Developmental editing is ‘big picture’ editing. It ‘s a deep dive into the structure of your story, the architecture of it. It asks, does this story work?

As a developmental editor, I look at the core elements of your story –character, plot, theme – and assess what is, and what isn’t, working on the page. And I help you craft a plan to shore up your foundations and write a story that works.

I’m not a line editor or a copyeditor. I do not polish prose or proofread.

Book coaching is ongoing guidance as you work on your story.

As a book coach, my job is to help you close the gap between your vision and what’s landing on the page. Doing that all on your own can be difficult and frustrating.

I bring an outside perspective that can help you see your story with new eyes.

I provide the structure and accountability of regular deadlines that keeps you on track with your writing goals.

I provide regular feedback and the chance to brainstorm thorny story problems one-on-one, so you can draft and revise with confidence.

Lots of people throw the term ‘coach’ around these days. So if you’re finding yourself a bit skeptical, I get it. I didn’t just decide one day to do this work.

After spinning in place for years on a revision, it was learning about story structure that led to my big breakthrough and a finished manuscript. It was the best feeling in the world.

Hungry to learn more, I dove deep into developmental editing, earning a certification from Author Accelerator, a gold-standard program dedicated to training high-quality, high-integrity book coaches.

I want to bring that same big, joyful breakthrough moment to as many writers as I can.

For 1:1 Coaching and Manuscript Evaluations, I work with:

Middle Grade - All genres

YA - All genres

Adult - Speculative Fiction, especially fantasy, sci-fi, and dystopian

I do take other Adult genes on a case-by-case basis. I’m a sucker for stories about characters discovering, or rediscovering, who they really are and what they’re really made of. Coming of age is something I believe we do again and again in our lives, not just once. If you have an Adult story you think might be a fit for me, click on Get Started and fill out the questionnaire and we’ll talk.

I’m not a good fit if you’re writing a book that would land specifically on a mystery, horror, thriller, or romance shelf at the bookstore. But stories that contain elements of these are welcome.

I don’t work with Erotica or stories that include child abuse.

Writing a book is fun. It’s creative, engaging, fulfilling. It’s also a complex intellectual endeavor that requires you to carefully weave together character, plot, setting, and theme so it feels effortless to the reader.

But there’s nothing effortless about it.

As a book coach, I’m trained in the structure of stories. I understand how they’re put together. I can tease out the threads of character, plot, and theme and see where they’re coming together and where there are holes.

But most importantly, I’m outside the story. You, as the writer, are immersed in your story. You know everything - every choice you’ve made, every scene you’ve kept or cut, every major and minor character’s backstory. It’s easy to lose perspective. To stop seeing the forest for the trees.

Having an outside reader come fresh to your story, with no prior knowledge or attachment, can help you see your story with new eyes. Having that outside reader be trained as a developmental editor and coach – like me – means you’ll get detailed, specific feedback on your work that will help you move forward with clarity and confidence.

As with anything, you get what you put into it. Stories take time to tell; there are no quick fixes. If you come with a growth mindset, are open to feedback and guidance, and prepared to devote the time and energy it takes to do the hard work of drafting and revision, your grasp of craft will deepen, your writing will improve, and your story will grow into the book it’s meant to be. And you will grow into the writer you’re meant to be.

No. I don’t work with stories that contain AI-generated material.

The ethical concerns here are many:

Chatbots are trained using pirated work without authors’ consent and without any intention of compensation for their hard work creating something from nothing. That’s straight-up stealing. And the impact on authors and their ability to make a little money at this is only just beginning to be felt. The pain will increase. (If you have dreams of being a published author, you, too, should be worried about the impact of AI slop on your ability to raise awareness about your book and maybe make a little money at this someday.)

The risk of plagiarism is high. I haven’t read every single book out there and neither have you, because we’re human. You may not recognize when an AI is pulling directly from an existing work, opening you up to legal problems should you get caught.

Don’t get me started on the environmental concerns.

I get it. I do. Writing is hard. These tools are alluring. But if you’re using AI to write your book, you’re not a writer. You’re a prompter. You’re a repackager. People who do this want all the glory of calling themselves a writer with none of the hard work, determination, and grit it takes to rightfully earn that title.

I want to work with writers who are telling the stories of their heart and soul. The stories that burn so bright inside them they have no choice but to face the challenge of putting it on the page. Writing is, after all, an act of self-expression. It’s how we figure out what we think about the world and why. No AI can figure that out for you.

Writing is hard for everybody. But here’s the thing: it’s supposed to be hard. That’s how you write a story that matters. A story that touches people. That lingers in their memory. That they tell all their friends about.

Don’t be scared at how hard this stuff is. Find support. A writing group, a critique partner, a book coach. You don’t have to do it alone.

I wish I could promise you a book deal. Or that you’ll land an agent. Or that your book will sail to the top of best seller lists. The publishing world just doesn’t work that way. Luck and timing play a huge role in whether a book gets picked up by a publisher. And I can’t promise that you’ll get to The End during our time together. Stories take the time that they take; there’ no rushing them.

What I can promise you is that I will work hard to help you bring the story in your heart onto the page. That I will respect your voice and authority as the storyteller. That I will deliver my feedback with clarity, honesty, and kindness. That I will be there for you as a resource and as an empathetic ear you draft and revise. That I will always leave you with a plan to keep moving forward. And that I will be cheering for you as you write your way to The End.

For established clients who have manuscripts I believe are ready to query, I do offer pitch package services. This includes writing the query letter, preparing the synopsis, and developing an agent list and pitch strategy.

At this time, I do not offer pitch package services to writers who are not established clients. Why? Because in order to be an effective coach, I need to have deeply read your manuscript and determined it was structurally sound and in good enough shape to query. Otherwise, I have no idea if you’re really ready to query, or if your query letter really reflects your story.

If you’re wondering if you’re ready to query, check out my Full Manuscript Evaluation package. You’ll get a full evaluation of your story, which includes an editorial letter laying out what’s working and what needs development, in-line comments in your critical first three chapters, and a one-hour phone call to discuss feedback and next steps – including whether or not you’re ready to query

No. As a developmental editor, my focus is on the structure of your story – the underlying architecture of character, plot, setting, and theme.

A copyeditor generally focuses on line-by-line editing and polishing; they’re assuming the writer has done the work to make the story structurally sound before engaging them.

A proofreader is generally focused on grammar; they, too, are assuming the writer has done the work to make the story structurally sound before engaging them.