Editing Services

— Recent Projects —

 

I have been working with words in one fashion or another for over two decades, including obtaining a law degree from Mercer University School of Law, home of the renowned Legal Writing Institute. Most recently, I’ve combined my love of manipulating words with my love of reading here on my award-winning book review website. My reviews have appeared in magazines, newspapers, been quoted on authors’ websites, excerpted in publishers’ promotional materials, and used as blurbs for novels.

My goal as an editor is to bring my combined skill with words and love of reading to the table in such a way that helps you fully realize the story you are trying to tell. Whether your manuscript is in the early stages and you’d like significant developmental input, you’re almost ready to query and are looking for someone to do a final copyedit, or anywhere in-between, I can help.

To that end, I offer the following editing services:

Copy/Line editing – My rate for copy/line editing is $30/hr. The average turnaround time for a full-length manuscript (up to 100,000 words) is two weeks, which typically includes 25-35 hours of billable time, depending on the manuscript’s actual word count. Copy/line editing includes a detailed manuscript review for:

  • Grammar
  • Spelling
  • Syntax
  • Punctuation
  • Continuity
  • Fact-checking
  • Rephrasing of awkward or unclear sentences

Developmental Editing – My rate for developmental editing is $25/hr. The average turnaround time for a full-length manuscript (up to 100,000 words) is two weeks, which typically includes 20-25 hours of billable time, depending on the manuscript’s actual word count. Developmental editing includes a detailed review of the manuscript to determine potential issues with:

  • Pacing
  • Structure
  • Overall Development (are the characters, setting, and tone convincing)

Comprehensive Editing – My rate for comprehensive editing is $40/hr, and includes both copy/line edits and developmental feedback (see above for detailed descriptions). The average turnaround time for a full-length manuscript (up to 100,000 words) is three weeks, which typically includes 35-45 hours of billable time, depending on the manuscript’s actual word count.

If you are interested in working with me, please contact me at eaw[at]elizabethawhite.com and include the genre, word count, and a brief description of your manuscript.

I am currently scheduled about eight weeks out (meaning if you contact me at the beginning of October I will most likely not be available until December), but exceptions may be possible depending upon individual circumstances, so it doesn’t hurt to ask.

I look forward to working with you.

– Authors and Publishers on Elizabeth A. White –

“Finding Elizabeth was a wonderful discovery. Searching for the right editor for my crime fiction had become a time consuming, often frustrating experience, and I am glad it’s over. Reading some of the crime fiction Elizabeth edited and polished convinced me to trust her with my manuscript and I will forever be grateful. Her insights into issues of structure, language, and context were equally matched by her professionalism, timeliness, and friendliness. Her suggestions consistently improved my book, and her concern for making the manuscript the best it could be was genuine and heartfelt. I recommend Elizabeth without reservation. She is a treasure and I will certainly use her for my future projects.” — Mark Gummere (When the Past Comes Calling — Lucky Lucas series)

“I’ve worked on two manuscripts with Elizabeth, both of which were picked up by publishers, and there’s no doubt in my mind that I’ll be returning to her for my next. How did I find out about her? I studied her references, and since all those good authors were pleased with her, I knew I’d be in safe hands. And I was right. With her legal background and editing skills, Elizabeth is super sharp and astute. Not only will she correct your copy to the standard, but her development skills will catch things you didn’t notice so that the story makes more sense. She’ll let you know what needs to be corrected, offer suggestions for change, and sensibly question details so that the story sounds logical, without distorting your writer’s voice. Take my word for it, you’re in safe hands.” — Khaled Talib (Incognito, Gun Kiss (forthcoming, fall 2017))

“I brought Elizabeth in for a developmental edit just after I finished my first draft. I didn’t want to spend months revising a manuscript that had major structural flaws. The decision paid off because she identified the problems I might’ve overlooked because I was so close to the project, such as character voice and slow plotting. She knew the tone I was going for and pointed out when I strayed too far from it. The result is a much stronger novel with significant improvements in plot, character, and theme. This is the book I wanted to write, and Elizabeth A. White was instrumental in helping me do it.” — Holly West (Anthony Award-nominated author of the Mistress of Fortune series)

“I cannot say enough good things about working with Elizabeth. It’s never an easy process deciding who to trust with the final polish of the work you’ve slaved over for years, but finding Elizabeth to edit my debut supernatural thriller put all my anxieties to rest. She is not only an amazing talent with a great eye for detail and tone, but provides a perfect mix of professionalism, passion and care throughout what is often a grueling process. For every four and five star review my book has received, and for every time someone has remarked about its strong writing, I know I owe a huge debt of gratitude to Elizabeth for her impeccable touch. There aren’t many certainties in life, but knowing you’ll be happy you decided to work with Elizabeth is definitely one of them.” — Stephen Paul (The Perfect Game)

“Elizabeth helped push my manuscript to the next level. Not only did she find the grammatical and spelling mistakes, but she helped me with the developmental edit as well. It all paid off for me because Roundfire Books picked up my manuscript and published it. Elizabeth has an excellent sense of narrative and offers kind wisdom on how to make a manuscript more interesting for a reader. Sometimes it’s difficult for a writer to have an objective view about their work. Elizabeth will help you catch the plot holes and point out your ‘darlings’ in a thoughtful, professional way.” — Roderick Vincent (The Cause)

“Having worked with several editors from publishing companies, I know how much value a good editor can bring to a novel. When I finished the first draft of my book The Butcher, I knew it needed something more. Elizabeth made some key suggestions to make the story much better, and her wordsmithing improved the manuscript dramatically. If you want to take your novel to the next level, take your novel to Elizabeth.” — Dan Ames (John Rockne thriller series, Mary Cooper mystery series)

“After getting feedback from other editors, authors, and casual readers, I realized there was a specific invaluable, and fairly unique, skill that Elizabeth has to help any manuscript achieve its utmost potential. It’s easy enough to find someone to edit your grammar and spelling, and it is also possible to get other authors to dictate what your manuscript ‘should be.’ It is, however, exceedingly rare to find someone who has both the editorial knowledge and storytelling sense coupled with the necessary humility to focus on making your book what you want it to be. I was extremely impressed with Elizabeth’s ability to deduce what I was ‘going for’ in my book and then tailor all aspects of her editing and suggestions to target this goal. In hiring Elizabeth you’re not just paying for someone to be the robotic grammar Nazi you could probably use editing software for, nor are you getting advice from a know-it-all peer that wants you to write an entirely different book more similar to theirs. You are instead hiring a true team member, one who has the skill and instincts to help you achieve your goal. At any stage of your manuscript, whenever you’re ready to start bringing your vision into reality I highly recommend Elizabeth’s services.” — James R. Duncan (Blood Republic)

“At some point in the revision process, writers inevitably lose sight of the words they’ve written. The sharp eye and mind of Elizabeth White can help you see your work anew. She tells you where you’ve done your job well, and where you’ve made a mess of things—story notes, line edits, fact checking, you name it. And all this feedback comes with the vibe of a smart friend who gets what you’re doing, as opposed to a ruler-snapping nun who jumps in your face every time you use a comma incorrectly. But it’s not just the editing that makes her services so valuable; it’s also the encouragement of a highly astute reader that makes your vision clearer than ever.” — Jeff Hess (Author, Cold War Canoe Club, Beachhead | Editor, Home of the Brave)

“Choosing an editor is tough. It’s supposed to be. You want people on your team who are as passionate about your work as you are. I chose Elizabeth because she specializes in crime fiction (among other genres) and I wanted not only a solid editor, but also someone who knew the genre conventions and had a keen eye for what worked for crime readers and what didn’t. I reached out to several authors whom Elizabeth had worked with, and each one said the same things: she was easy to work with, and that she made their work stronger. It didn’t take much convincing for me to give her a shot. She edited my third Mr. Finn novel, The Prison Guard’s Son, and she delivered. She surprised me several times with her comments and level of detail. In short, she knows her stuff, and she made me look like a better writer, something I probably won’t admit outside of this testimonial. If you’re looking for someone to substantiate how wonderful your writing is, move along because that’s not what Elizabeth does. Instead, she’ll provide the critical eye that you need. She’ll ask the right questions and poke holes in your work. And then she’ll help you fix it. And that’s what a damn good editor should do.” — Trace Conger (Shamus Award-winning Mr. Finn crime series)

“Writing a novel is hard work and not for the faint of heart. However, with Elizabeth on your team you can rest assured that your work has been examined and dissected carefully by a professional of the highest order. It only took one novel for me to realize that once Elizabeth brings her many talents to bear on my manuscripts the finished product will stand up to scrutiny from that most difficult critic of all—the public. I have received many compliments on my ‘fine writing,’ and I know these compliments are a direct result of Elizabeth’s magic touch. You’ll not find a more gifted editor.” — Florence Love Karsner (Highland Healer series)

“Whether you’re putting your stuff out there on your own or sending it out into the world of agents and publishers, you need to have your work as close to perfect as humanly possible. I’ve worked with Elizabeth on both self-published and traditionally published books. Each time I found her to be extremely professional, timely and she provided a great knowledge of the genre of crime fiction, as well as fixed my grammatical travesties. I could go with any number of people to correct my spelling, but Elizabeth gave my writing a bit more that I feel really helped push it to its final stage.” — Mike McCrary (Remo Went Down, Genuinely Dangerous, Remo Went Rogue)

“I’ve had the great pleasure of working with Elizabeth on projects ranging from flash fiction and short stories to a full-length novel. Each time my expectations were surpassed. Elizabeth’s professional critiques not only improved each work, but also my writing in general. She goes beyond the prose, fact checking and providing insightful commentary on plot, character and the like. I very much look forward to continued work with Elizabeth, and I highly recommend her editing services to other writers.” — Christopher Irvin (Burn Cards, Federales, Anthony Award-nominated Safe Inside the Violence)

“A few pertinent facts; I am dyslexic as hell. I have a strong sense of my voice as an author and don’t like it being f’d with. Elizabeth covered my ass. When line editing she was amazing at discerning grammatical errors from choices of style. Her fact checking was invaluable. I had a scene where my protagonist is jumping between two rooftops. She actually went and measured how far she could jump, then had her husband do the same—I was off by feet. That may seem silly, but facts like these, when gotten wrong, create small tears in the reality for the reader. She was also a great help in tracking inconsistencies. All that, and yet her greatest strength is her editorial vision. I wouldn’t send out a ms without passing it by her first, she is that good.” — Josh Stallings (Anthony Award-nominated Young Americans, Moses McGuire series, Anthony Award-nominated All the Wild Children)

“It can be a cold, hard world out there for writers who choose to go it alone without the professional supports a publisher can provide. Finding the right person to tackle your work can be critical in such a situation. I was lucky enough to find Elizabeth willing and able to give my self-published work a much-needed boost, pointing out things to fix I never thought to (or could) notice. You don’t have to work in a vacuum or lose the benefit of an expert eye, because Elizabeth is there to help you up your game.” — Sam Hawken (Walk Away, The Night Charter, CWA Dagger Awards-nominated The Dead Women of Juárez and Juárez Dance)

“Quite honestly, I have only brilliant things to say about Elizabeth A. White—she has my recommendation 110%. Passionate about her literature, Elizabeth is equally adept at selection of same, and has a canny understanding of diverse genres and progressive directions as much as for a fine traditional read. With my book One Hundred Years of Vicissitude, Elizabeth not only took on the challenge of an unsung, as-yet-unpublished manuscript, but gave some fantastic advice and feedback. I trust her opinion and believe she truly does have her finger on the pulse of cutting edge contemporary literature, as well as a good crime romp.” — Andrez Bergen (One Hundred Years of Vicissitude, Who is Killing the Great Capes of Heropa?, Depth Charging Ice Planet Goth)

“She’s VERY insightful, and whatever she says about my books–good or bad—I always feel like she nailed it. I’d recommend her for anything, but especially if you’re looking for an editor for mystery/crime/thriller fiction.” — Jeff Strand (Bram Stoker Award Finalist Pressure, Dweller, Andrew Mayhem series)

“I’ve found Elizabeth to care deeply about books and to provide thoughtful and inspired analysis of what she reads. It has been a pleasure working with her.” — Lou Aronica (Publisher, The Story Plant)

“Elizabeth’s frontwards and backwards understanding of crime fiction—especially emerging trends—coupled with her ability to analyze and articulate fine points, makes her a reviewer that I trust without pause. Her gift for authentically engaging in online discussions across a variety of social media platforms is a welcome addition to a town square often filled with shouters and hucksters.” — Benjamin LeRoy (Publisher, Tyrus Books)