Nominee is a learning platform and peer-to-peer network whose mission is to empower the next generation of political leaders with knowledge through educational courses and events, to help them enter the political arena—and win. As one of four co-founders, I focus on content development, brand marketing, copywriting, and social media management.

Leading production, from development to launch strategy and everything in-between, for our slate of narrative nonfiction podcasts. Two seasons of Underbelly are out now, with two more coming, in addition to the currently in-season "Game Plan: The Wendell Brown Story."

I managed four direct reports within Spotify Creative Studio's podcast ad production team. In addition to mentoring the team, I helped devise new ad formats and creative integrations across Spotify's studios, oversaw the successful execution of those ad formats; and led internal & external presentations to grow clients' understanding of what "sounds good" in podcasts.

I led Gimlet's in-house creative strategy and sales marketing team, managing a talented team of marketers, strategists, and project managers—working on everything from the award-winning ads that ran on Gimlet's shows to the launch packages for new ones, to voice skills and branded podcasts.My team & I designed ad sales materials, led brainstorms, translated those ideas into strategy and decks, pitched them alongside our account executives, and managed the production of those pitches that successfully sold through.

As Director of Creative Strategy at Mic, I led all presale operations within Vantage, our in-house branded content studio. My team and I devised creative strategy and developed best practices for client services, working closely across multiple teams in order to recommend the right content ideas—including articles, video, and sponsorships—and distribution strategy to for our brand partners.For both proactive and reactive business, I managed a team of creative strategists, organized and led internal brainstorms, ultimately building timelines and budgets as well as writing up the proposal and pitching to clients. I ensured our ideas were both a great fit for the brand, and also were an authentic fit for Mic's voice and audience.

Throughout my time as a Creative Manager, I proved that I could not just manage my own deadlines, but that I was also extremely capable as a manager. I built out the Creative team's expansion to the west coast, overseeing the hiring of our LA-based Creative team and designing a suite of product offerings tailored to the needs of our entertainment clients. As a result, I was promoted to Group Creative Director.As GCD, I reported directly to our VP of Creative Services and worked closely with the other GCD to manage half of the department of 70+ Creatives in day-to-day work, while also devising new products, internal procedures, and managed $1m+ executions.The highlight of time at BuzzFeed was concepting, pitching, and serving as creative lead on our massive partnership with Hasbro to create two new versions of "Monopoly: Here & Now." The properties on these boards were decided by BuzzFeed readers across the globe, with our content generating over 4m votes cast in 180+ countries (that's almost all of 'em). You can view the campaign at http://www.buzzfeed.com/votemonopoly or purchase a copy for yourself on Amazon.

By the end of 2012 the Creative team had grown large enough that having just one manager was no longer feasible. Due to my experience within the company as well as my friendly relations among coworkers and clients alike, I was promoted to a Creative Manager role, splitting up the management of the department myself, two other managers, and the Director of Creative Services, Melissa Rosenthal.While I continued to lead larger executions (such as BBC America, Purina, Friskies, and Frito-Lay), my main duties shifted to managing a team of six creatives: leading brainstorms, providing creative direction, brand strategy, copyediting, and helping them navigate tough client feedback.

As the Creative department doubled in size less than a year later, I was promoted to Senior Creative in order to reflect my knowledge of BuzzFeed's voice, our products, and my continued excellence at writing great posts and maintaining strong relationships with our clients and agency partners.

After getting a handle on the BuzzFeed voice as an editorial intern, I was hired full-time as the fourth member of BuzzFeed's then-new Creative department. I worked closely to run sponsored programs on the site, translating a client's message into the BuzzFeed lens through posts.

Aside from finding content and writing my own posts, I discovered, edited, and queued community posts, working to find or create the next "viral sensation." For examples of my work, visit my profile at http://www.buzzfeed.com/fjelstud.

From June through December, 2009, I worked under the New Ventures Group at Idealab as a development intern for one of their new projects, Tools.com. My primary responsibilities were setting up the items database, contacting potential partners and affiliates, identifying and implementing keywords to maximize SEO, as well as promoting Tools.com on related industry websites and blogs.The summer of 2010 I returned to Idealab and helped manage the expansion of Idealab's official Twitter account, manage Tools.com's blog, develop keywords and bios for people and organizations on TweetUp/PostUp (now part of UberMedia), and various other research-oriented projects.

During the summer after my freshman year of high school, I was working at a local grocery store but sought a way to earn my own money while managing my own business.Taking "inspiration" (read: leftover crap) from the items my family hadn't been able to sell at a garage sale we held weeks prior, I started messing around on eBay and after learning how to use the site, I threw some listings up on it. Being able to turn a sale on everything from old photography gear to a pair of chopsticks, I realized this was the solution to my adolescent money woes.Initially selling off my family's inventory of garage goods, I expanded to my friends' and their family's unwanted junk—handling the photography, listings, buyer relations, and shipping all for a 15% commission off the sales.After exhausting those resources, I raised my cut to 25% and "took the company public" by registering it as a Washington State business—the certificate still proudly hangs on the wall in my childhood bedroom—designing and printing business cards and posters I hung up in choice spots around my hometown.Through the remainder of my high school years and intermittently during college (operating in NY under the name "Auctions-on-Hudson" in reference to my college town), I worked with dozens of clients and made thousands of dollars all under my own supervision.