Treatment writing isn’t just about translating a director’s ideas into pretty sentences—it’s about understanding how their vision uniquely aligns with the brand’s needs and communicating it so compellingly that it feels like the only way forward. Pitch writing for TV and film goes even further, demanding in-depth research and development in collaboration with the director and/or producers. Even in the most concise pitch, no detail is left unexplored.

Every treatment or pitch requires its own specific language, style, and approach, and I love the process of discovering and shaping these elements. It’s a challenge that brings me great joy.

A little more about me…

Singer-songwriter, literature professor, screenwriter, treatment writer—my career path has been a winding one. But the common denominator is my love of narrative; if there’s a story to be read, deciphered, or told, count me in. 

I grew up in Northeastern Pennsylvania in a large, loud, and loveable family of eight—an experience that often made me feel like I was living in a John Hughes film—then moved to New York City to attend NYU. I lived in the city for nearly a decade and would have stayed there forever had I not been accepted into the Comparative Literature PhD program at USC. While at USC, I expanded my vocabulary to include lots of big words and taught many undergraduate seminars, which was my favorite part. During that time, I also released a couple of albums and managed to receive some pretty decent reviews. 

After earning my doctorate, I spent two more years at USC as a postdoctoral fellowship before saying farewell to focus on writing and starting a family. Now, a husband and two kids later, I’m still living in L.A., and some might even call me an Angeleno (though I’d never use that word, and I’ll never give up my 917 area code).