Script and Book Editing Services
Script and book editing for novels, comic books and screenplays. Structural editing, line editing and script review from a team that publishes its own catalogue.
Every day brilliant authors are working on great stories that lack the fine details needed to reach the audience they deserve. That is where we come in.
We work with you to make sure the language is clear, the story is easy to follow, and — above all — that a reader stays with it to the end. We edit for our own catalogue and we edit for authors taking a book to market themselves, and the standard is the same either way.
What editing actually means
“Editing” covers several different jobs, and knowing which one you need saves you money.
Structural editing
The big one, and the one most manuscripts need first. Does the story hold together? Does the middle sag? Is the thing you think the book is about actually the thing on the page? A structural edit can mean moving chapters, cutting a subplot, or telling you that your second act starts in the wrong place.
This is the most uncomfortable stage and the most valuable. There is no point polishing sentences in a chapter that is going to be deleted.
Line editing
Once the shape is right, the sentences. Rhythm, clarity, the tic every writer has and cannot see. A line edit is where a competent manuscript becomes one that reads easily — and ease is what keeps a reader turning pages.
Copy editing and proofreading
Grammar, spelling, consistency, house style. Whether your character’s surname changes spelling in chapter nine. Unglamorous, and the errors readers write reviews about.
Script review
Screenplays and comic scripts have their own problems. A comic script has to be drawable: a panel description that cannot be rendered is a problem for the artist and eventually for the reader. Having spent years on both sides of that handover, we read scripts with the artist in mind.
Why a publisher edits differently
An editor at a publishing house reads with one question underneath all the others: would we publish this? That question is harder than “is this correct”, and it produces more useful notes.
We run a working catalogue across graphic novels and prose fiction. The people who edit for you are the people who decide what we publish, which means the feedback you get is the feedback a manuscript gets in an acquisition meeting rather than a proofreading pass.
What you can expect
A manuscript comes back marked up, with a separate letter covering the things that do not belong in a margin note: what the book is doing well, what is holding it back, and what we would do next if it were ours.
We will be straight with you. If a book is nearly there we will say so, and if it needs another draft before an edit is worth paying for, we will say that too, because taking money to polish a manuscript that needs rebuilding helps nobody.
Editing is where the money is best spent
Authors routinely spend on a cover before they spend on an edit. It is an understandable instinct — the cover is visible — but a good cover sells the first copy and the writing sells every one after it. Reviews, word of mouth and a reader who finishes the book and looks for the next one all come from the text.
If your budget only stretches to one thing, make it the edit. Then talk to us about cover illustration.
Getting started
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Effective copy leads to great stories, and great stories lead to engaged fans.
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Have a story to tell?
Send us the manuscript, the script, or the sketch on a napkin. We will tell you honestly what it needs.