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TV Intro


Television

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TV Intro


Television

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Grey's Anatomy


Grey's AnatomyWeb Coordinator • Writers' Assistant • Freelance Writer
ABC Studios
2004-2007

Grey's Anatomy


Grey's AnatomyWeb Coordinator • Writers' Assistant • Freelance Writer
ABC Studios
2004-2007

 

After getting my MFA, my first actual Hollywood job was on ABC's Grey's Anatomy.  I worked in the writers' room for the show's first three seasons.  Before the show ever aired, Shonda Rhimes put me in charge of all content on the show's official website, which, at the time, had nothing.  I used the site to expand the narrative of the TV show wherever possible, creating & editing "in-universe" blogs, games, podcasts, and more.  When the confines of ABC.com proved too limiting, I convinced the network to allow us to host content at special URLs that'd make the content easier to share and access.  

Social media wasn't nearly as pervasive back in the early days of the show as it is now, so I focused my efforts on blogging platforms which did have substantial reach.  I even convinced the entire writing staff to contribute to a writers' blog that would provide the audience with a direct conduit to the writers' room, the first such blog of its kind.  The show's blogs proved so popular, they garnered their own coverage.  

During my last season with the show, I received my first TV writing credit on the episode titled "Great Expectations." And thus began my TV writing career in earnest…

 
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NBC Digital


NBC DigitalWriter • Producer
2008-2009

NBC Digital


NBC DigitalWriter • Producer
2008-2009

 

Someone at NBC Universal liked what I was doing with the Grey's Anatomy digital content, and I wound up signing a contract with the studio to exclusively write and produce digital content for them for a year. The plan was to embed me in a TV writers' room and be a part of the writing staff, except my mission was to develop material specifically for the NBC.com, Hulu, and other digital media outlets, as well as other media entirely, from comic books to video games and even potential theme park experiences at Universal Studios.  NBC Universal assigned me to their reboot of Knight Rider, which the new network president had high hopes for.  The show was to be their flagship program on Monday nights, and, as such, they wanted to hit the ground running with webisodes, games, etc.  I worked with showrunner Gary Scott Thompson (The Fast and The Furious, Las Vegas) to get everything ready, and had already started producing much of the content when the show’s exorbitant production budget led to its cancellation.

Though the show was short-lived, just 17 episodes, my time there was incredibly valuable, as that's when Twitter sprung to life.  My very first tweet ever was for KITT, the talking car.  

The above photo is a model of part of the show's main set, one of the most expensive sets ever produced for a primetime TV show.

 
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2009-2011


Comedy Central&
ABC Family
2009-2011

2009-2011


Comedy Central&
ABC Family
2009-2011

 

I then went to work in the writers' rooms of two comedies, back-to-back.  Though my official title on both was Script Coordinator, I wore several hats on each show, including taking charge of all social media efforts from each writers' room.  As member of the writers' room of each show, I also got to pitch stories and jokes.

For Comedy Central, I worked on Ugly Americans, a 1/2-hour animated sitcom that takes place in a fictional universe where NYC’s population consists of vampires, werewolves, zombies, sentient robots and many other fantastical creatures (all in addition to humans, of course). The show, executive produced by Daniel Powell (Inside Amy Schumer), deals with a government worker charged with helping these various “monster ethnic groups” integrate with the mainstream human population. In addition to my work in the LA-based writers office, the producers flew me to New York to help punch-up scripts during voice recording sessions with the east coast-based cast.

After Ugly Americans ended, I then went to work for State of Georgia, one of ABC Family's first half-hour comedies. Executive produced by sitcom veteran Kirk Rudell (Spin City) and best-selling novelist Jennifer Weiner (In Her Shoes), the show dealt with a 20-something Southerner moving to NYC to pursue her dreams of Broadway stardom, despite having an “unconventional body type.” Raven-Symoné starred on the show. 


In between my work for Comedy Central and ABC Family, I worked as a consultant at the brand-new Amazon Studios, but due to a non-disclosure agreement, I'm still not sure I'm allowed to talk about what exactly I did for them.

 
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2011-2014


Drop Dead Diva
Staff Writer
Sony Pictures Entertainment
2011-2014

2011-2014


Drop Dead Diva
Staff Writer
Sony Pictures Entertainment
2011-2014

 

After working on the above mentioned comedies, I moved back into scripted drama (well, “dramedy” technically) when I started working on Lifetime's Drop Dead Diva, a comedic legal show with a supernatural element. Produced by Sony and created by Josh Berman (CSIBones), the show is about an aspiring model who dies young, but due to a glitch in the afterlife, returns to earth in the body of a very un-model-like attorney. Before joining the writing staff full-time, I wrote for them as a freelancer and assisted the writer-producers to help them generate stories for the show.

I also wrote webisodes for Lifetime's website, helped get the show a presence on social media, and created a pitch presentation that the Executive Producers used to sell the studio and network on major storylines.

 
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2015-Present


BlindspotWriter/Producer
NBC • Warner Bros.
2015-2020

2015-Present


BlindspotWriter/Producer
NBC • Warner Bros.
2015-2020

 

Premiering on the fall of 2015, Blindspot's intriguing mix of action, mystery, puzzles, and emotion quickly established itself as a staple of NBC's primetime lineup.  As a writer and producer, I've worked extensively crafting stories in the Los Angeles-based writers' office as well as producing episodes on location in New York City, where production is based. In addition to my work on the show itself, I worked closely with the show’s puzzle & magic consultant to create experiences for the show’s dedicated viewers that would extend into the real world. Blindspot ran for 100 episodes that spanned five televisions seasons.