It's all in the details. I want your story, your novel, your lit journal, your article to flow, so there's no hiccup, no hesitation in the reader, not even a period left accidentally italicized. I want it to look like I was never there.
- I have fun shaking down inconsistencies by going on fact-finding missions. E.g., Did cocaine exist in Germany in medieval times? If so, what was the slang for it?
- I want to adapt to your desired style of commentary. Do you take edits best in a straightforward manner? A jocular tone? With a bit of a lighter touch so as not to be bogged down by the end? Whatever gets you in the best mood to complete the often dreaded task of reading through comments and tracked changes.
- I'm a writer! Which means I'm also an avid reader of a variety of forms, including essay, memoir, nonfiction, fiction, poetry, collage, academic texts, journalistic articles, et al. I'm constantly thinking about the most effective combination of words and the accepted styles of a genre—and, most importantly, how to subvert those accepted styles in a manner that has the most punch. I'm able to recognize and stylize experimentation in a way that allows for the most optimal innovation/comprehension balance.
Intimate Knowledge (or Index-Combing Prowess) in: the Chicago Manual of Style, AP Stylebook, and Merriam-Webster's Collegiate Dictionary
copyediting, proofreading, line editing, some developmental editing
past editing jobs
Novels: The Nightingale's Stone and The Shadow Well, by David Mecklenburg; In the Rush of All Everything by Washington State Book Award–winner Peter Mountford; The True Adventures of MudBoyLiar, a middle-grade novel by M.A. Orth; Juliece's Vindication by Deborah Lloyd
Nonfiction Book: Sold Down the Yangtze by Gus Van Harten (proofreading)
Journal: The James Franco Review, ed. Corinne Manning
Newspaper: The Daily at the University of Washington
Nonprofit: Hugo House, Seattle, Washington