Photo by Pixelme. Why watermelon? There's only so much pen and paper imagery a girl can handle.

My typical* fees

Just here to see the bottom line? For you, I’ll get right to it.


Manuscript read & assessment
$450 for 75,000 words, $5 for every additional 1000 words.

This includes a 5-7 page report with feedback that covers issues big and small, a one-hour follow-up phone call and a free edit of the first 500 words of your manuscript.


    Line editing / Copyediting
    $40-$55/1000 words.

    The rate is primarily based on the level of work required, but also takes into account overall length and whether you are a returning client.

    Want more info? Keep reading.



    My typical* process

    Manuscript assessment

    Most of my clients opt to have a manuscript assessment first, which offers feedback on issues big and small. I’ll give you an honest, thorough and detailed response as both an avid reader and an experienced editor. I’ll raise questions and point out the things your friends won’t mention. I’ll tell you what’s wonderful and where your story is struggling. Most importantly, I’ll give you clear, actionable advice on how to make it better.

    If you opt to skip the manuscript assessment before line editing, I’ll ask you to provide me with a detailed synopsis and other information so I understand the big picture before editing begins.

    Line edit the first 1-3 chapters

    My edits and notes will be made via a shared document (I’ll explain in our initial phone call how this works), so you can see exactly what I’m doing as I go along.

    Checking-in phone call

    After I’ve edited those, we’ll pause again to discuss. The editing and revising process is a very personal one, so it’s vital that you’re comfortable with every aspect of it. We can take this moment to assess how things are going, address any concerns or questions, and decide whether you are getting what you want out of the arrangement.

    Edit remaining chapters

    If you’re happy with everything, we’ll continue on with the rest of the book or continue to work in increments, depending on your preference. Throughout the process, we will communicate via phone, email and on the manuscript itself.


    *Why do I keep saying 'typical'?

    Because authors' needs vary greatly and I'm flexible. Before you decide anything, I'm happy to talk. I'd love to hear about your book and answer any questions.


    What I do:

    Help you finish

    I’m the editor you use after you've finished your manuscript and before you self-publish or submit it to agents or publishers. I'm assuming by the time you come to me you're happy with the plot, characters, structure — all the big picture elements.

    Dig in deep

    I go through the manuscript, line by line, identifying and fixing (or suggesting fixes for) weakness in language, dialogue, description, underdeveloped plot points, pacing and other issues that cause the writing to get in the way of the story.

    Collaborate

    I keep this process visible and interactive. I edit on a shared document so you can see my work as I go along and, if needed, you can answer questions or give input. We may sometimes debate various issues that arise. It can be an invigorating, dynamic process that may feel a little humbling, but you will probably love. (But if you’d rather just hand over the document and not look at it again until I’m done, that’s OK too.)

    Make you a better writer

    Working with an editor who is thorough, personable and communicative is like taking a one-on-one writing class. My clients regularly report that an unexpected benefit of working with me has been their own growth as a writer.

    Bring benefits specific to each book and author

    The above doesn't fully capture what I can bring to your book, but I'm happy to connect you with writers who have worked with me and can tell you about their experiences.


    What I don’t do:

    • The super-big picture stuff. If you eventually get an agent or a publisher, they may ask you to cut entire characters or drastically change certain storylines to fit their ideas of what will most likely sell. If I consider some aspect problematic, I will certainly discuss it with you, but I’m not looking to change your book. My entire aim is to make your book the best version of what it is.
    • The super-small stuff. I’m not a proofreader. I will naturally find errors — typos or technical and mechanical issues — because as a writer and editor of twenty years, mistakes tend to jump out at me. However, proofreading is another process that should be performed at a later stage by a person who is not me.
    • Guarantee you'll get a book deal. I’m not an agent or a publisher. I can help you with query letters and book proposals, but I’m all about the book itself.


    Still here because you’re a bit befuddled by the term 'editor'?

    Maybe you found my website after spending an hour on Google asking 'Should I get an editor for my book?' and 'What does an editor do?' and, well, I don’t have a quick answer. But I'll tell you how I see it. 

    Here you can (AND SHOULD) read how one of my clients describes what I do. (And yes, I welcome any opportunity to post that blog post!)

    The term ‘editor’ has many competing and layered descriptors — including global editor, developmental editor, content editor, line editor, copyeditor, proofreader — and you’ll find overlapping definitions for many of those. So let's talk job description instead of job title.

    Editors’ roles run the spectrum from assessing structure and overarching ideas to proofreading for typos and scrutinizing comma placement. Fulfilling the in-between roles are those of us who help to tell the story more perfectly, which sometimes includes overarching ideas and might take note of a rogue comma; but mostly it means moving slowly and analytically through the writing, improving it where needed.

    That in-between place is where I'll work with you.

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