Portfolio
Writer, researcher, strategist, & ceramicist, based in Western Massachusetts.
Writing
Articles
From Source to Tap: The Geography, Infrastructure, and Politics of Water Access in the United States, Road Trip. Read here.
Who Controls the Narrative? How Status and Framing Shape Culture and Power, Mouthpiece. Read here.
Is “Delulu the Solulu”?: What Typos, Emojis, and Internet Slang Say About Power, Mouthpiece. Read here.
Language Death and the Loss of Place-Based Knowledge, Mouthpiece. Read here.
How Digital Language Reshapes Power: Social Movements in the Digital Age, Mouthpiece. Read here.
Linguistic Capital and the Policing of Prestige, Mouthpiece. Read here.
Copywriting
Corporate
Empathy in action: reframing messaging to empower behavior change, maslansky + partners (Omnicom). Download Sample.
From campaign trail to brand strategy: political lessons for persuasive messaging, maslansky + partners (Omnicom). Download Sample.
Making meaning matter: what language strategy really is, maslansky + partners (Omnicom). Download Sample.
Telling a credible sustainability story without greenwashing, maslansky + partners (Omnicom). Download Sample.
Nonprofit
How to make your donations as helpful as possible, ghostwritten for TIME Magazine. Download Sample.
Charity Navigator Discusses Giving in the Wake of a Disaster, Charity Navigator. Download Sample.
Your Guide to Giving Like an Impact Investor, Charity Navigator. Download Sample.
Should you donate to that crowdfunding campaign?, Charity Navigator. Download Sample.
Press Releases
maslansky + partners (Omnicom), Download Sample.
Charity Navigator, Download Sample.
Other writing clients include: Vanguard Charitable, Giving Compass, Scholastic Education Solutions, LG Electronics, and clients under NDA
Strategy
At Nantahala Strategies, I help mission-driven teams clarify what they’re doing, why it matters, and how to communicate that clearly. My work blends brand strategy, content development, and systems thinking to shape narratives that resonate and grow. I specialize in connecting the dots between big-picture goals and the daily decisions that shape perception, trust, and impact.
With a background spanning editorial direction, campaign development, and organizational positioning, I’ve partnered with clients across sectors — from global tech brands to local advocacy groups. Whether we’re reframing a story, launching a new initiative, or reimagining a digital presence, my approach is collaborative, grounded, and always in service of meaningful change. Learn more
Research
My research explores how language shapes power, change, and the way we understand our place in the world. Through Mouthpiece — a longform writing project — I investigate the cultural and political weight of words, tracing how narratives evolve and how they influence what we believe is possible. I’m especially interested in moments of rupture, when language falls short and something new begins to take form.
This work draws on fields like linguistics, anthropology, critical theory, and environmental humanities, but it lives outside the academy. I write for readers who feel that something is shifting and want new ways to think, feel, and talk about it. My goal is to make complex ideas accessible without flattening them — to write in a way that invites reflection, not reaction.
Ceramics
My ceramic practice is a way of thinking with my hands — a tactile exploration of life, loss, and transformation. I’m drawn to organic forms: coral reefs, fungal networks, seed pods, lichens, rock formations — the kinds of structures that exist between growth and decay. In them, I see metaphors for how we live in and with the world, and how we often fail to speak honestly about it. My work begins not with a fixed design but with a question — how can form hold memory, or grief, or emergence? How can the body of an object say what language cannot?
The pieces often evoke living systems — clustered, cracked, rippled, or porous — and they reflect my ongoing inquiry into ecological collapse and the fragility of human systems. I’m influenced by the tensions explored in my research and writing: the way language can both reveal and obscure power, the discomfort many of us carry around death and embodiment, and the consequences of disconnection from the material world. Clay, with its visceral responsiveness and earthy weight, brings me back into relationship with time, process, and decay.
My work resists perfection. It invites touch, ambiguity, and curiosity. Each piece holds a kind of aliveness — not just as sculpture, but as an invitation to feel more deeply and imagine differently.