There are four types of editing, generally done in this order:

1. Developmental editing (also called substantive or content editing), which is all about the big picture—structure, tone, character, pacing, plot development, etc.
2. Line editing (also called stylistic editing), which focuses on paragraph-level issues—tone, clarity, and word choice—and making your novel a pleasant experience to read.
3. Copy editing, which involves fixing inconsistences and grammar issues, such as dangling modifiers, incorrectly-placed commas, and spelling.
4. Proofreading, which occurs after the book has been typeset, and is a last chance to double-check spelling, look for typos, adjust widows and orphans, and fix formatting errors.

Your book should go through all of these edits; if you’re working in traditional publishing, your publishing company will handle them (you don’t need to hire a professional editor before submitting to an agent or publisher). If you are an indie author, your novel should go through each stage of editing, but you don’t necessarily need to hire a separate editor for each, especially if you are on a budget. Having a good team of beta readers behind you could help you do some developmental editing on your own. Coming back to the manuscript with fresh eyes could enable you to do some of the grammar-level fixes as well. But, if you’re able, I recommend hiring a professional editor somewhere along the line. 

What your book might benefit from most depends on your writing. Do the structure, pacing, and plot need attention? Hire a developmental editor. Is the story in place, but you want to ensure the prose is coherent and enjoyable to read? Hire a line editor. Are you in the final stages of publication, and it needs an eye for grammar issues and last-minute errors? Hire a copy editor or proofreader. Some editors also combine multiple types of editing into one service.

I specialize in developmental and line editing. 

When I do a developmental edit ($0.01/word), I focus on your story as a whole, asking questions like: Does the pacing feel too fast or too slow? Are the characters drawing me in? Is the dialogue serving a purpose? Is every scene doing its job? I pay attention to the following areas:

• Structure
• Tone
• Voice
• Point(s) of view
• Worldbuilding
• Pacing
• Dialogue
• Consistency
• Plot Development
• Character Arcs

I will add comments in the margins and send you an email summarizing my feedback to use as a guide when you write your next draft. My developmental editing service is likely the best fit for you if your manuscript is in its early stages. You may have had some beta readers look at it, but it still needs rewriting and reshaping. 

When I line edit ($0.015/word), I focus on tightening up sentences at a paragraph level. I suggest fixes for issues like:

• Writing in a passive voice
• Using too many adverbs or adjectives
• Telling vs. showing
• Using unnecessary words or phrases
• Repetition
• Unclear phrasing
• Unintended shifts in tone
• Mixed metaphors

I will make in-line comments in the manuscript using Track Changes. My line editing service is likely the best fit for you if you’ve had several beta readers look at your book, have incorporated feedback and done a round of edits yourself already; you’re past the point of deleting or rewriting huge sections, and your book needs tightening up at a sentence level. 

I can can also combine developmental, line, and copy edits into one service. I only recommend doing this if your book doesn’t need a lot of large, structural changes (because line and copy edits are wasted if you are going to be deleting and rewriting pages of text). And your book will still need a proofread afterwards.

I specialize in science fiction, fantasy, and select nonfiction. For fiction, I will work on adult, NA, YA, and middle grade stories, and I give priority to diverse voices. As a disabled and bisexual woman, I particularly love to see that representation.

For nonfiction, I’m a good fit for topics involving pop culture, video games, tabletop games, health/disability, music, or art.

I’m probably not the best fit for horror, as I don’t read or work in that genre very much. But if your book treads the line of horror SFF, something akin to Fringe or Supernatural, you can always try me by sending the synopsis. I will not work on anything that includes rape scenes.

Yes! In fact, I encourage you to request this to ensure we’re a good fit for each other. I will edit five double-spaced pages for free.

Absolutely. Let me know what accommodations you need.

I prefer email communication. If you need phone calls or in-person contact, I am not the best choice for you. But if you love written communication, we may work well together! I usually respond to emails within two business days.

I have a collaborative approach to the editor/writer relationship. I make it a point to respect your author’s voice. I’m here to help you write your book, not to fundamentally change it or mess with your style. I always suggest solutions for potential problems and articulate why they are problems; this way, you can consider alternate fixes if my suggestion doesn’t fit your vision.

After graduating university with a BA in English, I was trained in editing at Toronto Metropolitan University through their Publishing program. I did an editorial internship, worked as a managing editor at a magazine for three years, and worked as an editorial director at a small sci-fi and fantasy publisher for another four years (where I read through tons of query letters and worked with authors one-on-one). You can see issues of the magazine I edited here (though these don’t include all the online articles) and a list of the books I’ve edited on my Goodreads shelf here (though these don’t include unpublished and recent projects I’ve worked on).

I require at least four weeks in advance before starting all projects, and the time it takes to complete them depends on the scale and complexity of the project, as well as my schedule. Contact me with the details of your project and your deadline. I occasionally take on rush jobs for a $99 extra fee, but my ability to do so depends on my schedule and my chronic illness.

Yes! Graphic novels are a completely different beast than novels; I’m familiar with the grammar rules, and I enjoy working on them. My editing rates are $0.01/word (script only) or $5/page. If you are hiring me to edit the script only, I can do more of a developmental edit. If you are hiring me after the novel is formatted and lettered, I will do a line edit/copy edit/proofread; I try to ensure that the size of speech bubbles won’t need to change with my edits.

I ask for a 50% deposit before I start your project. I will send you a contract to sign, and I invoice via PayPal.

I cannot. I can only promise to give you my best advice based on my publishing and editing experience.

For book editing, I use Google Docs or Word (whichever you prefer). I also use ProWritingAid for a final grammar check. For graphic novel editing, I use Adobe Acrobat to leave comments and suggest changes to the text. I use Photoshop and a Wacom drawing tablet for my maps. For interior formatting, I use Vellum. 

I took acrylic painting lessons for several years as a teenager, then picked up digital painting as an adult. I took some college-level design courses and worked as a graphic designer and layout artist for newspapers/magazines for several years. I’m mostly self-taught where digital art and mapmaking is concerned, with some tips picked up from other artists and YouTube tutorials.

Absolutely! This is very helpful, even if it’s just scribbles and dots showing where you want cities and rivers.

A region map is a 6″ wide by 9″ tall map of a region (think a closeup on a specific area in your world). A full world map can be any aspect ratio and can include up to three continents.