2024 | Assistant Writer | Writing first draft guest intros and other additional writing for Host of the show, Tom Gleisner. Ongoing until October 2024.

2023 - 2024 | Host Writer/ Script Co-Ord | During my first year with Thank God You’re Here, I was able to showcase my varied script department skills, while also bringing my years of on stage and comedy writing knowledge to host writing. This role combines Script Coordination and additional material writing for the show’s host. I was also asked back for season 6.

Writer | 2024 | This is currently being shot, it will be my first half hour writing credit. I was engaged as a writer for the entire process through from contributing in rooms to delivering my scripts and taking notes on said scripts. I was part of setting up what the show would be, as well as carving out the voice for the show, as it was a deviation in the form of once off specials from the already established Good Game brand.

Writer | 2023 | After their selection for the ABC/ Screen Australia Fresh Blood initiative - an initiative that takes emerging comedy writers and gives them the opportunity to create shorts in the hopes for making a pilot, then a comedy series, creators of the successful podcast Starship Q Star Meegan and Lauren invited me to attend the workshops with them as a writer due to my initial work on their podcast. I also assisted in the development workshops where we took the initial podcast and workshopped it to be an animated series. I also voiced Mo in these series.

Writer | 2022 | Narrative Podcast Format | In 2022 I wrote and starred in Starship Q Star a fully funded narrative comedy podcast created by Meegan May and Lauren Anderson. I penned Episode 4 and also voiced the character of Mo throughout the series. I was able to adapt to the creative challenges of writing audio only while upholding the logic of a strict sci-fi comedy world.

2020 | Writer | During the 2020 lockdowns, I worked as a researcher and writer on ABC Me’s children’s news parody sketch show Definitely Not News. This production was created in lockdown and all work was remote including shooting. This placed specific writing demands on my work, and I was able to adapt to the restrictions of remote shooting and children’s television. I was also brought in as a ring in to fill in for a writer who had excited after the show was on it’s feel and I excelled in the challenging scenario of coming in half-way by creating meaningful relationships, taking criticism and notes constructively, and quickly learning the voice of the show.

Writer | 2018 | While working as a Writer and Director’s Assistant to animator and creator Michael Cusack, I worked in many stages of writing development. Through my work with Michael, I was able to show my ability to adapt to his unique voice by writing a spec for the series, which was later optioned as an episode in the series.