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University Writing Center UWC - Hire an Editor Sunanda Vittal Sunanda has over 15 years of editing and writing experience in an academic setting in the engineering colleges at Iowa State University, and more recently, at Arizona State University. Her professional career has included experience as a college-level English instructor, a communication specialist and an editor of science and engineering publications, all of which has provided her with multiple perspectives on the craft of writing and editing. During her tenure here, Laura’s wide-ranging credits include copy editing of manuscripts for Brill Press New Asian Acquisitions, the Line by Line editing of dissertations and forthcoming academic press titles, and business and marketing writing. She has two Master’s degrees, ESL and English Literature, and is comfortable editing both British and American English. She has also edited for Fiction Collective 2, John Wiley and Sons, and other presses. Clements at Johns Hopkins University School of Medicine working on immunomodulatory effects of minocycline in HIV infection and CD4 T cell biology. Her expertise is editing technical material written by non-native speakers of English. A sought-after copy editor, Laura works with diverse citation guidelines, possessing a quick, exacting proofreader’s eye. is currently a postdoctoral associate in the laboratory of Darrell J. Leveraging his knowledge of immunology and HIV, Dr. Alyssa Stalsberg Canelli Alyssa Stalsberg Canelli received her Ph. in English literature from Emory University and also holds an M. in Interdisciplinary Humanities from New York University and a B. She has extensive expertise in communications, and she produces stylistically appropriate and effective writing in many genres, from peer-reviewed research articles and informative encyclopedia entries, to journalistic blogs, marketing copy and social media publicity. Laura also has extensive experience with ESL clients. 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An alumna of Teach for America, she has also taught writing at Cornell University and Italian at Ithaca College. Ashleigh has published articles, book reviews, and translations, most notably for a free online database of medieval women’s Latin letters. Jason Warshof Jason Warshof is an editor specializing in the Middle East and the literature of the city. He presently works on book-length projects for the University Press of New England and a Middle East think tank, along with assignments for individual scholars and professionals on topics ranging from medieval Anatolia to postwar Poland. Previously, he worked in-house at Harper Collins and Simon & Schuster, where he served as a reader of Hillary Clinton’s autobiography. Jason’s essays and reviews have appeared in the among many other publications. Lindsay Edmunds Lindsay Edmunds wrote her Ph D dissertation on Emily Dickinson’s use of fantasy before leaving academia for the business world. 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Tom Sullivan Tom Sullivan was going to be an engineer, until halfway through engineering school, when he succumbed to a fascination with language and literature that eventually developed into a BA in English literature, which then metastasized into work as a copy writer and proofreader. To cope with these developments, he wrote about William Blake and aesthetic theory in his master’s thesis. After a stint in Mongolia with the US Peace Corps, Tom returned to Kansas City and got into editing again, now specializing in working with ESL authors. In Tom’s more than seven years of experience in copy editing, he has engaged topics from engineering and computer science to theatre criticism and philosophy. He has worked on academic book manuscripts, theses and dissertations, academic journals, web copy, advertising copy, marketing materials, and more. Tom is a member of the Editorial Freelancers Association. Nicole Brown Nicole earned her BA and MA in English from the University of Memphis. She is a versatile editor with nearly two decades of experience; she has worked with professional and academic texts from fields such as pharmacology, medicine, biomedical science, psychology, philosophy, history, religious studies, physics, and engineering. In addition to these publications, she has edited technical writing, online learning courseware, lifestyle publications, science fiction, and children’s literature. in geography from the University of Wisconsin-Milwaukee in 1983 and, before embarking on a career in editing, taught at The Ohio State University and the University of Wisconsin–La Crosse. She also has over ten years of experience in page layout and graphic design; her design portfolio includes training manuals and workbooks, resource guides and study materials, conference proceedings, print and electronic newsletters, marketing materials, print and web advertisements, logos, interactive slide decks, and website user interfaces. Bond is the former Managing Editor of Bellwether Publishing, Ltd., with over 25 years of experience in the editing and production of journals and books in the fields of human geography, economics, political science, and the earth sciences (physical geography and geology). In addition to his work with Cambridge Editors, he is a Senior Associate at Russian and Caspian Energy, IHS Markit, Washington, DC. Her writing experience includes user documentation and other training documents, in-house style guides, newsletters, and indexes. Serena Domolky Howlett Serena Domolky Howlett collaborates with authors to produce manuscripts that are factually accurate, engaging to readers and ready for publication. Serena holds a law degree (JD) from the University of California at Berkeley and a Masters in Public Health (MPH) from Harvard University. Continuing education in editorial skills includes the Science Writers Workshop (Santa Fe), the Squaw Valley Community of Writers and the Dickens Universe (UC-Santa Cruz). Her diverse career path includes employment at Time Magazine, Massachusetts Hospital Association, Harvard Chan School of Public Health, Western Institutional Review Board and the National Association of Perinatal Social Workers. in Development Sociology from Cornell University and 15 years of experience in international development, primarily in water resources and agricultural development. Serena is a member of the American Association for the Advancement of Science, Bay Area Editors Forum, Editorial Freelancers Association and Public Responsibility in Medicine and Research. She served in South Korea in Peace Corps, where she taught at Seoul National University and edited papers at the Language Research Institute. She also has two masters degrees, in ecological anthropology and public administration. She has taught on the role of the nonprofit sector in American society, led study groups for Asian scholars and diplomats, and worked for five years as a project manager for research on drinking water, focusing on climate change, environmental management, water utility management, finance, and information technology. Susan now gives her professional attention to freelance editing, specializing in scientific and technical editing, particularly for non-native speakers of English. His doctoral dissertation was entitled For many years, he worked in the law books division of Little, Brown and Co., where he became manager of editorial services for their Tax Practice Division. Ursula De Young Ursula is an editor, tutor, and fiction writer currently living in Cambridge, MA. Since that time, he has worked as a freelance editor on projects from Harvard University Press, the University of Chicago Press, John Wiley & Sons, and many others. Her first novel, , which is a biographical study of the nineteenth-century British physicist John Tyndall. Charles Coe Creative writer and editor Charles Coe is author of two books of poetry, . Ursula received her BA in History and Literature from Harvard University in 2004 and her Ph D in History from the University of Oxford in 2009. He has been a visiting teacher or writer at over ten schools, colleges, and festivals, including Harvard School of Education, Wheaton College, and the Indianapolis Chamber Music Festival. She has extensive experience in helping students and scholars of all ages with their academic writing, whether that be papers for high-school or college courses, articles destined for publication, or full-length books. Coe is Co-Chair of the Boston Chapter of the National Writers Union, and a Board member of the National Writers United Service Organization. from the Iowa Writer’s Workshop, where he was a James Michener Fellow. She also specializes in editing fiction, both short stories and novels. He is the recipient of the Massachusetts Cultural Council Poetry Fellowship. He has been awarded two major artist grants from the the Massachusetts Cultural Council and has received fellowships from both Yaddo and Mac Dowell. Adam Schwartz Adam Schwartz’s short stories have been published in , won Moment Magazine’s Emerging Writer Award and was a finalist for a National Jewish Book Award. He spent twenty-five years teaching at Wellesley and Harvard, where he won an award for excellence in teaching. Margaret Puskar-Pasewicz In 2003, Margaret Puskar-Pasewicz completed her Ph. in History and has worked in the copyediting and writing industry for over fifteen years. She was employed for three years as a copyeditor and proofreader for the most widely distributed history journal in the U. She specializes in the Humanities and Social Sciences and has edited and indexed books in the fields of history, political science, religion, economics, art history, architecture, archaeology, anthropology, literature, sociology, women’s studies, linguistics, and philosophy. Margaret has a thorough understanding of proper grammar and spelling and is familiar with Chicago style and other writing styles. Previous clients include Oxford University Press, Cambridge University Press, University of Tennessee Press, the National Park Service, university professors, and graduate students. In addition to French and European history, she has worked in cultural, literary, and oral history, history of the Atlantic World, and history of the American Civil War. Brian Hoyle Brian has been a freelance science and medicine editor and writer for over 15 years. Elizabeth has written and edited exhibitions for a Smithsonian Institution affiliate. Previously, he was a microbiologist and holds a Ph D with postdoctoral research and lab management experience. She edits a scholarly quarterly in American history and launched a NEH-funded digital documentary edition on the Civil War. D., she is currently translating and editing a French travel journal written by Pierre de Saint Amant, French consul to California and Oregon during the Gold-Rush era. Brian has edited over 5,000 manuscripts in a variety of science, medical, and social science disciplines, and has extensive experience with non-native English speakers. She is author of a biography of the American poet, James Whitcomb Riley. Shehreen Dheda Shehreen Dheda has an MS and a Ph D in Materials Science and Engineering and a BS in Biomedical Engineering from the University of California, Irvine and currently works remotely as a scientific writer and editor for the Naval Medical Research Unit San Antonio. His editorial goal is to help in crafting a publishable document. She is also obtaining a copyediting certificate through the University of California, San Diego Extension. Born in Toronto, Brian now lives by the Atlantic Ocean near Halifax, Nova Scotia. She has written and edited several journal manuscripts, proposals, technical reports, and scientific protocols, and is a published academic author herself. Deborah Lapp Deborah Lapp holds a BA in Art and Art History from Oberlin, and a master’s degree in Library and Information Science from the University of Pittsburgh. As an editor and indexer, she has worked for Little Brown, John Hopkins University Press, Columbia University Press, Cambridge University Press, Pearson, Elsevier, and others. She has served in the Poetry Department at Strange Horizons since 2012. in writing from Southern New Hampshire University, where she completed a 250-page thesis. Her research spans fields of attention, motor expertise, and interpersonal communication and draws on a wide variety of methods, including neuroimaging (f MRI and EEG), machine learning, and various behavioral paradigms. Her editing experience spans over 30 years, and she continues to work part time as a reference librarian in Brunswick, Maine. Ashley Troutman Ashley Troutman is a professional writer and editor. The first chapter of her thesis was published by The Dark Comedy Hour, a literary journal. In addition to neuroscience and psychology, Anna edits work in the social sciences, public health, and the arts. in molecular and cellular biology and served as a Damon Runyon Cancer Research Foundation postdoctoral fellow at the University of Colorado. Karin Cather In October 2014, Karin opened her own editing practice after a first career as a trial lawyer. For the last decade, she has been honing her skills as a multimedia content creator, including working in live television for a top 10 market. Ashley has in-depth knowledge of major writing styles, such as AP and MLA, and has completed various assignments for Cambridge Editors, including novels, memoirs, essays, and an edition of Boston University Law School’s Alumni Magazine. She has worked previously as a research analyst and internal strategy consultant at Global Health Corps in New York City. His training as a scientist included laboratory experience in RNA biochemistry, developmental genetics, cellular imaging, bacteriology, and microarray-based analysis. Tucker is now a full-time editor and has helped hundreds of authors publish manuscripts on many diverse topics. She completed her BA in comparative literature at the University of Virginia, a JD from William and Mary Law School, and holds an editing certificate from the University of California Berkeley Extension. She continuously seeks out ways to keep her diverse disciplines in dialogue – all in the interest of understanding and promoting human communication. His expertise includes revising, editing, and proofreading life science and medical documents for non-native English speakers. Cavan, Ph D (Political Science and International Relations, Boston University), is a writer and editor with over twenty years of experience in international relations, political science, and policy analysis. Cavan specializes in US foreign, security, international economic, and military policy. She specializes in plain language editing of biological and behavioral science, medicine, law and legal editing, and fiction—mainly thrillers, police procedurals, apocalyptic, YA, and science fiction. She is the publisher of the Eurasia Analyst blog and former editor and analyst for the ISCIP Analyst blog and Perspective quarterly journal from the Institute for the Study of Conflict, Ideology & Policy at Boston University. In September 2017, she presented a paper with a colleague on drafting contracts at the 12th Annual Communication Central Be a Better Freelancer Conference: “The Paper It’s Written On; Negotiating and Drafting Service Agreements for Editing Clients.” Karin is trained in hand-to-hand combat in a street-fighting discipline and is uniquely qualified to gauge the realism of your fight scenes. in Cultural Studies from the London Consortium, an interdisciplinary post-graduate program at the University of London, in partnership with Tate, the Institute of Contemporary Art (ICA), the Science Museum and the Architectural Association. Odasso’s poetry has appeared in an eclectic variety of publications, including Sybil’s Garage, Mythic Delirium, Jabberwocky, Cabinet des Fées, Midnight Echo, Not One of Us, Dreams & Nightmares, Goblin Fruit, Strange Horizons, Stone Telling, Farrago’s Wainscot, Through the Gate, Liminality, inkscrawl, Battersea Review, Barking Sycamores, and New England Review of Books. Eric Weinberger Eric Weinberger is a writer and editor who has lived in Cambridge, Massachusetts for 20 years, where he taught writing in Harvard College and Harvard Extension School for a decade. She lives in Scottsdale, Arizona with her son and her statutorily required Editor’s Cat. She earned an MA in Performance Studies from New York University’s Tisch School of the Arts. Her début collection, Lost Books (Flipped Eye Publishing), was nominated for the 2010 London New Poetry Award and for the 2011 Forward Prize, and was also a finalist for the 2011 People’s Book Prize. In the last five years he has worked mainly as a freelance narrative and ghostwriter for major nonprofits like the World Bank with many university clients. Rebecca has written extensively on the adaptive reuse of religious and civic spaces as centers for arts education; and on the politics of place, identity and creativity in the urban environment. Her second collection with Flipped Eye, The Dishonesty of Dreams, was released in 2014. Much of that work has been case writing, mainly in health care delivery, for clients including Harvard School of Public Health, Harvard Kennedy School of Government, and centers at Dartmouth College. She is currently the Executive Director of play:ground NYC and previously served as Deputy Director of the Anne Frank Center in New York. A magna cum laude graduate of Yale University with a degree in history, he has published nearly 100 essays, op-eds, book reviews, travel articles, vignettes, and fiction for leading U. 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Checklist for Finding Professional Editor for College Essay Before sending their manuscripts out into the world, many writers choose to work with a freelance editor to make their writing tighter, more engaging and ultimately more salable. Whether you’re preparing to submit to literary agents or you’ve decided to self-publish, you don’t just want your book to be good—you want to make it great. As a freelance editor, I get excited every time I embark upon this journey with a client. Being a novelist myself, I know how difficult it is to identify flaws in a manuscript on which you’ve worked for years. Partnering with a freelance editor sheds new light on your work—making it possible for you to see it from angles you’ve never imagined, capitalize on your manuscript’s strengths and root out problems that might earn you a form letter rejection from your dream agent or a “Meh” on your first Goodreads review. Before you hire an editor, you need to know what kind of help you’re looking for. Do you want developmental editing—“big-picture” feedback about structure, style, pacing and voice? A developmental edit for a work of nonfiction may include feedback about the book’s organizational structure, as well as both stylistic and informational strengths and weaknesses. (For example: “The strongest parts of the book are where you use humorous anecdotes to illustrate your points about how bad managers don’t even know they are bad managers. Why don’t you try opening each chapter with one of those anecdotes, to make it easier for the reader to identify with the problems you’re about to discuss? ”) If you’re writing fiction, developmental editing also includes notes on plot, point of view and characterization. (For instance, “I think the real story starts in Chapter 3, at the moment when she wins the lottery,” or, “While I love the way you show the character growing throughout the story and her sarcasm is often funny, she comes off as unlikable. Here are some things she might do/say to get the reader on her ‘side’ from the beginning.”) Often, a developmental edit is given in the form of a detailed report or letter rather than as notes made directly on the manuscript. If you want the latter, you’re looking for someone to line edit your manuscript. In a line edit, your editor will point out specific things such as certain lines of dialogue that don’t sound convincing, or pacing problems in a given section. (“Why not skip the backstory here and move right to the kiss? ”) Often, an editor provides both developmental feedback and line edits. Because developmental feedback assumes the writer will return to the manuscript and rewrite parts, line editing is sometimes held off until that rewrite has been completed. Alternatively, the editor may be contracted to work on a second line edit of the book to address anything that has been added or changed in the revision. Copy editing and proofreading are about fixing errors in grammar, punctuation, spelling, word choice and sentence structure, as well as catching continuity issues. (For instance, a protagonist who is barefoot and locked out of her house is suddenly wearing boots as she trudges through the snow to a neighbor’s house.) If you’re certain you don’t want any content or structure changed and you just want the writing “cleaned up,” you are looking for copy editing only. (Some editors work only on the structural and line level. Others also copy edit, or specialize in copy editing alone.) Hiring a freelance editor is a significant financial investment—one that can range from several hundred dollars to several thousand, depending upon the kinds of editing you require, the editor’s rate (which may be either an hourly rate or a flat fee, usually charged per page), and the number of revisions/rounds of editing. Freelance editors like me want you to get the most out of your money. We want to leave you feeling enlightened, empowered and excited to be putting your book out in the world. Put it away for three weeks and then reread, making notes on its strengths and weaknesses, asking yourself what’s missing, and flagging places where you find yourself skimming. But some of what you need to know to best utilize us can be, well, difficult to bring up. Then rewrite the manuscript at least once—twice is better. Your writing is, after all, the sum of your energy, time, work and heart. Don’t bring in a professional until you have made the book the best you possibly can on your own. You come to us with enthusiasm and passion—qualities you indeed need in order to survive and persevere in this profession—and we worry that unloading too many difficult truths at once may dampen your enthusiasm or intimidate you. So before you hire someone like me, it’s only right that you know the following: I know you’re really excited that you finally finished that book! At this stage, you are still best equipped to take your book to the next level. Only when you’ve taken it as far as you can on your own will you get the most for your money in hiring a freelance editor. Which brings me to a related point: It’s not uncommon for nonfiction clients especially to believe that because they have an outline, research notes or interview transcripts, their book is “almost done” and ready for an editor. But if you’re looking for someone to take any of the above and shape it into a manuscript, what you want is a ghostwriter. A nonfiction editor won’t do extensive research for you. A fiction editor is not going to invent characters, flesh out dialogue or write missing scenes. If you hire an editor to do a ghostwriter’s job, you’ll surely be disappointed with the outcome. Your editor should be familiar with the conventions of what you write. You don’t want her suggesting, for instance, that you include an explicit sex scene in your Christian women’s fiction. Even more important, you want her to like your book enough to want it to be the best it can be. If a prospective editor seems lukewarm from the start about your manuscript or genre, walk away. Find an editor who exhibits genuine excitement about your project. This doesn’t mean that if you’ve written a young-adult paranormal vampire romance you need an editor who specializes solely in that genre. But it does mean that you don’t want an editor who hates teenagers, hates vampires and hates love stories. Ideally, the feedback you receive won’t hurt your feelings. After all, your editor only wants to help you see your manuscript with new eyes (“re-vision” it), by providing suggestions for how to capitalize on its strengths and address its weaknesses. But sometimes, what you’re secretly hoping to hear is something like, “This is just about perfect. ” I can’t even count the times I’ve wished an editor would say that to me instead of, “So, let’s start by rethinking the opening chapters. …” This kind of feedback can be hard to hear, particularly if the scene your editor suggests cutting is, in fact, your favorite part of the entire manuscript—a part you’ve already revised 23 times. Of course, it’s your choice as to whether or not you take the advice—but do try to go into the process willing to consider changes. You might, for instance, agree with the editor about a problem in the manuscript, yet disagree with his suggestions about how to fix it. By talking this through with him, rather than just dismissing it, you can brainstorm a different solution. After investing significant time writing a book, it’s easy to start feeling desperate to finally have it “done”—so much so that you risk shortchanging the editing process. But the truth is you cannot respond to a round of thorough developmental editing in a week. (Well, you can, but it won’t be your best work.) If you’re asking an editor for feedback about big-picture issues like structure, point of view and character development, expect that integrating that feedback into a rewrite can and should take some time. Why pay someone to make the words pretty in a section you might end up reworking, rewriting entirely or even cutting? If you want to identify the kind of grammar and punctuation mistakes you’re making so you can improve this aspect of your manuscript as you work on your rewrite, consider paying to have your first chapter copy edited to serve as an example. Otherwise, hold off until the manuscript needs nothing but that final polish. If you know this is the only book you’ll ever want to write (say, your complete memoirs, a relative’s life story or an instructional guide to support your business platform), you may want an editor who will just fix things for you instead of teaching you how to fix them. There’s nothing wrong with that; choose an editor accordingly, and be clear about your needs up front. If, on the other hand, there’s any possibility that you’ll want to write additional books, aim for an editor who will explain her rationale for the edits, so you can learn from the process and truly make the most of your investment in her services. It’s important to have a sense of what you want the reader to think and feel when he has turned the last page. Remember that although you know what you want to say in this book, editors are not mind readers. If your editor knows what you’re going for, she has a far better chance of getting you there. If your editor doesn’t explicitly ask, “What do you want the reader to take away from this? ” tell her anyway so she knows your goal and can make sure you attain it. If your editor gives you “big picture” (developmental) feedback and you choose to address only little things (instead of rewriting the opening chapter, you begin obsessing over the color of the character’s dress), you may be shortchanging yourself and your manuscript. If you disagree with the feedback, rather than completely disregarding it, it’s worth trying to discuss other ideas for changes with your editor so you can get the most from this experience. 4.) “The best it can be” does not mean “the best book in the entire universe.” It also doesn’t—and shouldn’t—mean “the vampire-free book the editor wishes it were.” It means making it something you feel truly represents what you wanted to do and say. Because achieving this for you is paramount, your editor has to tell you things about your manuscript that your friends, relatives or even critique group members might be afraid to say, such as, “Your protagonist isn’t very sympathetic early on. In fact, she’s whiny.” (We know you didn’t intend for her to be whiny. Perhaps we’re even personally familiar with thinking we are being funny when we are being a bit, um, whiny.) Let us help you bring out your protagonist’s good side, so she can voice her many complaints about life in a genuinely humorous way. Our job, in the end, is to partner with you on a journey to reconcile your vision of your book with the way your prospective readers will see it—ultimately producing a book that says exactly what you want to say. ********************************************************************************************************************************* Follow me on Twitter: @Brian Klems Check out my humor book, Oh Boy, You’re Having a Girl. Want to hire college essay editing or proofreading expert? Marvelous-Reviews will teach you how to find the best essay editing/ proofreading service.

Help for <b>Hire</b> <b>Editors</b> - The Writing Center

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