Ten projects across brand, lifecycle, influencer, offline, and digital. Filter by what you are hiring for. For shoots, openings and live activations, see production.
Solace had been working with AARP through digital placements, run-of-site display and social promoted on AARP's platform. Engagement was strong. Conversion efficiency was not.
Healthcare advocacy is a category most people have never heard of, and a display unit is not big enough to explain one. The formats were the constraint, not the audience.
I wrote the brief for a full-page test in AARP The Magazine, which reaches about 19.5 million readers nationally. Rather than buy nationally, we tested the Mid-Atlantic edition, roughly 2.6 million member households, chosen for provider coverage and active patient populations. Print bought us the space to introduce the category instead of assuming it.
Version one was built on fighting language. Unbreak the Healthcare System. An advocate who fights for the care you need. Three pillars named Appointment Solver, Medical Bill Fighter, and Healthcare Strategist.
By that point I had been running patient interviews through our qualitative program, and three findings pointed the other way.
Drag to compare. Version one on the left, version two on the right.
The brief and the rewrite were the same job. Writing the brief is what put me in the room for the creative review, and the interviews are what gave me something to say when the first round did not fit.
The team had performance data and very little language. Every conversation with a patient or an advocate contained something that could sharpen the messaging, and none of it was being captured anywhere a marketer could use it.
I maintained the Insights Hub, Solace's qualitative research program, and led the messaging and audience insights workstream inside it. I designed the questionnaires, interviewed patients and advocates, and built consent into the process from the start so the stories could be used in marketing rather than sitting in a research folder.
Findings went to Performance, Lifecycle, Creative, Advocate, Product, and Clinical Operations, which meant writing them up differently depending on who needed to act on them.
The path from a patient conversation to a campaign asset, including where consent sits.
Straight into the work. The AARP print rewrite came directly out of these interviews, as did the direction for new CTV creative and the briefs that followed. I also built the hero story one-pagers and the production proposal for filming patient stories on camera, which meant sourcing the patients, arranging releases, and writing the pre-production briefs.
This is the part of the job I want more of: being close enough to the audience that the creative argument is already settled before the review.
Solace was running on Meta and Google. As audience targeting widened from Medicare to commercial insurance, the brand expanded into four channels it had never used: connected TV, podcast, influencer, and streaming audio.
I worked on the brand side of that expansion, closely with the performance team, who owned media buying and budget.
Comparing the period before the expansion with the period after, across the blended program and the two new offline channels. Figures are shown as change rather than absolute cost, since the underlying numbers are internal.
We ran advocate-led and patient-led versions of the CTV creative. Patient-led storytelling outperformed advocate-only spots and became the default approach for new CTV work. It lines up with what the interviews said: patients describe their own specific problem, and hearing someone name that problem does more than hearing a professional describe a service.
Patient-led spot. A patient telling his own story.
Advocate-led spot, edited for commercial audiences. Same offer, different narrator.
Solace Health · Process designPublic figures and creators were coming through media and influencer partnerships to use the product themselves, and each one was being handled ad hoc. When a partner's own experience is the marketing asset, a bad hand-off costs more than the partnership fee. It costs the endorsement.
I mapped where the standard patient journey would break for these partners, then worked through every hand-off with the function that owned it: the service side for matching and vetting, product for account setup and access, legal for consent and paid-partnership disclosure language, and support for the relationship afterward.
I designed the workflow stage by stage with a named owner at every step, built a three-tier structure that capped advocate hours and marketing spend per tier, set up a partner tracking database, and documented the whole thing as an SOP so the program could run without me. Partners included Keke Palmer.
A repeatable onboarding path for high-visibility partnerships, with privacy and legal guardrails built in rather than patched on. Product added a scalable version of it to the Q4 roadmap.
Hyatt Inclusive Collection · Creator campaign
Launch Hyatt Vivid Grand Island, a new adults-only brand, with creators from the United States, Mexico, and Colombia on property at the same time. One property, three markets, three sets of audience expectations, five days.
Trip strategy and the daily agenda, built with the resort teams so the content moments and the hotel's operating reality agreed with each other. The creator roster across all three markets, the gifting program, and how the brand showed up on property while they were there.
The creators given the most room to tell it their own way drove the strongest engagement, and several posted beyond what their contracts required. Nine creators in three markets is a logistics problem on paper, but the thing that actually decided the output was how much we scripted them.
Hyatt Inclusive Collection · Regional campaign
Costa Rica was lagging the rest of the region. The easy answer was to ask for more budget. Instead I went looking for why.
I rebuilt the promotion around all three: fresh concepts and refreshed assets, traffic sent straight to the booking engine, and offers built per property so each one was priced and positioned on its own terms.
Campaign build and localization, media partner coordination, and the reporting that fed the next round of planning.
Hyatt Inclusive Collection · Integrated campaign
An integrated campaign for Dreams Resorts & Spas, built and localized in Spanish for Argentina, Chile, Colombia, and Mexico, running across web, paid social, organic social, email, and YouTube.
I supported it as an intern through execution, then carried it into my associate role. Each market got its own Spanish rather than one translated version, which is most of the reason it travelled as well as it did.
Localization and review of scripts for radio, television, PR partners, and hotels across LATAM and Mexico. Monthly social content calendar audits with the regional and creative teams. Keeping brand voice consistent across four markets that each wanted to say it slightly differently.
Hover an email to scroll it.
Hyatt Inclusive Collection · LifecycleMexico promotional emails were shipping late or not at all, and attributed revenue was close to zero. The campaigns existed, the offers existed, the creative existed. What did not exist was an agreed order of operations, so every month rediscovered the same bottlenecks.
I owned the promotional email calendar for the Mexico, LATAM, and U.S. markets, planning and executing five or more integrated promotional and seasonal campaigns a month across nine resort brands. Each one shipped with an offer in Spanish and English plus digital, social, and paid support, and I owned the reporting that fed the next round of planning.
A/B testing along the way turned up something I reused: talent-led hero images outperformed product imagery, so later promotions led with people.
Each one carried its own offer, its own creative, and its own Spanish. Hover to scroll an email.
It is priced in pesos and built around Mexican Independence month. That is the difference between a localized campaign and a translated one: the offer, the timing, and the reason to book all come from the market rather than from headquarters.
Acted as producer and project manager on property across more than ten openings, reopenings, and rebrandings, covering television productions, photoshoots, and brand films. That meant building the shot list and schedule with the resort teams, coordinating crew, talent, and hotel operations across departments, keeping the shoot moving against a fixed window, and acting as the guardian of brand guidelines on set.
The opening productions included Secrets Mirabel in Mexico and the opening shoot for Secrets Playa Mujeres, which produced both the photography library and the brand film below.
On a shoot day, brand standards are enforced in real time or not at all. Whether a room was styled correctly, how food and beverage appeared on camera, whether the talent direction matched the brand's tone: once the crew leaves the property, whatever was captured is what the brand has to live with for the next two years.
A few frames from the library the production delivered. Every one of these had a styling decision behind it that someone had to make on the day, and defend.
Secrets Playa Mujeres, cut from the opening shoot.
Alongside production I led activations across the region: Rodando por una Sonrisa in Colombia, a nearly 1,000 km charity ride funding cleft palate surgeries for children with Hyatt as a main sponsor, where I project managed the logistics and hosted the press conference that aired on national television. Also the UNICEF 10K in Buenos Aires for Sunscape with 5,000 runners, branded Cinemark Colombia placements timed to major film releases, LGBTQ safe-tourism campaigns across Argentina, Chile, and Colombia, and family-brand mall pop-ups in Mexico.
Hyatt Inclusive Collection · Broadcast partnership
I managed sponsored placements with NTN24, an international Spanish-language news network broadcasting across 25 countries, alongside RCN and Radiópolis on Colombian national television and radio. The work covered Dreams, Secrets, Sunscape, Breathless, and Hyatt Vivid.
My part was reviewing and approving scripts for tone of voice, supporting production on site, and handling the coordination between the network, the agency, and the resort teams.
The placements worked well enough that NTN24 built a format around them. Destino Exclusivo, a recurring segment inside the channel's Flash Fashion programme, created specifically to cover Hyatt properties.
Each destination gets a full week on air with presenter Santiago Giraldo: six organic segments of at least four minutes each, two interviews with hotel spokespeople, and a featured destination piece, running on television and across the channel's own social accounts. Gastronomy, lifestyle, and destination are the three pillars.
That is the difference between buying airtime and becoming programming. A paid spot ends when the flight ends. A format the network owns keeps coming back, and the audience meets the brand as editorial rather than as an advertisement.
A Flash Fashion segment, produced on property.
The format earned recognition for the network both nationally and internationally, and every campaign delivered more posts than were contracted. I also negotiated preferential terms on the alliance, including exclusive terms on the format itself and on crew.