Where are you currently employed?
I’m a story analyst for the Universal Pictures Film Group.
Current projects?
I’m working on an adaptation of “Amari and the Night Brothers” by B.B. Alston, in addition to a college sports project à la “Pitch Perfect,” and a few rom-coms. Also something special for the LA28 Olympics.
Describe your job.
Story analysts work in conjunction with the feature development department (in my case, the Universal Pictures Film Group). We read all scripts, books, and other narrative materials to assess their potential for development and production. Story analysts write coverage that synopsizes the material, then provides critical commentary on story structure, character development, dialogue, and potential marketability.
In essence, we are gatekeepers in the creative process. Executives receive too many submissions to read, and statistically, most of them will be a pass for one or more myriad possible reasons. So we help them determine what’s worth reading — what might be a potential buy for the studio and what to pass on. If a submission is purchased and becomes a project, the story analyst works with the executive to provide analysis of each new draft and compares it to the previous draft(s) until the movie starts production. We also write creative notes to assist the executive in formulating studio notes for the producing team and writer.
How did you first become interested in this line of work?
I began my career as a development assistant at Sony Pictures. We worked closely with the story department there, and I always found the work they did to be invaluable. I also thought it was amazing that people got paid to read scripts and books and give their opinions on them.
Who gave you your first break?
My first break in the business was from Michael Costigan and Rachel O’Connor. They both have gone on to produce some huge blockbusters and I still think they have some of the best taste in town.
What was your first union job?
That was at Universal.
What credits or projects are you proudest of, and why?
One of the most challenging things about working in development is that you can spend years on a project, only to have it never see the light of day. Of all of the projects I have worked on at Universal, only one has made it into production.
So some of the projects I’m proudest of haven’t had their chance yet. I’m particularly proud of our adaptation of the book “Amari and the Night Brothers,” which was one of the first books I read for Universal after I came on board. It’s Harry Potter with a sprinkling of Black Girl Magic. To see how it’s progressed from a middle grade book [for ages 8 to 12] into a wonderful heartfelt screenplay has been inspiring. I don’t know if “Amari” will ever get a green light, but it has been a true joy to work on.
Besides being a member of Local 700, I’m also in the Writers Guild. I earned my first professional writing credit two years ago as a staff writer on “Gotham Knights” on The CW.
What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
Some projects are a joy to read. Others are… less so. One thing I learned early on is that it doesn’t matter how “doomed” a project may seem; it’s my job to figure out how to make it work, or at least make it better, unless and until a fix emerges during the development process. Whether it’s a genre I’m not particularly fond of, a clunky concept, or a script that feels like it will never get made, none of that changes the task at hand. My job is to dig in, identify the structural, emotional, and tonal issues, and offer a path forward. Sometimes the fixes are minor tweaks; other times, it’s about doing the heavy lifting and outlining the kind of overhaul that’s necessary. Either way, my role is to help shape each project into its best version.
By separating myself from the material, I try to get into the head of fans of a particular genre or find a comparable film that might inspire the same emotion. I consider what made those projects work and then try to find similar organic touchstones in the material I’m working on at the moment.
What was the most fun you’ve had at work?
When the manuscript of a close college friend landed in my inbox. I got to read my friend’s book for work.
Jobwise, what do you hope to be doing five years from now?
Candidly, I hope to still have a job five years from now. With AI encroaching further into our industry, that’s not a guarantee. But I remain hopeful that the powers that be and our production chiefs understand that what makes a great movie is its ability to explore the human experience. Machines can’t do that. Only we can.
As a member of the Emerging Technology Committee, I’ve seen firsthand how AI is infiltrating every corner of our business. We need to harness these technologies, understand them, and integrate them as tools in our workflow — not fear that they’ll replace us. I don’t think AI would have identified “Jaws,” “Everything Everywhere All at Once,” or “Pulp Fiction” as the next great movie. Only we can identify that unspoken thing, that twist in your gut or hope in your heart, that a well-told story can evoke.
What are your outside activities, hobbies, passions?
I love to tinker and build things. Mechanical pursuits help get me out of my head. I always have a few DIY projects going on around the house. I’m a rare female gearhead, and I like to do simple mods on my car.
I also do the typical SoCal yoga, swimming, and long walks with my dog, Dani Rojas: Squirrel Hunter. (He’s currently pitching a show, if anyone in the reality space is interested.)
I recently got back into DJing for fun and secretly aspire to be one of those YouTube DJs who does an early morning “Chill House Set” from a cabana in the Maldives.
Favorite movie(s)? Why?
Fancy: “The English Patient.” I know this is a polarizing film, but I loved the adaptation by Anthony Minghella. It was beautiful, visually and emotionally.
Nostalgic: “The Goonies.” I’m a child of the ‘80s and ‘90s, so I grew up in a classic era of cinema. There’s something about the structure of “The Goonies” that just works. Every character is serviced. There’s so much heart, adventure, and stakes. My brother and I used to watch it from a TV recording (with commercials) we had on an old VHS tape. I can still quote most of the lines. That’s the magic of movies.
Favorite TV program(s)? Why?
I gotta be honest, the streaming model has broken television and we have to fix that. But here are a few of my favorite contemporary and classic shows.
“Widows Bay.” Creator Liz Meriwether has such a great voice. It was scary and hilarious all at the same time.
“Bad Sisters.” I never knew how they were going to get themselves out of such escalating circumstances. Absolutely brilliant. Sharon Horgan’s voice on the page is unmatched.
“Ted Lasso.” It was just a joy to watch. Funny, heartfelt, and uplifting. Sometimes you need a positive shot in the arm, and “Ted Lasso” gave us that.
“The X-Files.” They don’t make TV like this anymore. From standalones to the mythology, the early seasons of this show still stand up. What can I say, I’m still a huge X-phile.
“Moonlighting.” Glenn Gordon Caron’s coke-induced rapid-fire dialogue, the behind-the-scenes drama, constantly breaking the fourth wall, and the perfect onscreen chemistry between David and Maddie made me fall in love with TV as a child.
What advice would you offer to someone interested in pursuing your line of work?
Find a niche. Find a genre. What do you bring to the table that feels fresh and unique in this evolving landscape of influencers and YouTube celebrities? Graphic novels, international adaptations, current trends in literature — whatever it may be, find a specialty that helps you stand out.
A story analyst’s understanding of the zeitgeist and role as a tastemaker is always invaluable, even more so as the industry navigates a massive generational shift. You can be the connective tissue that helps your Gen X and Millennial bosses understand how and why Gen Z and Gen Alpha seek out and engage with their media. (I refuse to call it “content.”)
Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
It’s a tough time for our business. Many of us began our careers thinking that we would get to do something we loved for the rest of our lives and, if we were lucky, retire with a house in the valley. But now, after two labor strikes and runaway production, many of us find ourselves wondering how much longer we can hang on.
But every time I freak out, I remind myself that nothing in life is guaranteed. That I’ll do what I love as long as I can. No one can tell me that algorithms and AI can tell a better story than you or I can, or that TikTok “storytimes” are more engaging than a shared theatrical experience. And while I can’t control the risk aversion that has infected the town, I can continue to champion the outliers who remind us why we do what we do. I encourage you to do the same.
Compiled by David Bruskin.
UPDATE: This article was updated on August 11, 2026 to reflect new information.
