School of English
Lecturer in Creative Writing
Full contact details
School of English
1 Upper Hanover Street
I'm a writer of contemporary fiction and creative non-fiction. My first novel, All the Good Things, was published by Viking in 2017 and won a Betty Trask Award. My short story collection, How the Light Gets In, was published in 2018 by Influx Press and longlisted for the Edghill Short Story Award and the International Dylan Thomas Prize. My next collection of short fiction, The Moon is Trending, will publish with Salt in 2023. My work has been translated into over six languages and has been published in journals such as The London Magazine, Lithub, Gertrude Press, and 3:AM.
I am soon to complete a practice-led PhD in Creative Writing, funded by the AHRC, at the University of Leeds. Titled, Awkward Positions: Experiments with Failure in Creative Writing, it uses queer theory and experimental writing methods to illuminate and subvert narratives of success and failure in contemporary publishing and Creative Writing Studies. It pays particular attention to the paradoxes of trying and failing to write from and with the body by placing critical and creative methodologies of reading and writing into productively awkward relation to one another. My forthcoming short story collection forms part of its creative contribution.
I have taught Creative Writing at the University of Leeds, Queen Mary University London, Goldsmiths College, University of London, and Leeds Arts University; I've also taught in schools, art galleries, community centres, and in a women's prison. I was a Royal Literary Fund Fellow at the School of Law, University of Leeds, 2019 - 21.
I completed an MA in Creative and Life Writing at Goldsmiths College, University of London, and a BA (Hons) in History at Exeter College, University of Oxford.
- Research interests
My research focuses on the methods and methodologies of contemporary prose writing. Whilst my background is primarily in fiction, I have become increasingly interested in creative non-fiction, creative-critical, hybrid, and otherwise category-resistant, prose. I am particularly interested interested in writing which foregrounds the difficulties, ambiguities and paradoxes of writing through and with the body, and for the implications of such a writing for established methodologies of reading in both Creative Writing and Literary Studies. I'm also interested in cross-disciplinary collaboration, the possibilities it provides for creative experimentation, and the relationship between such experiments and the numerous structural crises which mark the contemporary moment.
- 'Same Difference' (short story). Hobart Pulp.
- 'Who's There?' (short story). Short Fiction: the visual literary journal(January 2022).
- 'You Can't Eat Words' (creative nonfiction). Gertrude Press.
- 'Nobody Knew Where They Came From, Not Even the Internet' (short story). Minor Lits.
- 'After the Noise' (short story).
- The Centrality of the Trivial: Reading Jenny Offill’s Weather. Alluvium: 21st-Century Writing, 21st-Century Approaches, 7(5).