Freelance since 2011 · London
I make documentaries, write long-form features and run press for people who have something worth saying. Fifteen years across broadcast, print and audio — from a two-person crew in a rented van to a commissioner's desk at a national broadcaster.
Selected work
A mix of broadcast commissions, independent audio and written features. Full credits and references available on request — some of this work is under embargo or held by the commissioner.
About
I started in local news, moved into television, and have been freelance since 2011. I work from a desk in south-east London with a very old filing cabinet.
I write, produce and run press. Those three things sound like a strange combination until you notice they're the same job: working out what the story actually is, then getting it in front of people without losing the thing that made it worth telling.
I trained as a news reporter in the north-west, spent four years on regional current affairs, then moved to London to work in documentary development. I went freelance in 2011 and have been lucky enough to keep working ever since — mostly on social affairs, work, housing, health and the parts of the country that don't get filmed very often.
On the production side I've developed and produced for Channel 4, the BBC and a handful of independent companies, usually as the person holding the whole thing together: research, access, contributor care, shooting schedules, edit notes, delivery. On the writing side I've filed long reads, features and opinion, and I ghost-write first-person pieces for people who have a story but not the time to sit down with it.
The press work grew out of that. I've run press offices for festivals and small organisations, written releases that actually got picked up, and coached people through their first on-camera interview. If you're launching something and don't know where to start, that's usually the conversation I'm most useful in.
I'm a member of the NUJ and work to their freelance rates as a floor, not a target. I'm happy to talk about anything before you've worked out the budget — half my best projects started as a vague email.
What I do
Most projects are one of these, or a combination. Day rates and project fees both available.
Development through delivery: research, access, treatments, shooting schedules, contributor care, edit notes. I'm used to working with small crews and tight budgets, and I'm good at the unglamorous paperwork that keeps a shoot legal.
Features, long reads, opinion and first-person pieces. I can work from your research or do my own, and I'm comfortable with legal read-back and fact-checking to publication standard.
Releases, media strategy, talent briefing, accreditation and on-the-day press office. Suited to festivals, launches, campaigns and small organisations without an in-house comms team.
Structural notes, script editing and treatment surgery for producers stuck in the middle of something. Also ghost-writing for people who need to say it in their own voice but can't face the blank page.
Press & bylines
A selection. Broadcast credits and full clippings list available on request.
Currently
Updated when it changes, which is roughly every six weeks.
The Ledger Project — an archive-led documentary about a Victorian shipping ledger and the families named in it. Research and treatment are done; we're talking to commissioners now.
A long read on temporary accommodation for a national title, and script notes on two independent features. Two slots open for press work from March.
Freelance production, writing commissions and press contracts. Comfortable remote or on location. Usually booked 4–6 weeks ahead — earlier is better for anything with a fixed date.
Contact
The form goes straight to my inbox. If it's urgent, email is faster than anything else.
I read everything and reply to most things within two working days. If you're pitching a collaboration, a commission or a press contract, a couple of lines about the project and the timeline is plenty to start.