Whether you’re looking to be the next big indie publishing success or hoping to pursue the traditional publishing route, an editor with experience across multiple fields is a huge asset. Much as you wouldn’t scale Mount Everest without a knowledgeable local and a sturdy goat, you don’t want to scale the mountain of publishing without an experienced guide.
But why should you choose me, other than the fact that I have a wife and three little kids and a wicked fast food habit I need to fund? I understand the strange and exciting publishing world we live in today. I have experience working as an editor with large traditional publishers, like Random House, mid-sized publishers like Angry Robot, and with publishers putting out work on computers in their basements. I’ve also worked with hybrid publishers such as Harlequin’s digital-first imprint Carina Press and Amazon Publishing.
I love book stores and e-readers and have published my own work across a multitude of platforms. I respect the author’s vision and want to help bring that vision to full realization. I want to be your partner, not your high school composition teacher crushing your dreams. Books I’ve edited have been chosen as the best of the year by USA Today and Library Journal, among others.
I enjoy working with a broad range of projects, but my main wheelhouse is pop fiction: crime fiction, mysteries, thrillers, romance, science fiction and fantasy. I also love YA in all of those genres as well. I’m always willing to discuss weird and exciting projects though, so send me an email at firstname.lastname@example.org and we’ll see what we can come up with. If you’re interested in my editing philosophy, check out this piece I wrote for Chuck Wendig’s site called 5 Things You Can Learn From a Freelance Editor.
This is big picture stuff. Plot holes, pacing, character motivations. If you’re looking to cut down a manuscript that’s too long or beef up a manuscript that’s too short, I can help with that as well. I’ll read through your manuscript and make extensive notes throughout the manuscript using Track Changes with a brief editorial letter outlining the strengths of your work and opportunities for improvement. I’ll work with you on possible solutions, both through comments in the manuscript and through follow-up emails or phone calls. For developmental edits between 60k-90k words I charge a flat fee of $750. Anything outside of that word count will be calculated on a per-project basis but will be around $0.08 per word.
This is more sentence-level stuff. Line edits will focus on word choice, clarity, continuity, awkward sentences, repetition, crutch words, wooden dialogue, and other style and tone issues. This will be done with a mix of comments in the margin and, when appropriate, directed changes in the document. Line editing fees are by the word and start at $0.01 per word depending on the level of editing required.
I know a lot of people think these are all the same thing, but they’re not. Each level and type of editing addresses specific issues and can be done separately or as part of a comprehensive edit that approaches the level of editing you get with a New York publisher. Proofreading is a final check. Let me be that last set of objective eyes to give your project a final review before you send it out into the world. Proofreading starts at $0.008 per word.
I’m currently scheduling for August and into September 2015 right now. I look forward to hearing from you all at email@example.com
Reservations cancelled at least two months before edits are due to start will be fully refunded. Reservations cancelled between two months to two weeks before edits are due to start will receive a 50% refund. For cancellations less than two weeks before edits are supposed to start, no refund will be given. If the manuscript isn’t received by our agreed-upon date and you don’t reply to my email to reschedule, your down payment will not be refunded.