Packaging stories for social media

It’s vital to me, even in leadership roles, to keep my hands in the day-to-day work, creating assets, writing copy, and scheduling posts alongside my teams.

Chunk-ifying long, complicated stories has always been my forte. I had a blast putting together an Instagram Story from behind-the-scenes, on-the-boat footage, captured during an expedition to the deepest point in the Arctic Ocean, published to promote Ben Taub’s “Thirty-Six Thousand Feet Under the Sea.” To share The New Yorker’s VR film “Reeducated,” an immersive investigation of the reeducation camps in Xinjiang, China, I devised a cross-platform rollout plan featuring Instagram posts, an Instagram Story, and multiple Twitter threads. To share Ian Urbina’s reporting on Libya’s secret migrant detention system, I wrote and created an Instagram carousel and Story highlighting the atrocities of the shadow immigration system.

I like to have fun on the job, too: At Wirecutter, I took the Met Gala as an opportunity to highlight a handful of Wirecutter-recommended products. The year before, at The New Yorker, I commissioned the illustrator Sarula Bao to live-draw the red carpet for the magazine’s social media accounts, sharing her images to accounts throughout the evening. The next day, we rounded them up in a story for the site, written by Rachel Syme.

Also at The New Yorker, I organized a rom-com bracket, pitting popular films against one another in a series of Instagram Stories votes. (Predictably, “When Harry Met Sally” won.)

My Wirecutter team and I collaborate with other New York Times desks, too, including Cooking, Games, and more, to share Wirecutter journalists’ reporting. In response to the 2025 California wildfires, I worked with NYT’s Well team to create a service-y carousel explaining air-quality metrics and the importance of masking—even after the smoke clears.

Live-event coverage is an adrenaline sport I adore, too. I’ve live-tweeted more Presidential debates and awards shows than I can count. When I was covering the results of the 2020 election for The New Yorker (which was a week-long saga, if you memory-holed that experience), I set alarms every couple of hours throughout the night, poised to post the minute we got a final result.

Before that, in 2019, when we could breathe on each other in public, I followed the writer Calvin Trillin on his famous New Yorker Fest food tour and documented the adventure on Instagram Stories. That same weekend, I filmed a lively backstage discussion about skincare with Sarah Silverman and cut it into a social-exclusive video for The New Yorker’s Instagram feed.

Storytelling on Snapchat Discover

These are just a few snaps from the 130+ editions my award-winning team of five created over the course of WIRED’s year and a half on Snapchat Discover. I wrote and edited every word of these editions, selected stories, and provided direction on video and art choices.

Writing

After particularly brutal pandemic winter, I shared the tiki cocktail book that helped me make it through.

I explored a delightful short film about a grumpy guy who kept getting struck by lightning.

And I peeked out from behind the curtain to share how we handle reader feedback at Wirecutter.

Also seen on

In 10 years of social media management, you really rack up the posts. Among other accounts, my work has been shared to @medium, @huffpost, and @refinery29 (including this vintage selection of Instagram Stories from @refinery29’s account, circa 2016).

In college, I shared the location of all the free food on campus via the Twitter account @FreeFoodMizzou (my foray into social media management). Public service done right!