Media Parents

In the hope of empowering and emboldening the freelance community in the current TV climate, Media Parents hosted “In Development”,  Media Parents’ Amy Walker was joined by Miranda Peters and Meredith Chambers, both legendary creators who shared their development thoughts with attending freelancers. Meredith will be attending Media Parents Spring Drinks on May 1st, along with Amy Walker and companies including Soho Studios, Big Fish Little Fish, Mentorn, South Shore, Box to Box and more… To sign up for the last few places subscribe here or see the Media Parents watercooler for link.

Meredith Chambers, Amy Walker and Miranda Peters - Media Parents In Development Online

Miranda Peters – Surviving 9/11 Exec Miranda Peters is Head of UK Development at Candle Media True Stories, Reese Witherspoon’s factual indie. The label, which was launched in 2023 by former ABC News chief James Goldston, hired Miranda Peters from Top Hat Productions. Peters credit list also includes the BBC’s Exposed: The Church’s Darkest Secret, Paramount+’s  The Box, and Twitter: Breaking the Bird, currently on iPlayer.

Meredith Chambers is an executive producer whose credits include documentaries and formats including … Million Pound Menu (BBC2 and Netflix),Class of ‘92:  Out of Their League (BBC and Netflix) and Celebrity Cooking School (E4).  Meredith was Creative Director at Twenty Twenty where he created First Dates (C4), he was Executive Editor at BBC Wales where he exec’ed the BAFTA winning documentary ‘Between Life and Death’, and as Commissioning Editor for Documentaries at Channel 4, he commissioned and oversaw flag ship series including Hospital, Wife Swap, The Secret Millionaire and Cutting Edge.

He’s now working with independent producers as a consultant and exec on high end documentaries and formats. Meredith encouraged freelancers to be bold with the ideas they generate and pitch “anything in the middle won’t cut through”. Miranda echoed this “Beckham or Bust” sentiment. “Be strategic with what to pitch – crime pays at the moment – think of how to tell the story of a true crime in a different way.” And that thought goes for all ideas across genres.

"It's Beckham or bust for commissions at the moment" Miranda Peters

She added “Streamers just want hits – these can be surprise hits, but they want absolute buy-in and reassurance that the story is full of hooks, and twists and turns – this is most common in retrospective story telling. They don’t want observational docs (unless they are reality) – the BBC is the only broadcaster in the observational space it feels.”  The BBC has redeveloped its pitching portal Amy Walker added, you can access it here.

Both Meredith and Miranda talked about the “why” of your film. Amy  added -  ask yourself in any genre, “Why? Why now? and Why this producer/ production company?”. Someone investing in your idea will undoubtedly be thinking about who they’re investing in, from on-screen to production talent.

Miranda shared that her company Candle Media True Stories accepts pitches from independent producers. They can expect to get a deal of between 1 and 20% of the production fee depending on how developed the film is. And if it’s a streamer budget, that could be a healthy chunk. In the crime space story spots (from a newspaper etc) can work, with elements that touch you, a rich, layered story. “Streamers want a story not only with twists and turns but that can feel like a new story completely from one episode to another – turning itself on its head.” Development teams are combing every area for adaptable stories – books, articles, plays – “It doesn’t have to be a new story, it can be an old story, well told”. Likewise pegs like anniversaries can be a good springboard.

"You need something no-one else has got" Meredith Chambers

Meredith stressed the need for “something no-one else has got – talent relationships and access can secure a commission. Be bold with where you aim your sights at this point – the talent is looking for projects too, it’s not just production that is struggling for work at the moment. There are some big names available – even doing daytime!”

“Titles say it all” says Meredith, in the fact ent and features space. Broadcasters may have first look deals and want to suggest talent, get involved with casting and producing in detail from an early stage. Often it’s relationships that get the commission over the line – as Miranda illustrated with the relationships that secured her recent access for documentary “Twitter: breaking the bird, currently available on iPlayer.

Whether you try to go it alone, creating a pitch deck, sizzle (“It doesn’t have to be glossy” says Meredith – “it can be two sound bites that make me think I must hear more”) and pitching direct to broadcaster via one of the portals “SKY replied to me recently within a week” Amy observed.

Join us for Media Parents Spring Drinks on May 1st, Central London

Or, if you decide to link up with a production company in advance, three key pieces of encouragement surfaced here:

Firstly, from Miranda “It’s your idea, stick to your guns and negotiate, taking the idea to several production companies to get a better deal if you need to”. Secondly, from Meredith, ”Even if you warehouse it through a production company and don’t get the best deal – you’ve still got something away. Your name is on it somewhere, it’s on your CV to your credit. Go for it and go boldly!” Thirdly from Media Parents’ Amy Walker: “There are plenty of freelancers on Media Parents who pitch ideas either to indies to get jobs, or who get series away. Don’t block yourself and if you want another opinion on an idea, reach out to Media Parents, Meredith through his Media Parents profile, or pitch to Miranda via Candle True Media. You just never know…”

Contact Meredith Chambers by logging in, here.

Contact Miranda Peters here.

Contact Amy Walker at Media Parents here.

Our next event is in person drinks in Central London on May 1st, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

In between husbands, about fifteen years ago, I found myself dating for the first time in the 21st century, writes Edit Producer and Writer Claire Seeber. Completely baffled by the rules of mobiles/ messaging et al: did a woman, i.e. me, have to wait for the man? Was it social suicide to text first? Why did no man want a serious relationship with a mum whose house was full of lego?

Subscribe to Media Parents now to meet Writer / Edit Producer Claire Seeber at Media Parents Drinks on May 1st

Over lunch with a wise friend: a woman who’s run youth groups all her life, and still advises local council on youth policy, I asked if she thought I was ‘allowed’ to suggest drinks with the bloke I was ‘seeing’. Her response surprised me: ‘I feel sorry for men today.’ ‘why?’ ‘They’re confused, they don’t know their place anymore.’

And I was confused by my own confusion over dating, and then when I stopped dating again, I felt increasingly confused about being the mum of boys. Not because there is owt wrong with my boys, but because I kept being told how bad boys were. A new report commissioned by the Centre for Social Justice speaks of exactly this belief system and confusion: tellingly entitled Lost Boys (LOST BOYS report), State of a A Nation – and no it’s not an ‘80s film about cool vampires because why would life be that simple?

It’s actually a deeply worrying dive into what’s going on in the UK with boys and young men: Why so many fall behind at school until they do far worse in the (awful IMO) exam system the UK clings to; are more likely to be unemployed/ NEET (neither Employed, in Education / Training) or take their own lives (highest levels are between 15-19). Things like deindustrialision have had a massive impact on male employment; likewise a lack of ‘father figures’ in households. Women have fought tooth and nail for equality and we still lack it in too many respects, but we also seem to too often be parenting alone, which means the ‘lost boys’ suffer worse outcomes because they don’t have male role models. It’s frankly a bit of a mess.

As mum and step-mum of boys/ young men (and divorced from my boys’ own dad), as well as both human and therapist, the report dismays me. BBC Radio 4’s Woman’s Hour ran a piece last week about the heinous killer of the Hunt family having listened to Andrew Tate podcasts: when my kids were both still in a huge inner-city comprehensive, we had many a ‘chat’ about that man in our house.

Join us for Spring Drinks on May 1st in Central London, pictured Media Parents January Drinks

But as the report says, these misogynists are symptom not cause of this lost boy generation. And I don’t want to talk about that awful man again, do you? He’s had much airtime for an alleged sex trafficker. No, I want to talk about our boys, and to the people looking for answers and solutions. And I’m curious why Woman’s Hour chose not to talk to any mums in this piece, but chose a male educator, albeit an informed one, and a young woman who may run an admirable equality website but is also possibly helping perpetuate the ‘toxic masculinity’ myth, and that only drives our boys further into shame and confusion.

And listening to yet another item about why boys shouldn’t listen to misogynists but do, as a mum I feel irritated on both my boys and my own behalf – it’s as if I’m stupid, as if I need a 30-something to tell me how to parent teens and YAs. I have fought for three years to find parents outside my own small circle to talk to and support each other. But it’s hard to get traction in a world more interested in ££. The social media companies should be forced to take ACCOUNTABILITY, but aren’t, so instead allow algorithms to churn out afore-mentioned crap and porn to the boys (though girls undoubtedly watch porn too, just saying, a subject barely touched on). It’s the governments who’ve bowed to the monopolies and allowed Amazon, Meta, X and the like to become so powerful (because of the ££), they now stand with fascistic leaders of the world – but it’s the mums and dads at home, or the teachers at school, left trying to pick up the pieces or sometimes, as in Esther Ghey’s case, not be able to because it’s too late.

I’m reading my way through the Lost Boys report because I’m looking for a spark of hope that we can find ways to make it better. And meanwhile, I’m here to say that for once ADHD might be standing me in good stead because it makes me get off my arse & at least attempt to do something, even if it is often shouting into the void! I will keep trying to reach and potentially build a community of people who care about our youth

PLEASE IF YOU LIKED THIS READ, SHARE / SUBSCRIBE: IT’S FREE!!!!!

https://substack.com/@clairesunnyseeber

To join Media Parents, go here https://www.mediaparents.co.uk/signup/?t=freelancer

Our next event is in person drinks in Central London on May 1st, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

I’ve recently joined Media Parents to connect with new contacts and hopefully find my first welfare producing role for 2025, writes David Allberry.  I took advantage of Media Parents free CV advice for subscribers to help me create a new Welfare Producer CV so I can diversify my skills. Like many freelancers, it’s been a challenging few months, with a couple of projects falling through.  I know I’m not alone – it’s a difficult time for so many talented people in the industry.

Talent Exec David Allberry is transferring his experience to Welfare Producing too

I am an experienced Celebrity Talent Executive with over 20 years of success casting some of the UK’s biggest shows, including Celebrity Bear Hunt, Hunted, The Island with Bear Grylls, Soccer Aid, The Jump, and Scared of the Dark.  Throughout my career, I’ve had the privilege of collaborating with high-profile talent, navigating complex personalities, and handling sensitive situations with care and discretion.

Over the years, I’ve realised that the parts of my job I enjoy the most often go beyond booking talent.  Whether it’s supporting a celebrity through bereavement, having honest conversations about consent and shared spaces, or offering reassurance during emotionally charged moments, I’ve naturally stepped into a welfare role – albeit uncredited.

On location with LLB on Celebrity Bear Hunt https://www.mediaparents.co.uk/freelancers/10584/david-allberry

As the industry continues to evolve, I made the decision to upskill and diversify by formally moving into welfare producing.  My aim is to bring my well-honed people skills, active listening abilities, and deep industry knowledge to support the mental health and well-being of talent and crew alike.

To back up my experience with credentials, I’ve spent the last year building my qualifications. I’ve completed the CPCAB Level 2 Counselling Skills course and I’m currently studying Level 3 Applied Counselling Skills in Tonbridge, attending weekly classes.  This journey has given me valuable insights into empathy, boundaries, and emotional resilience – skills that are highly transferable to welfare producing.

I’m also a certified mental health first aider and volunteer as a listener for Samaritans, offering support to people in crisis.  From September, I plan to further deepen my expertise by studying a part-time PG Diploma in Counselling and Coaching, with the ultimate vision of providing specialist mental health support within the screen industries.

My ambition is to straddle both celebrity casting and welfare, using my experience and contacts to improve mental health support in the industry I love, and I feel I’m making good progress with the help of Media Parents.  I’m part of the Film and TV Welfare Association (FTVWA) working group, helping to shape the future of welfare practices across productions of all sizes.

Book David Allberry https://www.mediaparents.co.uk/freelancers/10584/david-allberry

I still have a passion for casting big, noisy shows, but I’m equally excited about stepping into my first welfare producing role as my primary focus.  With my unique blend of industry experience, mental health training, and people-first approach, I’m confident I can be a valuable asset in supporting the well-being of talent and crew on productions.

If you’re looking for a welfare producer with deep industry knowledge, hands-on experience, and formal counselling training, I’d love to connect and explore how I can contribute to creating healthier, more supportive working environments in TV.

Contact David Allberry here, he is currently available.

Our next event is in person drinks in Central London on May 1st, see blog post for more details and booking link. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Saying no to Edgar Wright was one of the hardest things I’ve ever done, writes Offline Editor Nick Lear.

Editor Nick Lear training in Manenberg, Cape Town

I’d edited the making of documentary for Hot Fuzz and I was offered the same for Scott Pilgrim. I remember pacing around the South Bank on the phone to his producer trying to explain why instead of taking this opportunity of a lifetime, I was moving to Mozambique.

At that stage I’d worked extremely hard to get to where I was – a year and a half as a runner, a couple more years in the machine room, all the while spending every evening and weekend learning how to use the Avid. It was four years before I got a chance to sit in that magical editor’s seat and I was thrown in at the deep end – editing a 90 minute David Gray concert. But I was ready.

Cut to a few years later and I ended up at TVC Soho on Great Pulteney Street where I started with music videos and commercials and moved onto broadcast & documentaries, like Secret World Of Magic for Sky One, The Real Hustle pilot for BBC Three & Bethlehem: No Room for Peace for ITV.

Offline Editor Nick Lear writes about turning down Edgar Wright, and what next

But over the years, my faith/justice journey made me realise I needed to make a more direct impact on the world. I was newly married and we travelled on public transport all the way from London to Mozambique where we ended up running a feeding program that served over 2000 a day. We had a lovely staff of 40 to manage, but they didn’t speak a word of English – talk about transferable skills, I don’t think I had any!

Nick Lear with his first child in Mozambique

When we started a family there, my other half was at home for the first year and I did the second, so that she could run a microfinance program for low income women. After that we juggled childcare between us – not that we were working full 9-5 days, you really couldn’t in that heat.

Things got too much for us in the end, but instead of coming home, we started working and living in a township in Cape Town called Manenberg where there was a gang fight every other week and an incredible amount of disadvantage and pain still left from Apartheid. I started a small film school there with a really talented DoP called Freddie Reed, which is still running under local leadership.

Editor Nick Lear and wife Cate after arriving in Mozambique

Eventually I came back to editing as the one thing I know how to do to make a living. Working remotely, I tapped into the US market, with documentaries for Discovery+, The Olympics and recently a film exec produced by Hillary Clinton. I also had a stint back in the UK in 2022 when editors were scarce (remember that!) and I joined the agency TOVS and worked on things like Chateaux DIY and My Floating Home for Channel 4.

Now we’re moving permanently back to the UK – to Glasgow in a couple of weeks – and I’d love to cut meaningful documentaries as well as broadcast, whether on my home Avid suite or the great post houses there. Time for a new adventure!

https://www.mediaparents.co.uk/freelancers/18753/nick-lear

Our next event is online on April 1st, see blog post for more details and booking link. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Your Bectu Unscripted branch is holding a live webinar about flexible working in TV to mark Mother’s Day. Media Parents’ Director Amy Walker will be chairing a panel of people who all have insight and experience of working flexibly in TV.

WHEN? Wednesday 26^th March, 1 pm – 2.15 pm

WHERE? Register here: https://bit.ly/3DvemVO

CONTENT: What are flexible working and job sharing? What are the pros and cons? How can freelancers make it work for them? Is it the answer to retaining talent, attracting new entrants, improving DEI, and preventing parents/carers (particularly female freelancers) leaving the industry mid career? How can we tackle the stigma and get the industry to embrace it more? How can we counter the motherhood penalty?

OVERVIEW: A BECTU Unscripted Union live event to mark International Women’s Day. Hosted by Amy Walker (Media Parents) with insights from Michelle Reynolds (Reeltime Media, and formerly Share My Telly Job), Vicky Carter (TV Consultant), and freelancers who’ve been there and done it (see below).

Amy Walker is Director of Media Parents, a freelance Talent Exec and Producer. Amy has worked flexibly through Media Parents as a jobsharing PD , a job split as SP, remotely for Bournemouth University, and remotely as an edit producer.

Michelle Reynolds – Reeltime Media (and formerly Share My Telly Job and BECTU Women’s Officer/founding member of UTVU branch), has extensive experience of flexible working/job sharing in scripted and scripted TV, helped set up BECTU Lives Behind The Lens study.

Viki Carter – TV Consultant, Head Of Production (BECTU UTVU committee member/Co-Chair), flexible/job share worker, has hired job sharers.

Lyndsey Hickford & Amy Gostling – job sharing PMs

Kath Pick – SP/PD in arts docs

The event is produced by Anna Coane, Series / Edit Producer

Sign up here: https://bit.ly/3DvemVO

Our next event is online on April 1st, see mailing list for more details. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Chances are you feel like a free night out at the moment?! We are offering two free tickets to the Leicester Square premiere of Guy Ritchie’s latest masterpiece with Helen Mirren, Tom Hardy, Paddy Considine… Fancy it?

Congratulations to PM / Producer Laura Rolf who is going out out!

"If I can't have a job I'll have a night out and a cocktail". Have a drink watching Helen Mirren in MobLand, Guy Ritchie's latest production. Cheers

Our next event is online on April 1st, see mailing list for more details. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Join Media Parents Director Amy Walker as she digs into Development with some of the best… Guests include Candle Media’s Head of UK Development Miranda Peters and exRDF/ Electric Ray MD Meredith Chambers, discussing how to land indie meetings with your ideas, and how to approach a JV if that unicorn crosses your path.

Click here to sign up for a free ticket.

Meredith Chambers, Amy Walker and Miranda Peters - Media Parents In Development

miranda peters

Surviving 9/11 Exec Miranda Peters is Head of UK Development at Candle Media True Stories. The label, which was launched in 2023 by former ABC News chief James Goldston, hired Miranda Peters from Top Hat Productions. Peters credit list also includes the BBC’s Exposed: The Church’s Darkest Secret and Paramount+’s The Box.

meredith chambers

Meredith Chambers was until recently co-MD at RDF, and before that co-MD at Electric Ray, where he oversaw shows like  Million Pound Menu (BBC2 and Netflix), Class of ‘92:  Out of Their League (BBC One and Netflix), Alone at Home (C4), Call That Hard Work (BBC One) and Celebrity Cooking School (E4).

Prior to this Meredith was Creative Director of Twenty Twenty where he created international hit First Dates (C4) and other successful titles including The Hoarder Next Door (C4) and My Transexual Summer (C4).

Earlier in his career Meredith was Executive Editor at BBC Wales where he created award winning shows including the BAFTA winning documentary ‘Between Life and Death’, and Commissioning Editor for Documentaries at Channel 4 where he commissioned and oversaw flag ship series including Wife Swap, The Secret Millionaire and Cutting Edge.

amy walker

Media Parents Director Amy Walker will chair Media Parents In Development. She alternated her production career with spells of physical recovery and mental stimulation in development. Having worked in factual and docs as a director, PD, commissioned development exec, and showrunner, Amy moved into Talent Execing. After a spell in commissioning at Discovery, she went on to showrun a BAFTA-nominated series for Channel 4, followed by series 1 of a now longrunning drama doc streamer series for Arrow Media/ Discovery.

A diversity and flexible working champion, Amy set up Media Parents, a selective TV jobsite, networking and training organisation. She designed the website in 2010, and has since supported the return and retention of hundreds of experienced TV freelancers.

Click here to sign up for a free ticket.

Our next event is online on April 1st, see mailing list for more details. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Join us on May 1st for Media Parents Spring Drinks in Central London. A good time will be had by all. See Media Parents watercooler for the sign up link and watch this space nearer the time for guestlist.

January Drinks: Heads of Production from Raw Cut and Strawberry Blond, Tina Lohmann and Jess Hamilton meeting Media Parents freelancers in the crowd

Huge thanks to Film+TV Charity for hosting the last ones, we had a great time and made some great connections. If you would like to see our gallery for a flavour of what goes on, go here: January Drinks or here: Autumn Drinks. Look forward to seeing you there!

Our next event is online on April 1st, see mailing list for more details. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer

Recently I was asked by Funny Women https://funnywomen.com/ to share my tips for making Comedy, Entertainment, and ‘Funny Fact Ent’ TV with a room full of people. But how to condense a 20-year career into a tight half hour, that’s remotely useful to the audience, without sounding like Alan Partridge reading aloud from his autobiography? Tough gig, writes Series Producer, Series Edit Producer, and Writer Anna Coane…

Comedy Producer Anna Coane, right, with Nic Lamont c/o Funny Women

I’ve been a comedy geek since I was a kid (my best mate and I would perform our ‘sketches’ in school assembly, under the shared delusion that we were French & Saunders). As a TV freelancer I’ve produced and developed scripted and unscripted comedy in many guises -  sketches, stand up, sitcoms, hidden camera pranks, travelogues, chat shows, panel shows, and archive formats. For shows including The Graham Norton Show, Frank Skinner On Demand, The Misadventures of Romesh Ranganathan, Tonight With Omid, Julian Clary’s Greatest Xmas Adverts, The Comedy Bus, and The TNT Show. I’ve also been brought on board to ‘find the funny’ in factual formats too.

So on a cold, dark, windy evening in November, I found myself in a quirky board games café in Rochester, in front of an expectant audience, and host Nic Lamont – a brilliant actor and writer I’d last worked with 12 years ago on BBC3’s comedy newcomer vehicle Live At The Electric.

I eased in with a few anecdotes – that time in my pre-kids 20s I had to find a doula for Olivia Colman and her newborn on the set of Peep Show, that other time money was saved on extras by casting me in a speaking part opposite Paul Kaye in Strutter. But then onto perhaps more useful take home from my TV journey…

Anna Coane on the Media Parents Back to Work scheme at Edinburgh TV Festival

With Nic and I reconnecting this time as mums, and because in addition to making comedy for grown-ups I’ve recently made children’s TV (Big Fat Like, Meet The McQueens, I Can Do It You Can Too, for CBBC/CBeebies), I decided to share some headlines from my experiences of writing comedy for young kids, as a genre that the aspiring writers and stand ups in the audience might turn their pens to. Kids laugh at different things to adults, and children’s TV comes with constraints, and a whole load of compliance, so it’s a creative challenge that can really focus the comedy mind and exercise those writing muscles.

anna’s comedy writing tips

First up I suggested watching what your kids/nephews/nieces laugh at when watching films, TV or online content.

I found that visual and physical comedy lands better than wordy dialogue, so use props, mime techniques, slapstick and prat falls – adults/authority figures getting things wrong or falling over is hilarious.

But tone is key – on the shows I’ve made we were required to make sure young viewers weren’t left believing the presenter/performer had genuinely hurt themselves or others.

And always beware imitative behaviour (featuring activities or actions that might be dangerous if kids copy them at home).

It’s also important to know the target age group (3-year-olds being different from 10-year-olds), and pitch any dialogue and references accordingly.

Sketches about school life might not resonate with pre-schoolers. Likewise gags that rely on cool on-screen text or written graphics won’t mean much to younger kids who don’t read yet.

Silly or scatological sound effects were always a winner (kids find farts funny, who knew?!).

And you can’t rely on swear words to get laughs. Shit.

I’ve been asked back to be a guest speaker at a Funny Women workshop for female /non-binary comedy writers – Stand Up To Stand Out Winter Warm Up at London’s Groucho Club on Saturday 1^st February 2025. I’m delighted that it’s with Nic Lamont again, and Funny Women founder Lynne Parker. There’ll be techniques on writing, performing, and creating comedy, and using humour in everyday interactions, at work or play. Media Parents subscribers who those who identify as female or non binary can get a 50% discount (email info@funnywomen.com for details). So if you want to supercharge your comedy, get a confidence boost, or are just comedy curious, come along and get some tips in a friendly, supportive environment. I promise no anecdotes this time.

Anna’s writing agent is:

https://www.gloriousmanagement.com/artists/anna-coane

Log in to view Anna’s Media Parents profile here:

https://www.mediaparents.co.uk/freelancers/2251/anna-coane

Our next event is on Jan 30th. Scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers, join here:https://www.mediaparents.co.uk/signup/?t=freelancer