A Good Book Editor is Hard to Find
Because They All Work Here.
We’re a team of book editors and copyeditors who have extensive experience working for New York's publishing houses. Whether you're a first-time author or an experienced novelist, you'll need a good editor to get your manuscript to a professional level.
"You consider the writer, and which editor would be passionate about their work. I think that's really special and not normal. I'm a big fan of you guys."
- Sabaa Tahir (received 7 offers from agents)
"You gave me the kind of editor I could only get access to at a Big Five Publisher. I was matched with a professional editor with years of experience, who i couldn't get as a self published author."
- Randy Anderson
We want to help you in the same way we've helped traditional authors, some of whom have been New York Times Bestsellers, LA Times Bestsellers, SF Chronicle Bestsellers, Pulitzer Prize winners, National Book Award finalists, Washington Post Best Books, Christian Science Monitor Best Books, The Seattle Times Best Books, and fully formed Pushcart Prize winners. The ultimate accomplishment is when a writer produces the most fully formed and finished manuscript possible, which goes on to provide enduring and perhaps best-selling joy for its readers.
In order to get to that stage, we'll help you strengthen the narrative and prose of your book. We'll ensure you have a polished, worked and reworked version of the book, in which the narrative is as clear, entertaining, and effective as possible.
You might be wondering why this is important. Well-edited books reach more readers. You've put a lot of work into creating the current draft of your manuscript. Don't stop there. Get it to a professional level.
If your ultimate goal is to create a book you can be proud of, contact us.
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A strategy for being your own best submissions manager
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Prompts and exercises to get you writing.
Writer’s bock is a sneaky beast. Sometimes it hits in the middle of the project, when your plot and your characters are headed someplace, but you just can’t seem to get everyone where they need to be.
If you’ve ever been to an author Q&A, you’ve heard the question. You may have even asked it, been the very audience member to raise his or her hand, stand up and say: “Did you know how your book would end before you started?”
I was in a meeting recently with the editorial team for a small literary magazine. “Work,” our fiction editor said, “I hate it when characters don’t have to go to work.” We were drafting submission guidelines for our fast-approaching reading period. We all chuckled. “All characters must go to work” fits strangely alongside a discussion of simultaneous submission.
As writers, we’re taught not to give everything away upfront. Cut the backstory, leave some work for your reader, and create tension. How could P.D. James keep her readers compulsively turning pages if she didn’t hold a little back? There’s a line between deceiving the reader and building suspense, but when is a secret a cornerstone of the plot, and when is it a gimmick?
How can a first-time, self-published author gain the attention of CNN, the BBC and the Times? And after signing up with HarperCollins, what could possibly go wrong?
As Georges Simenon edited his work, if he came across an especially beautiful sentence, he did something very odd. He cut it. “Every time I find such a thing in one of my novels it is to be cut.”