To date, I have edited nineteen issues of Metro (official website here), a quarterly magazine of long-form features and critical essays on Australasian film and media, published by Australian Teachers of Media (ATOM). Metro has been running since 1968 and is Australia’s oldest screen-centric periodical. It is an interesting creature, straddling the divide between scholarly journal and commercial glossy, and everything you’ll find in its pages is articulate, analytical and astutely written.

Each issue, I commission and edit all of the magazine’s pieces, draft titles and publicity copy, and oversee design. I also build ongoing relationships with both established and fledgling filmmakers, film festivals, distribution companies and the broader media.

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​I specialise in nonfiction of all sorts (creative nonfiction, memoir, research) and lengths (book-length or long-form essay), but I'm equally comfortable working with poetry and short fiction. I'm proficient in all stages of editorial—from developmental and structural editing, to copyediting and proofreading—and have experience in overseeing production, design/layout and typography.

No. 196 (Autumn 2018):

Coverage of the feature films Swinging Safari, Three Summers, and Australia Day; Asian titles Angels Wear White, Claire’s Camera, A Man of Integrity and Blade of the Immortal; and documentaries Westwind: Djalu’s Legacy, After the Apology and Blue. Also includes essays on depictions of women in Jane Campion’s The Piano and Top of the Lake; on the commentary in the Cate Blanchett–starring Manifesto; and on formal experimentation in Amiel Courtin-Wilson’s The Silent Eye.

No. 195 (Summer 2018):

Genre special-feature: Sweet Country, Cargo, OtherLife, Bloodlands, Better Watch Out, Jungle and Blue World Order, alongside a retrospective on Alex Proyas’ Dark City. Elsewhere, articles cover Asian titles The Challenge, Pop Aye and Wolf and Sheep; and documentaries The Song Keepers, Namatjira Project and Spookers. Includes an academic investigation of the Survivor franchise and localisation; and industry analyses of original VOD programming, and of Australian co-productions.