Founder and Creative Director [2017-Present]

I started Unify Collective because I kept meeting talented people — musicians, photographers, designers — who had no real platform to be seen. What began as a way to release my own music turned into something bigger: a home base for creatives to promote their work to an audience that actually pays attention. Since then, I've written copy that sold out merch drops, interviewed local artists who deserved more spotlight than they were getting, and learned how to run a brand's voice across social, web, and print — mostly by trial and error and stubbornness.

Freelance Journalist [2021-Present]

This is where I learned that a good interview isn't about the questions you prepare — it's about listening closely enough to ask the one you didn't. I've talked with up-and-coming artists and genre-defining names alike, over Zoom and over email, always chasing the story behind the press release. Coordinating with PR teams and managing publication deadlines taught me as much about patience as writing itself did.

Freelance Journalist [2021-2022]

Before I had an editor's trust, I had to earn it one clean transcript at a time. This role sharpened my ear for a publication's voice — matching tone and rhythm to the outlet, not just to my own instincts. It's also where curating lists and reviews taught me that SEO and storytelling aren't opposites; they require holding both in your head at once.

Writer/Editorial Assistant

Managing copy from a team of seven writers daily will quickly teach you that "good writing" isn't one style; it's seven different voices that all need to sound intentional. I wrote a weekly feature alongside the editing work, which meant I was constantly switching between "fix this" and "write this" mode. It's where I first got serious about process — tracking deadlines, giving feedback that actually helped, and treating a newsroom like a system worth improving.

Writing Consultant [2020]

Working one-on-one with eight students a week wasn't really about grammar; it was about getting people to trust their own voice enough to put it on paper. The most rewarding part wasn't the polished final drafts; it was watching someone go from "I'm not a writer" to writing something they were proud of. This is probably where I first understood that writing is as much a confidence problem as a craft problem.

Literary Journal Staff [2020]

Reading other people's work closely, proofing it, evaluating it, defending or challenging it in editorial meetings taught me more about my own writing than writing ever did. Collaborating with graphic artists and post-production folks also showed me that good writing doesn't exist in a vacuum; it's shaped by everyone around it before it reaches a reader.

Editor [2015-2017]

This was the opportunity that made me obsessive about accuracy, checking sources, verifying facts, catching the small inconsistencies that undermine an otherwise strong piece. I also learned how to give feedback that actually lands: specific enough to be useful, kind enough that people want to use it. Every rewrite I did here was really a lesson in restraint and cutting what didn't serve the piece, even when it was well-written.