I am a London based writer. I write screenplays and prose.
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* I also provide script advisory and story development for a wide range of projects. These range from film and radio scripts to narratives for corporate media. I have recently worked with BBC Radio Scotland and Ironbox Films amongst others and also write articles for a few choice zines.
Great new cover artwork for my upcoming short story collection to be published by Philistine Press. More details to follow soon…
Part one of my new novel Dust is out now on Amazon. Described as “a collision of Anna Kavan’s heroin-fueled novel Ice and the epic sea shanty that is Moby Dick” and “an apocalyptic journey through the barren, mystifying landscape of the human psyche“, you can get it now for kindle for just $0.99 or drop me an email if you’d like to read in another format.
Read it here: http://bit.ly/dustpartone
An impenetrable cloud of dust has settled on the planet, cutting of communications and strangling life. Inexplicable and terrifying this visitation throws up constant sandstorms and as humans have slowly become isolated and hardened against one another – the main aim for most people has become survival.
In a desperate quest to find her brother, Abel, the one person who can offer some hope of a resolution, the narrator, a natural survivor, struggles ever deeper into this harsh, blinding landscape.
***** Please note this is only part 1 and not the complete Dust story. This is only the first 75 pages but has been listed at the minimum possible price that Amazon will allow. ****
My review for literary magazine….
At the start of chapter 5 of Jason Schwartz’s short novel, John the Posthumous, we are told, in a brief aside, that the title derives from a Medieval French King, alive for only five days. This character is never mentioned again and any reader looking for an explanation as to why this digression should warrant the title of the book will be left frustrated, however this sort of pendent association is par for the course with this pleasingly hypnotic book.
Akin to the disembodied and pseudo – professorial documentaries of Patrick Keiller the text jumps playfully from the ancient and the etymological to the modern and meta-textual with little distinction. As in Keiller’s films, such as Robinson in Space, we are shown around a landscape that exists only on the hinterland between the abstract and the corporeal. The source or root of a word is treated with as much attention as other story tellers lavish on the origins of their characters.
Great new concept artwork by Michael Zigerlig for my sci-fi dramedy SOMA.
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My latest review for Litro magazine….
From the front cover to the last page The Drive has all the dials turned to madcap as Tyler Keevil follows in the dust trails of the great American road trip. This kinetic journey through the backside of America lives firmly in the shadow of Fear and Loathing
The action starts in medias res with Trevor, our protagonist, fearfully swallowing his stash as he is questioned at the American border. Successfully gaining entry to the hallowed land, he is propelled through a series of bizarre, comic encounters as he desperately attempts to outrun his feelings for ex- girlfriend, Zuzska.
It’s hard not to feel sorry for the London theatre scene in August, clamouring for press coverage as the creative centre of gravity moves north of the border. One wouldn’t begrudge Edinburgh this attention: in no other arts festival in the world is a city so effectively commandeered to the service of culture. However, for those who are London-bound – or bound to London – there is a smaller-scale alternative in the form of the Camden Fringe, which comes to a close on August 25th after a tight programme of events throughout the month. The programme, which is in its eighth year, takes place across sixteen venues around Camden and Covent Garden. With a similar ethos to the early Edinburgh Fringe, the shows are nearly all performed by unknown actors tackling untried material. This gives plenty of room to explore ideas and concepts in new ways but – as with any fringe festival – the results are uneven in places.
First theatre review for Litro Literary Magazine…
While Grimeborn may take its name from the more established opera festival at Glyndebourne, it is unlikely that it shares many of its visitors. With none of the pomp of is south coast namesake, this short programme of events in East London’s Arcola Theatre has taken a more experimental, tongue-in-cheek approach, bringing opera to the streets.
The Arcola may have recently completed a renovation but the space remains obstinately bare and simple. The main stage is not much of a stage at all – more a small floor space surrounded on three sides by raised seating, supported by scaffolding poles. A Dalstonesque theatron, the exposed brick and scaffold creates a space designed for chamber productions and up-close theatre as opposed to symphonic compositions viewed from the gods.
You can read my review of Sabine Gruber’s new novel Roman Elegy at Litro Magazine now: