By Karen Connor

You graduated from Second City’s Conservatory Program, what did you study there, what was your favorite subject and why?
I started with Second City's writing programs in mid-2020 when I needed a creative outlet. From there, I learned about the Conservatory program, which I auditioned for, didn't get in, then took some online improv classes, auditioned again and got in.
Second City's Conservatory program is basically an intensive of sketch comedy writing based on improv, and then workshopping to create a final show. So there were no specific "programs" or subjects, just one main focus. My favourite was workshopping ideas with my classmates into sketches, and punching things up with the support of the teacher and team. Since I did this on Zoom, I got to meet and work with people from all over the world, which was fantastic.
For those who may not know your work yet, can you tell us about your creative journey?
Well, it all started when I was a young kid going to theatre camp, growing up with a father who painted sets and a mother who acted....
In adulthood, I can sum it up with- took some improv classes in 2018/2019, loved 'em, started doing some writing, remembered how much I loved writing, started doing some stand-up comedy, and then 2020 hit.

Took the above Second City programs, and as part of Conservatory, we had some "what's next" chats. Auditions, head shots, getting yourself out there, networking etc... so, I reached out to Jean-Michel at Solo Chicken to see about assisting with some improv classes. I started submitting work (submitted some sketches to Notable Acts), auditioned for a feature film (Do I Know You From Somewhere?), and started performing with Dead Serious. I started writing more, and tried writing different styles (longer theatre pieces, screenplays), and repeat, and repeat, and repeat.
Can you describe sketch comedy writing and how that is brought to your audience.
Sketch comedy is basically short and scrappy little pieces- 5 minutes tops, fast moving, not a ton of need for backstory or character development. I love it because of that- it exists to be funny, you can explore a little bit and then you're done. There's nothing extra, there's no fluff. Think SNL, Kids in the Hall, Baroness von Sketch- these are all my faves to pull from or go back to.
When you begin a new project, what does your creative process look like—from initial concept to final cut?
I pull inspiration from just about everywhere, family, friends, experiences, things I see in the world, a normal thing that then has a twist, like taking your kid to the pediatrician to find out that he's clinically just a jerk, and that it's genetic. Sometimes I write out the beats, the points I want to hit and how it's going to end, sometimes I just start writing the sketch and will edit from there. Ideally I would do this with others (writing group, improvisers, etc) to see about punching up jokes and trimming stuff. Then I rewrite, rewrite, rewrite, and when it's either good enough or I've run out of time, submit!
Are there recurring themes or ideas that you find yourself returning to in your work? What draws you to them?
The absurd and the paranormal. Both of my one acts for Notable Acts have had ghosts in them. I love a ghost, I love a cryptid, I love a character that lives kind of on the fringe (mimes, puppeteers, etc).
Your writing has been featured at Notable Acts Theatre Festival, in 2022. How did that feel and did that help your writing career?
It was weird and wonderful to hear my words performed. Always is. Because I also have a vision of how it's going to go in my head, but since I'm not directing it, the creative decisions are made by someone else, and another kind of magic happens. It was certainly surreal to see my sketch that I wrote about Q-Anon Yoga being performed on the green as the sun went down. Weird and wonderful. It made me want to do it more!! So I did! I wrote two more one-acts that were part of the 2023 and 2025 festivals. One of which I got to act in!
What has been the biggest challenge you’ve faced as a writer in New Brunswick, and how did you navigate it?
In the beginning, finding my people. Going from Second City where I had a contained group of improvisers and writers that I could work with to the Real World was a challenge at first. I navigated it by literally putting myself out there- asking people if I could assist with an improv class (Solo Chicken!), seeing people I wanted to work with in the future (taking their classes or workshops so they would get to know me as a writer), and connecting with the NB Film Coop when I moved into the world of film. Basically, finding someone that I wanted to work with and then figuring out how to get to know them.
How has being based in New Brunswick shaped your perspective as a storyteller?
NB is weird and wonderful and has been my home for most of my life. There is inspiration everywhere. We have a lot of Lore here to draw from. We're small and we're scrappy, and we're resilient. I think that comes with having the highest tides in the world.
What role does collaboration with Dead Serious Comedy and community play in your creative process?
Huge. It takes a village. Improv is a big source of inspiration for my writing, and a great way to see how something plays out. Community is so important- getting feedback, suggestions on improvement- these all make for better writing. Being part of a writing community also gives you the confidence to get weird with it, follow a thread, see what happens.
What are you currently working on, and what excites you most about this next phase of your work?
I'm currently working on a second short mockumentary- this one is about puppeteers who are madly in love and then go through a messy breakup. I'm excited because I get to make some puppets, collaborate with new people, and hopefully bring a creative dream team together. I'd love to eventually make a feature length Christopher Guest-style mockumentary, so we'll see what the future brings!