Lisa Kaitz – Editor

Starting from a spark of an idea and arriving here with a story is already an extraordinary accomplishment!

MY PHILOSOPHY
On my business card, I included a saying from Arthur Plotnik that thrilled me when I read it because it perfectly encapsulates my approach: “You write to communicate to the hearts and minds of others what’s burning inside you. And we edit to let the fire show through the smoke.”

HOW I CAN HELP YOU
There are algorithms that can spot misspellings or suggest a word and they’re helpful, but only a human can read for context—distinguishing between homophones or noticing any flawed logic, for example. That’s where I come in, identifying and quietly disarming any land mines in a manuscript.

Experience is important, because what you do is special. There are creative standards in fiction that don’t apply elsewhere. (For instance, ample leeway is allowed for fragmented sentences.) And it’s only through years of hands-on copyediting that I can carefully handle such subtleties, knowing when to leave something alone and when to modify it.

But rest assured, I’m not a failed writer looking to make my mark on your hard work. I’m an enthusiastic professional who has found an outlet for language skills beyond pointing to typos in ads or on storefront windows. I love what I do, and I’m constantly improving by attending classes, reading not only within my field but for pleasure, and participating in social media editing and writing groups.

MY BACKGROUND
I have nearly 70 books in my portfolio, including international bestsellers Simon Gervais and Manel Loureiro, New York Times bestselling author Tanya Anne Crosby, and former Random House and Hearst powerhouse Howard Kaminsky. I specialize these days in thrillers and mysteries, but I’m open to just about everything. I’m a naturally curious person, so I enjoy the eclectic possibilities of editing all kinds of fiction.

MY SERVICES
Copyediting is about making thoughtful adjustments—kicking aside what doesn’t quite work, tightening everything up, and eliminating errors and inconsistencies so a reader isn’t distracted, allowing them to absorb and enjoy what you’ve worked so hard to convey. I understand it can be difficult to think about grammar and mechanics when you’re just trying to get a character from one place to the next. You were rightly concentrating on the creative process. Now it’s time to relax and let me deal with the nitty-gritty. Here’s a breakdown of the sentence-level particulars I focus on (in U.S. English):

~Correcting punctuation, spelling, grammar, syntax, capitalization, and word usage while preserving the meaning and voice of your original text

~Eliminating repetition, redundancy, wordiness, and incompleteness

~Substituting weak words or phrases with stronger alternatives

~Addressing basic point-of-view issues

~Fixing or indicating flawed logic (a character suddenly has red hair or walked through a locked door)

~Reading for overall clarity and sense with regard to the target audience

~Adhering to or imposing a consistent style, and creating a custom style sheet to maintain your preferences

~Performing light fact-checking (looking up the spelling of "Kathmandu" but not checking on how a character would get from there to San Francisco—authors are wholly responsible for facts)

~Rearranging the order of words or sentences within paragraphs to better convey a point

~Deleting or querying nonessential elements for better flow

~Making sure dialogue tags are verbal (from “Are you kidding me?” she laughed — to "Are you kidding me?" she said with a laugh)

~Adjusting dialogue on occasion to sound more like natural speech, unless it would undermine a character (using more contractions, for example)

~Ensuring any sequencing is accurate (where body parts go during a fight scene)

~Identifying language differences: localizing words not familiar to a U.S. audience (changing "petrol" to "gas")

~Flagging for possible biased or outdated language, as well as cliches

---> Two things to note <---

1. I don't provide developmental editing, meaning "big picture" stuff: identifying and solving problems in the text regarding plot, story arc, timelines, characters, etc.; reorganizing or rewriting whole paragraphs, sections, or chapters; suggesting further topics…yada-yada-yada. All this should be addressed during an early editing stage, before it gets to me. So when you request my services, it's strictly for copyediting.

2. I don't work on horror or material that contains very graphic descriptions of violence; however, mentioning in the manuscript that such things have occurred is fine. (If you're unsure, feel free to contact me through Reedsy's email.)

All work is strictly confidential and respected. I mean it.

FEES
Once payment has cleared my bank account, I can begin. Please be sure that you're all set up with Stripe so payments can go smoothly. The industry’s minimum for fiction copyediting starts at $0.02 per word and ranges to about $0.04. There are a number of factors I consider when figuring out a quote. How complex is your project? If it’s a smooth read from the outset—hopefully I can tell by your excerpt—I’ll quote on the lower end. If I anticipate lots of corrections or fact-checking, I’ll quote higher because it’s more time-consuming. If your story involves world-building or an intricate storyline, for example, this will factor in too. I also account for administrative work. Other editors may quote lower to attain steady work, but my fees represent the time and skill involved to give your manuscript the treatment it deserves. This isn't a side gig for me; I copyedit for a living.

LISA, THE PERSON
After spending a huge chunk of my misspent youth in New York City, I moved with my husband and young son to Portland, Oregon, where it rains only half as much as I thought it would—go figure. We also have two cats because…of course. I relish cracking open a good book (big surprise), listening to Armchair Expert and This American Life, rearranging my living room, playing Legos, and whipping up something in the kitchen, although that's really more about eating. Hello, cake!

WHAT'S NEXT
Let’s talk about your story and figure out how we can achieve your vision. I look forward to meeting you!