The Varian Pike Series
by Jack DeWitt
Crime and noir writer Jack DeWitt is an established poet and essayist, but he came to me with his first novel series about P.I. Varian Pike. The first novel in the series, Delicious Little Traitor, had been published by a small press that went under, so he wanted to self-publish it and the previously unpublished second and third novels on Amazon.
Delicious Little Traitor had been edited by the small press already, but it was full of errors. I provided copyediting that fixed the formatting and the errors in grammar and punctuation, and provided copyediting for the second and third books to get them ready for publishing.
Taking a manuscript that had been neglected and treated as "good enough" by its first publisher and polishing it to a level that DeWitt deserved for his publication is something that I take a lot of pride in.
Moonlight & Marble
by A. Coffman
As a new novelist and taking her writing as a potential career for the first time, A. Coffman wasn't confident in her ability to self-edit and assess what would make the novel better. She had hired two editors previously, but they couldn't keep to reasonable timelines or communicate how Coffman needed.
She hired me on to take over the project completely as her developmental editor; I have since built enough trust that I was able to suggest a fully overhauled plot and character arcs, drawing on the themes and ideas Coffman had started but needed help to realize fully.
Getting to see how the book has grown and how the author has grown more confident has been a special experience for me. I have a deep connection and love for these characters and the world. But because I'm so in love with this book, Coffman trusts me when I make suggestions for changes that mean a lot of work, because it's work that will better the novel in the long run.
The Harrietta Lee Series
by Stephanie Ahn
Stephanie had already written the first book of the Harrietta Lee series and self-published it on Amazon. She came to me because she had never drafted anything as long as Bloodbath, which came in around twice as long as Deadline, book one; she was nervous and unfamiliar with how working with an editor would go.
I provided developmental editing for both books, identifying points in the plot that needed clarifying and explaining why I loved what Stephanie had written already, always detailing my reasoning based on my years of literary analysis. When I did the copyedits, I suggested a few tweaks to the writing, always keeping in mind Stephanie's writing style and especially Harry's unique, strong voice.