I’m a story producer, editor, and host currently working on the audio team at The New York Times.

I find unexpected non-fiction stories and tell them in engaging ways across media. I’ve made things for live shows, podcasts, and the internet - you can read about those things below.

I like the moment when a story turns, especially if that turn is a surprise. I also like talking on the phone.

Pop-Up Magazine

Senior Producer / Editor / Host

Pop-Up is a live show - like a glossy print magazine onstage, with beautiful art and original music. As a producer, I found new, true stories by writers, comedians, artists, filmmakers, and other creators, and took them from page to stage. Each story was multidimensional and multimedia: I was the editorial lead, and collaborated with art and music teams to bring pieces to life. Before Covid, Pop-Up went on three sold-out national tours a year, and I hosted on-stage. During Covid, we made online shows for the first time - here’s me hosting those, too.

Most recently, I worked with artist Christine Sun Kim to make a story about closed captions - how they suck, and how they could be so much better. I also made a campfire story with comedian Whitmer Thomas, brought to life with shadow puppets. For more stories, see Select Work (this page is password protected - ask me for it).

 

This American Life

Fellow

I was selected for a 6-month fellowship where I produced, researched, edited, and mixed stories and shows. Perhaps most triumphantly, I learned to love ProTools. I co-produced Episode #663: How I Read It, and produced field recordings at five library reference desks across the country for the top of Episode #664: The Room of Requirement (I went to Montana). I also lead-produced all re-runs, and managed the show archive and delivery.

 

The Moth

Associate Producer / Pitchline Manager

I was the youngest-ever hire to the The Moth’s Mainstage department, where I traveled the country producing live storytelling shows for their flagship curated series. I coordinated all production and personnel aspects of shows, from crew directing and stage management, to marketing and promotion, to travel and accounting. We sold out houses like Lincoln Center in New York. My favorite show was at a small community theater in Appalachia.

I also got involved in story curation. I helped run the The Moth's Pitchline - their public-facing story submission platform - combing through thousands of pitches, and conducting in-depth interviews to promote the best for on-stage development.