her dramatic monologue, “Why Poetry.” Stribling will receive a $100 honorarium to travel to Knoxville, Tennessee, a free workshop at SAFTA, and tickets to and a DVD of the final performance. Her work will also appear in the June 2014 issue of Stirring, the flagship journal of Sundress Publications.
We have also selected two finalists as winners in their individual genres: Gemma Cooper-Novack’s “Straight Girls” in Poetry, and Kelly Barth’s “Complication” in Prose category. Both Cooper-Novack and Barth will also receive publication in Stirring, along with a free workshop at SAFTA and tickets and a DVD of the final performance.
OUTSpoken’s goal is to create a platform for the LGBTQ community of Knoxville, Tennessee, and its surrounding areas to record and perform the experiences of sex- and gender-diverse individuals in the South. Both Stribling’s and Novack’s work will be performed as part of this program.
Knoxville, TN — OUTSpoken is a new program from the Sundress Academy for the Arts (SAFTA). The goal of this program is to create a platform for the LGBTQ community in Knoxville and surrounding areas to record and perform the experiences of sex- and gender-diverse individuals in the South.
OUTSpoken will begin with a series of writing workshops, where community members will develop their experiences into poems, monologues, narratives, or other literary forms. These pieces will then be revised and eventually performed in a staged reading. Artists from all over can also submit poetry or prose submissions, as well as video submissions of a monologue or film, online.
The workshops, which will run monthly from February through April, will be held at the organization’s headquarters, Firefly Farms, in Knoxville. These workshops will culminate in a staged reading in June 2014, showcasing the works of a wide range of individuals, including those whose experiences demonstrate intersectional issues. Participants will have the option of working with actors to bring their writing to life or performing their writing themselves.
As LGBTQ issues gain greater visibility, it is crucial that we explore the complexities of sex and gender diversity respectfully. In order to create a meaningful dialogue, we must acknowledge and listen to the stories, experiences, grievances, arguments, and counterarguments of all sex- and gender-diverse persons. It is our sincerest hope that this project will illuminate the struggles of Southern LGBTQ persons and celebrate sex and gender diversity in East Tennessee and beyond.