Editorial Services
The right editorial support depends on where you are in your writing journey and what you and your manuscript need most. Whether you’re still drafting, have a complete manuscript that isn’t quite working, or are ready for final polish, finding the right level of editorial collaboration—and the right collaborator—can be the key to helping you move forward.
Why Hire an Editor?
Even the best writers can’t always see their own work clearly. After drafting and revising, it’s hard to step back and know how the story lands with a fresh reader. An editor offers that outside perspective, pointing out what’s working, where readers might get lost, and how to shape the book you want to write.
Sometimes that means a manuscript assessment: big-picture feedback on structure, character, pacing, or theme. Other times, it’s about line-level editing with a focus on sharpening sentences, clarifying language, or catching errors you’re too close to see. Coaching can also be part of the process, giving you strategies to keep writing with confidence.
And editing doesn’t stop at books. I also work with writers on query letters, synopses, short fiction, creative nonfiction, and professional materials. Whether you need a roadmap for revision, a final polish, or simply a trusted reader who can meet you where you are, another set of eyes can make all the difference.
Who I Am and What I Do
Hi! I’m Ashley.
I’m a professional editor and writer with a master’s degree in creative writing and 15+ years of professional editorial experience. A working writer myself (see my writing page for more on that), I currently serve as the Editorial Director at a content marketing agency, and I’m a longtime freelance editor dedicated to collaborating with creative writers, agents, and small presses on book-length manuscripts.
My professional literary background spans traditional publishing, small presses, and indie platforms. I spent seven years as Managing Editor of Prairie Schooner, a nearly century-old literary quarterly at the University of Nebraska, and of the African Poetry Book Fund. Earlier in my career, I worked with indie writers through Amazon’s KDP and CreateSpace and interned with Milkweed Editions. I’ve served on NEA grant review panels, screened manuscripts for national contests, volunteered with Best of the Net, and held editorial roles with journals including Pithead Chapel, Cola Review (formerly Yemassee), and Drunken Boat. In addition, I’ve partnered with publishing houses such as Turner Publishing—where I’ve delivered line and copy edits—and the History Press, where I previously proofread multiple titles.
With work experience ranging from traditional to commercial to indie/self-publishing to small presses and literary journals, I bring a unique range of experience, expertise in multiple editorial styles, and creative problem-solving skills to each project, along with a commitment to clear, compassionate communication and an eye for clean, concise copy. Read more about me.
Editing & Coaching Services
Editing can mean many things, from high-level feedback on structure and character to sentence-level polish, and not everyone uses the same vocabulary to talk about it. Here’s how I define the services I offer, so you can choose the kind of support that fits your manuscript best. Most writers benefit from starting with a manuscript evaluation or developmental edit then moving to line editing and copyediting in later drafts.
Not sure which level of editing fits your project? I’m happy to discuss your goals and recommend the right approach.
Coaching & Critiques
If you’re drafting and think you’d benefit from regular feedback, I offer chapter critiques (up to 3,000 words). You’ll get comments in the margins and tracked edits, plus the option of a recorded video walkthrough (about 15 minutes). This is best for writers looking for ongoing accountability, encouragement, and clear guidance on a regular cadence as they make progress on their manuscript and build their writing practice, rather than a one-time edit.
Manuscript Evaluation
An editorial evaluation gives you a big-picture roadmap for revision. I read your full manuscript and send back a detailed letter (usually 3,000–5,000 words) that covers structure, plot, pacing, and character development. You’ll finish with a stronger sense of what’s working and where to focus next. I also include a 30-minute Zoom call to talk through the feedback.
Developmental Editing
Developmental editing (sometimes called substantive editing) is the most intensive level of feedback. I look at the book as a whole—plot, structure, character arcs, pacing, and scene-by-scene flow—while also paying close attention to the language on the page. It’s a deep dive that challenges every layer of the manuscript, so it’s not for the faint of heart, but I aim to provide concrete suggestions for strengthening and making it more compelling.
Line Editing
A line edit focuses on how the writing works at the sentence and paragraph level. I won’t restructure your story, but I will sharpen your style—polishing awkward phrasing, smoothing transitions, and helping your voice shine through with clarity and rhythm. If I spot anything higher-level, I’ll flag it with a comment. Think of the goal as elevating the craft of the prose itself once the story foundation is in place.
Copyediting
Copyediting is about technical precision. I go line by line to catch grammar, spelling, punctuation, and style issues while also flagging inconsistencies in details or continuity. Unlike in a line edit, I won’t reshape the sentences themselves but focus instead on making sure they’re clean, correct, and consistent. This step is best once you’re confident the story and language are where you want them, and you’re looking for a clear-eyed polish for consistency aligned with the dominant style you’ve already established.
Proofreading
Proofreading is the final clean-up detail, ideally after your manuscript is typeset or formatted. I scan for any lingering typos, formatting issues introduced during design, or small errors that might have slipped through earlier stages. It’s the last defense before your book goes to print or digital release. This service is best for publishers and authors planning to self-publish; writers hoping to query or publish traditionally will typically rely on their publishers for proofreading.
Content Marketing Services
While the bulk of my freelance work focuses on long-form writing and editing, I do take on occasional marketing consulting work, as well. I’m available to advise on content marketing production planning, thought leadership, and authority books to support brand-building initiatives. I’m especially interested in advising writers, other working artists, and nonprofits on content strategies to boost online visibility, and in helping business leaders find the book that might be hiding somewhere inside decades of experience. Thanks to my agency experience, I’m pretty conversant across multiple industries. In short: this isn’t really what I’m here for, but if it’s what you’re here for and you ended up here anyway (and have stuck around this far), I’d love to talk shop.
The Practical Stuff
Every project is unique, but I want the logistics to be as clear as the editing itself. Below you’ll find some details about how I structure timelines, rates, and next steps so you know what to expect when working with me.
Timing and Availability
Each project requires its own timeline, and turnarounds can vary from a couple of days to a few months, depending on the scope of the edit and the other projects I have on deck. I’m always open to inquiries about potential collaborations. If you’re interested, please email me with more information about your project, and I’ll be happy to provide a free consultation and quote. I love to have as much advance notice as you can give: if you think you might need an editor in October, start asking around for editors in late August, if you can swing it.
Rates
I typically align my rates with the Editorial Freelance Association’s rate chart recommendations. I also find the Cost of Editorial Services by Genre calculator built by Reedsy (scroll down, it’s there!) to be quite informative, too. For a ballpark sense of rates, proofreading or copy editing typically starts around 2 cents a word, line editing around 3 cents, developmental editing around 4 cents, and so forth. Every writer and genre is different, though, so if you can give me a sense of what you’re looking for in your editorial collaboration and a sample of your work, I’ll quote you a custom rate based on your needs. If budget’s a concern but my experience and approach sound like a good fit for your project, I’m happy to talk about what I could offer at the rate you’re able to work with.
Empathetic editing— real, practical results.
Think editorial support could help you move your project forward? I’d love to talk through how I could help.
Frequently Asked Questions
Find answers to some common questions that come up in queries. Yours not covered here, or you just want to talk shop? Get in touch →
How do I know which type of edit I need?
If you’re unsure, don’t worry—that’s common. I’ll ask a few questions about your goals, stage of drafting, and budget, and I’m happy to look at a short sample, too. Then, I’ll be glad to make recommendations on what level of editorial support would be the best fit.
Do you edit all genres or specialize in certain ones?
I work across a wide range of fiction and nonfiction, but I most often edit literary fiction, women’s fiction, and memoir. I’m also experienced in cozy mysteries, business leadership, and (surprise!) steamy romance. If I’m not the right fit for your genre, I’ll be honest about that up front.
What’s the typical turnaround time?
It depends on the scope and length of your project. Smaller critiques might take a week or two, while full manuscript evaluations or developmental edits can take several weeks. I’ll always give you a clear timeline before we begin, and as a former managing editor, I live and die by deadlines.
Do you offer sample edits before we commit to a full project?
Yes. I’m happy to do a sample edit of up to 1,000 words (ideally not the first chapter, which we all tend to polish and isn’t usually the best representation) so you can get a feel for my editing style and see how I’d approach your manuscript. This also helps me scope time and recommend the right level of service.
Can you help me get my book published once the editing is done?
No, sorry. While I do work with some publishers, I’m not the kind of editor who pulls those kinds of strings. I keep my focus on editing and helping you strengthen your manuscript. While I don’t act as an agent or publisher, I can sometimes point you toward helpful resources for querying or next steps.