KL editing offers a manuscript assessment and editing service, as well as copywriting and proofreading for
AUTHORS, BUSINESSES and ACADEMICS
Whether you need your manuscript assessed, a marketing brochure written or edited, professional web content produced to a brief, or your thesis proofread,contact me for a friendly, professional service
MANUSCRIPT AND SHORT STORY CRITIQUE
I offer a comprehensive critique for novels and short stories. I'll give you a constructive and in-depth assessment of your work, including an assessment on spelling, grammar, punctuation, plot, pacing, style, structure, and much more. As all writers are different, so are my reports. I don't write them to a formula, I concentrate on being constructive and honest. Whether you're a published or aspiring author, it's important to submit professional, edited work to agents and publishers. I can help you <
COPYWRITING, PROOFREADING, EDITING
I'm a trained writer and sub-editor with over twenty years' experience in journalism and publishing. I write
and edit brochures, magazines, newsletters, e-newsletters, features, advertorials, marketing promotions and press releases. I edit essays and theses. I can help you with anything you need written or professionally edited and am happy to undertake small or large projects <
I offer a friendly and professional service with reasonable rates
Authors:
YOU'VE WRITTEN THE BOOK ... Now you want it published. Sadly, agents and publishers no longer have time to tell aspiring authors which part of their submission was good and which finally made them put it down and send the rejection slip. Did you lose the plot? Suffer from sloppy exposition? Great characters but poor narrative drive? Or was it punctuation and presentation that let you down? It's hard to be objective about your own writing — even successful authors need good editors to work with them. Professional editing is all the more important when you're starting out. You need to know how to bring your manuscript up to publishable quality.
I can show you. In my work with a major publishing company, I've read many manuscripts that came close to being accepted but were turned down because they needed too much revision. Many agents and publishers receive hundreds of submissions every week. It's easy rejecting badly written novels, what's frustrating is reading those that almost make it, the ones that just need a good edit. But no-one has the time to write a detailed explanation of why your novel didn't make it. They can't show you where you're going wrong and what you could do to improve your chances next time.
I can. I've been working with words for over twenty years. I can give you an honest and constructive appraisal of your writing. I offer a comprehensive critique service for short stories, and novels to 100,000 words. This includes an assessment of plot, pacing, style, structure, spelling, grammar, punctuation and much more. I'll work with you and suggest revision and rewrites if necessary. I'll let you know where your writing succeeds and where it can be improved. My critique will be kind but thorough — I provide comprehensive comments on every page you send — but I'm not here to massage your ego, I'm here to help you get published. I will give you an honest appraisal.
I can also help you produce a professional submission letter and synopsis that you can confidently send to agents or publishers — and I'll show you how to look for them, too. Contact me to discuss whether my Standard or Advanced service is best for you, or see Submissions and Fees for a breakdown of what I offer.
Take your first step towards publication. Contact me
Copywriting, proofreading, web content and editing service
Corporate image matters. Every company is fighting harder to attract and keep clients, so make sure yourmarketing material doesn't let you down. Use my twenty years' experience in the
business to give your promotions a professional edge, ensuring you stay ahead of the competition. I can produce web content, newsletters, brochures or leaflets that are sharp, well written and interesting. I'll work with you to make sure your deadlines are met and your copy sparkles.
WHAT I OFFER: Everything from writing newsletters and web content to editing and proofreading. I write features, advertorials, press releases, brochures, newsletters, magazines and more. I can work from home or come to your office, within the London and Bath/Bristol area.
Contact me for a quote or see FEES page for a guide to charges
Academics/students
Better grades can mean better job prospects. Give your essays and theses a professional finish and make sure you get the best possible grades. I'll proofread your work, checking your grammar and punctuation, style and presentation, and those little tricky ones – sense and clarity.
You write the essay – I'm not doing that for you :-) – and I'll make sure there are no silly miss steaks in it before you hand it in. That way you can concentrate on the subject, and write the best essay you can, without worrying that your spelling or grammar will let you down. My proofreading and editing service will help you turn in professional, polished work every term.
Contact me for a quote.
Submissions and Fees
Contact me for a quote, or phone 07535 215707 to discuss your requirements. Or send your
manuscript to me by email or hard copy:
TO SEND YOUR MANUSCRIPT BY EMAIL: send the file as a Microsoft Word document to klediting@gmail.com. I will then confirm the method of payment you would like to use. Please do not send pictures, only text.
It would help if you tell me something about your work — is it crime, fantasy, thriller, etc — and give some information about yourself and your writing, and any other feedback you may have had. This isn't essential, it just helps me understand more about you and where your writing fits in with your life.
When I start work on your manuscript, I'll use the annotation facility in Microsoft Word, which tracks changes on the page. With this facility I can make any notes directly onto your manuscript and return it to you by e-mail, along with my critique. It's faster, cheaper for you, and ecologically sound as it saves ink, paper and postage.
Please make sure your name, email address and other contact details are included on the title page. It's surprising how many people forget this. It also helps if you include a word count.
TO SEND YOUR MANUSCRIPT AS HARD COPY: please contact me by email for details, or phone 07535 215707. I'm happy to work on hard copy and return it to you along with my type-written report. However, a stamped, self-addressed envelope (with appropriate postage) is essential for this. If you would like me to print out your manuscript, there is a charge of 10p per page for printing, plus postage & packaging for its return.
PRESENTATION: All hard copy should be double-spaced, typed on one side of A4 only, in 12-point font — Courier or Times New Roman are good. You don't need any fancy fonts. Any manuscript sent as hard copy with 1.5 spacing or smaller type size will be charged extra.
PLEASE DO NOT SEND ORIGINALS. I am very careful with all manuscripts but please don't send the only copy of your work as I cannot be held responsible for packages lost in the post. Always keep backup copies and never send the original.
TURNAROUND: I aim to return your work within 28 days. For fast-track service (seven-day turnaround), please add 50% to the agreed fee.
PAYMENT: I accept personal cheques, or bank transfers. (Please note work will begin when cheques have cleared.)
I regret I cannot currently accept plays, screenplays, non-fiction, children's picture books or poetry. I do not deal with pornography. I reserve the right to return any manuscript if I consider the content unsuitable.
FEES (from January 2012)
SHORT STORIES
Up to 3000 words: £75 for Advanced Assessment (as below)
For each additional 1000 words (over 3000): £8
If you would like to discuss anything further before sending your work, please feel free to contact me by email, or phone 07535 215707. I'll be happy to help.
FEES (from January 2011)
MANUSCRIPTS, ADVANCED ASSESSMENT
Please note there is a minimum fee of £150 for all manuscripts up to 15,000 words. My report is thorough and takes time to compile.
For ms between 16,000 and 20,000 words, plus 1-2 page synopsis: £260
For ms between 21,000 and 35,000 words, plus 1-2 page synopsis: £350
For ms between 36,000 and 50,000 words, plus 1-2 page synopsis: £450
For ms over 51,000 words, plus 1-2 page synopsis: £480 plus £4.50 per thousand words
Optional one-hour consultation about your work with an editor: £65
I also offer a line edit and proofreading service on request. Please contact me by email, or phone 07535 215707.
The Advanced service includes a comprehensive assessment of the narrative drive of your story, covering structure, plot and pacing, dialogue, characterisation, continuity, style and presentation as well as spelling, grammar and punctuation. Revision and rewrites will be suggested, if necessary. I'll give an honest and constructive appraisal, telling you which parts of your work need attention and why. I'm happy to praise good work, but I'm not here to massage your ego. I'm here to help you get published.
I don't skimp on my report. The advanced assessment receives line-by-line attention, so every paragraph you've written will be scrutinised and edited. This service also offers advice on preparing your covering letter and synopsis, and how to find the right agent/publisher.
When contacting me, it would be helpful if you give me some information about yourself and your writing, along with a note of anything in particular you would like me to concentrate on, or any difficulties you may be experiencing in relation to your writing.
As all writers and their chosen genres vary, so do my critiques. I don't follow a formula when writing a report on your work. As a guideline, an average advanced assessment is between10 and 30 pages, depending on the length of the work.
Send the number of pages you would like to be assessed, along with your proposed letter to agents/publishers and a copy of your synopsis. You can send these either as a Microsoft Word document or hard copy (for further details on submissions, see above).
Once I have returned your work, along with my report, I don't just drop you and leave you to get on with it. I'm happy to discuss anything you're not sure about or anything that needs further clarification, either by email or telephone. This service is free — it's important you feel confident about your work so you can continue with the necessary steps towards publication.
If you would like to discuss anything further before sending your copy, please feel free to contact me by email, or phone 07535 215707. I'll be happy to help.
FOR COPYEDITING OR PROOFREADING MSS: as a guide, I charge 55p per word. This includes a comprehensive line-edit focusing on spelling, grammar, punctuation, structure and sense. I will not presume to rewrite your copy but will point out errors. However, much depends upon your requirements. I am happy to be flexible.
FOR COPYWRITING, WEB CONTENT AND EDITING: Please contact me by email, or phone 07535 215707 for an individual quote.
ESSAYS AND THESES: Please contact me by email, or phone 07535 215707 for an individual quote.
SOME USEFUL STUFF
Feel free to e-mail me at klediting@gmail.com if you have anything you'd like to add to this list — anything that helps your writing, any interesting books or websites you've found, courses or retreats you think worthwhile. I'll update this page regularly.
HERE ARE SOME THINGS I'VE LEARNT ABOUT WRITING
Passion, patience and persistence. You're going to need these. If you don't feel passionate about your writing, no-one else will. Write the book you want to write and do it as well as you can. Learn patience, because in publishing everything takes a long time from conception to shelf. And be persistent. Rejection is all part of the process. Don't take it personally, just put the Thanks-But-No-Thanks rejection letter in the folder marked 'Their Loss', choose another agent or publisher and send your work off again.
Be professional. Always. That means following the guidelines for submitted manuscripts — usually double spaced, on a decent 12-point font (no fancy italic, no matter how much you like it). Times New Roman is good, though perhaps not for very long ms. Many people prefer Courier, because it looks like an old-fashioned typewriter, and is easy on the eyes. If you're unsure, The Writers' & Artists' Yearbook has all this information and more.
Do your homework. Find out about the market you want to write for, but come up with your own ideas. Don't just copy what's out there. Meandering through book shops will give you an idea of current trends, but resist the urge to jump on bandwagons. Remember, that new book you take down from the shelf was a proof six months ago, a full m/s submission to a publisher at least a year ago, a three-chapter submission to an agent about 18 months ago and a file on someone's computer two or three years before that, possibly more. Be aware of trends but write your own story.
Read, read, read. Make sure you read the best — and not just the best-selling — of your preferred genre. Learn how styles and markets change. Do your research and keep up-to-date with what's going on in publishing. You don't have to know who's CEO of HarperCollins, but it helps your planning if you know a publisher or agent has just slashed its budgets and made staff redundant.
Write, write, write. Every day. One of the biggest mistakes amateurs make is waiting for inspiration to strike. Just sit your bottom down on the chair and write — with a pen, pencil, typewriter or computer, whatever works for you. Keep writing, even if you think it's rubbish. Remember what Bertrand Russell said: Nothing you write is ever as bad as you fear — or as good as you think.
Be courteous. If you've decided to send your sample chapters out to more than one agent or publisher at a time, tell them. Some companies don't like multiple submissions, others don't mind. It's only courteous to let them know that someone else will be looking at your work at the same time.
Writing is a craft. Of course there are geniuses out there, people whose talent will blow you away. I can never read Cormac McCarthy or Michelle Paver without feeling sorry for myself, and completely inadequate. For you it will be someone else. Read them. See how they craft their story, how they handle dialogue or describe a character. What don't they say? In art, the empty space around an object is just as important as the object itself. So it is in writing. Be spare, succinct, precise. Which brings me to the hardest thing I learned:
Be careful with adjectives and adverbs. Too many can indicate sloppy writing. No need to tell me your heroine ran quickly down the street. Use a stronger verb and you won't need the adverb: she sprinted, bolted, dashed, tore... I don't mean stop using adverbs and adjectives altogether, just choose the right one. And ask yourself if you really need it. If in doubt, cut it out.
Avoid sloppy exposition. If it's clunky and stilted and in the wrong place, but you need to explain something vital to the plot, think again. The usual adage of show, don't tell is important here. Paragraphs of telling, however beautifully written, slow your story down and wear the reader down. Children can be especially unforgiving of long tracts of flowery prose.
Read it out loud. All of it. I guarantee you'll catch repetitions and errors you would otherwise have passed over. The ear notices things the eyes miss. An added advantage is that if you run out of breath, it's a good sign your sentences are too long. There's nothing wrong with long sentences but they can be fatal in the wrong place. If you get in a muddle with subordinate clauses and the subjunctive, cut your prose and keep it simple.
Be consistent with point of view. If the story is all from your heroine's point of view, you can't suddenly switch and tell us what her boyfriend is thinking, and then back to her again. It can irritate and confuse your reader. Stick to one point of view, or keep to the rules governing multiple viewpoints. Read Neil Gaiman, he's mastered this. And Geraldine McCaughrean's Tamburlain's Elephants is a beautifully written example of how it's done.
Active verbs rule, OK! Active verbs beat passive ones any day. They make for tighter writing, too.
Don't patronise your reader. They don't need everything spelled out in every little detail. Give them space to envisage your world, let them do some of the work and figure things out for themselves. Respect them. Only tell them what they need to know when they need to know it.
Know your target audience. This is as important for novels as it is for journalism. No point writing a People's Friend story and sending it off to Cosmopolitan. This comes back again to doing your homework and research. Know your market, including which agents and publishers deal with which genres. If they specify 'no fantasy' on their website submissions page, don't send them fantasy. I know this sounds obvious, but too many people send off their work without checking to see if the publisher deals with that genre. Don't waste the postage.
Open your mind. Always be open to constructive criticism. No-one likes a prima dona in any business. Be prepared for your agent and/or publisher to ask for more revision. Cutting is hard — all your beautiful prose! — but I've found at least 20% of most things can be cut without impairing the story. Often much more.
Believe in yourself. Believe in your novel. And keep writing.
WEBSITES I'VE FOUND USEFUL:
www.booktrade.info
www.news@bookbrunch.co.uk
www.scbwi.org
On writing a synopsis: ww.bethanderson-hotclue.com/workshops/writing-the-tight-synopsis/
Writing competitions: www.prizemagic.co.uk/html/writing_comps.htm
BOOKS I'VE FOUND HELPFUL:
Writers' & Artists' Yearbook (A&C Black)
Children's Writers' & Artists' Yearbook (A&C Black)
The Writer's Handbook, editor Barry Turner (Macmillan)
The Ultimate Teen Book Guide (A&C Black)
Strunk & White - The Elements of Style (Macmillan)
The Complete Plain Words, Sir Ernest Gowers (Penguin Reference)
Screen-writing Tricks of the Trade by William Froug, Foreword by Jeffrey Boam (Silman-James Press, Los Angeles)
BOOKS THAT INSPIRE ME:
Across the Nightingale Floor (Tales of the Otori) by Lian Hearn — rich imagery, great story telling, fab fantasy.
The Road by Cormac McCarthy — perfect prose, great lesson in authorial control and not revealing everything. Not one wasted word.
Ursula K Le Guin — pretty much anything you can read by her. She knows the craft. Her fantasy worlds are always believable.
Chronicles of Ancient Darkness by Michelle Paver — great storytelling, magical turn of phrase, fantastic factual information woven into the story.
Hunter's Heart by Julia Green — writes for young people. Knows how to hold a story. No waffle, just good clean writing with flashes of brilliance.
Tamburlaine's Elephants by Geraldine McCaughrean — tight writing with perfect descriptions, similies and metaphors. Switches viewpoints with ease and inserts exposition expertly.
Neil Gaiman — rich, sensuous writing, wildly imaginative. Weaves complicated threads but never tangles them.
Wolf Hall by Hilary Mantel. Beautifully written, evocative of the period and a great lesson in characterisation.
Do you have anything to add to this list? Let me know. klediting@gmail.com