Narrative Ecology™ is my proprietary approach to manuscript development that applies ecological systems thinking to storytelling. Instead of treating story problems as isolated craft issues, I examine how your plot, characters, worldbuilding, themes, and more interact as a dynamic system—identifying what's thriving, what's struggling, and what needs adjustment to help your story flourish. This methodology draws from my 25+ years as a professional horticulturist, where I learned to diagnose problems by observing how elements compete for or support each other within a larger ecosystem.

Each editing level serves a different purpose:

Developmental editing addresses the big-picture elements of your manuscript—plot structure, character arcs, pacing, worldbuilding consistency, thematic coherence, and overall narrative flow. This is where we ensure your story's foundation is solid before refining the prose.

Line editing focuses on the sentence and paragraph level—improving flow, rhythm, word choice, and clarity while preserving your voice.

Copyediting handles grammar, punctuation, spelling, consistency in style and formatting, and factual accuracy. This is the final polish before proofreading.

Most manuscripts benefit from developmental editing first, followed by line editing, then copyediting. However, the right sequence depends on your manuscript's specific needs.

A Story Ecosystem Assessment™ is my diagnostic evaluation service for manuscripts that feel "stuck" despite multiple revisions. Rather than providing a chapter-by-chapter critique, I examine your manuscript as a living system to identify where energy is flowing well and where it's being blocked or misdirected. You receive a detailed report identifying systemic issues and a clear path forward for revision.

My primary specialties are fantasy, romance, and romantasy—particularly projects involving complex worldbuilding, large casts, series development, and botanical or ecological themes. I also work with historical fiction, cozy fiction, and several nonfiction categories. For a full list of genres I work with, visit my Genres Reviewed page.

Absolutely. The majority of my clients are independent authors at various stages of their publishing journey—from debut writers working on their first manuscript to experienced authors managing multi-book series.

Timelines vary based on manuscript length, complexity, and my current workload. Generally, a full developmental edit takes four to six weeks. A Story Ecosystem Assessment is typically faster. I recommend reaching out well in advance of any deadlines you're working toward, and I'm always happy to discuss your timeline during an initial consultation.

Yes. I understand that professional editing is a significant investment, and I want it to be accessible. I'm always happy to discuss payment plan options—just bring it up whenever it feels right, whether that's during our initial conversation or further along in the process.

Yes. For developmental and line editing, and copyediting projects I offer a sample evaluation of your opening pages so you can experience my approach before committing to a full project. Proofreading isn’t included—its scope is too narrow and mechanical enough that a sample isn’t necessary. Ask about a sample during our initial consultation.

No—and I’d be wary of any editor who does. What I do guarantee is a clear, written quote before any work begins, so you know exactly what you’re getting and what it costs. What happens with your manuscript after that—whether you query agents, self-publish, or something in between—is up to you and the market. My job is to make sure the book itself is as strong as it can be.

I hear this a lot, and I get it. Professional editing is a real investment, especially when you’ve already spent months or years writing for free. 

Here’s what that price is actually paying for: a full developmental edit or copyedit isn’t a quick read-through. I’m spending dozens of hours inside your manuscript—tracking plot threads, character consistency, timeline logic, and prose-level issues, sentence by sentence—then compiling all of it into feedback you can actually use. The rate isn’t inflated; it’s just an honest reflection of the hours a through edit genuinely takes. 

I also know cost is a real barrier for a lot of authors, which is part of why I offer payment plans (see above), and why I offer a sample edit for developmental editing, line editing, and copyediting projects so you can see exactly what you’re paying for before committing to the full project. 

Pricing depends on your manuscript’s length, genre, and which level of editing you need. You’ll find specific price ranges on each service page: Developmental Editing, Line Editing, and Copyediting. If you’re not sure which level is right for your manuscript, that’s exactly what an initial consultation is for—reach out and we’ll figure it out together.

Because ecosystems and stories operate on surprisingly similar principles. My scientific training taught me to observe systems holistically—to see not just individual elements but how they interact, compete, and support each other. This lens reveals manuscript problems that a purely literary approach sometimes misses. And if your story involves botanical magic systems, agricultural worldbuilding, or plant-based themes, you get an editor who actually knows the subject matter.

No. I don't use AI on client manuscripts, and I never will—every edit you recieve is my own read and my own discernment. I do use AI for scheduling and admin work elsewhere in my business, and I'm neutral about whether you use it in your own process. Either way, I edit closely, so gaps and inconsistencies get caught regardless of how a draft came together. Read my full AI statement.

Start by looking past the credentials list. Genre expertise and experience matter, but the thing that actually determines whether and editing relationship works is fit—do you trust this person to be honest with you, and can you work the way they work?

Here's what I think you should look for, and what I try to offer: thoroughness that goes beyond surface-level notes. I don’t just flag what isn’t working, I explain why, and I provide options so you can decide what’s right for your story, not what’s right in the abstract. And I treat editing as collaborative, not transactional. That means working around your timeline and payment situation where I can, and staying available for questions throughout, not just handing back a manuscript and disappearing.

A few concrete things to ask any editor you’re considering: Do they explain their reasoning, or just mark changes? Are they willing to talk throught feedback with you, or is communication one-directional? Do they offer a sample edit so you can see their approach before committing? 

If those questions matter to you, I’d love to talk.