I find the load-bearing problem.

I work in professional publishing as a development editor, collaborating with authors on book-length projects from early draft through revision — clarity, completeness, and reader experience, chapter by chapter, on a schedule. Alongside that I have more than a decade of writing and editing across fiction and nonfiction: novels, short fiction, technical content, marketing copy, and interactive narrative.

That combination is the unusual part, and it is deliberate. Most editors have only ever seen one side of it. A chapter that loses a reader and a tutorial that loses a reader fail for the same reasons — an unearned leap, a promise made and not paid, a reader who no longer knows why they should care. Structure is structure. The genre conventions are the part you learn; the discipline transfers.

How I work

Collaborative, practical, and development-focused. My aim is to help you understandwhy something is not working and what to do about it, rather than simply marking it up. An editorial letter you cannot ask questions about is half a service, so a conversation is part of every developmental engagement.

I work in whatever you already use — Word with tracked changes, Google Docs with suggestions, or plain files if you are drafting in Markdown or AsciiDoc. Changing tools mid-book is a tax on the author, and it is not one I am going to charge you.

I will not sand your voice off. That is the fear most authors have about hiring an editor and it is a reasonable one — plenty of editors do exactly that. What I cut is the scaffolding you needed while you were thinking and do not need now that you have finished. What stays is you.

I am especially interested in projects that pair strong emotional arcs with clear structural intent, in either direction: a novel that knows what it is building, or a technical book that remembers there is a person reading it.

The technical side

I build small tools for my own use — companion apps, automation, a game project or two — in TypeScript, Godot, and whatever else the problem wants. None of it is a second career, and none of it is on this site as a portfolio.

It matters here for one reason only: when a manuscript arrives full of code listings, terminology, config files, and figure callouts, none of it frightens me, and it all comes back the way you set it. Working in Git, Markdown, and AsciiDoc is not a novelty I have to be walked through.

Away from the desk

Cats, anime, space opera, and anything science fiction that goes pew pew. Currently deep in Xianxia, LitRPG, and progression fantasy — which is genuinely relevant, because it is very difficult to edit a genre you do not read. Most of my fiction clients write in exactly the territory I read for pleasure.