If you're a filmmaker who has worked outside the film industry, congratulations — you have a leg up.

This is no shade to folks who came up working in film. Honestly, I’m jealous of your years of experience learning story, the craft of filmmaking, and your network — all things that are superpowers unto themselves.

But I believe experience outside the industry — experience that gives you insight into running a business, leading a team, or motivating people (shout out to salespeople, restaurant managers, and nannies) — prepares you uniquely for making a micro-budget film.

That’s because the way the film industry works is not how other industries work. But that’s a conversation for another time...

In addition to hearing from filmmakers as part of Making It, I want to talk to creatives in other spaces, especially those who are carving their own paths. There’s a lot we can learn from these folks to spark conversations about how we can create our movies outside traditional parameters.

Today, we’re talking with Kelsey McCormick, the founder of Coming Up Roses, which supports indie business owners with their development, marketing, and sales strategies. 

Yep, we’re diving into the business side of creating because understanding business, structure, and the entrepreneurial mindset outside the film industry empowers you as a filmmaker.

Kelsey is a creative who has empowered herself and her career by carving out her own path. She worked in the music industry (arguably the one industry more fucked than film). 

In 2020, just months into the shutdown and new motherhood, Kelsey planted the seed for what became a space for creatives to grow their own brands. By year two, she had grown her creative studio into a multi-six-figure business — and then she shut it down.

Today, leveraging her background in content marketing within the music industry and her knack for community building, she has pivoted to becoming a brand leader and mentor for creatives worldwide.

One of the things that drew me to Kelsey’s work is her concept of Squiggly Creatives, a term she originated that I feel defines me. When she described her brain as feeling “squiggly,” I felt seen. I’m a high-functioning person, but I constantly feel scattered, disorganized, and chaotic. It’s something I want to learn to embrace — personally and with my film projects.

I think many emerging filmmakers fall into the squiggle creative category. Kelsey’s mindset and approach feel like they could benefit micro-budget and indie filmmakers because so much is out of our control. That’s why I want to dig a little deeper with her into her process.

Interview with Kelsey McCormick of Coming Up Roses

Can you define what it means to be a Squiggly Creative, as well as the term’s origin story?

A Squiggly Creative™ is someone who takes a non-traditional approach to their career and business, driven by passion, innovation, and curiosity. They're not afraid to pivot or blend skills from different industries. I coined this term after realizing my own career path looked more like a squiggly line than a straight ladder. It's always how my brain felt, so one day the word just came to me when I was trying to create a social media post to explain what it felt like to grow a business when you feel a lil disorganized and all over the place. It's about embracing the twists and turns of a creative journey, rather than forcing yourself into a conventional box. And embracing it!


You write, “I struggled with the pressure to follow traditional paths. But I quickly realized that what worked for others didn’t fit my creative flow.” What was your process of figuring out what did work for you creatively?

My process was all about experimentation and self-reflection. I started paying attention to when I felt most energized and productive. I realized I thrive on variety and creative freedom. So, I began structuring my work in "sprints" rather than rigid 9-to-5 schedules, and I focused on projects that allowed me to blend my diverse skills. It was a lot of trial and error, but each "failure" taught me more about my ideal creative flow. I have to create my own structures that work for me. An example is my Sunday night checklist. I prep for the week ahead which puts me on a good foot for the week. The same goes for creating my promotion calendar and marketing campaigns — I basically try to give myself structure in which I can let my creativity flow. I think squiggli-ness needs structure, so you have to figure out those rituals and habits that work for you.


You’ve been running marketing campaigns for a decade and a half, starting in the music industry and now supporting freelancers through your own business and launching campaigns for your own educational programs. At what point in your journey did you start to realize that you may want to work outside of a more traditional career path?

My pivot point came during my time in the music industry. While I loved the energy of launching concerts and tours, I started to feel restricted by the corporate structure. I had a baby and it became the catalyst for working for myself, so I could be a present mom. I started with brand and web design, but I quickly realized (or rediscovered) that I had a knack for marketing that could apply beyond just music. The idea of helping other creatives market themselves started to form, and I saw an opportunity to create a business that aligned more with my values and desire for flexibility. So it was very lifestyle driven, and then I figured it out along the way as you do.


Existing in the indie film space requires you to always be crafting your own path and carving out your own space, not dissimilar to the world of running a small business. What advice do you give freelancers, entrepreneurs, and creators who work outside of traditional structures to maintain their stamina for the marathon that is their career?

Don't forget to have fun. My husband worked in tv/film and it just seemed like no one was having a good time. I think this is the case in a lot of "creative" careers. Egos got the best of people. A lot of drama, pressure, and timelines eroded the passion. It's really hard to maintain stamina in that environment, especially when the compensation is often not great. If you can hold onto that spark that got you started, find like-minded people who have the same passion, I think you'll be able to endure the less than glamorous bits. Try to carve out your own path rather than falling into pre-existing structures. One of the beautiful things about working for yourself is that you can create your own environments and culture. Remember that you don't have to do anything. And back yourself.

As a filmmaker, I believe each film project is a prototype. However, there are certain milestones in the workflow of production that you can generally expect. When working with Squiggly Creatives, how do you balance finding space for creativity while building or working within business frameworks?

I use what I call "flexible frameworks" in my business. These provide structure without stifling creativity. For example, in Launch Your Own Way, I teach core principles of successful launches but encourage students to adapt them to their unique style. It's about providing a foundation that creatives can build upon and customize, rather than rigid rules. Creativity needs structure to thrive, otherwise it's straight chaos. 

What are you most curious about when it comes to indie film?

While I'm not deeply involved in indie film, I'm fascinated by the creative process and how filmmakers market their projects. I'm curious about how indie filmmakers build audiences and create buzz around their films, especially in a crowded digital landscape. The parallels between launching a film and launching a creative business intrigue me! I honestly enjoy watching actors / filmmakers promote their projects... and the marketing campaign roll outs... more than I enjoy the films sometimes.

Thank you so much to Kelsey for geeking out with me. Check out her work here: cominguproses.co

Let me know what you’re going to take from Kels approach into your creative process.

What else is new?

• On last week’s No Film School, Jason and I spoke with The Best Man’s Ghostwriter creator Matthew Starr about creating a proof-of-concept short — not for festivals, but as a tool to get his idea made into [insert what the industry people wanted]. Not only was he receptive to multiple formats — yes-anding, if you will — but he got to make the idea as an Audible Original starring Glen Powell, Nicholas Braun, and a million other stars.

• I’m planning my wedding. Making a movie was like planning 20 days of weddings so this will be easy. Right? Am I sick in the head wondering what I could shoot for my next micro budget film at the wedding? Maybe ;)

• Getting on EBT for some stints this year was an oxygen mask. If you’re not working right now, please look into this resource and AMA.

x GG