I strive to produce the highest
quality in all my work and to offer the greatest value
to all writers who choose to work with me. My full-time profession for 50+ years has been editing books and teaching writing.
I believe in working on one book at a
time and devoting all my attention to it until it is
finished, without letting my focus be interrupted. That's
why my telephone hours are often sparse
and my e-mail replies delayed.
These days I am taking on fewer clients a year, usually limited to:
- mystery authors who've already been traditionally published, plus a very small number of promising new mystery writers who are serious about seeking traditional publishing, not self-publishing
- publishers — usually mid-sized independent presses
and a select few nonfiction self-publishers.
Authors I've edited have been published by St. Martin's Press, Berkley Prime Crime, Midnight Ink, Forge, Intrigue, Harlequin, Viking, Rodale, Oceanview, Five Star/Cengage, Walker & Co., and more.
Since publication of DON'T SABOTAGE YOUR SUBMISSION (which is the expanded version for all writers of the original DON'T MURDER YOUR MYSTERY), I now require fiction writers who work with me to
read either of these books and integrate as many of my recommendations as are applicable to their own manuscripts before sending me their work. If your local public and college libraries don't already have copies for you to borrow, you can ask their collection development librarian to acquire copies for their permanent collections.
To see a list of some of the many novels I've edited for authors, please click published
For a list of non-fiction materials that I wrote or edited,
please click the button at the end of published work.
Referrals received and given
Referrals from authors I've edited,
from colleagues in publishing, and from readers of one of my books on revising are the source of my editing and consulting work.
I do not advertise. Neither do I wish to be queried by those who
simply Google "editing," because they are usually shopping around to learn what prices are charged. I can tell you now that my rates will never be the lowest or the highest.
As for my making
referrals to others in the business, whenever the needs of a client go beyond my own expertise,
I suggest further sources of information and make referrals
to other experts in the industry who can better supply that information than I can. I refuse to list "preferred vendors" on my website (and thereby receive a fee for doing so), because I don't believe writers can be assured of access to the best in the industry when referrals are for sale.
Also — I do not make referrals to agents.
I feel it is unethical to let an author
believe that engaging me would lead to an agent
referral. When a client chooses me as her or his editor,
I'd like both of us to be comfortable in the knowledge that it's strictly because of my editorial skills and publishing
Along the same lines, I feel it would be unethical for
me to accept assignments to edit books that either
do not interest me (military, for
example) or need to reach markets I'm not familiar with
(poetry, religion). It would also be unethical for
me to edit a book that I believe has little
chance of finding an agent or a publisher. That's why
I ask prospective clients who feel they are ready for editing to furnish a sample of their
manuscript and fill out a 3-page questionnaire
(which can be downloaded by clicking
I have no wish to profit from any writer's
inexperience or naiveté. Making one's way as a writer is challenging enough.
Choices I offer
I believe that most new fiction writers
can benefit from an edit and critique of the first 10 to 25 pages of a
manuscript. The same is true for a new writer of nonfiction, both those critiques should be made on the first chapter offering the book's content, and not the first chapter if it's an introduction, preface, or other preliminary or "front" matter about the book.
Acquiring a critique of a "partial" (jargon for the first few chapters of a manuscript) empowers writers to apply the lessons of that
critique to the balance of the draft, thereby raising the manuscript to a
higher level of readiness for a full edit. I do not offer
critiques in place of editing, because reading a manuscript in its
entirety, making informed notes about it, and writing a thorough analysis of it
takes as much time as actually editing it. And an edit plus a critque gives
authors much more value for their money than a critique alone.
- Critiques of entire books are usually general in the suggestions offered,
leaving the writer to interpret how
to actually apply those suggestions to their text. I believe
a full-length critique may be of use to well-established authors
in the process of developing later books,
but of little value to new writers.
- Critiques of single chapters, on the other hand, when combined with an edit of those pages, is something I do recommend to help new writers evaluate the strengths and weaknesses of their work. After I critique any part of a book manuscript, if writers then wish to have the remainder of their chapters edited, I require that they first apply to all their remaining pages the suggestions already received that they agree with.
offers the same suggestions as a critique, but provides
a great many more specifics and shows how those edits
may be applied.
lets me offer the same detailed benefits as all of the above-described
editorial services, with the added value of a marketing perspective
— which is what all informed critiques should
Accepting a manuscript for editing
does not mean I can ensure or even predict its
publication. No one can. The market is crowded,
competitive, and fickle. So if you meet someone who
claims to ensure successful publication, run —
don't walk — to find someone else.
Once in a while, as my editing gets further along in a manuscript, I may begin to see that it is not
sustaining its initial promise as a marketable book.
If I believe that further editing is unlikely to sufficiently
improve that book's chances for success, I stop and
explain to the author what I'm observing. I then return the
unexpended part of the author's payment together with the
pages already edited. The author ends up with the
same evaluation that a critique would have provided,
plus something more detailed and functional: the editing
of one's own writing — a tangible product from
which to learn more effective techniques for future
Naturally, my opinion is that of only one person. Some
editors and publishing advocates like to tell authors
what they want to hear. I don't.
Only once has a client let me know that she strongly
disagreed with an evaluation of mine — which is
every author's right, of course. I was told that she'd found another
editor who contradicted my evaluation and praised her manuscript. To my knowledge, that novel is still unpublished, as is that writer. Usually, upon learning that a manuscript is not
likely to produce the hoped-for result — even with
substantial editing and rewriting — its author is grateful
for the opportunity to save years of further effort,
cost, and disappointment.
When it comes to editing the non-fiction work
of a self-publisher — whose investment of effort
and money is even greater and whose success depends
on far more than the merit of the manuscript itself
— I attempt to learn how he or she plans to market and distribute
a book before I take on its editing. If I find that the content has promise but the marketing plan is
unrealistic, inadequate, or unlikely to help the author
reach the desired goal — and if I see how
the plan for marketing and distribution of the book
could be significantly improved — I might suggest
working with that author in a consulting capacity before
actually performing the editing. After a while, the manuscript and the author become ready for the next step, and at that point I can refer the author to an expert in
book marketing who is willing to take on a beginning
publisher — especially a first-time self-publisher who has begun to acquire
some market savvy.
Once in a while I meet a self-publisher with an inadequate
plan who is not interested in learning how to market
effectively. The author assumes that simply printing
a book is sufficient to get it into bookstores. In that case I decline to take the editing altogether,
regardless of the merit of the book's content. I prefer
to edit only those manuscripts that I believe have a decent chance of
reaching their authors' intended market. Often, that sort of decent chance can be predicted from a limited edit and a realistic marketing plan.
I do not discuss work-in-progress at any
time with anyone other than its author. After it's published and I become aware that its acknowledgments page informs readers of my editing work, I break my silence. That is when I help promote the book as widely as I'm
able to. I list it on this website (together with a
way for readers to order it), mention it whenever I publish a newsletter, display it in my office and at trade shows
I attend, and talk it up when I can in my workshops
and other public appearances.
If the author also sends
me a press packet I am often able to promote the book
As part of my desire to create a long-lasting, positive
relationship with each of my clients, I invite you to
check my references and my clients' evaluations, and
to learn for yourself both the quality of my work and
my integrity as an editor.
When I began my career in niche
publishing in my hometown of New York City more than 50 years ago,
I wasn't planning to become an editor. I thought I'd work with my training in commercial art and design. But
I soon discovered that publishing appreciated skills I'd always taken for granted: reading
I learned to edit in the best possible
way — on the job as understudy to talented editors
— and after a number of years worked my way into the position of a very busy managing editor for a rapidly growing niche publisher in Milwaukee, WI. In 1983 I decided to become an even
busier independent editor, because — like many who move from editorial into management — I missed the hands-on manuscript analysis that can guide authors to more effective, more publishable writing.
After my first 10 years of working
in NYC, my husband received the first of many transfers to Albany, NY, where I worked for a small publishing house and started a family. In less than two years we were on the move again, to southern Maine, where I wrote my first book — a history of Cape Elizabeth, ME. Researching that book (assisted by two toddlers) motivated me for the first time to go to college. I enrolled at the University of Maine-Portland, now the U. of Southern Maine, and in four years received my B.A. in English, with — to my great surprise — highest honors.
The English Department encouraged me to pursue a graduate degree and offered me a position, not as a grad student teaching assistant but as an instructor of
writing. While my youngsters attended elementary school, I taught day classes and some evening classes, and in two years earned my M.A. — the first Master's in English awarded for graduate work conducted entirely on the commuter campus of Portland campus. That distinction resulted from my discovering that to avoid summer residency on the Orono campus (with youngsters home all summer?) I had to experience, in the words of the Dean of the Graduate School, "intellectual intercourse with graduate faculty" that only Orono could offer. So I organized UM-Portland's graduate student body, served as its first president,
initiated its student newsletter (writing, editing, and mimeographing it via a hand-cranked antique), and arranged with the undergraduate student body to host the guest speakers they brought to campus at private wine and cheese receptions for grad students, graduate faculty, and notables — such as Alex Haley.
Next transfer: to Syracuse, NY, where I was hired
by Empire State College of the State University of New York
as a writing mentor to independent study students. Mentoring others convinced me
of what I'd long suspected: that writing could be taught more
effectively outside the classroom than in it through one-on-one
coaching and a gentle but instructive process of editing — similar to
what takes place in a professional editorial meeting. But it took one more transfer, to Wisconsin, where the university wouldn't even interview an instructor who lacked a doctorate — which led to my starting classes in French to expand my foreign language requirement for a PhD while teaching writing in a voc/tech school, then quit to do community organizing until my sons left for college — before I was ready, I thought, to take on the underdog status of middle management in a niche publishing house. I lasted for not quite one year before the desire to recapture the joy of the one-on-one editing process led me to hang out my shingle as an independent
That's when I began to affiliate with national and regional associations of independent publishers, and over the next 11 years founded an organization of high quality Wisconsin presses such as Kalmbach and the University of Wisconsin Press. After I merged that state organization into MidAmerica Publishers Assn. (founded by John Kremer, author of 1000 Ways to Market Your Books), I became president of MAPA and later merged that into the national Publishers Marketing Association, now Independent Book Publishers Association. All this time I was also speaking at conferences. The more I learned about the production and marketing of books the more convinced I became of the need to educate writers
in the skills that would help them survive in the competitive
world of publishing.
So I entered the university classroom once again,
this time initiating the first outreach program in publishing
for the University of Wisconsin-Milwaukee. For the next nine years while editing for authors and small businesses during the day
I led evening and summer classes that introduced about
2,000 Midwest writers to the workings of the book industry
and the use of market savvy to become published
Similar classes were requested by Alverno
College (which had also refused to interview me when I'd first arrived in Milwaukee) and by various business conferences and annual writer's conferences — including
two sponsored by Cardinal Stritch University, which invited me as its keynote speaker in 1998. I served on the boards of Women in Communications
for Southeast Wisconsin and the Wisconsin Society for
Technical Communication, and presented numerous sessions
on technical editing to my peers at state and regional
conferences and one international STC convention. One of my business clients at the time, GE Medical Systems, sent me together with its management personnel to receive training in ISO 9000 quality standards. That special training affecting a corporation's quality certificatio allowed me to be the first to write and speak about how to write the documentation essential for a corporation's ISO 9000 certification. At the time, writing about writing that documentation was such a pioneering concept that my first article on it was plagiarized. But I won damages because a technical writer I knew who read the other publication recognized what could only be my work on the subject. What fun that was!
Sometimes my being hired to edit a nonfiction book led to my being asked to ghostwrite it for its author or its publisher. One of the nonfiction crime books I
ghosted in the mid-90s qualified me for full membership in Mystery Writers
of America, and shortly after relocating my business from Wisconsin to Greensboro, NC, Elizabeth Daniels Squire invited me to join the board of MWA's Southeast region, where I served six years and succeeded Squire in editing the region's quarterly publication for seven.
After my 11th book came out, DON'T SABOTAGE YOUR SUBMISSION (the expanded version for writers in all genres of the original DON'T MURDER YOUR MYSTERY), I've been presenting
a greater number of skills-based workshops at writers conferences throughout the U.S. and in Canada. (A list of
appearances can be seen by clicking /training.html, and a mix & match menu of workshop topics can be accessed by clicking /presents.html.)
Other organizations to which I cheerfully
pay dues include Sisters in Crime, Wisconsin Regional
Writers, North Carolina Writers' Network, and Mensa. Since 1991,
Who's Who of American Women has seen fit to list
me in its pages.
Over the years, in addition to
editing a few thousand book manuscripts, I've written 75 articles,
co-authored a simulation game, and written 10 pre-sold books, 4 of them
as ghostwriter. My only noncommissioned book is one that I
self-published mid-career because by then I knew I could reach its niche market directly.
It's about my adventures teaching English communication skills to
Korean schoolteachers abroad through UNESCO. It's called Open Gate, and
a few new copies are still available from me at a lower cost than are being sold for by the used book dealers on Amazon.com.
My column on Market-SavvySM
book publishing ran for two years in Badger Book
Quarterly, and two of my articles on "Market-SavvySM
Editing" (reprinted on this site) were written for
the 5th and 6th editions of John Kremer's 1001 Ways
to Market Your Books.
After a lifetime of living and working in the
vigorous climates of New York, Maine, and Wisconsin, in 1999 I welcomed my choice of moving to Greensboro, NC (not a transfer), enabling me to enjoy many more years of editing without
having to put down my pencil to pick up a snow
shovel. I continue to delight in having my work help
authors and publishers produce superior work they
can be proud of — and that helps them win awards.
You can visit awards for a list, and
published work for information about some of
the books I've edited and authored.
[page top] [my
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