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Some people escape into stories. I never really came back.

My Story

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My Work

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I've always been an escape artist. As a kid between Cape Town and Pretoria - with Table Mountain the closest thing to real magic I'd ever seen - I disappeared constantly: into books, into games, into the stories I built in my own head when the ones on the page or screen weren't quite enough yet. I'm still doing it. I've just gotten better at building the doors.

What pulls me in is never the map or the backdrop, however beautiful - it's the conversation. Two characters saying just enough, meaning more, circling something neither of them will say outright. I'd trade a hundred pages of lore for one exchange that tells me who someone really is. People have always told me I have a gift for atmosphere, and I think that's why: I'm not building a world so you can look at it. I'm building it so you can get lost in it, the way I always have.

I'm currently shaping my portfolio around interactive and game-adjacent writing, with an eye toward studios that treat narrative as a living system, not scenery. Larian is, unsurprisingly, at the very top of that list.

“Writing is the only thing that, when I do it, I don't feel like I should be doing something else.”

Gloria Steinem

Featured Work

What I Write

Dialogue that says more than it means to. Worlds you can feel before you can describe them. Characters who existed long before I found them.

My writing lives in the space between people — in conversations, arguments, and silences that carry more weight than any map or backstory. Whether it's a screenplay, a novel, or a branching piece of interactive fiction, I write to pull you into something, not show it to you from a distance.

The Short Version

I started small - in a faraway land, with a book in my hands and a world in my head that felt far bigger than both. I've always been a dreamer. People have told me my imagination is bigger than I am, that it runs away with me sometimes. They're not wrong. But it's also the truest superpower I have.

Where the Story Begins

I don't get ideas as concepts. I get scenes - a moment from a character's life I've never seen before, playing out like something already filmed, already real. I'll feel the atmosphere before I understand it. I'll hear two people talking, or not talking, and know exactly what's not being said. It doesn't matter if the moment is from the beginning of the story or an ending I haven't written my way to yet — the second it arrives, I know it belongs to me.

From there, it blooms. One scene becomes a question, becomes a world, becomes a story I have to follow all the way through.