I was seventeen when I started my career.
Yes, you read that correctly, seventeen. 17.
In 2005, I was at North West Kent College, studying drama, dance and performance, when I was given the very fortunate chance to work at GMTV Kids department over the summer. This several week work, ended up becoming a full time job, as I realised that my passion lied in media and I didn’t want to go back to college. I also didn’t want to be stuck inside a classroom, I wanted to work and earn my way. So whilst all my friends went to university, I started my career.
I eventually worked my way up the ladder, from a Runner to Researcher, working on early 2000’s beloved British TV programming such as Wakey! Wakey! and Toonattik. I worked across scheduling, promotions, website content, and eventually writing two links for the Toonatik 500th show. I worked with some fantastic talent and got the unique opportunity to learn on the job. However in 2010, a lot changed; the kids department shut down, and I moved over to ITV and the main show GMTV, which eventually became Daybreak (now known as Good Morning Britain).
This shift from Kids to Live News programming was a huge; there’s nothing like being told at 4pm that we need to make a trailer for a special guest coming on Daybreak in the morning, and the trailer needed to go out during Coronation Street at 6pm. It was fast, hectic and challenging, and I loved getting to work outside of children’s television, but I wasn’t done.
In 2010, I became a writer for Anime UK News, and I still am to this day; I written reviews for classics of the genre such as Perfect Blue and Revolutionary Girl Utena, I’ve written multiple manga reviews that have been quoted by the publishers for marketing purposes, and I’ve even had the opportunity to interview legendary anime director, Makoto Shinkai.
In 2012, I started working at The Walt Disney Company (you might have heard of them?) as a Continuity Producer for all their channels, including Disney Junior, Disney XD and Cinemagic. Not only was I now working with one of the biggest brands in the world but I also got to hone my creative and writing skills; scripting for all the channels, producing on-screen graphics, and meet some of the best creatives in the industry.
But at the time, I wanted to become a Promo Producer, I wanted to make trailers, something I did a bit of at GMTV and ITV, and I also wanted to do more than just Kids content, I wanted to work on many genres as possible.
Luckily, this opportunity came along in 2016, when I joined Sony Pictures, and worked across their catalogue of channels from POP, to Sony Crime Channel, to Scuzz. My days are Sony were very fun and unique, there’s not many opportunities where you could be watching Maya the Bee in the morning, and spend the afternoon cutting trailers for Deadly Women. I also earned my first Two Promax/GEMA Award Nominations, for my YouView Promo and Easter LOLs Campaign. On top of this, I got to direct my first ever shoots, including an overnight shoot for True Crime channel branding, and also in France, working with the Yeti Tales Puppeteers.
In 2019, I went on maternity leave, and gave birth to my son, who I love more than anything. After working through Postpartum Depression, I was ready to get back to work. In January 2020, and well, I think we all know how that went!
The pandemic ended up changing a lot; myself, my family and the television industry as a whole, but I kept on working and creating. My husband opened his own YouTube Edu-tainment show, Spooky Dad, which I edited and also created thumbnails for.
Then in 2021, the Sony channels were bought by Narrative Entertainment, so I moved across and eventually worked my way up to Senior Creative, a role I had been wanting for years. On top of this, I earned two more Promax/GEMA Nominations in 2021, across the Global and UK Awards, for one of my personal favourite promos.
But by this point, the TV industry and my career were starting to change, I no longer wanted to just make promos or content for TV channels, I wanted to break out into creative agencies, I wanted to work for charities, I wanted to make music videos, I wanted to make more… STUFF.
I wanted more. So I went looking for more.
In 2023, I got one thing checked off my list, I got to direct, produce and edit my own music video, for my brother’s band Sketchdoll. The whole thing was done under £500 and filmed over one weekend, I was so honoured for the opportunity and it’s currently their most viewed video on YouTube.
Then in 2024, due to the ever changing landscape of TV, I was made redundant, but my drive to be creative remained, and so I went freelance. But in the incredibly difficult job market of 2024 and 2025, this seemed to be impossible, but I refused to stop, because I knew what I was passionate about. I knew I wanted to make content, so I kept making content!
In late 2024, I not only got to produce social-first content for two charities (Supporting Healthcare Heroes UK and Campaign for Learning) but also create seasonal idents for the channel That’s TV.
Early 2025 opened some new doors for me, such as the chance to storyboard Amazon E-Commerce product videos, as well as animate a whole reel for RNIB charity’s Instagram. I also edited another music video for Sketchdoll, expanded onto Meta Ads and Spotify Canvas, helping the band’s reach grow.
In March 2025, I opened my own TikTok account, and also revamped my Instagram account, in order to gain more experience of both platforms and a way to maintain my creative skills in between jobs. Then within a few months I had a reel with nearly a million views, and over 50,000 likes.
The back half of 2025 brought in jobs from streaming legend BritBox, editing trailers and social clips for their award-winning programming. I also produced YouTube-exclusive content for the inspiring animation production company, Animaj.