Long Way Up is the third instalment of Ewan McGregor and Charley Boorman's epic motorcycle adventures taking the Long Way across the globe. Working with the producers and directors of the show, I generated blog posts, marketing, website and partnerships copy for the show. Long Way Up was streamed on Apple TV+ to over 1 billion devices worldwide.

I designed and built Big Earth's website, working alongside producer/director Russ Malkin to find the right look and feel, and to create engaging copy that would tell the story of each production.

As copywriter and Social Media Manager for Secret Cinema, I wrote content for Secret Cinema's production of Bladerunner. From marketing copy, partnership promotions and emails to adopting the voice of 'Utopia' and 'Blackout', two rival groups, for socials I worked with a variety of stakeholders to communicate with our audience.

During the creative structuring stage of the new immersive adventure: Doctor Who Time Fracture, I came on board as a copywriter and editor. As a writer and Dr Who fan, my focus was on making sure the creative topline was consistent in its detailing throughout and matched the vast and expansive world of Dr Who, whilst making sure the copy was simple, easily understood and enticing. I worked with Tom Mallor (Director) and Dan Dingsdale (writer) to tighten the creative ready for presentation and to identify any gaps in the logic or story that avid fans would be able to spot.

★★★★★

“The intimacy in the storytelling. The pace. The timing. The jokes! Alllllll f*cking top-notch.” - Parker Sawyers, Actor

Recovery Town is a one-woman raucous dark scrapbook of comedic storytelling, clowning, musical comedy, illustration and standup comedy exploring the impact of alcoholism on the addict through the eyes of their daughter. 

★★★★★

"Hysterical" - The LA Times

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"The script is super fun and fast-paced and the voices well captured." - Netflix

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Matthew Bennet, Creative Director

"When Netflix asked Secret Cinema to adapt our Stranger Things warehouse show in London into a Los Angles based "drive-into", a 75 min car safari around the fictional town of Hawkins (in the middle of the pandemic) - we knew we needed to put together a killer team of very adaptable creatives to deliver this new format. Ella was our first choice as our Scriptwriter. She had to imagine new scenes and spin up large amounts of lateral canon for the hit TV show. She effortlessly stepped into the fictional shoes of Steve 'The Hair' Harrington, Robin from Scoops Ahoy and Murray Bauman to bring new scenes to life, that didn't disturb any existing canon. Ella's ability to adapt tone and cadence then sprint with it into entirely new formats of comedy is quite remarkable. In rehearsals, when we had to listen to the scene being played back dozens and dozens of times it just got funnier and funnier. I'd recommend Ella as a writer, creative and highly adaptable whirlwind every day of the week."

★★★★★

“A truly enchanting experience” - Tom, Audience Member

★★★★★

“The whole family was spellbound” - Clare, Audience Member

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When the COVID-19 pandemic hit the UK, we founded NAIADS - an immersive theatre company for a brave new world. Alongside fellow founders Sophie Hunter (Director), Livi Prendergast (Creative Director), Samuel Wyer (Designer), Rolfe Kent (Composer) and Clementine Seely (Creative Producer), we crafted a show designed to COVID guidelines.

As the scriptwriter, I cobbled our collective ideas together and crafted a melodic script aimed to excite children, and re-connect adults with a sense of magic and wonder.

I worked on the creative pitch of Secret Cinema's Stranger Things and when the pitch was successful, I worked throughout their London run. As a scriptwriter, I worked on various online tease components. I also worked as a copywriter creating engaging copy for marketing, partnerships, in-world elements, the pre-narrative website, emails and prop pieces. 

I had the unique creative challenge of writing exciting and informative copy in Shakespearean prose. Encompassing all of my usual Secret Cinema writing duties with the added component of channelling the voice of the Bard was an incredibly enriching task.