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I am a writer of textbooks and one-act plays living in rural Wiltshire with my science teacher wife and two children.
My first book was published by First and Best in Education in 1998. Since then I’ve had great fun creating characters and situations that, although humorous, still allow actors opportunities to explore a range of emotional states and to fully engage their audiences. When I’m not writing, I enjoy birdwatching and solving cryptic crosswords. In 2016 I reached the final of The Times National Crossword Competition and, later that year, was part of the team that broke the world record for the most living figures in a nativity scene (Calne Town Council and Bible Society – both UK – 3rd December 2016).

Publications
Essential Drama Skills (1998), Back to Basics (1998), A GCSE Drama Course Book (2000, 2012), and New Essential Drama Skills (2016) were published by First And Best in Education. Murder in Time (2021), Murders at The Cosmopolitan (2021), Genius (2021), Murders at Highcliffe House (2022), Murders Under Sail (2023), Murders at Cringing Manor (2023), Alana Sultana and the Poisoned Banana (2023) and Daisy, Baby, Pixie, Queen, Elephant, Monkey, Tangerine (2024) are published by Scripts for Stage. Believe It Or Not and There’s Nothing To It were published by LAMDA in Acting Anthology Volume 3 (2014).

Collaborations
I edited Teaching Rhythm, Melody and Harmony (2001) by television and film composer, James Harpham published by First And Best in Education and I wrote the libretto for the children’s opera, Hamlyn (Music by composer Nicholas Keyworth). I wrote the words for the children’s mini musical, The Story of the Great White Horse (2024 - Music by Nicholas Keyworth and produced/staged in Bangkok by Revolution Arts Limited). I have also been on Bloomsbury’s reviewer database since 2014.

I am a writer of textbooks and one-act plays living in rural Wiltshire with my science teacher wife and two children. My first book was published by First and Best in Education in 1998. Since then I’ve had great fun creating characters and situations that, although humorous, still allow actors opportunities to explore a range of emotional states and to fully engage their audiences. When I’... More