In your work as an author, you set up a world. My goal is to help you fully realize this world, and to help your work make as big an impact as possible. My editorial approach is to study each manuscript, considering many angles and levels. I build an intimate sensitivity toward the manuscript, mapping it out. Empathy toward the author and to the characters portrayed extends from this understanding. I adapt my approach to the voice and style of the author, using data analysis to inform my insights and suggestions. By providing concrete and creative possible solutions to areas of concern within the work, I do my best to give my clients a clear action plan for their manuscript revision.
I am a fast reader and am happy to provide a quote prior to reading (for which a word count is required). I specialize in structural/substantive editing of literary fiction. In 2019, I was awarded the Claudette Upton Scholarship by Editors Canada.
In my private practice, I have edited manuscripts for esteemed and award-winning authors Shira Nayman, author of Awake in the Dark, The Listener, and A Mind of Winter; Larry Dark, director of The Story Prize and series editor of the O. Henry Awards for the 1997–2002 volumes; Jill Smolowe, author of Four Funerals and a Wedding and An Empty Lap; Anne Burt, editor of My Father Married Your Mother: Dispatches from a Blended Family and About Face: Women Write About What They See When They Look in the Mirror; Sally Koslow, author of Another Side of Paradise, The Widow Waltz, The Late, Lamented Molly Marx, With Friends Like These, and Little Pink Slips; Amy Wilentz, author of The Rainy Season: Haiti Since Duvalier, Martyrs’ Crossing, and Farewell, Fred Voodoo: A Letter From Haiti; Lisa Gornick, author of The Peacock Feast, Louisa Meets Bear, Tinderbox, and A Private Sorcery; Elizabeth Cuthrell, writer, producer, and co-founder of Evenstar Films; and Kate Manning, author of Whitegirl and My Notorious Life.