Status: Currently Available for Booking
As an editor, my goal is to help you produce the best manuscript that you can and to improve your skills as a writer. As a sensitivity reader, my goal is to help you be aware of harmful tropes and stereotypes and to get the experience right. Upon discussion, I may also offer such services as book formatting, translation or general coaching on a case-by-case basis. Contact me if you’re interested in anything like that!
Genres I LOVE to work with: Fantasy and soft science fiction for any age range, in most any subgenre, and for any length. I also work with contemporary fiction and literature reviews on a case-by-case basis. I am happy to proof read these for you or to offer sensitivity reading for them, but I would be hesitant to offer developmental editing for them.
Genres I DO NOT work with: Horror, erotica. I may make exceptions for psychological thrillers, but I am emphatically not the audience for horror or erotica.
If you’re unsure what your manuscript needs and you’re a new client, I’d be happy to look over the first 3 pages for free. However, please note that this offer only applies to longer manuscripts.
If you’re not sure what your manuscript needs, an edit letter will help you assess your manuscript’s strengths and weaknesses. These edits will not include in-manuscript comments and focus on larger issues such as plot holes, themes, whether the character dynamics work, where your manuscript could stand to use more/less descriptions or exposition, etc.
Edit letters are typically at minimum 2 single-spaced pages covering the overarching state of your manuscript with suggestions on how you can deal with the issues that exist. I will not reread your manuscript upon completion of your edits.
Developmental editing is a far more in-depth look at your manuscript than an edit letter. A development edit will include an edit letter as well as in-manuscript comments using Word’s Track Changes and comment features to go into more depth about where the issues discusses in the letter are and more detailed discussions on how you might address them. I’ll also leave reaction shot comments, so you’ll know when I was riveted (or not), when I was surprised, etc.
I won’t just send you the edits and be done, though. I will also be available to discuss anything I’ve said via email. Although I reserve the right to end these discussions at my discretion, editing is a conversation. Suggestions I’ve made may not work for you as-is and yet still have given you pause and a desire to see whether you can make any changes, for example. I’d be more than happy to discuss anything I’ve suggested if you want to engage with the edits. That said, I will not reread your manuscript for another round of developmental edits upon completion of your edits unless this was included in the initial agreement.
Copy editing is for the nitty-gritty stuff, the sentence-by-sentence grammar, repetition, clunky dialogue, voice, etc. Although I’ll try to note big-picture issues, copy editing is hyper-focused on the actual structure of your text and it’s likely that I’ll miss larger issues. Copy editing is the editing stage after you’ve sorted out the big issues.
Copy edits will be delivered using Word’s Track Changes and comments features. I’ll leave comments throughout the text to discuss my comments as I deem necessary. Sometimes there are multiple solutions to an issue, for example. Then I’ll discuss what your options are, why I favoured one solution over others and why I think it’s an issue. Sometimes an author make make the same grammatical issue repeatedly and I may try to explain how the rule for that piece of grammar works. (In my experience, authors have a lot of trouble using tenses – and the past perfect simple especially – effectively.) Like with development editing, I will be happy to discuss comments with you through email, although I reserve the right to end these discussions at my discretion.
Proof reading is the final round of editing when you’re ready to send your manuscript out either to agents and publishers or publishing it on your own. Proofreading consists solely of a check to make sure that nothing has been missed in the other editing stages. This is the nitty-gritty stage of catching the last straggling typos. I use Track Changes so you can easily see what’s been changed and how to accept/reject them. Proof reading may also contain very mild grammatical corrects, but will not come with any commentary on the text or discussions of why I’m suggesting certain changes.
What I Can Read For: asexuality, demisexuality, aromanticism, multilingualism, depression, anxiety
A sensitivity reader is someone who reads through a manuscript looking for issues with representation. For example, a very common asexual trope is that of the Alien Ace. This is a trope commonly found in science fiction and fantasy and suggests that asexuals are inhuman because only aliens are asexual. (Some examples of fiction that uses this trope are M.C.A. Hogarth’s The Dreamhealers Saga and R.J. Anderson’s Quicksilver.) Aside from tropes, a sensitivity reader will also look at potentially harmful phrasing (such as wording implying that experiencing sexual attraction is ‘only human’, which again dehumanises people who do not).
I’ve written about the way certain tropes manifest in different genres and write literary analyses discussing the representation in already published books. (Example 1, Example 2) As such, I have years of reading and analysing representation that help inform my personal experiences as a demiromantic, biromantic demisexual. I’m also mildly touch-averse and strongly kiss-averse and sex-averse.
I speak multiple languages to varying levels of fluency and have spent most of my life teaching English as a Second Language in some capacity. I grew up trilingually and can confidently discuss issues with code switching and more effective ways to show that your setting is multilingual. My competence levels according to CEFR are:
- English: C2
- Dutch: C2
- German: B2
I also have depression and anxiety and can read for representational issues with these mental illnesses.
Please note that these prices are rough guidelines to give you a rough idea of the costs up-front. Please contact me with your project details and I can create an quote tailored to your project.
Edit Letter: €0.005/word + VAT
Developmental Editing: €0.010/word + VAT
Copy Editing: €0.008/word + VAT
Proof Reading: €0.006/word + VAT
Sensitivity Reading: Roughly €0.003/word + VAT (Also available at €30/h + VAT if you’d rather pick my brain in a one-on-one conversation.)
Quick Turnover Fee: Depending on how quickly you need this returned to you. Please inquire and I will include a separate quote with this fee.
Turnover speed depends on the length of the project. I aim to complete full-length novels up to 150,000 words within a month at most.
All prices are stated in EUR. All payments must be made through Paypal. As an EU resident, I am obliged to charge VAT costs in addition to these base rates.
All payments for services below €150 (minus VAT) must be made in advance. Any services over €150 (minus VAT) are split into two payments. Refunds may be issues on a case-to-case basis. However, once I start editing, the first payment is non-refundable.
If you are a marginalised writer, I am always happy to try and work without your budget or to work out payment plans. Please contact me for details!
If you’d like to request a quote or if you have any questions, please don’t hesitate to fill out the form below! I’ll get back to you within a week. If requesting a more precise quote, please include an estimate of your manuscript’s length.
If you’d like to request a sample edit to figure out what your work needs or whether we’re a good fit, please attach a copy of the first three pages of your manucript (around 2,000 words) in doc, docx, or rtf format.
Lynn is one of those talented editors who can take the work you’ve done and elevate it to a higher level, all while preserving the authorial voice and tone. In fact, the joy of Lynn’s style is how they illuminate what’s already in the manuscript and tease out more of what makes it unique. I learn about my own writing weaknesses when I work with Lynn, lessons I apply as I work forward and improve my craft. Lynn edits with professionalism and kindness—but with no punches pulled, either. I couldn’t possibly recommend their services more highly! – Kate Sheeran Swed