About
I've spent nine years cutting other people's adverbs.
I started as a junior in a scrappy London agency, writing radio scripts and product descriptions nobody would ever read closely. That was the best training I could have asked for: when the work is invisible, the only thing that survives is clarity.
Since going freelance in 2019, I've written for banks, coffee roasters, skincare founders and a literary magazine that pays in copies. The brands look nothing alike, but the job is always the same — find the truest thing you can say, then set it so cleanly that no one notices the setting at all.
I keep a red pencil on the desk out of habit and, if I'm honest, a little superstition. Every draft I send has been read aloud at least once, marked up at least twice, and cut until it stops fidgeting.
How I work
A simple process, run stubbornly. Most of the value is in step one and step four.
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Listen before writing
I read everything you've already published and interview the people who talk to your customers. The voice is usually in the room — it just hasn't been written down.
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Draft out loud
First drafts are spoken, not typed. If a line survives being said to an empty room, it can survive a billboard.
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Set it properly
You get copy that's ready to ship — with the line breaks, punctuation and hierarchy already decided, not left as a fight for your designer.
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Cut until it stops fidgeting
The last pass is subtraction only. If a word isn't doing a job, it's asked, politely, to leave.
Working with June is like handing your writing to someone who loves it more than you do and respects it less. Everything comes back better.
Recognition
- D&AD Wood Pencil — Writing for Brand2025
- The Drum Copywriting Awards — Shortlist2024
- Guest lecturer — Copy & Craft, ECA2023–
- Columnist — The Kindling Review2022–