Editors are available on a signup basis to work 1-on-1 Tuesdays from 7:00pm - 8:30pm. Edits may include line-edits, developmental edits, stylistic edits, structural edits, and more, as the editor sees fit and as requested by the submitting writer or poet. It’s recommended that writers and poets commit to 2-4 editorial sessions, spaced 2-4 weeks apart each. Max word count for prose: 10,000 words. Max word count for poetry: 1,000 words. It's possible to go above this word count, but please consult the editor first and form an agreement before submitting a longer piece.
My intention as an editor is to help you execute your vision for the piece we work on together – which may include development of that vision. How I approach the editing process depends on how far along the piece we’re working on is. If we need to focus on structural, character, voice, or other issues, then we won’t begin by dialing down into how any particular line is constructed, but rather on those high-level concerns. When the piece is broadly working well (whether it’s that way when it’s brought to me or we’ve arrived there through our work), then we’ll address diction, grammar and syntax, and presentation. I offer a close read of your work at least twice before each time we meet. As an editor, I’m a good fit for literary, genre, memoir, and experimental work.
I offer line-by-line edits for clarity and style, and help with envisioning and executing a successful narrative structure. During edits, I like to sit next to writers with a laptop open in front of us, and proceed through the manuscript together, discussing as we go. We’ll argue a little, laugh throughout, and in the end, my goal is to not only send you away with a stronger manuscript, but also with greater knowledge and confidence so that you can take your next step as a writer. As an editor, I’m best for writers of sci-fi/fantasy/horror/speculative, experimental, literary, and nonfiction philosophy/ideas. I’m not especially well read in memoir or YA, and so I likely won’t be the best editor for such writers, though I’m happy to work with anyone who wants to work with me.
I’ve written professionally for 15 years, initially as a screenwriter, then subsequently as a freelance and in-house marketing professional. As an editor, I work to reconcile two goals: the author’s desire to communicate and the intended readers’ desire not to have their time wasted. This means I seek first to understand the what the story is about (both in terms of plot and theme) and then strip away everything that doesn’t serve that goal. I enjoy the craft of writing, so writers working with me should expect a fair bit of line and sentence work in addition to developmental and structural editing. While I tend to write mostly science fiction, horror, and other speculative genres, I try to bring a literary approach to them. I prefer working on complete pieces of short fiction (or creative non-fiction).
I am completing an MFA in poetry and have formally studied writing since 2012. I can provide line edits for publication but prefer to work with the Socratic method. Instead of bringing critiques, I will come with a set of questions, so you as the poet will make your own notes for revision. Through conversation, you will discover the best direction for your poem and the necessary adjustments to achieve that direction. This will empower you to challenge your poems and trust yourself, both necessary skills for any writer. I have experience with traditional forms, free verse, and experimental poetry. I expect intentionality and will push you and your work, but only so you can reach your full potential as a poet.
I offer insightful, constructive feedback to assist poets with structure, style, clarity, polish, and/or proofreading. I’ll be kind and direct about what’s working and what’s not, and I’ll be clear about my own aesthetic preferences—but I won’t ask you to change your writing to suit my tastes. My goal is to help you make the impression you want to make on the audience you want to reach. If we work together, I’ll ask you to provide a copy of your writing separately from any description or context so I can give it a completely fresh reading. Then I’ll go it through again with an eye to any specific issues you’d like me to address, and we’ll meet to discuss how you can take your writing where you want it to go.
As an editor, my role is to help the writer get closer to their vision for the piece. I believe that a macro and micro approach are necessary when discussing poetry. In poetry, each word has a lot of weight so going line by line while also looking at the poem as a whole are essential. During a editing session, I think it is important to not be too prescriptive, but hone in on moments that are less effective. A successful editing discussion is one where the poet leaves feeling prepared to make meaningful changes. I am prepared to work with poets exclusively. I am comfortable working with poets of different styles, but I am less comfortable with poets that use traditional form.