Good Questions

Developmental editing focuses on the big-picture elements of your story: structure, plot, character development, pacing, voice, themes, worldbuilding, and how all of these work together. It’s not about fixing grammar or polishing sentences (that’s copyediting and proofreading, which come later in the process).

That said, while a developmental edit isn’t a copyedit, I will give you guidance on your prose: how to make your writing stronger, clearer, and more vivid at the sentence level. Good storytelling and good writing go hand in hand.

Think of it this way: if your novel were a house, a developmental editor would look at the architecture, the layout, and whether the foundation is solid. I also bring my dual lens to every manuscript, so alongside craft feedback, I’ll help you think critically about representation, unconscious bias, and how to create authentic, diverse characters and worlds.

Not at all. In fact, many of the writers I work with have had accomplished careers in other fields and have carried a deep desire to write for years: a desire they’re finally ready to do something about. They bring intelligence, life experience, and real commitment to their writing. What they often haven’t had is the chance to study fiction craft.

That’s exactly why I work the way I do. I don’t just tell you what to fix. I explain the why: the craft principles behind the feedback, so you genuinely understand and can carry those skills forward. Think of it as getting a personal writing professor, not a report card.

I work with literary fiction, upmarket commercial fiction, and genre fiction that engages meaningfully with social themes. Think stories that explore identity, justice, power, culture, or the complexity of human experience. If your story is in that territory, we’re likely a good fit.

If you’re not sure whether your project is right for me, get in touch. I’m always happy to have a conversation about it.

A manuscript critique gives you a detailed editorial letter covering the big-picture elements of your story: what’s working, what needs rethinking, and clear suggestions for revision. It’s ideal if you want a thorough overview and a roadmap for your next draft.

A full developmental edit includes everything in a manuscript critique, plus detailed in-line comments throughout your manuscript. This means you get both the big-picture perspective and specific, page-by-page feedback showing you exactly where and how to strengthen your story. It also includes the option of a follow-up consultation.

You’ll receive a detailed editorial letter: a structured, in-depth document that covers every major element of your story. This isn’t a few paragraphs of vague encouragement. It’s typically 5 to 8 pages for a manuscript critique or 8 to 12 pages for a full developmental edit, covering structure, character, pacing, voice, themes, representation, and more.

Every piece of feedback comes with an explanation of why it matters and practical suggestions for how to address it. For full developmental edits, you’ll also receive in-line comments throughout your manuscript, so you can see exactly where specific issues arise and how to work with them.

Two things set me apart. First, my dual lens: every manuscript gets feedback through the combined focus of writing craft and inclusive storytelling. Most editors focus on one or the other. I integrate both, because better representation makes for better storytelling.

Second, my teaching background. I’ve spent 20 years helping writers understand fiction: not just what works, but why it works. My editorial feedback is designed to teach you, not just tell you what to change. The goal is that you finish our work together not just with a stronger manuscript, but with a deeper understanding of craft that carries into everything you write next.

It means I’ll help you think critically about how your story represents people and the world. This might include looking at whether diverse characters are drawn with depth and authenticity rather than relying on stereotypes, whether the power dynamics in your story are intentional or unconscious, whether certain perspectives are centred while others are marginalised, and whether your worldbuilding reflects the full richness of human experience.

This isn’t about policing your imagination or ticking a diversity checklist. It’s about craft. Inclusive storytelling makes your fiction richer, more truthful, and more resonant. I draw on specialist training in gender and postcolonial studies and a background in anthropology to offer this perspective, and I always deliver it practically, with warmth, and without judgement.

My current pricing:

• Manuscript Critique (up to 60,000 words): €1,000 to €1,200

• Full Developmental Edit (up to 60,000 words): €1,800 to €2,200

• Hourly Consultation: €70 per hour (1-hour minimum)

• For manuscripts above 60,000 words, I provide a custom quote.

Final pricing depends on manuscript length and complexity. I’m always transparent about costs before any work begins.

For industry context, you can check the Editorial Freelancers Association rate guidelines at the-efa.org.

A manuscript critique typically takes 4 to 5 weeks. A full developmental edit takes 6 to 8 weeks, depending on manuscript length and complexity. I’ll always give you a clear timeline before we begin, and I’ll keep you updated if anything changes.

I work with a small number of clients at a time, which means your manuscript gets my full attention. Good editorial work can’t be rushed, and I won’t pretend otherwise.

Completely. And honestly? I understand that feeling more than you might expect. I know what it’s like to hand over something you’ve poured your heart into and wait for someone to tell you what they think. It takes real courage, especially with a story that matters deeply to you.

Here’s what I want you to know: I’m not here to judge you or grade your work. I’m here to see the story you’re trying to tell and help you tell it with more skill and confidence. My feedback is always honest, always constructive, and always delivered with genuine care for you and your story. I have never worked with a manuscript that didn’t have something worth celebrating.

Yes, and I especially enjoy it. There’s something wonderful about working with someone discovering the craft of fiction for the first time. Many first-time novelists are people who’ve had full, rich careers and are now turning to a creative dream they’ve carried for years. What they bring is intelligence, life experience, and real commitment. What they often need is someone to help translate that passion into craft. And that’s exactly where I come in.

The feedback is yours to work with at your own pace. I’d recommend sitting with it for a day or two before diving into revisions. Let it settle. If you’ve booked a full developmental edit, you can use your optional follow-up consultation to talk through your revision plan and ask questions.

If you’d like additional support after that, such as a follow-up critique of your revised manuscript or ongoing coaching conversations, we can always discuss that.

I’m not a sensitivity reader in the traditional sense. Sensitivity reading is a specific, separate service typically provided by someone with lived experience of the identity or community being represented. What I do offer, as part of my editorial feedback, is guidance on inclusive storytelling drawn from my specialist academic training.

I can help you identify unconscious bias, challenge problematic tropes, and think more critically about representation. For some manuscripts, I may also recommend engaging a sensitivity reader with relevant lived experience as part of your revision process.

I’m based in Oslo, Norway, but I work globally. All of my editing is delivered digitally, and I communicate by email and video call. Time zones have never been a problem. We’ll find a rhythm that works for both of us.

Get in touch through my contact page. Let me know what you’re working on, where you are in the process, and what kind of support would be most useful. I’ll get back to you and we’ll take it from there.