It’s a lovely thing, to reach ‘the end’ on your manuscript.
You’ve spent months, even years getting to this point. You may have spent countless hours rewriting and reworking your story.
How do you know that the wondrous tale in your head has translated to the page?
After so much time immersed in the world of your story, it’s often difficult to step back and see the flaws and inconsistencies in the writing. Here’s where the experienced eye of an editor can help you.
I’m a Bram Stoker Award®- and Aurealis Award-nominated fiction editor. I hold a professional membership with the Institute of Professional Editors Limited (IPEd) and I co-facilitate creative writing classes with Brisbane Writers’ Workshop. I’ve been a submissions reader for the Aurealis magazine and a judge for the Australian Shadows Awards for horror short fiction. I’m a proud member of the Queensland Writers Centre, the Australasian Horror Writers Association and the Horror Writers Association. My horror short fiction has appeared in both Australian and international markets.
I’ve edited and critiqued a broad range of manuscripts, including children’s fiction, young adult fiction, speculative fiction (science fiction, fantasy and horror), and mystery and thriller. I’ve worked on both short and novel-length manuscripts.
Here are the two levels of editing that I provide:
Step One – Structural Edit:
This focuses on the big picture elements of the narrative. I’ll make note of the story’s overall strengths and any areas requiring further attention. I’ll then provide you with a detailed report covering the following issues: plot, pacing, setting, writing style, character, dialogue and editorial focus. The report will include positive feedback as well as practical suggestions on how to revise the manuscript.
Step Two – Line Editing:
Once you’re happy with the overall structure of the manuscript, the next step is a line edit. I’ll go through the work line by line, checking for spelling, sentence structure, grammar, punctuation, word choice and factuality. More than a simple edit for correctness, a line edit improves readability, strengthens voice, addresses telling versus showing, cuts wordiness and awkward or unclear writing, corrects point of view issues, removes clichés, and smooths flow.
I provide plenty of coaching and clear examples via the Track Changes and Comments functions in Word; not only is your manuscript improved, so is your writing craft. A line edit will give you a strong understanding of craft issues and how to correct them.
Please note: a line edit is not a proofread. A proofread is the final quality check before publication and ensures that a manuscript is error-free and formatted correctly.
A cost-effective third option:
Structural Edit and 10-Page Markup:
This includes a structural critique of your manuscript and a line edit of the first ten pages. This gives you a sound grasp of the overall issues in the manuscript and brings sentence-level corrections to your attention.
Once you’ve addressed any structural issues, you can apply the line-level suggestions from the first ten pages to the rest of the manuscript: errors that appear in the first few chapters are often present throughout the entire work.
This results in a cleaner manuscript, free of simple errors that would otherwise take time for an editor to correct.
You may then wish to consider a full line edit.
What level of editing are you looking for?
If you’re interested in a structural edit, please feel free to contact me for a quote and to discuss your manuscript.
If you’re interested in a line edit, I recommend a sample edit of your manuscript (usually 1,000 words) to show you how I work and to ensure my editing style suits your requirements. I can then provide you with an accurate quote for the turnaround time and the total fee for your edit.
Please feel free to contact me for a sample edit and/or quote. I look forward to working with you!