Plays · Television · Essays
Stories that send people home braver.
Her audiences come away feeling braver and unwilling to waste an ordinary day. My plays have run in twelve cities and counting; my television work includes two produced seasons and a story-editor credit on two long-running dramas.
I write women with sharp edges and soft centers — mediums, runaways, cartographers of the heart. Commissions, adaptations and writers’ rooms welcome.
What’s on the desk
Full-length plays
Commissions and co-productions, from first draft to press night.
Television episodes
Storylining, episode scripts and punch-up weeks.
Story consulting
Structure surgery for scripts that are almost there.
Adaptations
Novels and true stories shaped honestly for stage and screen.
Workshops
New-writing development with actors in the room.
Essays & talks
Craft writing for programmes, journals and festivals.
Method
From spark to stage
The question
Every play starts as a question I can’t answer alone — we chase it together first.
The draft
Fast, ugly and complete. Structure before sentences; people before plot.
The room
Actors up on their feet, rewrites overnight, and a script that earns its ending.
“Finch writes dialogue like overheard truth — you laugh, then realize you’ve been indicted.”
Commission questions
Do you take on adaptations?
Yes — novels, memoirs and true stories, with rights conversation handled up front and honesty throughout.
Can you join a writers’ room mid-season?
Often. I story-edited two long-running dramas and I am fluent in breaking story at speed.
What does a play commission cost?
Every production differs — write with your timeline, cast size and stage, and I will reply with a clear proposal.
Commission a story
Plays, episodes and adaptations — tell me the question, and we’ll chase it together.
