editing

Curiosity: why is a conflict facilitator also an editor? 

In both conflict work and editing, I look at big, complex stories and organize the narrative so that it is clearer to understand and difficult to walk way from. I pay attention to the fine details that will prevent confusion or miscommunication. Editing is something I'm passionate about for the same reasons that I got into conflict work. I believe that telling stories—whether our own or those we've made up—can transform people, culture, and society.

 

Authors like Margaret Atwood, Octavia Butler, Toni Morrison, N.K. Jemisin, and Leanne Betasamosake Simpson have expanded the consciousness of people around the world. They have given us beautiful, imaginary places to be, when we don't want to or can't be in this world. I believe in an author's capacity to heal, and I see myself as a facilitator in that process.​

Also, I have a Bachelor's in Literature and more than a decade of freelance editing experience.

To begin working together, send me an email: info@lunanh.com

Feel free to include some pages if you'd like, or just tell me a little bit about your project: what you're writing about, how far along you are, and what your goals for the project are (timeline, publishing plan).

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Separated: Family and Community in the Aftermath of an Immigration Raid
by Dr. William D. Lopez

Bill is an incredible organizer with the Washtenaw Interfaith Coalition for Immigrant Rights (WICIR), professor, and public health researcher. I had the honor of copy-editing his manuscript. 
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I Was a Stripper Librarian: From Cardigans to G-Strings
by Kristy Cooper

Kristy is a former sex worker, current librarian, and community organizer. I was lucky enough to work with her on developmental editing for her memoir.
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Light from the Cage: 25 Years in a Prison Classroom by Judy Patterson Wenzel

Judy taught humanities courses in a Michigan prison for 25-years. Her memoir explores her relationships with her students and the prison walls. Over nearly a year, we organized the manuscript and went through developmental and copy editing together.

testimonials

Working with Luna is delightful, a partnership that means: trusting her editing expertise completely; knowing she will return my material as quickly and efficiently as possible, and appreciating her professional approach. I feel very lucky to have her friendship and support throughout the whole process!”

—  Judy Patterson Wenzel, author of Light from the Cage: 25 Years in a Prison Classroom

…nothing could have prepared me for the absolute joy of working with Luna. She talked me kindly and constructively through the entire process. In the weeks it took her to comb through my novel, she sent me email updates outlining her reactions to what she was reading. Remarkably constructive conversations followed. Even though we lived states away from each other, it always felt like I was just sitting down to a cup of coffee with a fellow literary addict. At the end of the whole process, she had read my novel through a total of three times. She left detailed notes in all of my margins and sent me a packet with nearly 20 pages of feedback, closely analyzing the strengths and weaknesses behind all of my characters, themes, and images. Since working with Luna, I’ve begun querying agents and I am thrilled to announce that two highly reputable literary agents have requested to see my full manuscript and are reviewing my work.”

—  Naomi Stephens, author of Shadow Among Sheaves

what you can expect
 

Fees

The first 5,000 words of our first project are free, as a sample of my work and to determine the fee. Fee is determined by affordability for you and a timed-test of my work.

 

For projects with a total of >20,000 words. . . $5.00 – $7.00 / 500 words; for projects with a total of <20,000 words. . . $4.00 – $6.00 / 500 words. 

Beta Reading

Send me your chapters as you're writing for feedback before you get too far along. A beta-reader can provide insight into characters, plots, or concepts that are confusing or need more development. Early intervention can save you from any big overhauls later on. Beta-readers are also great accountability buddies to keep you on track with your writing goals. 

​You'll receive comments on: 

  • Questions about anything unclear

  • What's drawing me in, intriguing, and unique

  • What's falling a little flat or needs more work

Developmental Editing

Developmental editing happens best when your writing is in a rough draft state, with room to make big-picture changes. We’ll talk about techniques, adjustments, and solutions that can resolve any elements that aren’t quite adding up to the story you want to tell.

​You'll receive: 

  • In-line comments.

  • Suggestions for expansion or deletion to address organization (how things connect and build on/toward the climax or conclusion) and clarity (how the elements are coming through to others).

  • Big-picture analysis and critique that addresses all the major elements: plot, characterization, setting, style, imagery, pacing, and conflict; or for non-fiction: arguments, organization, readability. 

Know that this process can take several steps. Once you’ve received notes, you’ll need to cut, rearrange, and re-write. An editor’s job to provide support, positive feedback, tools, and encouragement. So, it won't all be critique (though that is a big part of why I'm here). You’ll also hear what’s really beautiful, inspired, unique, and interesting about your work! 

Copy (Line) Editing

Line by line, I'm  looking at your manuscript to make sure each word, sentence, and paragraph is carrying its weight, makes sense, and sounds really compelling. I'm focused on the language itself, including style and readability.

You'll receive: 

  • Extensive in-line notations that address language, style, and sentence structure.

  • Margin notes detailing reactions and suggestions for expansion or deletion.

  • Critique of imagery, tone, and voice. 

  • E-mail communication throughout, asking for clarification.

 

Once you’ve received notes, you’ll want to go through, sentence by sentence and accept or reject changes. “Kill your darlings” is a popular expression for a reason–it’s true! Ultimately, those decisions are yours to make. 

Sensitivity Reading

I'll read your work to find implicit bias and support you in making changes toward more dynamic representation and anti-oppressive writing. We'll start by talking about your intentions and goals, then we’ll talk about any unintended missteps in the writing or context of publishing that could cause harm. Sensitivity reading isn't about being right or correct, it's about aligning writing with our intentions, values, and principles. I approach this work from 12+ years as a community organizer and anti-oppression educator.

Fees (different from editing)
$20 – $50 / essay or short story, $100 – $300 / book. Fee is determined by affordability and a timed-test of my work.