Alright – so today we’ve got the honor of introducing you to Quinn Xavier Hernandez. We think you’ll enjoy our conversation, we’ve shared it below.
Quinn Xavier, so great to be with you and I think a lot of folks are going to benefit from hearing your story and lessons and wisdom. Imposter Syndrome is something that we know how words to describe, but it’s something that has held people back forever and so we’re really interested to hear about your story and how you overcame imposter syndrome.
I don’t know that I’ve completely overcome imposter syndrome–I think that’s something my generation will always struggle against because it’s the default. The world wasn’t designed for us or to support us, so any time we open a new door or climb to the next rung on the ladder there’s this overwhelming feeling of “I’m a fraud and soon everyone will find out.” Two things come to me when I find myself caught in the echo chamber that is imposter syndrome:
First, the word of my former professor Kerrie Seymour: “Trust the path. Trust that the path is paved.” If I wasn’t meant to be in the room or doing the thing, I wouldn’t be there at that time. Someone else would be in my place and, more likely than not, would also be feeling this overwhelming sense of imposter syndrome too. That helps ground me in the moment and has become a sort of mantra.
Second, I find a moment to retreat and gather myself–it’s not always right when I’m experiencing the feelings, but I always make time while the feelings are still fresh. I ask myself a couple of the following questions: Why am I feeling like this? What are these feelings stemming from? Are these feelings grounded in reality? What do I need to navigate these feelings and still bring my best work? I find if I can answer those questions then I have a much clearer idea of where I’m at mentally/emotionally and how I need to advocate for myself.
Appreciate the insights and wisdom. Before we dig deeper and ask you about the skills that matter and more, maybe you can tell our readers about yourself?
As a Playwright, Director, and Dramaturg who also works at the largest New Play Incubator in the Southeast (Working Title Playwrights), I am the frontlines of new play development. Whether I am actively writing my next play or serving other playwrights, my goal is to help bring new stories to the stage. We have gone through years and years of hearing from the traditional American Greats and the seeing Aristotelian structure–which definitely have their place-on stage, but I’m more interested in plays that operate in unfamiliar ways. Plays that are about and by and for people who haven’t been onstage in those previously mentioned structures and forms. I’ve been really excited as we have come out of lockdown because it finally seems like I and the other wonderful people at Working Title aren’t the only ones hyped up by the idea of crafting the “New American Theatre.” In just the past year alone, Atlanta has really started to embrace new works in a way it just hadn’t prior to the pandemic–we see Theatrical Outfit sharing their space and serving as a home for Working Title Playwrights and the SheATL Arts Festival, Actor’s Express has a new play commissioning program focused on Atlanta-based playwrights, and numerous other companies around the city have started producing world premieres by Atlanta playwrights!
In the mix of all of that, I feel very lucky to be the first recipient of the Actor’s Express New Play Commissioning program. I started writing my piece back in 2021 and will have a public reading sometime this October. More to come on that front very soon!
If you had to pick three qualities that are most important to develop, which three would you say matter most?
I think a lot of my successes tie back to these skills:
1) Fostering inclusivity – I’ve said in previous interviews that I focus on “holding the door open.” It’s one thing to move yourself further along and take on new opportunities, but you can only propel yourself so far, especially as an artist. Finding your way into a space and then leaving the door wide open behind you for others to follow in after is the best way to build a network that will support you and push you farther.
2) Knowing when to step back – This is a matter of self-preservation. No one person can run the marathon that is a career in the arts with no breaks. I know it is a luxury to be in a position where you can turn down work, but even when you aren’t in that position you have to ask yourself “will I be okay tomorrow if I do this today?” And when I say ‘be okay’ I really mean will you still be yourself or the version of yourself that you’re trying to be at the end of it. Because if not then it won’t serve you.
3) The art of “No, but” – This ties into my other two skills. Any time you have to say no to something don’t just say no. Be gracious, thank the person for the thought and offer, and then give them a lead if you feel comfortable. Maybe you can’t take on this work right now, but you can recommend someone else who might be a perfect fit. Do that! Spread the wealth amongst your circle and you’ll find it comes back to you. Maybe not always immediately, but people will remember you for that.
All the wisdom you’ve shared today is sincerely appreciated. Before we go, can you tell us about the main challenge you are currently facing?
I’m currently in the process of moving out of being an emerging artist and into the early parts of the mid-career stage. It’s definitely an adjustment! I’m hitting new walls and having to find other ways to keep momentum going. Early on it was “my work needs more development” and now it’s “my work needs to get on its feet and be tested in production.” It’s tricky because there’s not as many production-focused models for new play development that don’t involve taking away a play’s world premiere. Because that’s so often a big deal from a marketing standpoint–most theaters want to be the first to produce something as opposed to the second–it’s hard to sacrifice that for a play that will likely need more work after its first production. Some opportunities come with the distinction of being a “workshop production” which keeps the “world premiere” in tact. I’m currently looking into those kinds of opportunities, talking other artists who are also in this phase, and figuring out what new models could look like–I wouldn’t be totally surprised if you see me producing that model in a few years. It’s something I’ve been thinking about for a long time before I even got to this stage!
Contact Info:
- Website: https://newplayexchange.org/users/12995/quinn-xavier-hernandez
- Instagram: @quinnxaviertheatremaker
- Facebook: https://www.facebook.com/quinnxaviertheatremaker/
- Other: https://workingtitleplaywrights.com/
