Production company founded by Tony McNamara, writer of THE GREAT, THE FAVOURITE, CRUELLA, POOR THINGS, amongst others. Exclusive TV deal at ABC Signature. Working with company president, Daniel Pipski, veteran TV producer and screenwriter.

Screenwriter with both feature film and TV projects in development. Most recently, I completed over three years of writing and producing for MOTHERLAND: FORT SALEM (Freeform), ending the show's run at the Co-Producer level.

Core instructor for the Writers Guild Foundation's Veterans Fellowship. Crafted curriculum, designed events, and mentored six writers with military service backgrounds to help them break into the entertainment industry. Followed several years of prior mentorship experience with the Veterans Writing Project and Writers Access Support Staff Training Program.

I instructed and advised classes of 30 students for the the Sundance Collab writing program. Responsibilities included: leading lectures, workshops, one-on-one instruction, and providing detailed development notes for a wide variety of written assignments.

Handled a variety of assignments for the Science and Entertainment Exchange, providing journalistic coverage of their live events as well as ideating and writing series articles for their website and newsletters. My work involved scientific research, in-depth interviews, and wide-ranging topics. The Exchange is a program of the National Academy of Sciences, which connects the entertainment industry with experts in science, technology, and medicine in order to enhance the portrayal of science and scientists in film, television, and new media, and to make science more accessible and inspiring for all audiences.

I was a writer and producer on Freeform's hit TV series "Motherland: Fort Salem" - a genre-bending, hour-long drama about three witches who train in the military and take on the world. I helped craft thirty episodes of television that premiered globally to millions of viewers and inspired a dedicated fanbase. My work spanned from early development and writing, to production, all the way through to episode release with fan engagement. On the writing front, I pitched story ideas that tracked across the three-year run of the series, centering on emotional character arcs and intricate world-building. I wrote four episodes, which of course include dialogue, story, action within the production-specific needs for our show. Motherland: Fort Salem shot on sound stages and on location in Vancouver, Canada. Each episode had a multi-million dollar budget. During pre-production, I participated in casting and location scouting. During production, I shepherded meetings with heads of departments (VFX, Set Design, Props, Make-Up, etc.) to deliver our story on budget and on time without compromising our vision. I was on set to work closely with the director, providing rewrites as needed, and helping the actors with scene work. All of this was in close collaboration with the creator and showrunner of the series. Clear communication, a positive attitude, and a truly collaborative spirit were essential. Supplemental work included writing marketing and sales materials for Freeform and Hulu, as well as active fan engagement through social media (Instagram, Twitter, and TikTok).

Co-Founded with Noah Rosen, we organized informative events geared toward entertainment industry assistants. Our inaugural event "Awesome Assistants TV Summit" (1/26/19), hosted at Sunset Gower Studios, had numerous corporate sponsors, over 170 in attendance, raised thousands of dollars for charity, and featured various panel discussions with: execs from Comedy Central & Amazon, managers, agents, writers' room support staff from shows such as The Good Place, Fargo, and Stranger Things - as well as experienced showrunners who have created shows such as Power, The Gifted, The Hot Zone, and F is for Family.

As writers' assistant, I served an essential function in the writers' room - organizing story documents and tracking details across multiple season's of content. Specifically, I transcribed all writers’ room discussions, and organized and compressed them into concise outlines, beat sheets, and daily notes organized by theme, character, as needed per each writer’s preference. I created and managed the staff writing calendar in coordination with the showrunner and production crew. Essential to the work was my research for the writers and studio, which could range from researching scientific essays to tracking real-life police files. I also collaborated with writers on episode edits and writing dialogue, and transcribing and distributing notes from all production company & network meetings.I worked on a variety of shows at different studios, including: Bones - FOX, Unbelievable - Netflix, and Raised by Wolves - HBOMAX.

Working with experienced studio executives, I supported development on all 35+ internal TV projects, including: research, creative notes to writers on all materials & pitches, and crafting submission letters for packaging purposes. I created pitch docs for a variety of formats for potential purchase and development. Additionally, I tracked writers, directors, actors, submissions, pitches and projects in development. I read all incoming submissions, which included a wide spectrum of mediums: specs, formats, and potential IP materials – while always screening for new projects for development and strategizing potential salability across available buyers within the context of their programming needs.

● Coordinated staffing submissions process, read and assessed over 200 pilots for showrunners ● Provided research on a range of topics for Bones & Zoobiquity for both showrunners & staff writers ● Performed writing assignments requested by showrunners, from series pitch docs to scene drafting

● Researched, organized, and sourced text, photos, & clips for the film ● Coordinated screenings throughout post-production, from private groups to 100+ in attendance

As the assistant to Milan Popelka (COO) and Alison Cohen (EVP, Business and Legal Affairs), I provided daily support to the executives, covered scripts and the ran book committee, as well as conducted development and finance research. I also managed the NY internship program and aided the acquisitions, production & development departments.