My life has been defined by a love of words. Legend has it I plucked a picture book out of Mum’s hands at three years old and read it aloud word for word (though Mum suggests that perhaps I wasn't reading so much as reciting). For me, nothing beats getting lost in a story.
My first experience with publishing came at twelve years old, when a short story I'd written was published in an anthology of work by NSW school students. After graduating, I worked as a bookseller and school liaison, connecting teachers and librarians with the best reads for kids. For a few years I swapped out books for scripts, working as a script supervisor (more on that below).
Now, I work as an in-house editor for one of Australia's best children's publishers where I edit picture books, junior fiction, middle grade and young adult titles.
I love editing. There's something immensely satisfying about seeing a story built from the bones up into a fully living thing. I've always been a stickler for rules, so spelling, grammar and punctuation are right up my alley, but I also love diving into world-building, plot structure and what makes characters tick.
Alongside my in-house role, I’m a Bootcamp Editor for CYA Conference, mentoring writers through intensive small-group workshops. In these sessions, I provide personalised manuscript feedback, guide authors through revisions and support them in developing stronger stories. It’s one of my favourite ways to connect with emerging writers and help them refine their craft.
Outside of work, I love to read. (Is that really a surprise?) I'm also a lover of Belgian hot chocolates, fishing and watching my wife surf. (Well, she thinks I'm watching, but actually I’m on the beach reading and looking up at the right times to shout, 'Good job, hun!')
~Erin~
In the past I worked as a script supervisor in the Australian film & TV industry. You might’ve seen my (very behind-the-scenes) work on the much-beloved drama Bump.
As a script supervisor, it was my job to proofread scripts and revisions, compile breakdowns for various departments, catch continuity errors, and work closely with the director throughout the shoot. I had to remember whether a character was holding a coffee cup with their left hand or their right, as well as that character’s entire emotional arc, all while filming a ten-episode series completely out of order.
I’ve also worked as a writing room notetaker. A notetaker’s job is more than recording discussions between screenwriters and producers; it’s knowing what information is essential, what ideas link up with those that were suggested three weeks ago, and what’s not going to work because it clashes with a character’s actions from two seasons prior.
Between these two roles and my editorial work, I’ve been immersed in stories for a long time, and I wouldn’t have it any other way!
Production Companies
On set @ Bump
words reviewed
books edited
genres edited
days since last dragon incident
