My biggest strengths as a editor
My biggest strength by far is my ability as a developmental editor of fiction and creative nonfiction. A key attribute that sets me apart is my love for variety. I have worked….
on books for young people across the board: picture books, middle grade, young adult, and new adult.
outside the world of prose books on screenplays, poetry collections, and comic scripts.
on adult genre fiction such as thrillers, romance, and literary fiction.
to develop a strong foundation in various areas of literature, such as Greco-Roman classics and the children’s literature canon.
with both experienced, traditionally published authors and new authors exploring independent publishing options.
in partnerships with professionals who venture to transfer their expertise into creative writing for the first time.
to keep up with what is currently going on in multiple areas of the contemporary book world.
I have a unique perspective work on creative nonfiction through my role as children’s book publisher for a health press along with a previous role editing a YA memoir. As different from nonfiction as it may seem, I would also love to polish your genre fiction so it surprises both avid fans and naysayers. Everyday stories about everyday life are also a fit for me, especially if the star is a young person.
How this typically works
Oftentimes, the best way to attack a developmental edit is through a detailed letter identifying the manuscript’s strengths and flaws. The manuscript’s overall position is also a concern—both in terms of what is currently going on in the genre and in the publishing market. Even without “playing to the crowd,” awareness of the impression your manuscript’s unique identity leaves on people due to other stories and other concerns can only be helpful.
More than once, with additional compensation, authors had opted for an additional developmental editing pass after my initial feedback was considered. Writing is, of course, re-writing.
If you would like someone already intimately aware with the story to line-edit it, that is also in my wheelhouse.
From there, other potential services include help identifying relevant publishers or custom publishing services for your project. I have experience on the other side of the table evaluating query letters and worked closely with literary agents, so fielding ways to present your project to literary agents or small presses comes naturally. I can draft query letters and seek out the exact right fit for your project.
Looking for developmental editing or help sizing up your manuscript options. Any other thoughts?
Drop me a line. Let’s get to know each other.
Each project and its specific needs presents whole new challenges, so discussions about compensation and other concerns would likely follow some familiarity with the project.
Freelance editors you see elsewhere with hard-and-fast rates often specialize in one specific corner of the publishing process or one small genre niche. My background allows for more bespoke services.