My Approach

As an acquisitions editor at Tin House, I worked closely with my authors through every stage of the editing process, which I often described as a series of sieves with a finer mesh for each pass. Typically, the first stage of editing a manuscript focuses on big-picture issues: plot, character, points of view, time line, etc. As an author and I work together to resolve these issues, smaller problems, such as inconsistency and awkward syntax, rise to the surface, and we address those next. Once all the pieces are in place, line editing, copy editing, and proofreading provide the final siftings of the material to its purest form.

In my freelance work, I offer developmental editing for those who want feedback regarding the big-picture issues in their work. I offer line and copy editing for those who feel the overall work is ready but needs another set of eyes to refine the details. And I offer proofreading for manuscripts that need a final polish before going to the printer.

I believe that my job is to help an author make the work the best it can be and that the end result should feel true to the author’s vision. If you are interested in editorial feedback at any stage of the process, I am happy to discuss how we can work together on your manuscript.

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Developmental Editing

I began my editing career as a copy editor, so attention to detail is still a large part of my approach even when working as a developmental editor. For a developmental edit, I read the manuscript twice. After the first read, I send the author brief notes on my first thoughts and impressions of the work and what I feel needs to be addressed. We then have a call to discuss these notes, as well as any concerns you have that I haven’t mentioned. After that, I do a second read with our conversation in mind and take more detailed notes. My developmental edit letters are usually about twenty pages; address elements such as structure, narrative arc, and character development; and include specific examples of strengths, weaknesses, and inconsistencies in the manuscript. I will also note inconsistencies and awkward language if they are prevalent enough to affect the overall manuscript. Once the author has had a chance to absorb the feedback, I am available for a follow-up conversation to discuss any questions that the notes raise. I’m also happy to work in the file, highlighting passages that could be cut or altered, if an author feels that would be helpful. I consider myself a guide through the editing process, and I think the greatest satisfaction as an editor is to point out a problem in a manuscript and to suggest a few ways to solve it, but to let the writer navigate their own way to the solution. Many times, my feedback has provided the path to the solution, which the author was able to determine on their own, with my guidance.

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Line and Copy Editing

When line and copy editing, I respect the author’s voice and suggest changes that are in keeping with that voice. For a line edit, I focus on elements such as style, syntax, and clarity. For a copy edit, I focus mostly on grammar, consistency, and fact-checking. For both, I will also point out plot holes or issues of believability and try to suggest ways they might be addressed on the line level. I adhere to The Chicago Manual of Style and Merriam-Webster, but also note when that style may not be appropriate or in keeping with the overall tone of the work.

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Proofreading

Every manuscript needs at least three sets of eyes during the production process, and the proofreader’s is the last set before the manuscript goes to the printer. At this stage, I am looking for any typos or inconsistencies that the copy editor missed (no one catches everything, not even me!). If I notice a plot discrepancy, I point it out and suggest ways to address it that will not alter the overall flow of the layout. If I notice a fact-checking error, I fact-check other items to make sure the fact-checking is complete.

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Editorial assessment

The process for an editorial assessment is much the same as that of a developmental edit, but the feedback is somewhat broader. I deliver ten to twelve pages of notes and am available for a follow-up call. While an assessment is less detailed, if there are specific elements of the manuscript that an author would like me to address, I can concentrate on those.

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Manuscript evaluation

If you are working with a limited budget, I am happy to do a manuscript evaluation, for which I read the manuscript once, deliver about five to seven pages of notes that discuss the main aspects of the narrative, and am available for a follow-up call.