Language is one of the most important tools we have. Whether you’re a first-time author publishing a memoir, a seasoned writer preparing your next bestseller, an organization producing a newsletter or web content, or a professor seeking to publish your article in a respected journal, you’ve taken that idea to heart and have used your authentic voice to write your ideas down. Kudos to you!

But the work doesn’t end there. Once your words are written and organized into a structure and order that works for you, it’s time to ensure that your language is strong and clear, your pacing and rhythm is on point, your word choices make sense and say what you want them to say, and your commas and semicolons are used correctly and in place where they should be. That’s where a line and/or copy editor can step in and play that pivotal role to ensure your writing shines.

And don’t forget about proofreading! Before your project goes to print or distribution, a proofreader can literally make sure all your i’s are dotted and your t’s are crossed.

It’s true that AI has the potential to be quite helpful to writers. It can identify syntax errors, detect plagiarism, uncover typos, fact-check, and format your manuscript.

What can’t it do? Well, a lot. It lacks the ability (at least as of now!) to match the creativity and intuition of a human editor. It can’t pick up on context, subtlety, or emotion like a person can. It might nix your comma because it technically shouldn’t be there. But what if that comma was intentionally placed by you to convey a pause, a consideration, a meaningful moment? A human editor will know that (and keep your comma). AI won’t, because it can’t.

In short, a human editor can offer perception, judgment, context evaluation, and a real relationship with you that enables them to make your writing truly yours.

(Relatedly, I currently use no AI in my editing work. Should that ever change, I will update accordingly on this page for full transparency.)

Yes. Yes! YES!

See what I did with punctuation and capitalization there? You read each of those “yeses” differently, didn’t you? Subtle nuances in grammar and punctuation can change the tone and emotion in your words and influence how they come across and their overall meaning, as well as your project’s overall readability. Also, mistakes in these areas, as well as in spelling, can indicate unprofessionalism, unpreparedness, and mediocrity—none of which you want!

(For fun, I’d suggest Googling “commas save lives” for a good laugh.)

There are lots of editors out there. The right one for you will depend on your editing needs (what type of editing are you looking for?), their experience (what type of project do you have, and does the editor you’re looking at have experience in that area?), and their availability (what is your project turnaround time?). You’ll need to find an editor that matches your needs in those areas.

Perhaps the most crucial criterion, though, is how you feel when you communicate with a potential editor. Do you feel heard and understood? Does the editor seem to get where you’re coming from and what your goals are? Do you trust them and feel that you could build a good working relationship with them? If your answer is “yes” to those questions, you’ve likely found your editor!

There are varying definitions and understandings out there about the different editing levels. Here’s my take.

Developmental editing (sometimes called “substantive” or “structural” editing): This is big-picture editing. You’ve got your ideas and words on the page but they’re not necessarily structured or ordered in a way that makes sense—or that makes for a good reading experience. A developmental editor can help you take a more global, “high-level” view of your work and finesse your overall plot, character development, and story structure to get it into shape and ready for the next editing phase.

Line editing: The definition here gets tricky. Line editing, in my view, falls somewhere between developmental editing and copyediting. Your manuscript is organized, coherent, and in good structural shape; all the big-picture elements are in place, and it’s time for the “nuts and bolts.” A line editor literally goes line by line through your work, checking for stylistic consistency, sentence flow/rhythm, tone and pacing, and overall clarity, seeking to strengthen and elevate your writing. They address issues such as repetition, syntax errors, transition problems, and ambiguous word choices. A first-time author, or anyone who feels like they need a bit more “tweaking,” would likely benefit from a line editor’s help.

Copyediting: There’s quite a bit of overlap between line editing and copyediting—at least the way I do it!. In short, though, copyediting is a more technical process that is less concerned with the clarity and flow of the prose and more interested in correcting errors pertaining to grammar, punctuation, spelling, and style guide departures. A copy editor can also be involved in fact-checking a manuscript, as well as flagging any issues that need to be queried with the author. If your project is through the developmental-edit level and either has gone through a line edit or doesn’t need that step, you’re ready for a copy editor.

Proofreading: This is the grand finale of the editing process. At this point, there should be minimal to no errors in your manuscript (assuming you’ve hired a good editor!). Typically the proofreading step occurs after the project has been set up for publication, right before “all systems go.” For example, a book will move to a book designer or stylist after the copyediting stage, who will format it for print. That’s when a proofreader steps in to take one final pass through to ensure there are no lingering issues or mistakes related to grammar, spelling, capitalization, or punctuation, and to make sure that no additional errors were introduced during the formatting step (such as on-page layout or typesetting problems).

Some writers will hire editors for each one of these stages; others will select an editor only for the stage(s) they believe they need. If I receive a project that I feel needs a developmental edit, I will let the writer know and give them the chance to pause on my editorial skill set until their work ready. Otherwise, if the project is ready for a line edit, copyedit, or proofread, then we’re ready to roll!

In general, no, I do not offer this type of big-picture editing. I stick with my strengths: line editing, copyediting, and proofreading. That said, I have been known to move chunks of text around, reorder and restructure sections when needed, and look beyond the scope of a basic copyedit when necessary or requested.

However, in general, I will refer you to different editors if you’re looking primarily for developmental editing.

My process is collaborative and typically works like this:

1. Submit a project inquiry through my website, or email me with a description of your project and the type of editing you’re looking for. (If you’re not sure, we can discuss via email or a complementary phone call.)

2. I’ll respond promptly with my availability and any questions I might have. Should the project be a good fit for me, I’ll request a sample from it so I can provide a cost estimate. If you’d like a free sample edit (up to 1,000 words or so), we’ll get that in the works.

3. If the project is a go, I will draw up a contract for us both to agree to. Then I’ll get to work, asking you any necessary questions as I move along.

4. Once I’ve completed the edits, I’ll send you the document (Microsoft Word with tracked changes), a style sheet (if deemed necessary/appropriate), an editorial summary letter, and any additional comments.

5. If you’re hiring me for both copyediting and proofreading, I’ll await a formatted version of your article or book and then proceed with the proofreading portion.

6. Project is done! If all goes according to plan, you’re happy and I’m happy!

I’ve been editing professionally for more than 19 years, both in house for companies like Nordstrom as well as in a freelance capacity.

I earned a Graduate Certificate in Editing from the University of Washington, as well as a BA in English from Lewis & Clark College.

I am also a member of the Northwest Editors Guild and the Editorial Freelancers Association.

And while this may not count as a “qualification,” I read nearly 100 books a year, so I have an intuitive sense of what makes for good writing. (And yes, you can start a sentence with “and”!)

I am proficient in the Chicago Manual of Style (18th edition) and APA style, as well as experienced in other academic reference styles such as Harvard, and I use Merriam-Webster’s dictionary.

I edit projects in Microsoft Word using the “track changes” and “insert comments” features, and I typically proofread in an Adobe PDF format but can adapt to another program if needed.

From small-press publishers to self-publishing authors to high-level program directors, I’ve worked with a wide range of clients to solve their editing needs and challenges.

Specific to my academic editing background, I’ve edited books and journal articles for professionals from institutions including New York University, Boston College, Northeastern University, Loyola Marymount University, Babson College, and the University of Wisconsin-Milwaukee.

I will give you a customized quote after getting all the information about your project and—ideally—seeing a sample, if not the whole manuscript. I typically offer per-word rates (listed on my Services page), but I am happy to offer hourly or per-project rates if preferred. My rates are all in line with the EFA rate estimator. (If you’re working within a tighter budget, please let me know that too; I can potentially accommodate.)

That all depends on the project, how much work it needs, and my project load at the time. I do not take on new projects if I can’t commit to completing them within a client’s turnaround request. If you have a deadline, please specify that in your message. If your timeframe is more flexible, let me know that too!

I live in Bellingham, Washington but work with clients around the country.