With a creative background and a taste for innovation, I hope to bring a bit of style to the nonprofit/cause sector.
Three years at a young, ambitious nonprofit showed me that idealism isn't such a bad thing after all. At Participant Media, I've discovered a fascinating blend of cause + stories, where filmmaking comes to life. My experience in marketing, business development and storytelling gives me an unquenchable thirst for producing films and campaigns that show the world as something new.
Develop big idea creative platforms that creatively leverage GOOD, while also integrating partners effectively and meaningfully.
Oversee the cross-disciplinary creative team at GOOD.
Help brands and organizations align business strategy with social impact, and win through highly participatory and profitable relationships with their audiences.
One part strategy, one part creativity, and a hefty dose of being nice.
-Write and produce short-form documentaries and animated videos for clients. Collaborate with co-founder Mariana Blanco on story development and creative direction.
-Strategize, develop and manage online campaigns for Participant Media films, coordinating across all divisions (internal, external stakeholders)
-Manage all aspects of TakePart execution in support of Participant programs (digital, video, TakePart, satellite site, etc.)
-Advise teams on the most current and cutting-edge on-line tools, sites, tactics, organizations and trends
-Work with Participant Media's Social Action team to optimize programs and outreach to achieve ambitious goals
-Expand NGO and online community relations
-Lead the development of effective and compelling videos to support TakePart and Participant Media missions
*Create and execute social action campaigns for documentary and narrative films using online tools. From coordinating strategic partnerships to producing empowering web shorts, each campaign has a creative and unique strategy, allowing the social message of the campaign to remain the true focus.
*Digital and interactive campaigns have included Academy Award-winning documentary THE COVE, Academy Award nominee FOOD INC, Disneynature's OCEANS, Sundance Audience-Award winner WAITING FOR SUPERMAN, COUNTDOWN TO ZERO, THE CRAZIES, THE INFORMANT!, among others.
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*Help grow TakePart.com as the prominent online platform for social action through innovative marketing opportunities.
*Work with non-profit organizations, documentary filmmakers, individuals, and other world-changing partners to create effective online campaigns that engage and inspire individuals to get involved with the issues.
*Produce short web videos that tell the stories of social action campaigns with a fresh, creative voice. Campaigns include American Express Members Project, HISTORY for Howard Zinn's The People Speak, and Mattel Children's Foundation.
*Direct all communication, including Webby-award-winning website, two annual reports, social networks of over one million supporters, and weekly news updates
*Write and edit all public content; oversee international staff of writers
*Collaborate with designers, filmmakers, executive staff to tell stories of people involved with the organization; create, write and manage story-driven publications and marketing materials, short documentary films, and grassroots campaigns to connect with youth
*Strategize new communication outlets
PR, Political Advocacy Coordinator (May 2006 - Feb 2009)
*Direct all political advocacy efforts, including two lobby days (largest lobbying effort for Africa), innovative advocacy campaigns for youth, coordination of Congressional meetings
*Manage all national, celebrity, local media exposure, with appearances in major publications
*Oversee relationships with high-profile supporters, including celebrities, major clothing companies, and international NGOs
Project Coordinator/Office Manager (Feb - May 2006)
*Read scripts and write coverage, handle day-to-day office management.
*Assist production team during pre-production of feature films, including "Curious George," "The Martian Child," and "Miss Potter."
The better you write, the higher you go in Ogilvy & Mather. People who think well, write well.
Woolly minded people write woolly memos, woolly letters and woolly speeches.
Good writing is not a natural gift. You have to learn to write well. Here are 10 hints:
one must be one
to ever be two
and if you
were a day
I’d find a way
to live
through you
People that build their houses inland,
People that buy a plot of ground
Shaped like a house, and build a house there,
Far from the sea-board, far from the sound
Of water sucking the hollow ledges,
Tons of water striking the shore,—
What do they long for, as I long for
One salt smell of the sea once more?
People the waves have not awakened,
Spanking the boats at the harbour’s head,
What do they long for, as I long for,—
Starting up in my inland bed,
Beating the narrow walls, and finding
Neither a window nor a door,
Screaming to God for death by drowning,—
One salt taste of the sea once more?
All day for too long
everything I’ve thought to say
has been about umbrellas,
how I can’t remember how
I came to possess whatever weird one
I find in my hand, like now,
how they hang there on brass hooks
in the closet like failed actors,
each one tiny or too huge,
like ideas, always needing
to be shaken off and folded up
before we can properly forget them on the train.
Most of my predictions are honestly
just hopes: a sudden sundress in March,
regime change in the North, the one where Amanda
wins the big book award from the baby boomers.
There’s that green and white umbrella
the cereal company interns handed us
outside the doomed ball game,
the one just for sun,
the one with the wooden handle
as crooked as the future
that terrifies me whenever one of us uses it
as a stand-in for a dance partner.
You once opened it in the living room
so Scarlett could have a picnic
beneath something that felt to her like a tent
as it felt to me like my prediction
we would live forever was already true.
When I want to try to understand now
I tend to look up and how
truth be untold, I might see nothing
more than a few thousand pinholes in black nylon,
it’s enough to get you to Greece and back,
or something to kiss beneath,
who knows how this is going to play out?
I know you won’t ever be able to say
exactly what you’re feeling either,
the way worry might pop open overhead
like fireworks oozing pure midnight —
will we ever see the sun? —
the way we’re sure to pull closer
to whatever’s between us, the rain playing
the drum that’s suddenly us.