“The difference between the almost right word and the right word is really a large matter.
It’s the difference between the lightning bug and the lightning.”
Mark Twain
The Editing Process
I believe every story—and every author—is best served by following the Editing Funnel. This approach starts with the big picture and gradually narrows to the smallest details.
-
At the top of the funnel, we focus on structural issues: pacing, plot holes, themes, character development, unnecessary characters and subplots, and world-building inconsistencies. This bird's-eye level of revision is known by many names, but developmental editing is the most common, and it’s the term I'll use moving forward.
-
Next, we move into line editing, where the focus shifts to the scene, paragraph, and sentence level. The goal is to refine your voice and style by clarifying confusing passages, cutting unnecessary filler, and choosing more precise, impactful language. This is where your prose begins to shine, and, in my opinion, it's the most rewarding stage of the editing process.
-
Next comes copyediting, the technical phase. Here, the focus is on accuracy and consistency by checking timelines, names, places, and other story details while correcting grammar, spelling, punctuation, syntax, and word usage. By the end of this stage, you should have a clean manuscript and a style sheet (sometimes called a story bible) to track key details and maintain consistency moving forward.
-
Finally comes formatting and proofreading. Formatting prepares your manuscript for publication by creating a print-ready layout and eliminating visual distractions and design issues such as widows, orphans, and uneven spacing. Once formatting is complete, a proofreader performs a final pass to catch any remaining typos or inconsistencies introduced during revision.
So Which Type of Editing Is Right for You?
All of them. Just not all at once.
Although the stages of editing overlap, that doesn't mean a single pass is enough—or that you can skip the early stages and expect a polished manuscript. The repetition built into the process is a feature, not a flaw. In aviation, healthcare, and engineering, redundancy prevents costly errors and save lives. Writing may not carry the same stakes, but it can protect your professional reputation.
Many aspiring authors begin by searching for a copyeditor, assuming their manuscript only needs a few commas adjusted and spelling errors fixed before it's ready to publish. After all, their friends and critique partners enjoyed it—even Mom liked it, and she doesn’t even read that genre!
Some authors believe they can't afford multiple rounds of editing. Yet if your goal is a publishing-house-quality book, your manuscript must undergo the same stages of refinement a traditional publisher provides. Great books aren't produced in a single pass; they're shaped through careful revision and collaboration.
A team of skilled editors supports your manuscript through every stage of its development, helping you create the strongest book possible while growing into a more confident, professional storyteller.
My services cover the high- and mid-level stages of editing…
Manuscript Evaluation
Developmental Editing
Line Editing
I do not offer copyediting, proofreading, or formatting.
The reason is simple: Distance matters.
By the later stages of editing, both the author and editor have become deeply familiar with the manuscript. Just as writers can become blind to flaws in their own work, editors can also become too close to the text after multiple passes. At that point, a fresh set of eyes is far more likely to catch lingering errors. That's why copyediting and proofreading are best handled by someone who hasn't spent weeks immersed in the manuscript.
Process Integrity
I do not skip stages in my editing process.
You can't hire me for a developmental edit unless I've first completed a manuscript evaluation, and I don't offer line editing unless I've completed the high-level edits. The only exception is if you've already completed those stages with a trusted colleague of mine.
This structure is intentional. Each stage builds on the last, ensuring your manuscript develops in a cohesive and effective way.
I care deeply about the quality of the work that carries my name, and I won't cut corners. More importantly, I won't ask you to invest your time and money in a process that compromises your results. My goal is to help you produce the strongest book possible.
Payments
Payments are due at the end of each weekly video call and must be received before I begin the next section of your manuscript.
This schedule keeps the process fair and flexible. It ensures I'm compensated for completed work while giving you the freedom to pause—or even end the project if you decide my feedback isn't the right fit. If you take a break, whether for a few weeks or a few months, we'll simply resume where we left off when you're ready.
It also makes the process more accessible by spreading costs over time instead of requiring a large upfront payment.
Timeline
The timeline depends on your manuscript's length, your preferred weekly pace, and whether you take breaks.
For example, a 100,000-word manuscript completed at my maximum pace (10,000 words per week) would follow this schedule:
Manuscript Evaluation: ~5 weeks
Developmental Editing: ~10 weeks
Line Editing: ~10 weeks
Afterward, your manuscript will be ready for copyediting, followed by formatting and proofreading.
-
Many editors—and authors—believe an editor should take a light hand, disturbing the story’s fragile ecosystem as little as possible.
I disagree.
I'm a highly hands-on editor. I believe strong stories are resilient enough to withstand probing, reshaping, and rebuilding. Rather than reinventing a manuscript, I look for opportunities to strengthen what already exists by expanding underused ideas, deepening character arcs, weaving stronger thematic connections, and suggesting new plot threads or backstory where they serve the story. Just as importantly, I'll recommend cutting any invasive species that competes with the manuscript's emotional core.
I'm especially drawn to character arcs and theme, so much of my feedback focuses on deepening characters' wounds, wants, needs, and growth; ensuring those arcs are fully earned; strengthening relationship dynamics; and reinforcing the story's themes across multiple plot threads.
I tend to overdeliver. I don't like leaving problems unsolved, so expect a substantial amount of feedback. Don't feel pressured to tackle it all at once; the best approach is to work through one idea at a time.
-
Good. You should. Your job as the story’s creator is to love it, warts and all. My job is to love it too much to leave it that way. I'm an advocate for your readers, your reputation, and your book's untapped potential.
I view the author-editor relationship as a collaboration. We brainstorm freely, explore possibilities, and test ideas together, but you always retain creative control. Every suggestion I make is optional, and I'll never be offended if you choose a different direction.
My goal isn't to rewrite your story; it's to help you solve problems and spark new ideas when you feel stuck. Sometimes the best solution will be one I suggest. Other times, it will be something my feedback inspires you to create yourself. Either way, the finished book remains unmistakably yours because it’s going to be done in your way.
-
I'm not the right fit for every author.
My editing style works best for writers who welcome thoughtful critique and are committed to growing their craft. If you're looking for assurance that your manuscript is ready to publish, I'm not the editor for you. But if you're eager to strengthen your story's emotional core, character arcs, description, and narrative voice, we'll likely work well together.
Taking correction is hard, even when it’s constructive. If you don’t know how to take criticism without getting your guard up, when you step into the ring with someone who intends to challenge you (like me), you’ll likely discover you have a glass jaw.
Learning to receive constructive criticism is a skill, and it improves with practice. The best place to develop it is by exchanging feedback with other serious writers who are equally committed to improving their craft—not just friends and family.
My goal isn't to tear your work down. It's to challenge you to create the strongest story you're capable of writing. That process can be uncomfortable, but it's where the greatest growth happens.
-
No. I'm going to encourage you to change your story.
You won't agree with every suggestion I make. That's expected. I'm not the ultimate authority, and it isn't my book. Every decision remains yours. My role is to identify problems, ask difficult questions, and offer possible solutions—not to dictate how your story should be written.
Think of me as the court jester: I'll speak candidly, challenge your assumptions, and occasionally suggest something that misses the mark. Keep what serves the story you want to tell, ignore what doesn't, and know that I'll never be offended either way.
A deeper dive into my process…
-
Entrusting your manuscript to an editor requires confidence and trust. That's why I begin with a video call to get acquainted and determine whether we're a good fit to work together.
During the call, we'll discuss your story, my editing process, the type of feedback you're looking for, deliverables, timelines, and payment. Before we meet, I encourage you to think about any questions or concerns you have about your manuscript or the editing process.
If we decide to move forward, I'll write up the particulars for you to confirm, and you'll pay a one-time, non-refundable $300 deposit to reserve your place in my schedule.
-
Cost: $500 total ($300 deposit mentioned above + $200 due upon delivery of the report.)
I begin by reading your manuscript from cover to cover to understand the story as a whole.
Next, I prepare a detailed editorial report (typically 20–30 pages) focused on the big-picture elements of your manuscript: plot structure, character arcs, pacing, world-building, themes, and overall cohesion. While I may note recurring stylistic issues, the primary goal is to strengthen your story's foundation. I intentionally spend about a month developing this report so I have time to reflect on the manuscript before offering recommendations.
Once the report is complete, we'll meet for a follow-up video call (or two, if needed) to discuss the feedback. You'll have the opportunity to ask questions, challenge my interpretations, brainstorm solutions, and receive recommendations for resources that can help you continue developing your craft. I'll also let you know whether I believe we're a good fit to continue working together or recommend another editor if I think your project would be better served elsewhere.
After that, the next step is up to you. You can take as much time as you need to revise before deciding whether to continue with developmental editing. If my feedback isn't the right fit, you're free to walk away with your report and no further obligation.
-
Cost: $0.03 per word
We begin with a video call to reflect on the manuscript evaluation and your revisions, then set expectations for this new phase, including the type of feedback you'll receive and how to make the most of it.
You'll submit your revised manuscript, and I’ll review it in weekly segments. I review 2,000–10,000 words* each week, providing in-document notes.
I evaluate whether each scene advances the story and serves a clear purpose. I identify underdeveloped motivations, missing description, weak action, pacing issues, and opportunities to trim, restructure, or relocate scenes. I also suggest ways to strengthen dialogue, prose, tone, setting, tension, conflict, and stakes while checking for inconsistencies, continuity errors, factual inaccuracies, redundancies, and missing information.
After reviewing my feedback, we'll meet for a weekly video call to discuss the section, answer questions, and brainstorm solutions. Payment for that week's work is due at the end of the call, after which you'll revise while I move on to the next section.
Once we've completed the manuscript, I recommend setting it aside for a time before beginning another revision. Distance allows you to return with fresh eyes and implement the changes more thoughtfully. When you're satisfied, you'll be ready to move on to Phase 3.
*You choose your weekly pace (2,000–10,000 words) based on your budget and revision speed. At $0.03 per word, the weekly cost ranges from $60 to $300.
-
Cost: $0.03 per word
As in the previous phase, we begin with a video call to discuss your revisions and set expectations for the feedback you'll receive.
You'll submit your revised manuscript in weekly sections of 2,000–10,000 words.* I provide detailed in-document comments and suggested edits focused on refining your prose at the scene, paragraph, and sentence level. Expect substantial markup—line editing is where every word is examined to ensure it earns its place on the page.
My feedback focuses on improving clarity, flow, rhythm, word choice, and sentence structure while eliminating repetition and unnecessary language. The goal is never to replace your voice, but to hone it so your intent comes through with greater precision and impact.
This is where dialogue becomes more natural, description more vivid, and narrative voice more distinct. Every suggestion is made with one purpose: to create a smoother, more immersive reading experience.
After you’ve read over my feedback, we'll meet for a weekly video call to discuss the section, answer questions, and brainstorm solutions. Payment for that week's work is due at the end of the call, after which you'll revise while I move on to the next section.
Once we've completed the manuscript and you've finished revising, I'll perform one final cover-to-cover review to ensure your changes integrate smoothly and to catch lingering errors and new typos before you move on to copyediting. Think of this as a pre-copyedit without the story bible/style sheet.
*You choose your weekly pace (2,000–10,000 words) based on your budget and revision speed. At $0.03 per word, the weekly cost ranges from $60 to $300.
-
This service can be added onto a manuscript evaluation and adds one week to the turnaround time per book. It is not a stand-alone service.
If your book is part of a series, I'll read as many previous installments as needed to understand the broader story. This allows me to consider established character arcs, relationships, world-building, and continuity when evaluating your manuscript.
The fee is $30 per book. I do not provide editorial feedback on these books; they are read solely to provide context for the manuscript I'm evaluating.
“Only God gets it right the first time, and only a slob says,
‘Oh well, let it go.’”
Stephen King
