I read the story start-to-finish, noting my thoughts and reactions as I go.

Then, I re-read, summarizing events chapter-by-chapter, and constructing an outline I can use to examine the story’s structure and plot progression. I check the outline for clues to pacing issues, missing story beats, unnecessary side plots, incomplete character arcs, and so on.

Next, I write a one-page analysis of each chapter, highlighting its strengths, weaknesses, and suggestions for improvement.

I also recommend learning resources based on the areas where I see the most room for improvement.

Turnaround Time: 5,000 words per day; five days per week, Monday-Friday.

The first step in this process is to complete a Manuscript Evaluation. I expand on the basic version of this report by analyzing each scene, striving to ensure that it is “load-bearing” to the story.

Once I complete my written report, I dive deeper into the story by making notes throughout the manuscript, pointing out opportunities to add or remove scenes or flesh out sections that feel incomplete (lacking description, action, character motives, etc.) and recommending passages that can be removed or relocated to improve flow.

I pay attention to each scene's purpose. I offer suggestions on how to improve dialogue, prose, tone, setting, pacing, conflicts, tension, and stakes. I also check for inconsistencies, illogical reasoning, and factual errors. I look for missing information or elements, and I note redundancies. I also examine character arcs, world-building, timelines, narrative voice, tropes, and themes across the length of the entire novel.

Turnaround Time: 5,000 words per day; five days per week, Monday-Friday.

This phase focuses on prose, semantics, tone, character and narrative voice, dialogue, description, action, readability, and streamlining your word count. It’s where we strive for flow in your narrative’s stream of thought.

I do broad searches for words that bloat the prose: fillers, filters, and weak verbs/descriptive words. This can significantly reduce a book's word count while strengthening your voice.

Next, I examine each scene and pick through each paragraph, checking for intent, tone, description, character motives, conflicts, relationship dynamics, voice, and readability. I search for ways to enhance these elements or balance them by adjusting syntax and semantics. I cut out repetitions, trim the fat, and re-arrange the order of ideas and events as needed to make each scene flow.

Turnaround Time: 5,000 words per day; five days per week, Monday-Friday, for each pass (once for line edits, and once for light copyedits).

This service can be added onto any other editing service. It is not a stand-alone service.

I charge a flat fee of $50 for each book you want me to read other than the one I am providing feedback on. I do not give feedback on any of these books. This service is purely to provide context for the book I am working on and enable me to view the story through a wider lens.

Each book will extend the project’s deadline by one week.

My specialty is the art and craft of storytelling, which is within the purview of high-level edits. Copyediting and proofreading are about technical correctness in language.

I am trained in the conventions of copyediting and proofreading, but this is not my focus when doing a developmental or line edit. I do correct grammar and spelling errors as I go, but I do not go out of my way to double-check for compliance with CMOS or other style guides, nor do I provide a stylesheet as a dedicated copyeditor should.

I will return a very clean document that has had the majority of errors corrected, but I recommend seeking the services of a skilled copyeditor and proofreader after you have made revisions based on my feedback because making changes always introduces new mistakes.