Offerings
• Comprehensive Content Editing
(For more on my philosophies, approach and process, visit the My Approach/About Me page.)
My goal is to provide the author with a unique, in-depth experience that positions the work well and is a positive, collaborative meeting of the minds. I send e-mail report updates to my clients and organize a project chart that reflects the agreed upon timeline and the work that has been done. Phone checkpoints or consults following reports can be scheduled upon request. I specialize in content editing (substantive and developmental editing) and make this the targeted focus of my concentration; that said, above and apart from the scope of the project, as time allows, I include additional research for the project as well as structure/word choice/line/copy edits (as I note them) that will not be charged for. The material receives a well-rounded, multi-faceted edit.
Critique is constructively rendered, paired with encouragement—the editor is meant to not only assess and advise on what doesn't work, but to also display a keen, intuitive ability to discover and enhance what does. Analysis is paired with creativity and I always give explanations and illustrative examples behind my suggestions so that I and the author are on the same page, so to speak. Having detailed feedback in hand, they can then come to their own conclusions and the insights provided might serve as future tools vs. one-time use due to the explanations provided. I discuss the author's goals with them and talk about the audience they'll be addressing.
I feel each project requires and deserves a customized approach. That said, these are some of the elements evaluated (by no means a complete list):
Fiction: Development of well-rounded, relatable main characters; incorporation of secondary characters that serve story purposes; capacity for eliciting desired emotional reactions (that the reader can feel, engage in, and connect properly to the material); maintenance of story thread and theme (whether any developments are radical departures from preceding sections that affect believability or connection); showing vs. telling; enough backstory to substantiate critical story points; effectiveness of the chosen point-of-view; description; story arc, denouement and subsequent impact; how setting is conveyed; flow of material (how the story is organized and the efficiency of this organization); extraneous material; chapter beginnings and endings for pacing; plot; realistic quality of dialogue and how it suits the characters...
Creative non-fiction: Central message, purpose and overall theme; how the central message is conveyed, how purpose is executed, how the theme is maintained; organization of sections (ex. a collection of memoirs organized chronologically or according to themes); reinforcing or highlighting important points while eliminating redundancy; general relevance and specific relevance ("relatability") to desired audience; capacity for eliciting desired emotional reactions (that the reader can feel and connect properly to the material) or capacity to inspire, educate, etc. in line with the purpose of the book; portrayals of certain time periods, events or personages; consistency of language and central figures mentioned; sufficiency of information to support a point, explain a circumstance; description; tone; extraneous or missing material; chapter/section beginnings and endings for impact; the degree of the writer's distance from the material (close enough for raw truths, far enough to avoid skewed extremes); illustrative anecdotes where applicable...
Poetry: The evolution of the "story" of the collection and how each individual poem contributes to it; the order of the poems; how the poems are or could be organized into different sections/themes (ex. introduced by text from the poet, quotes, photographs), or organized in a continuous flow with a conscious trajectory; consistency in voice from intro to poems to any further commentary from the poet; language; imagery; whether there are extraneous poems; capacity for eliciting desired reader reactions; emotive power; if applicable, interpretive space (a measure of room for the reader to step into the poem, relate and make it theirs); clarity where intended; figurative devices; cadence of the line; breaks for impact and emphasis...
Competitive flat rate determined by project.
• General Manuscript Evaluation
This option gives an overall assessment of the manuscript through a concise, written report that "sheds the light" on the unpublished work. The report includes impressions, noted strengths, perceived issues, prescriptive suggestions and commentary. It evaluates some of the same elements mentioned above, yet it is more of a “big picture” evaluation that focuses on what is most evident to the editorial eye and most urgent, vs. in-depth examinations and attention to subtleties. The “extras” mentioned above ranging from additional research to copy or line edits as I’d note them, are not included in this option. It informs the writer what needs to be addressed and goes a step further to explain why, but doesn’t involve the ‘how’ of the comprehensive edit, the re-review of altered segments, phone checkpoints or follow-ups. It delivers the feedback in a one-time report. If you prefer to go it alone but desire the objective viewpoint, if you want to check the pulse of the work without the collaborative dialogue, if you want a broad overview (nuts and bolts version) vs. a more involved examination, this is a great alternative.
Competitive rate determined by project and time invested.
• Custom Coaching and Consulting
This option is for writers who are either still in the creation phase of their project or wish to consult on only a segment/issue encountered. The work we’ll do together will largely depend on your individual needs and wants. We may trouble-shoot, brainstorm, analyze… We may discuss goals, define your message and divine the words you meant to write. We may draw upon my interviewing experience to “interview” you about your goals, message and intent. You may wish for me to introduce structure and mutually agreed upon deadlines. To get to those deadlines, I’ll need to know what kind of style suits and motivates you best. I can portray varying degrees of cheerleader, nagging parent, Rocky coach and parole officer if necessary—whatever helps you move toward the finish line. Materials may be expanded or condensed. We will develop a strategic plan together.
Competitive rate determined by completed portion of project (if evaluated) and time invested.
To learn more, send an inquiry to illuminedediting (at) gmail.com
• Comprehensive Content Editing
(For more on my philosophies, approach and process, visit the My Approach/About Me page.)
My goal is to provide the author with a unique, in-depth experience that positions the work well and is a positive, collaborative meeting of the minds. I send e-mail report updates to my clients and organize a project chart that reflects the agreed upon timeline and the work that has been done. Phone checkpoints or consults following reports can be scheduled upon request. I specialize in content editing (substantive and developmental editing) and make this the targeted focus of my concentration; that said, above and apart from the scope of the project, as time allows, I include additional research for the project as well as structure/word choice/line/copy edits (as I note them) that will not be charged for. The material receives a well-rounded, multi-faceted edit.
Critique is constructively rendered, paired with encouragement—the editor is meant to not only assess and advise on what doesn't work, but to also display a keen, intuitive ability to discover and enhance what does. Analysis is paired with creativity and I always give explanations and illustrative examples behind my suggestions so that I and the author are on the same page, so to speak. Having detailed feedback in hand, they can then come to their own conclusions and the insights provided might serve as future tools vs. one-time use due to the explanations provided. I discuss the author's goals with them and talk about the audience they'll be addressing.
I feel each project requires and deserves a customized approach. That said, these are some of the elements evaluated (by no means a complete list):
Fiction: Development of well-rounded, relatable main characters; incorporation of secondary characters that serve story purposes; capacity for eliciting desired emotional reactions (that the reader can feel, engage in, and connect properly to the material); maintenance of story thread and theme (whether any developments are radical departures from preceding sections that affect believability or connection); showing vs. telling; enough backstory to substantiate critical story points; effectiveness of the chosen point-of-view; description; story arc, denouement and subsequent impact; how setting is conveyed; flow of material (how the story is organized and the efficiency of this organization); extraneous material; chapter beginnings and endings for pacing; plot; realistic quality of dialogue and how it suits the characters...
Creative non-fiction: Central message, purpose and overall theme; how the central message is conveyed, how purpose is executed, how the theme is maintained; organization of sections (ex. a collection of memoirs organized chronologically or according to themes); reinforcing or highlighting important points while eliminating redundancy; general relevance and specific relevance ("relatability") to desired audience; capacity for eliciting desired emotional reactions (that the reader can feel and connect properly to the material) or capacity to inspire, educate, etc. in line with the purpose of the book; portrayals of certain time periods, events or personages; consistency of language and central figures mentioned; sufficiency of information to support a point, explain a circumstance; description; tone; extraneous or missing material; chapter/section beginnings and endings for impact; the degree of the writer's distance from the material (close enough for raw truths, far enough to avoid skewed extremes); illustrative anecdotes where applicable...
Poetry: The evolution of the "story" of the collection and how each individual poem contributes to it; the order of the poems; how the poems are or could be organized into different sections/themes (ex. introduced by text from the poet, quotes, photographs), or organized in a continuous flow with a conscious trajectory; consistency in voice from intro to poems to any further commentary from the poet; language; imagery; whether there are extraneous poems; capacity for eliciting desired reader reactions; emotive power; if applicable, interpretive space (a measure of room for the reader to step into the poem, relate and make it theirs); clarity where intended; figurative devices; cadence of the line; breaks for impact and emphasis...
Competitive flat rate determined by project.
• General Manuscript Evaluation
This option gives an overall assessment of the manuscript through a concise, written report that "sheds the light" on the unpublished work. The report includes impressions, noted strengths, perceived issues, prescriptive suggestions and commentary. It evaluates some of the same elements mentioned above, yet it is more of a “big picture” evaluation that focuses on what is most evident to the editorial eye and most urgent, vs. in-depth examinations and attention to subtleties. The “extras” mentioned above ranging from additional research to copy or line edits as I’d note them, are not included in this option. It informs the writer what needs to be addressed and goes a step further to explain why, but doesn’t involve the ‘how’ of the comprehensive edit, the re-review of altered segments, phone checkpoints or follow-ups. It delivers the feedback in a one-time report. If you prefer to go it alone but desire the objective viewpoint, if you want to check the pulse of the work without the collaborative dialogue, if you want a broad overview (nuts and bolts version) vs. a more involved examination, this is a great alternative.
Competitive rate determined by project and time invested.
• Custom Coaching and Consulting
This option is for writers who are either still in the creation phase of their project or wish to consult on only a segment/issue encountered. The work we’ll do together will largely depend on your individual needs and wants. We may trouble-shoot, brainstorm, analyze… We may discuss goals, define your message and divine the words you meant to write. We may draw upon my interviewing experience to “interview” you about your goals, message and intent. You may wish for me to introduce structure and mutually agreed upon deadlines. To get to those deadlines, I’ll need to know what kind of style suits and motivates you best. I can portray varying degrees of cheerleader, nagging parent, Rocky coach and parole officer if necessary—whatever helps you move toward the finish line. Materials may be expanded or condensed. We will develop a strategic plan together.
Competitive rate determined by completed portion of project (if evaluated) and time invested.
To learn more, send an inquiry to illuminedediting (at) gmail.com