FAQs

I am a specialist in rewriting. Beyond “reading for the chase and cutting to it”, I listen out for what is not yet on the page.

In other words -

I am also a generalist with a broad frame of reference and an ear for the author’s voice.

I studied for a rigorous, interdisciplinary degree(ranking 2nd out of 300 candidates in one subject year) and have built on it ever since. I have clerked for law firms, written speeches for senior policymakers and had my own work translated. Narrative nonfiction projects have ranged all the way from popular science to biography.

My teaching (for students of humanities, social science, business and STEM) informs my editing- and vice versa.

Journalists, policymakers, published authors (and more) use editors.

Without that input, even well-researched writing is often not quite readable enough, and passed over in a hurry. This risks a lot of hard work going to waste. It is worth getting the very best publisher you can. (And bearing in mind several variables for choice of publisher - as Abel Polese explains).

Some publishers may offer to publish with only superficial changes. But is that any better for career advancement than simply uploading material for open access? (Specialized dissertation series are slightly different – and they will request that you arrange copyediting, at least.)

I offer an independent service helping authors achieve the improvements expected (or requested) by publishers and peer reviewers. I work on books that are under contract, i.e. identified as potential winners already. I can also assist authors who do not yet have a contract - for example, by working on proposals and sample chapters in progress.

Not as much as your series editor or peer reviewers - I assist with integrating their advice and reconciling it with your instincts and your voice as the author. The advantage of my being outside the specific (sub)field is that I can identify potential interest for new audiences.

My fees are in line with recommended rates for professional freelance editors in the UK. I strive to add the most value possible within your available budget. Reduced rates are offered for longer projects and for authors on low incomes without access to institutional funding.

If you can block off a significant period of protected time, the total spent working through my edits can be measured in weeks rather than months.

However, the best developmental editing happens when there is time for drafts to be exchanged back and forth, for you to have some down time in between, and for the creative sparks to really fly. I would say the ideal timescale for this is at least three months. If it takes six or ten, it’s not a problem. But not much longer than that - research eventually dates.

Some authors want to discuss a complete manuscript, others welcome input during the writing or planning. Some are mid-flow, others have a project that has become stuck. Non-fiction books can be sold on the strength of a partial manuscript and a sound plan.

I can add value in shaping the plan and sample material, as well as the final product. If you are taking soundings from others in parallel, I can help you to integrate the various feedback.

The work remains your intellectual property throughout the editing process - your writing, in your name. That way, our cooperation does not affect your contractual relationships with publishers.

Absolutely. I regularly do light editing of journal and magazine articles.

Possibly - if this is allowed by your institution’s academic regulations (that is, copyediting rather than more structural editing). Please note that I cannot assist undergraduates and do not offer coursework writing assistance (plagiarism) of any kind.

No.

Yes, I have a simple terms and conditions document based on UK industry standards and I am a registered UK business.

It is worth exploring potential sources of funding for publishing, knowledge transfer and public engagement.