I have edited novels, non-fiction books, screenplays, plays, librettos, essays, and pitches for TV and movies. My broadest experience is in writing that targets a YA audience and in writing for the theatre, but I’m open to any type of writing project that needs a set of fresh eyes on it.

As a member of the Editorial Freelancer’s Association, I have taken courses through the EFA in Developmental Editing, Book Mapping, and Editing YA Fiction. I also trained in Story Analysis and Script Coverage with Barney Lichtenstein at the UCLA Extension School . I have served as a screener for the San Diego International Film Festival and the Tallgrass Film Festival, and as a judge for the Independent Publishers of New England (IPNE) Book Awards.

Additionally, as a composer, I’ve been an advanced member of the BMI Musical Theatre Workshop in New York since 2008. In the workshop, we critique the lyrics, music, and librettos of other members, and in turn, receive critiques of our own work.

Lastly, I also have an MBA from University of Pittsburgh.

No. That’s a job for a copy editor or proofreader, once you feel that your draft is in its finished form. My job is to help you get to that point.

In general, I have followed the Editorial Freelancer’s Association guidelines for fees (see here), and have tried to make it as easy as possible for you to figure out how much you’ll be spending for each level. There are no hidden costs - you’ll know exactly what you’ll be getting prior to signing the contract. I’ll try to work within your budget so that we both feel valued in the relationship.

The amount of time differs from project to project, dependent on the scope of the project, the word count, my current workload, and your schedule. When we talk, let me know of any deadlines you need to hit, and I’ll do my best to accommodate you. Our agreement will include a due date for my report, so you can count on it being finished on that date or before it.