Stories that grow
with you.

I came to storytelling the long way around — which, honestly, is the only way I'd recommend. It started with poetry. Then the stories got too big for stanzas, and I found myself at the SCBWI New York Conference year after year, workshopping realistic fiction for young readers, learning what it means to write a childhood that feels true rather than tidy.

Somewhere along the way, a screenplay grabbed me by the collar and wouldn't let go. I studied screenwriting as an undergraduate and went even deeper into it in grad school during the pandemic. My thesis was my fiction manuscript — but screenplays had already claimed most of my heart and hours. I still have a thesis to present, and tuition hit me with a major roadblock. Money usually does.

But the projects kept coming: pilots, fiction manuscripts, stories that sat with editors long enough to mean something. I've lived in that space with my manuscripts, so why not bring my scripts along for the ride. The worst they can say is not yet.

Now I'm back — with cleaner instincts, a sharper eye for structure, and the same obsession with stories that meet young audiences exactly where they are. Coming-of-age stories told without condescension. Family narratives with real weight. Characters who are allowed to be complicated.

I write fiction about important topics that people don't like to talk about. I write scripts that encompass the kind of stories and specific faces I needed to see when I was growing up. That, it turns out, is a perfectly good reason to keep writing them.