Editing

I offer developmental editing (aka structural or content editing) and copy-editing (aka line editing) in the following packages:

Option 1: Two-stage process

Some authors prefer to keep the two stages of editing separate, so I am asked for a ‘big picture’ edit first.

Stage 1

During the initial developmental stage, I compile an editorial assessment (aka manuscript assessment) comprising chapter-by-chapter feedback plus some broader notes addressing character and plot development, structure, continuity, story arc, theme development, tone, repetition and plot holes. I often undertake further research or fact-checking and, where possible, I may also offer potential solutions for plot holes or other issues for your consideration.

While I won’t touch the manuscript at this stage in terms of copy-editing, I may leave some brief observations at pertinent points in the margin, referring directly to aspects covered in my editorial assessment. I will also include some general commentary on any repeating syntactical errors I come across.

The author then has the opportunity during an agreed period to address any concerns I’ve raised.

Stage 2

After the revised manuscript is returned to me, I perform a thorough copy-edit, concentrating on grammar, syntax, punctuation, repetitive vocabulary, and anything else that needs ironing out. Please note that copy-editing differs from straight proofreading, as the latter fixes typos and basic errors, but rarely improves the text stylistically regarding sentence structure and flow.

I return two versions of the final manuscript: one marked up using track changes so you can see exactly what I’ve done (and accept or reject individual changes if you so choose), and the other ‘clean’, whereby all of the changes have been accepted, and only critical margin notes remain. It’s entirely up to you which version of the document you use. If the clean version sounds like your voice then use that, as it will save valuable editing time; if you wish to retain complete control of your words, use the track changes version.

Option 2: All-in-one

This is a shorter process, during which I combine the two stages listed above into one sitting. You will receive the edited manuscript at the same time as my accompanying feedback. This is my most popular option for previously published writers, and I am happy to focus on specific author concerns as well as report back on any issues I find. I will fix every issue I can and refer anything I remain concerned about to you in my editorial assessment, along with potential solutions if appropriate. Authors who choose this option are fairly confident their book is close to publication and are not expecting to need to do any major rewrites.

Please note the all-in-one edit is covered under a fixed-price fee, but if revisions are found to be necessary, I will offer further copy-editing for new text at my hourly rate.

Should you require a more ‘creative’ edit—involving a degree of ghostwriting—please contact me for further details.

For a novel-length manuscript, I require around three weeks. However, please note that I am usually fully booked several months in advance, so it’s preferable to make contact early and reserve your slot.

Nine times out of ten the entire editing process takes place over email. Should you be more comfortable communicating via phone, Skype, Zoom or FaceTime, this option is available, but the price may increase for lengthy sessions.

I can work with either industry-standard Word documents (.doc or .docx) or Pages documents. If you are using Scrivener, please first convert the file to Word. (Although Scrivener may be fantastic for manuscript plotting and development, the editing tools provided by Word are superior...for now.) It helps if your manuscript is double spaced, and any author who has ever worked with me will know I have a deep-seated objection to the Arial font!

Preferred editing genres include thrillers, science fiction, urban fantasy, speculative fiction, horror, humour, historical fiction, dystopian fiction, literary fiction, women's fiction, health and fitness, autobiography and memoir, lifestyle how-tos, and true-life tales.

Eagle-eyed readers will spot that I have written this website in my native British English. However, I have clients all over the world, with the majority hailing from America and Australia. I am well-versed and comfortable editing in American and Australian English, using the appropriate spellings, grammar, and punctuation.

Absolutely. In fact, I specialise in the unique requirements for continuity and ongoing character development throughout multiple related books. I enjoy nothing more than fostering a creative, long-term relationship with my authors, whether this is played out across a trilogy or numerous standalone titles.

Prices vary depending on the length and stage of your manuscript, the quality of your writing, and the editorial assistance you require. To quote for an edit, I will request to see your manuscript so that I may more accurately determine the number of hours the process will take.

I will request an initial deposit to secure your slot in my schedule. The remaining balance is due in full at the beginning of each editing stage and takes place via BACS, international transfer, Wise (formerly TransferWise), or PayPal (additional fees apply).

If my schedule permits, I may occasionally perform a sample edit, although please note a small fee will be charged for this service.

Yes. My background in copywriting helps me bring a sales perspective to the two or three most important paragraphs of your book cover, plus the obsessive part of me would hate for a typo to spoil an otherwise polished product. I can write an original blurb, edit a blurb written by an author, or work with the author until the essence of the story has been captured succinctly and irresistibly to everybody’s satisfaction. Please note this is a separate job to a manuscript edit and charged as such.

Yes, but only for manuscripts I have edited and therefore know inside out. Please note this is a separate job to a manuscript edit and charged as such. Research into targeted agencies and publishers lies outside my editorial remit.

Beta readings, no. My schedule doesn't allow me to produce less detailed beta reports on manuscripts that I’m not editing. However, I do offer full editorial assessments addressing character and plot development, structure, continuity, inconsistencies, story arc, themes, tone, imagery, repetition, plot holes, and some general notes on any syntactical errors. I report back on what works and what doesn’t, make suggestions for appropriate cuts or expansion, and also do some fact-checking if necessary. If you’d like a copy-edit at a later date, we can arrange that separately.

As part of my work, I will format the manuscript into the accepted standard of presentation expected by agencies, publishers and readers alike, which includes removing and correcting numerous unseen formatting errors of which you may not be aware. However, my involvement on this level concludes once the edited manuscript is handed over, and just as I would recommend commissioning a professional cover artist, a professional typesetter is a must for producing a polished product.

As the author of ten traditionally published books and one self-published anthology, I’m encouraged by the fact we can now choose between methods. Indeed, sometimes one avenue leads to another. If self-publishing, it is critical to produce an end product that stands up in quality against traditionally published titles. Quite apart from any sense of self-fulfilment, the last thing your book needs is multiple online reviews commenting on the poor standard of English, rambling plot, or distracting typos.

To find an agent who can market your book to traditional publishers, you should first research agencies both representing your genre and actively seeking authors. The same is true of directly approaching smaller independent publishers. You’ll then need to polish the manuscript to its best possible incarnation, formulate a synopsis, and compose an attention-grabbing query letter/email that elevates your submission above all the others. Expect a long time waiting for a response and expect rejections: that’s just the name of the game.

Alternatively, self-publishing doesn’t just allow you to get your product out in your own time frame, it allows you to retain total control. My ten traditionally published books include some where I disliked the cover or had no say in the title. Another positive of self-publishing is that you’ll retain a greater royalty percentage—providing you sell the books, of course! An important consideration is that if you self-publish, you’ll need to do all the marketing yourself...a fact that is becoming increasingly true of traditional publishers too.

My advice? If you’re dead set on the traditional route, try a few targeted agents or publishers, set yourself a deadline, and while you’re waiting, prepare your book for being self-published. Make sure it is professionally edited, properly formatted, and you have an eye-catching cover.