First and foremost, I integrate my writing into my photography career, which remains my primary passion. However, when I'm immersed in a planned story, I can consistently churn out 5000 words per week. It's astonishing how time materialises when one engages in something they love.

Typically, I outline the narrative in collaboration with my friend Chris Knapman, who also serves as the cover artist and map illustrator. Once the manuscript is prepared, it undergoes meticulous scrutiny by my editor, David Imrie, whose invaluable input aids in refining the work. Subsequently, I distribute it to a panel of test readers for feedback. Lastly, I seek the expertise of my friend Andy Snow-Ellis for design and typographical considerations, as well as strategic oversight on marketing branding.

Much like photography, writing is akin to crafting an image; it's a collaborative effort involving various stakeholders. Just as models, locations, make-up artists, set builders, and art directors contribute to the success of a photograph, countless individuals have played crucial roles in bringing my books to fruition.