My earliest, real childhood memory is being about 3 years old. I’m sitting in front of an electric heater, one of the old fireplace-mounted ones. It has two bright orange electric resistors. In my left hand, I have a toy; a silver metal cowboy gun with white plastic handgrips. And I can remember thinking very clearly “What if I put the barrel of my gun between those two glowing bars?” As I am thinking this I am slowly inching the end of the gun barrel forward, forward toward the point of contact….. 

When I was older my mother told me that the heater basically exploded and I was thrown back across the room. What the hell was I thinking? Well, maybe it wasn’t formulated this clearly, but it was something pivotal to my creative process: What happens if I put THIS between THOSE? And to me, that’s editing; creating a story by putting things together and watching sparks fly.

As a kid, I was forever making forays into the world of narrative. I spent weekends watching countless old movies with my grandmother, I’d while away endless hours drawing and was obsessed with making comic books. In the mid 80’s my father bought an old computer and taught himself how to program in machine code. He showed me how we could reprogram letters on the keyboard into custom art, and then write programs to animate them. I was making my comic book characters move. 

By the mid 90’s I was enrolled in a painting course and painfully coming to the realisation that I just wasn’t good enough to make it as an artist. But I did really enjoy the film elective I’d taken out of curiosity. The comic book stuff, the endless old movies, the knowledge of how to use a computer as a creative tool, and the sense of timing and rhythm I got from playing music in my teens all kind of clicked together in my head.

After swapping my major to film and graduating, I moved to Auckland. I knew that being able to cut student films on Avid wasn’t the same thing as knowing how to edit, so I was going to have to start at the bottom somewhere and grind my way up. At that time TVNZ seemed like a good place to start, so I pestered the head of operations and after a few weeks of almost daily phone calls they gave me a job as a tape opp. After a year though I was restless so I handed in my notice. One of the older hands told me that a small production company was looking for an editor for a new kid’s TV show and asked if I was interested.

I did that job for 4 years, first cutting Tumeke and then the follow-up show Pūkana. Every week I made hundreds of individual edits, and all those cuts added up to a tremendous bank of knowledge. And there was a huge amount of freedom too; we made music videos, comedy skits, I introduced claymation into the mix, and one torturous night with a show a minute short of duration, 2D animation.

From ‘Social Distancing,” an animated web series Francis made during lockdown from his perspective of the COVID-19 pandemic / Photo: supplied

By the time I’d left that job, I’d really learned what being an editor actually is. I was fortunate – I got to edit comedy, music videos, history and science documentaries. I set up my own suite in Auckland in 2004 and having that facility meant I also got to make things that might not happen because of budget, happen. I got to go to Singapore and cut a big documentary there. I learned a lot about editing when working with the director on that project, about how to put disparate shots together on the basis of a similar element. Like cutting a tracking shot through an ancient stone arch in rural China to a matching tracking shot in a tunnel in the science museum in Shanghai can be a perfect edit.

Through this period I also worked on my own projects and wrote and directed a short film in the mid-2000s that screened at festivals all over the world, including Clermont Ferrand.

All those thousands, probably tens of thousands, of individual cuts add up, but a push is what’s needed to take you to the next level. Tearepa Kahi, who I’d first met during my days on Pūkana asked me in 2015 to have a go at finishing off his doco Poi E. I remember after our first screening him looking at me and saying “It’s better, but it’s still not good enough.” Together we hammered at that work, and the film became something really great. Since then I’ve worked on a bunch of exciting movies; drama and documentary, including the HBOMAX original  No I in Threesome. It was just a small film when we started, but the director and I really gave it everything we had and when it went to market, it blew up. Seeing something you’ve edited reviewed in every major publication in North America is a hell of a thing, and I’m intensely proud of it.

From ‘There is No I in Threesome’ edited by Francis

The next big push for me was working on the America’s Cup, a completely different challenge to the doco or drama I’m used to. I suddenly find myself in Barcelona with a very fun mountain to climb. When racing starts and there are helicopters and chase boats with cineflexes tearing around gathering mind-blowing shots every day, it’s hard not to feel excited. And privileged. I’ve made a lot of edits throughout my career, but I still find the work exciting, visceral and fun. After 25 years of this stuff, I feel like I’m really getting the hang of it.

The biggest thing I can say about editing is this: trust your gut rather than your brain and don’t overthink it. If you find yourself in front of a metaphoric wall heater with a cap gun in your hand wondering what will happen if you put the barrel in between those two glowing bars. Go ahead and do it. Something really exciting might happen.

About Francis Glenday

Film Editor with 25 years of experience cutting feature films for theatrical release and streaming (including an HBOMAX original), premiere documentary for international TV & loads of New Zealand and Australian documentary & factual TV, as well as a bit of drama. On top of that, tons of TVCs for some of NZ’s biggest companies (LOTTO, Vodafone, KFC, Samsung etc etc). He was lead editor for the 36th America’s Cup and is back again in 2024 for the 37 iteration of the iconic event. Francis is also experienced in animation and VFX. He created the award-winning animated web series Social Distancing during the COVID lockdown and has created VFX, animation and motion GFX for most of the feature films and a lot of the TV he’s cut.

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with if you’re a member and would like to share your story.

A forty-five-second short horror film, garnering 16 million views online, propelled me into a dream I didn’t know I desired.

Life is a game of random chances. You put in the work and hope the universe aligns. For me, the creative professions were distant stars in the constellation of ‘What you could be when you grew up.’ For good reason. My parents grew up in extreme poverty. There were days when my father’s dinner consisted of just two mouthfuls of food. My mother studied under the light of a kerosene lamp. Surviving life in the thick political humidity of Malaysia, they rose above it all and won national scholarships that turned them into local beacons of hope, elevating their lives to the middle class. This was what made me resist committing to filmmaking for the longest time.

My first memory of watching a movie is time-stamped between the ages of two and five. Perched on my dad’s lap, tightly shutting my eyes and covering my ears in an attempt to shield myself from witnessing the eerie metamorphosis of a man to a werewolf.

My life was filled with any movies I could get my hands on: Hong Kong movies, Bollywood movies, Hollywood movies – I was agnostic. It didn’t matter whether it was good or bad; it was my escape from the stifling Malaysian life. I wondered about my sliding door moment if I never came to New Zealand. Because New Zealand is my enabler.

Hweiling directing on the set of ‘Vaspy’ / Photo: supplied

When Ant Timpson ran a competition for his ABCs of Death anthology. Our team, consisting of Peter Haynes, Johnathan Guest, and Nick Burridge, entered with T is for Talk, a horror concept that I came up with. This was my creative awakening. For the first time, I experienced what it was like to see something my brain cooked up translated to screen. And it was watched, ripped, re-uploaded by others. I believe the true viewership count is in the millions.

From this short film, three things happened almost simultaneously: we received Skip Ahead funding; CryptTV, a digital studio, reached out looking for short horror bites in under a minute; and I received the New Zealand Film Commission’s one-off Women’s Short Horror Film Fund.

We pitched ten ideas to CryptTV, and they selected the two I came up with. I knew nothing about directing and insisted that I needed to direct at least one of the short films we pitched to CryptTV. The Tattooist climbed to 16 million views within the first year.

Hweiling directing on the set of ‘Vaspy’ / Photo: supplied

Being a migrant in this country is challenging. Social nuances are different. I was still looking for my tribe. I had gotten so used to being on the outside. This is where I met my second enabler. A chance meeting with Mia Maramara, where she made me giggle about eyeballs floating in fish guts; we would cook up ideas and enable each other, propelling us into various places. We shared many values. Along the way, we combined forces with the amazing Morgan Leigh Stewart and created MHM Productions with a shared vision to work on genre films and collaborate with cool people.

Homebound 3.0 was another random chance encounter. When NZ On Air called for Asian Pacific web series, I rallied everyone I knew to apply. I had just come off directing Sam Wang in a play and he pitched his idea to me and I immediately saw its potential. It didn’t get into that initiative, but it won the SPADA big pitch 2019 and caught the attention of Kevin and Co. Empowered by friends, I asked to direct a couple of episodes, and thankfully, the team said yes.

Hweiling directing on ‘Vivie’, her latest short film selected to premiere at SXSW Sydney / Photo: supplied

Since then, I have been phenomenally grateful for all the opportunities that have come my way. With the support of the New Zealand Film Commission, I was able to direct and write my short films Vaspy (horror), ChengBeng (Unreal), and Vivie (Kopere Hou). I co-wrote and co-produced Albularyo with the MHM team, which was part of Beyond the Veil on TVNZ. I received the New Zealand Writers Guild Seed Grant and co-wrote the feature horror Grafted with Mia Maramara, set to release later this year. Additionally, I received another Seed Grant for a feature comedy about a nihilistic Asian grandmother.

 My advice to cut through the noise? Utilise the free online soapbox to your advantage. Popularity and external validation literally count. You will be asked what your voice is. And I challenge you to look for the uncomfortable truth within yourself, the one that makes you feel vulnerable. That is likely your authentic voice that people want to hear and see. And then ensure you are supported by a team of people (definitely do a background check no matter what their credits are – hahaha) who will care for that heart as you journey through baring your soul naked to the world.

About Hweiling Ow

Upon arriving in New Zealand, Hweiling Ow was bitten by a radioactive Weta that made her fall stupendously in love with film-making. She has since developed muti-hyphenated skills in the areas of producing, writing, directing and acting, and has been taking the world by storm with her online digital series and short horror films that have garnered millions of views. She has also successfully received New Zealand funding for numerous local productions. Like a moth drawn to a flame thrower, she is attracted to telling genre stories with a migrant twist. Her quirky cheery view of the world influences the type of projects she is captivated by. She is the recipient of the 2020 WIFT Women to Watch and participated in DEGANZ’s Women’s Filmmaker Incubator in 2021. She is currently one-third of MHM, a collaborative production company between her and fellow creatives Mia Maramara and Morgan Leigh Stewart.

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with if you’re a member and would like to share your story.

When I started back in 1986 (my first official job was as Director’s assistant on ‘Starlight Hotel’) the only ‘filmmaking’ courses in NZ were a Masters in Broadcasting at the University of Auckland and a newly established Broadcasting school in Christchurch. So my only option was writing letters to film producers asking for jobs on productions. Even though I’d trained at Radio NZ as a studio operator, none of the producers or production managers were interested in my ‘sound engineering’ skills. But when I said I could type, they couldn’t hire me quickly enough.

I was obsessed with films – filmmakers, arthouse films, foreign films, the history of films etc. I went to the Film Society, and the festival was my yearly indulgence. I read the local industry trades so I knew the names of crew members and what they had all worked on. I look back now and realise I was a bit of a ‘trainspotter’, but knowing all this information meant I stood out as someone who really wanted to be in the industry. I continued to work in production for the next decade as a Producer’s Assistant, Director’s Assistant, Production Coordinator, Production Manager, 1st AD, and 2nd AD. But I also made short films of my own and was happiest when editing them. This was where the magic happened, where films were truly made. It was time to switch roles in the industry and learn how to edit.

At the time, TV3 allowed people to train for free in their newsroom (I don’t think it was official, it was a word-of-mouth thing – it would never fly today!!). You could cut news stories during the very quiet times of the day, and then when you felt confident or they felt confident in you, they could offer you a job. All this time, I was working as a waitress at night, and continued this for many years as I got my freelance career on track.

Cushla cutting ‘The Justice of Bunny King’ in Kauaeranga Valley, Thames.

I look back now and realise I was instinctively obsessed with story: how we told stories, why we told stories, how other cultures told stories, why some films moved me, and why others didn’t. I loved going to the movies and I LOVED being moved to tears, to joy. And that’s why editing is the best place for someone like me, as the editor is the conduit between the audience and the material the director brings to the edit room.

All these obsessions and developing skills came together one day when director/actor Harry Sinclair approached me to edit a TV series idea he had called Topless Women Talk About Their Lives. I’d never edited drama before (except my own short films) but we clicked. My instinct for storytelling made up for my lack of technical experience, and this TV series morphed into a feature film. Two years later I received an editing award for my work on that film, and this stroke of luck meant people saw me as an editor. 

My advice to anyone wanting to break into the NZ film industry is to use the tools at your fingertips to learn who is who, what they have done before, and be really clear about what kind of films you love and why. For editors, the key is to understand storytelling and the huge scope of how we can tell stories. For me, screen stories are constantly pushing the boundaries of how stories are told, and I include documentary when I talk about storytelling.

But also, I believe working in our industry is a privilege we have to earn, as all artists do. So it requires the right balance of ego and humility, madness and caution. There is nothing wrong with being passionate about what one does, but at the end of the day, we are just storytellers and part of a team, so we must prove we are team players as well.

About Cushla Dillon

Cushla Dillon has played key roles in the NZ film industry for several decades, most notably as an award-winning feature film editor of drama and documentary (The Justice of Bunny King 2020, The Price of Peace 2014, Pictures of Susan 2012), but also as a production manager, development manager, screenwriter, script editor and most recently as co-director and editor of the 2023 NZIFF festival sellout King Loser. She has been awarded Best NZ Film Editor on four occasions (Snakeskin 2001, Topless Women Talk About Their Lives 1991, Beautiful Machine 2012, Orphans & Kingdoms 2014) and nominated four times.

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with if you’re a member and would like to share your story.

I was expelled from Penrose High in the fifth form after getting caught wagging for a month (I faked the absentee notes from Mum and Dad). I ended up going on the dole (unemployment benefit) for a year. At the dole department you had to show signs of actually seeking work and when they asked me what I would like to do for a living, I said, “A film director” and she looked at me like I was mad. She gave me a French Polishing apprenticeship instead, of which I never attended. Anyway, I showed her!

After a year of bumming around, a friend (Matt Palmer, who also became a director) suggested I go to Auckland Metropolitan High School, an alternative school in Mount Eden which basically accepted high school dropouts from hippy parents. Metro is where I finally met like-minded people and made lifelong friends. I met Matt Noonan at Metro (later to become my first producer). It was after passing the University Entrance and sticking around Metro for a seventh year (then called a Bursary year) that I discovered ‘The Film Industry’.

Early in that seventh year at school, I got a job as an extra in a period coal mining TV drama called Heart of The High Country. I’d never seen a film set before, it was a real eye-opener, lights, actors, 1st AD’s smashing radios in fits of rage. It was a lot of fun. I loved it. I befriended the standby props guy, Al Ford, and he let me do the smoke pots for background smoke texture. I actually made friends with a lot of the crew and at the wrap party offered my services on the next production. A few weeks later I was on an epic Hong Kong Feature film called Aces Go Places, as standby props assistant, choppering up the Shot Over River in Queenstown with prop machine guns on my lap. I never went back to high school and have been working in the film biz ever since.

Josh working as Art Department Assist on ‘Never Say Die’. He’s standing under the ‘W’ with Robin Murphy; Matt Murphy (Art Director) with Matt Palmer (Stand-by Props) are in the bottom right holding the white dots / Photo: Supplied

I moved to Wellington and Matt Palmer and I became a bit of a hot shot art department team working on commercials and films in the hay days (or the end of the hay days) of the Wellington film and TV commercial industry. Working on projects with some of New Zealand’s top directors, Geoff Murphy, Lee Tamahori, Barry Barclay, Gaylene Preston, Geoff Dickson and Fane Flaws to name a few. Matt was an art director and I was standby props. 

My brother was in a hip-hop band, Mc OJ and The Rhythm Slave, and they received one of the very early NZ On Air music video grants and asked us to make it. Matt Noonan produced it, Matt Palmer directed it and I art directed it.

It was hugely successful, and we went on to make a few more (with our company Hip Operations) until Matt Palmer got picked up by a commercial company to direct ads (with Fane Flaws and Jeff Williams at Black Stump Films).

With Matt Palmer busy making ads, that’s when my break came. I art directed a few more music videos with various artists. I was always good-ish at illustration and had been storyboarding the videos. One video in particular for the band Head Like a Hole (for a song called Fish Across Face), was really well received and I had storyboarded the whole thing. They were my shots and my ideas. I was like, ‘Hang on, I’m doing all the work here’. So, when they asked me to storyboard/art direct the next one, I said to them (and I remember this moment very clearly as I had to really pluck up the nerve to say it), “Not unless I’m directing it”. 

Josh on set of one of his first big ad campaigns for the NZ Electoral roll with Darryl Ward (DOP) and Rob Marsh (AC) / Photo: Supplied

And that’s how I got started.  

Here’s the Head Like A Hole clip, my directing debut. Not that it did huge things, but I was asked back and went on to direct multiple award-winning videos and ads. The Emma Paki video won a lot of awards. Then I followed up with a Shihad video for ‘Stationswhich won Best Video at the Film and Television awards that year. Certain projects catch people’s attention and simply generate more interest. I shot a huge campaign for the NZ Electoral role on the back of this, my first big proper ad campaign. I made a commercial for Sony Home Theatre Systems out of Singapore which made the cover of the Shots Magazine, with the commercial in the first dozen showcase ads (Shots Magazine was the international benchmark trade rag back then and the mail-out VHS showcase was everything). My international commercial career really took off after this.

Left: Josh showing the actors what to do on set for Shihad video ‘Stations’ with Darryl Ward (DOP) in a clay pit with one of the old Arri ST 16mm cameras. Note there is no video split/feed! Right: The final shot of the video / Photos: Supplied

My first break in drama came when I was asked to pitch on a Colin McCahon doco, but I didn’t get the gig and I said to the producer (Fiona Copland) that documentaries weren’t really my thing but I would love to do drama, and she suggested I give Greenstone Pictures a call because they were producing a kids action hero TV show called Amazing Extraordinary Friends. It was super low budget, but super fun. This was at the height of my commercial career and I had to take a significant hit on my earnings, but I really wanted to shoot drama and this was my chance. The people I worked with then on AEF are still the people I am working with today. Dave Cameron was the DOP and he shot my first tele feature years later, Ablaze. With the success of my work on AEF, I was picked up by Chris Bailey at South Pacific Pictures where I worked on multiple shows and really cut my teeth and learnt the craft. Getting a chance to direct a block on Westside, a legacy NZ show, was a real highlight. I was also a finalist for the NZTV Awards’ Best Director for The Brokenwood Mysteries in 2017. SPP has really helped a lot.

So, a lot of luck, a lot of sacrifice and a lot of hard work. I am currently in post-production on a six one-hour TV mini-series called Friends Like Her, produced by Great Southern TV. A show I am immensely proud of, so keep an eye out.

About Josh Frizzell

Josh Frizzell is one of Australasia’s most well-known drama and commercial film directors. Since starting out in the art department after dropping out of high school, he went on to direct a run of music videos in the 90s before moving into film and TV. Frizzell has gone on to helm episodes of Under the VinesThe Brokenwood Mysteries and Fresh Eggs. In 2017 he was nominated as Best Director for his work on The Brokenwood Mysteries at the NZ Television Awards’. In 2019, he was a finalist for the Huawei Mate30 Pro NZ Television Awards’ Best Director for Fresh Eggs. Ablaze was nominated for Best Tele Feature at the 2020 NZ Film and Television Awards. His advertising work has won multiple awards both in New Zealand and abroad.

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with if you’re a member and would like to share your story.

Hey there! I’m Luke Haigh, a freelance film editor who’s worked in both the commercial and feature film worlds for the last 20 years.

I first fell in love with editing around the age of 15 or 16. It was a Media Studies class in high school in the UK. We were editing linear style from S-VHS decks. It was slow and tedious, and the work was embarrassingly terrible. That was all overshadowed by the art of editing with its magic equation—the process of simply placing two shots next to each other and the sum of their parts wondrously being infinitely greater. Well, it had me hooked…

My first proper break in the industry was in 2002–2003. At age 22, I’d just emigrated to Aotearoa after studying a bachelor’s in film in the UK. I did the usual rounds, hitting up all of the production companies and post houses I could find in Auckland. But to no avail. I filled my time that summer driving a tractor on an avocado farm in Pukekohe. Fortunately for me, a friend of a friend heard of a full-time role working as a Directors Assistant at an Auckland commercial production house called Curious Film. It wasn’t editing, but it was a foot in the door.

I spent my time mainly putting together director’s treatments and preparing the pre-production meeting documents. Casting, locations, art department, etc. The hours were extreme, but the money was not. However, it was the perfect crash course in the industry. I got to see the intense creativity that goes into getting a project on film. It gave me a well-rounded view of the process rather than a singular take, which can happen when you only work in editorial or post-production. But most importantly, I got to meet directors and producers and understand what makes them tick.

After a year of dropping hints and schooling up on Avid in the background, I finally got a shot at some of the small edit gigs. Charity spots and music videos.

As Curious grew, I convinced the owners to support my post-production dreams. We took editorial in-house and grew a full-service post-production arm at both their Auckland and, later, Sydney offices. I started as a DA and Assistant Editor, and about 5 years after starting, I focused on editing and post-production full-time. That eventually saw me in the dual role of Senior Editor and Head of Post-Production.

Curious Film Pre Axis Awards (2015) / Photo: Supplied

I was lucky enough to work alongside some incredible talent during my time there. Taika Waititi, Zia Mandviwalla, Miki Magasiva, Robin Walters, Steven Kang, Tara Riddell, Matt Noonan, Darryl Ward, Seth Wilson, Dan Higgins, Josh Frizzell, Steve Ayson… the list goes on. They gave me my first breaks; we were like family, and those relationships continue in my work today.

I spliced literally hundreds of commercial campaigns during my time there, and we would spend evenings and weekends cutting short films and honing our craft. I cut my first short, USO, with Miki Magasiva in 2006, a raft of others, and finally, in 2011, I cut Blue with Steven Kang, which went on to win La Semaine de la Critique (Critics Week) at Cannes. That was a defining sea change in my career.

In 2014, I landed my first feature film edit, Turbo Kid, with producer Ant Timpson and Canadian director trio RKSS. As I was still full-time at Curious, I also post-produced and post-supervised that project. Brutal. That year was so intense. I was even late to my own New Year’s Eve party as we were racing to get everything delivered by the January deadline. I’ll forever be in debt to colourist Dave McLaren and Flame artist Leon Woods for pulling that one out of the bag. We delivered for the Sundance Premiere in 2015. It reviewed well, and finally, I was a feature film editor…

‘Turbo Kid’ Sundance Premiere (2015) / Photo: Supplied

That same year, Taika was shooting Hunt for the Wilderpeople. I did the same Editor/Post-Producer/Post-Supervisor role on that one. It premiered at Sundance 2016, and it felt like the right project to springboard off. I finally went freelance to focus on editing around June of that year.

Since then, I’ve tried to find a balance between editing commercial campaigns (here in New Zealand and repped in Australia by ARC Edit) and long-form projects. I’ve been lucky enough to edit the Daniel Radcliff action-comedy Guns Akimbo, the US Netflix rom-com The Royal Treatment (line-produced by my good friend and Curious EP Matt Noonan), and most recently Lee Tamahori’s pre-colonial Aotearoa/NZ epic The Convert, starring Guy Pierce and Tioreore Ngatai-Melbourne, which premiered at TIFF 2023.

I’m currently editing a feature with the director who gave me my very first edit gig at Curious 20-odd years ago. Miki Magasiva. Pretty cool to finally complete a loop on that relationship.

I’ve been fortunate enough to pick up a few awards along the way, only been fired once, collected a bunch of incredible people, and even after 20-odd years, it is still a job that I love.

About Luke Haigh

Luke Haigh is an award-winning freelance film editor. He’s edited feature and short films that have screened globally at A-list festivals and even won Critic’s Week at Cannes. Having cut literally hundreds of commercials, his specialty is the big kind. Beer ads, car brands, soft drinks – often on a global scale. Many go on to become award-winning campaigns – Grand Prix at Cannes Lions, Clio, and D&AD. His work can be both quirky and emotive and he will happily lean into something that’s a little unusual.

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with if you’re a member and would like to share your story.