The following questions are based on those I suggest authors ask when determining which editor(s) to choose.
FIRST: THE VIBE CHECK
EXPERIENCE.
Where did you gain your skills?
I received my BA in Professional Writing, my MA in Writing and my MFA in Fiction. I also hold a certificate in Literary Representation. I’ve taught undergraduate writing and editing courses, worked on several literary magazines, and briefly provided developmental editing support to a new boutique publishing company.
How long have you been editing?
I’ve been freelance editing for over 17 years.
What work have you done?
As a freelancer, I’ve edited dissertations, essays, short stories, novels, career materials, and even one financial guide. Since starting my full-time business in 2022, I’ve focused primarily on fiction. Six of the novels I’ve worked on were published between 2023 and 2024, with more to come.
I also worked on several literary magazines, including Soundings East and Barnstorm Journal, and served as a co-faculty advisor for the undergraduate zine when teaching. I was also the co-founder and editor in chief of a quarterly print zine.
Are you part of professional organizations?
Yes! I’m a member of the Editorial Freelancers Association and the Editors Tea Club.
Do you have testimonials from past clients?
You can read feedback from recent clients here.
EDITING & GENRE PREFERENCES
What levels of editing do you specialize in?
I prefer to focus on story and style over the technical elements, so I specialize in developmental and line editing. I also provide skilled beta reading for my favorite genres.
What genres do you enjoy reading?
I love to be pulled out of my own world and experience and into someone else’s. I’m motivated by and most enjoy working with powerful storytelling full of heart and magic that pulls on the imagination.
That said, my favorite genres to read and to edit are fantasy, soft sci-fi, and stories that retell or pull in elements from mythology and folktales. I have no problem diving into a picture book, middle grade novel, or young adult novel that catches my eye, either! In the summertime, I also enjoy a good romcom as a beach read.
What genres do you have experience editing in?
I actually dabbled in many genres when I first started freelancing—this was due to inexperience and wanting to figure out what I enjoyed most. I’ve edited creative nonfiction (inc. memoir), a few dissertations, and more. But my primary focus now is on genre fiction, particularly those ones that I love to read.
My most recent clients have been writing: YA romance, YA adventure, fantasy, soft sci-fi, dystopian, coming of age, and myth or fairytale retellings.
COMMUNICATION STYLE
How would you describe your communication style or the tone of your feedback?
I’m a former educator, and that is still a part of how I communicate feedback. I consider my style and tone to be honest but coach-like: here’s what’s not working, but here’s what you can do about it.
I also know how difficult it can be to have someone criticize your work and believe in fueling you with positivity throughout and after our collaboration.
How do you deliver feedback (marginal feedback, note, call)?
I provide comments and feedback in marginal comments (some of my recent developmental edits had over 1,000 comments!), as well as a thorough letter that summarizes my feedback, offers suggestions for improvement, and provides resources to help you build your own writing and revision skills so that your revision process is (hopefully) as smooth as possible. If providing line editing, I utilize track changes to give you the opportunity to review all of my suggestions and accept only those which work best for you. (The extent of this will depend on the manuscript and type of service.)
As for follow-up calls, as an introvert I’ve come to understand that some people like the calls and some people want an email they can read when they’re ready for it. So I let you call the shots on whether or not we meet virtually.
How extensive is your feedback?
That really depends on the manuscript and the service.
Developmental editing is the most detailed and thorough service. Depending on the length of the manuscript, I’ll likely leave anywhere from a few hundred to a thousand comments on the manuscript itself. My editorial reports tend to run anywhere from 12 to 30 pages (although most manuscripts come in somewhere around 15 to 20!). This includes very specific sections on each of the main major elements of your manuscript (plot, theme, structure and timing, character development, worldbuilding, etc.) as well as resources and recommendations for where to begin your revision.
Individual workshopping is offered in short, individual sessions, with each session resulting in an editor’s note that is about 2 pages in length and summarizes my impressions, suggestions, and a few resources to improve specific issues that came up in that session. The idea is to give you enough to improve writing or revision skills then apply them to your other work. (Some writers will do several sessions with me to work on incorporating feedback and check if those skills are getting stronger.)
Skilled beta reading is more about me coming at your book from a reader’s point of view. There are often a few hundred comments in the margins, more on my thoughts and reactions as I read (and if I find myself confused anywhere). The note that comes with this is about 3–4 pages and gives high-level impressions of plot, characters, world, etc. and answers any specific questions the author may have had.
COMING SOON: Coaching! A leveled-up version of Workshopping that focuses on greater goals.
Do you provide examples of fixes, or do you tell the writer what isn’t working and let them figure it out?
When appropriate, I absolutely provide examples. I love writing examples that have to do with food—partly because I love a good snack, partly because it’s usually a lighthearted way to show a writer new ways to approach something rather than intrude upon their work with my own vision.
I also provide links and book recommendations if I feel there’s a skill or issue that the writer could work on to elevate their writing and revision techniques.
NEXT: DOWN TO BUSINESS
What’s your rate?
My rate varies by service. The most up-to-date rate information can be found on each of the individual service pages.
What’s your pay schedule?
That will also depend on the service. For individual workshopping, I ask to be paid up front for each session.
For developmental editing and beta reading, I ask for the full amount if the quote is $500 or less. If the quote exceeds $500, I ask for 50% up front as a retainer fee and 50% upon completion.
For established clients who I’ve worked with previously, I’m open to discussing a different pay schedule.
What’s your availability?
An editor’s year really ebbs and flows, so my availability can vary.
For developmental editing, I’m currently booking about a month or two out and recommend you reach out at least three months before you hope to have your manuscript returned (longer for those chunky manuscripts that are 100,000 words or more).
For beta reading and workshopping, I can often fit a project or session between other work. While I still recommend reaching out early for beta reading and consults, it isn’t as necessary as with developmental editing.
Do you offer a rush option?
Sometimes! It depends on my current schedule and the state/length of the manuscript. A rush also comes with a hefty fee to compensate me for giving up my weekends and evenings to meet your tight deadline.
Do you provide a sample edit/quote?
For developmental editing inquiries, I provide a free sample edit up to 1,000 words. I do caution: because I don’t have the “full picture” look a developmental editor needs for feedback, I view a sample as more of a way to experience my feedback and communication style. (I’ll still be curious and ask questions about what’s happening/your characters, but don’t expect the same depth you’d get if I’d already read the entire manuscript.)
I don’t provide sample edits for workshopping sessions or beta reading services.
How long will it take you to provide edits?
It’s important to note that estimated times to deliver are from the project start date, not from the date a contract or service agreement is signed.
For developmental editing I estimate one week per 20,000 words, plus an extra two weeks in case of emergencies, I get sick, etc. So for a 100,000-word manuscript, my proposal would estimate a seven-week delivery from the project start date, although I am often finished sooner if that buffer period is not needed.
For beta reading, I usually estimate two to three weeks depending on the length of the manuscript. Like developmental editing, this includes a buffer, with feedback usually coming sooner.
For individual workshopping, I try to provide feedback within two weeks of a client delivering their excerpt for each session. If I’m in a particularly busy time of year, I’ll let the client know if there may be a slight delay.
Do you include a feedback call? Additional passes?
Because each client varies, these are available as add-ons rather than built into each of my services.
What happens after someone reaches out to you?
First, I’ll email back confirming your inquiry, providing you with some general details, and usually* offering to do an intro call.
After the intro call (or if the person inquiring declines an intro call), the next step will vary by service. For individual workshopping or other consultation services, you tell me if you’re in and I forward you the service agreement.
For developmental editing and beta reading, we’ll enter the proposal phase. (In developmental editing, this includes the sample edit.) My proposal will include a project timeline, project quote, and a list of add-ons/prices for you to consider.
You’ll have a few days to either accept or decline my proposal. During that time, I’ll hold the project start date, meaning no one else can book it. After that time passes, I’m still down to collaborate, but the start date will be released to other authors and, if I have a price change coming up, your project may be subject to a quote adjustment.
If you accept the proposal, I’ll send you a contract to sign. You’ll have another week to return the signed contract and the retainer fee to complete your booking.
After that, we wait till the start date and then I get to work!
* I say usually here because sometimes I receive inquiries that aren’t a good fit (genre, timeline, etc.). In this case, I’m always honest and do my best to provide the names and websites of two to three editors who may be a better match.
