Spotlight on Shonna Foster

A tireless advocate, mentor and community organizer, Shonna Foster has been a formidable pillar in BIPOC TV & Film and Toronto’s screen sector for over a decade. As a founding member of BIPOC TV & Film’s Visioning Committee (now Board of Directors), Shonna passionately took the lead on our emerging talent initiatives, including the incredibly successful Episodic Writers Lab. The talented director and producer is known for her fiery spirit, inquisitiveness and generous heart. So many of us are grateful to have been in her orbit. Now in a new chapter of her life, pouring her energies into developing her career and deepening her creative collaborations, we caught up with Shonna to reflect on her time with BIPOC TV & Film and her plans for the future.

You were the first person to join Nathalie Younglai on this journey. Can you tell us about the reasons that motivated this decision and the context around it?

I was first introduced to Nathalie by my work colleague and friend Deanna Cadette back in 2016. After sharing with Deanna, my thoughts and frustrations surrounding the lack of access, support, and opportunities for BIPOC talent and some ideas on how BIPOC talent could (and should) be supported, she suggested that Nathalie and I should meet and work together, as we shared similar experiences and had aligning thoughts and ideas. Upon meeting Nathalie, I was motivated by her strong will, knowledge, independence, fearlessness, commitment, and grassroots approach to building an organization that could (and would) lead change for BIPOC creatives, specifically writers in Canadian television.

Regarding the organization’s work in the last decade, what are you most proud of? 

I can’t pin down one thing. I have a whole list! I am proud of the workshops, panels, events, and programs that we managed to pull together and facilitate. I’m grateful for all the talent, volunteers, and organizations that have supported us not only in being able to run our programming but supported us as a grassroots organization leading change. It brings me great joy and a sense of pride to know that collectively, we (BIPOC TV & Film) have done impactful work for the industry, which is everlasting and bigger than we could’ve ever imagined. I am proud of the organization’s growth and reach as a whole and of the community we have built that continues to grow and support one another. I remember when our followers on socials were in the single digits (hahaha). When community members share the tangible outcomes and experiences that have resulted from our programming and our industry partnerships, I am moved emotionally. Everything from folks sharing that we have inspired them to go for their dreams, to sharing that they have found belonging, to sharing about the meaningful connections and lifelong friendships they have made, to folks getting employed and/or landing placements on productions, to folks getting their first credit, writing their first scripts, obtaining representation, pursuing formal education in film/television etc. – all as a result of the access, community, and support that we provided. WOW! (Insert big smile, teary eyes).

As the Episodic Writers’ Lab program director for its inaugural year and 2022, can you touch on the impact the Lab has had on the careers of emerging talent?

Can I start by saying that our phenomenal super talented writers are winning? “All I do is win win win no matter what. I can never get enough. And every time I step up in the building, everybody’s hands go up, and they stay there, and they say yeah,” (You feel the vibe right? Hahaha). That’s the hype song that plays in my head when I think of these writers! As a result of this program, about 85-90% of the writers from our cohorts have achieved one or a few of the following: obtained a position in a writers room, had their script read by key industry members at major studios or broadcasters, had a script optioned, have finished polished drafts of scripts ready for market, have interviewed for a show. Pretty darn impactful! The program truly gave the writers hands-on experience working in a room. It also equipped them with the knowledge, tools, and confidence boost to work with Showrunners and fellow writers and supported them in finishing a polished script. Something I think is pretty cool was that through the mentorship aspect of the program, we connected and facilitated relationships between the writers and leading industry showrunners and writers. Some of our alumni have since been employed by their mentors! With each cohort, we’ve continued to create a supportive community and generate meaningful relationships. There’s no doubt in my mind that the program has succeeded in advancing the careers of emerging writers. Each time I receive news or hear of a new milestone or job that one of our writers has achieved, I’m beyond proud and continue to cheer them on. (Insert hype song!)

What motivates your commitment in terms of youth outreach and supporting emerging talent?

For as long as I can remember, I’ve always felt called to community work and to help others. As I grew into the industry, I experienced its barriers, lack of support and limited access for BIPOC talent, and I constantly heard from students, parents, adults, and co-workers about similar experiences and frustrations over and over again. I also became increasingly disheartened not seeing any people of colour in decision-making positions. All of this prompted me to refocus and centre my community work on helping and supporting emerging talent in the industry in a variety of ways. Decades later, I’ve worked with emerging talent from high school age all the way to adult age (because I believe ‘emerging’ can exist at any age). It’s the people and community who lead in motivating me - the BIPOC and LGBTQ2+ communities. It’s the stories from underrepresented communities that motivate me and a deep urge to share these stories with the world. That I’m still having discussions with youth and emerging talent from these communities about our stories not being reflected on screen and, disproportionately not holding key positions or seats at the table of decision-makers, not experiencing the same level of access and support necessary to break into and sustain a career in the industry – all of it - motivates me. I believe we can do the work to support and guide those interested in careers in film and TV. If we provide access points and opportunities, especially starting from adolescence, we can change the cycle and infiltrate the things I’ve mentioned above. For example, if we work with high schools and demonstrate to students (and parents) the plethora of sustainable and rewarding career possibilities available in the industry and then encourage and support them along the way—especially when they are making decisions for their future—then we could see a change in the number of talent from these communities enrolling in post-secondary studies in film and TV, or exploring jobs or co-op placements in production or at networks or studios. As another example, if adult emerging talent are supported with programs, mentorships, access points, and paid internships or shadowing and apprenticeship placements in a writers’ room, on a set or at an office, we will see the cycle change. I’m kind of going off on a tangent, but I hope this all makes sense. [Editor’s note: It makes complete sense.]

What are you currently working on in your main role as a director and producer?

As a director, I’m currently working on a documentary that we filmed over the past two years during COVID. The film centres on three mothers navigating motherhood during these pandemic times. We are currently in post-production. I’m also writing my feature directorial debut. It’s a coming-of-age story about a Black teenager growing up in Jane and Finch [a racialized suburb in the Greater Toronto Area]. Recently, I wrapped a director-observer placement on Robyn Hood (Boat Rocker), where I spent over two months learning from Jasmin Mozaffari (Firecrackers). She is truly extraordinary! I’m beyond grateful for the experience she gave me. Now, I’m going back through and studying everything I learned from her, as well as reading books on directing and taking self-paced director workshops. I’m staying current, so I am ready for when I book that first episode! On that note, I did get signed to an agency as a director over the summer, and for me, that was a great achievement this year! As a producer (of short-form content), I produced two short films written and directed by the one and only Vanessa Magic. She really is magical! Our first film, The Absurdity of the Black Female Experience, is currently in the festival submission phase. Our second short, which wrapped in July, is in post-production. I’m also working with a few writers, co-executive producing and consulting on a few television series at various stages of development. I’m also reading shorts to find the one I’d like to produce next. I love shorts and short-form content. If folks are interested in working together, they can connect with me through my website, shonnafoster.com.