What I do for authors: I coordinate the moving parts of a book project—intake, schedules, check-ins, and handoffs between editing, design, and formatting. I keep the timeline realistic, track decisions in one place, and make sure questions get answered before they turn into delays. I also watch version changes, collect approvals, and summarize next steps after milestones. If something shifts, I flag it, confirm priorities, and help reset the plan so you know what’s happening and why.
What’s my background: I began in editorial support, building style sheets, organizing references, and helping manage proof rounds. I later moved into production coordination, where I learned version control, file naming discipline, and how to keep communication clear when several people are touching the same draft. I’ve supported fiction, nonfiction, and poetry projects, and I’m comfortable translating creative feedback into next steps and checklists. I’m also familiar with common submission checklists and print-prep requirements.
Who I am: I’m the person who travels with a spare charger and a printed list. I read widely—short stories, memoirs, and science writing—and I keep a notebook of opening lines I love. Outside of work, I’m usually walking, testing a new recipe, or rearranging my shelves for no practical reason. I’m happiest with a tidy desk and an early morning chapter.
What I do for authors: I work on the big-picture shape of a manuscript—structure, pacing, character arcs, voice, and clarity of argument. Some drafts need a full revision map; others need targeted guidance on a few chapters. I provide detailed notes, ask questions that reveal options, and suggest practical next steps you can apply during revision without losing what makes the writing yours. When helpful, I offer sample rewrites or outlines to demonstrate possibilities in practice.
What’s my background: I’ve edited long-form fiction and nonfiction, including novel drafts, essay collections, and narrative memoir. My work includes critique letters, chapter-by-chapter margin notes, and multi-round revision coaching. I adapt my approach to genre and author goals, and I pay close attention to what the manuscript is trying to become rather than forcing it into a template. I’ve also facilitated workshops on craft, feedback, and revision planning, and I’m comfortable working with sensitive material and personal narratives.
Who I am: I’m a calm reviser and a committed re-reader. I like index cards, big tables, and messy outlines that eventually turn into clear maps. When I’m not editing, I’m usually listening to an audiobook, taking a long walk, or writing a few pages in a quiet café. I keep a small garden and a rotating stack of library holds.
What I do for authors: I focus on sentence-level clarity—flow, consistency, grammar, and tone—so the writing reads smoothly while staying true to your voice. I look for places where meaning gets cloudy, where repetition creeps in, or where a paragraph could land with more precision. I also build and maintain a style sheet so details like capitalization, hyphenation, and names stay consistent across the manuscript. I leave queries when something needs your intent, not my guess.
What’s my background:My day-to-day work includes line editing, copyediting, and proofreading passes on books, essays, and short-form pieces across genres. I’m comfortable with common style guides and with author-specific preferences, and I try to leave edits that feel transparent rather than mysterious. When I flag an edit, I explain the reason behind it so you can decide what to keep. Earlier, I worked in magazine production, which taught me careful deadline habits and respect for clean handoffs between teams.
Who I am: I collect interesting words, keep too many dictionaries around, and get genuinely excited about a well-placed em dash. I’m a slow reader of poetry and a fast reader of mysteries. Off the clock, I’m usually cooking, solving crosswords, or building playlists that match whatever I’m reading. I also like repairing old paperbacks with tape.
What I do for authors: I design covers and interiors that match a book’s genre and mood while keeping the reading experience clear and comfortable. That can include cover concepts, typography choices, interior layout, and coordinating files for print and ebook formats. I share options, explain tradeoffs—like trim sizes or font pairing—and refine the details through feedback rounds so the final package feels cohesive. I also prepare proofs and adjust based on how the pages read on paper.
What’s my background: I came to book design through visual arts and editorial work—first building layouts for small publications, then moving into long-form projects where pacing and readability matter. I’ve worked on cover comps, print-ready interiors, and light series branding, and I collaborate closely with editors so text and design support each other. I keep accessibility basics in mind, like legible type, spacing, and clear hierarchy. I also create simple templates that keep future volumes consistent and support smoother revisions.
Who I am: I’m happiest when I’m adjusting kerning, building mood boards, or browsing covers for inspiration. I collect postcards, love museums, and take too many photos of interesting signage. On weekends, you’ll find me sketching, wandering a bookstore, or learning a new craft that requires glue and patience. I’m a stationery store browser.
What I do for authors: I prepare final files for print and ebook—formatting, layout checks, and technical cleanup—so everything exports correctly and stays consistent across platforms. I handle style consistency, image placement, front and back matter setup, and proof-stage corrections. I check links, page numbers, running heads, and small layout issues like widows and orphan lines. I also help authors understand what can change late in the process and what’s better to revise earlier, so we avoid last-minute surprises.
What’s my background: I’ve worked in production for book and journal projects, where precision and repeatability are the whole job. That includes building templates, troubleshooting spacing issues, managing multiple file versions, and running preflight checks before final delivery. I’m familiar with practical constraints like print specifications, embedded fonts, and ebook reflow. I enjoy quiet problem-solving and the satisfaction of a clean proof that reads exactly as intended. I’ve also supported captions and image credit checks when projects include artwork.
Who I am: I’m detail-driven and a little obsessed with tidy file names. I like systems that make creative work easier: checklists, macros, and a clear folder structure. Outside of work, I unwind by cooking something that takes too long, reading history, and taking bike rides with no destination. I’m happiest when a proof comes back clean and predictable.
What I do for authors: I’m often the first point of contact and the steady thread through the process. I gather project details, answer questions, and make sure you have the right information at each stage—editing, design, formatting, and final delivery. I keep notes on preferences and priorities so you don’t have to repeat yourself. If a step feels unclear, I translate the jargon into plain language and outline the options clearly.
What’s my background: I’ve supported creative projects from intake to delivery, coordinating schedules, collecting assets, and tracking approvals. My work has included manuscript organization, feedback routing, and helping prepare materials like author bios, book descriptions, and basic press copy. I’m comfortable balancing many small tasks without losing context, and I try to keep communication simple: what we need, when we need it, and what happens next. I’m mindful of keeping feedback loops smooth when timelines are tight.
Who I am: I’m a notebook hoarder, a weekend museum person, and someone who always carries pens that actually work. I read contemporary fiction and craft essays, and I love seeing how a messy draft becomes a finished book. When I’m not working, I’m usually baking, watching a documentary series, or taking photos of street art and saving color palettes I’ll probably use someday.