“Teresa edited my YA fantasy, The King of Ink and Shadows, and I cannot praise her highly enough — she was professional, timely and kept in touch so I always knew what was going on. More, though, she absolutely got the book and all her suggestions were relevant and useful in terms of what I wanted to write. She used her wide and impressive general knowledge to help me enrich my world in ways I hadn’t considered, but which made perfect sense. I don’t think it was coincidental that the manuscript she edited was the one which got me an agent!”
“I contracted Teresa to provide a developmental edit on my first novel, Abendau’s Child. I was in the position where I’d had a lot of read throughs and was presenting what I considered to be a reasonably polished manuscript.
Teresa was very thorough. She didn’t provide a line edit, but gave feedback on my overarching style of writing and any themes.
Where she was particularly helpful was in helping develop the richness of my world. She gave an indication of small descriptive sections I could add – like describing insects in the jungle – without removing the fast pace of my manuscript. She was very sensitive to what I wanted to achieve and careful not to remove what was working well.
She was also incredibly helpful in explaining character arcs, particularly those for the secondary characters and giving little hints about how to expand these, again without getting bogged down in detail and slowing the book.
Her critique was given in a professional and supportive manner, and I was able to go to her with questions as I did a review of the manuscript based. The finished manuscript is much stronger, but, crucially, the advice given has been carried into my next manuscripts and strengthened those. That the advice wasn’t prescriptive, but rather left up to me to decide how to implement it, meant the learning I took from it was personalised and much stronger for it.
For any writer who wishes to develop their craft, I would absolutely recommend Teresa’s services.”
“Teresa’s edit of my novel was incredibly thorough, much more so than other, more expensive edits I’ve paid for. It was obvious from her feedback that she’d given the characters and plot a great deal of thought, making sure she understood them before making her comments (which included useful character descriptions). Given the novel’s complexity, this showed real professionalism. It also meant her suggestions cut right to the heart of where something didn’t quite work, and following them improved the book markedly. She also made sure to point out where she found something worked well, which was very encouraging. I would have no hesitation in using her again or recommending that others do so.”
“I have found Teresa’s advice more than helpful. Indeed, I’d go so far as to say it has been necessary: I’ve had stories that would never have been accepted, yet did thanks to her insight. Decades of experience at very reasonable, nay, crazily affordable prices. Your story looks weak, poorly? Go visit Dr Edgerton.”
What makes Teresa’s editing services especially valuable for an aspiring fantasy writer like me isn’t just her decades of publishing experience, but also a lifetime involved with historical re-enactment groups. This means that not only can she apply solid editing techniques to a manuscript, in terms of plot development, character development, dialogue, prose, grammar, etc; but she can also apply her insight into the practicalities of life for people in comparable periods. The result is that not only do you get an incredibly accomplished editor to work on the text, but someone who truly understands what you are trying to accomplish in terms of your characters and world building.
Teresa twice helped me with my SF space opera. On the initial occasion she critiqued the first third of my book, providing a 6650 word critique and also annotating the m/s itself. On the second, she critiqued just the revamped opening of 10,000 words, and again she annotated the m/s with comments but, especially helpful for me, this time she incorporated her critique into a document I had prepared setting out various options for the opening scenes, giving me her views on each. I mention this to show that she is evidently not tied to one particular method of working, but will provide whatever help the individual needs in the most appropriate way for that person.
As for her comments, they were illuminating, insightful and helpful beyond belief. Not only was she able to identify and explain why something was a problem, she went on to offer suggestions as to how to overcome it — for instance moving a scene to another chapter and taking the characters out of a room and into a more active environment.
Teresa didn’t line edit, but she did highlight a stylistic trick which needed to be corrected. She also pointed out odd occasions when my writing was not as polished as it should have been. She sees the detail, not only the overarching issues.
As importantly, Teresa gave praise where she thought it was due — this ranged from complimenting me on individual pieces of imagery or well-written description, to saying how gripped she was in certain scenes, to expressing delight at a plot twist she hadn’t expected.
One small caveat — Teresa tells it like it is. If the work isn’t good enough, she will say so. However, she is immensely supportive of anyone who has the urge to write. To me, this is far more valuable than unthinking flattery.