Freelance Editor Showcase

Welcome to the Ruby Sisterhood Editor Showcase.

Editing. The Rubies can’t stress enough how important it is you have your work edited by a professional. We all think our babies are without flaws, but others do see the flaws. You want to make sure your work the best it can be before readers get their eyes on it. The goal so to entertain and receive great reviews. Editors help you achieve just that.

There has been a lot of chatter on many loops lately concerning editors and sensitivity readers. Several indie publishing loops have file sections where anyone can list their name and contact information, but with so many names listed how can a writer know which editors are honest, reliable, and totally awesome to work with? With those questions in mind, we asked the free-lance editors that we work with if they’d be willing to post on our blog today and we had a great response. I asked each editor to tell you about themselves, their business, and to answer a few questions. Below are their responses.  Enjoy, and remember to join us tomorrow when we discuss Editor Etiquette. 


Gina Bernal has 14 years of publishing experience, including editorial work for the Berkley Publishing Group; the Doubleday and Rhapsody Book Clubs; Harlequin’s Carina Press; as well freelance copywriting for Penguin Random House. She holds a degree in History and Literature from Harvard University. Her specialty is commercial genre fiction including, but not limited to: romance, urban fantasy, mystery/suspense, historical fiction, YA and women’s fiction. Editorial services offered are developmental/content editing, line editing, and copywriting. She is open to new clients, and rates will be discussed upon contact. Contact her at:

What is your best advice for authors in approaching an editor, Gina?

Come to an editor with a clear goal in mind, and don’t be afraid to ask questions, ask for a sample edit, etc. Be realistic about how much guidance you need before selecting an editorial service to contract. For example, are you the type of person that can take the suggestions of an editorial letter and run with them, or do you need a more detailed step-by-step breakdown?

Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?

I am always open to working with beginning authors who show promise. The most important thing to me, as an editor, in starting a new relationship with an author is feeling connected to their writing. I always ask myself, “Would I personally acquire this book for publication?”

How do you judge if you and the author are a good fit?

I look for a connection with their writing, whether that’s voice, story, or both. A lot of publishing is subjective, and I want to choose projects that I truly enjoy in order to provide the best editorial guidance I can to my clients.

How far in advance do you schedule clients? What is your expected turn-around time– You to author and author to you?

Depending on my schedule at the time an author approaches me, I have scheduled projects immediately or months in advance. Turnaround times are also often dependent on my schedule, the amount of work needed, or an author’s timeline, but a general estimate for developmental editing is approximately 2 weeks; line editing approximately 3 weeks.



I am an award-winning author of historical, urban fantasy, and erotic romance. I have been freelance editing for 5 1/2 years and have been a freelance editor for The Killion Group for more than 2 years. I’m happy to do developmental, line, and proof editing for most fiction and romance, preferring all subgenres of paranormal, historical, and suspense. Visit my website for more information at Please note, my website says I am no longer taking new clients directly, but if you are interested in my services, email me and mention the Ruby blog!

Jenn, what is your best advice for authors in approaching an editor?

Be specific in what you expect from an editor.  At the same time, understand what you may think is a proofread might actually be something more. Trust an editor to know what a story needs. Be aware that editing is a critical process. An editor is looking for what’s wrong with a story and/or ways to improve it. No matter how much it hurts or how long the revision letter, authors should not take it personally.

Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?

I do expect authors to have a certain level of skill. We all have weaknesses, but an author should at the very least know basic craft. In my opinion, if an author doesn’t have a grasp on grammar or point of view, has meandering goals/motivations/conflicts or nonexistent plots, then they are not ready for an editor. I can and do work with new writers but they have to be willing to learn and use the tools I give them.

How do you judge if you and the author are a good fit?

One way is to be excited by the author’s story and the author be excited by the edits I provide. It’s a genuine, mutual respect.

How far in advance do you schedule clients? What is your expected turn-around time– You to author and author to you?

I schedule a month to two months out, but can be flexible. Turnaround time would depend on the level of edits. A manuscript heavy on developmental edits will take longer than a light polish. My average time is 2 weeks.



I am the mother of three adult children and three grand-babies I don’t see often enough. Beginning in my teen years, I read until I exhausted a genre. About five years in I’d shift to another: paranormal to romance, to historic romance, to children’s, to YA, to suspense, to self-help, to thriller, to fantasy, to memoir/biography to… And that continued until I took editing courses and began to edit work for others.

Q: Who reads novels ten hours a day, every day, but seldom reads a published book? Me.

I have a BSc, a BA, Bed, MAEd (thesis Writing as a Social Act), and second MA without thesis (Critical Literacy). I completed a Certificate in Professional Writing and Rhetoric except for the course on writing press releases – I really wish I’d taken that one – and several additional courses on writing, creative writing and women’s studies. I was a career educator (primary to Grade 12) and then a college instructor in the area of adult literacy until I began taking editing courses while on sabbatical in 2005: Mt. St. Vincent and Ryersen University Publishing Program.

I’ve taken short courses through Editor’s Canada and given writing workshops on editing and have worked as a freelance editor for traditional publishers: Lachesis Publishing, Fernwood Publishing and Roseway Publishing and Harlequin Digital. I have also judged literary and fiction writing contests.

Now I have a small company, WindyWood Publishing. Through it I help local writers get their books into print and e-book formats. I also provide active and ongoing editorial support for several series writers in the States, Canada, and Australia.

I’ve edited 180+ books – through all three levels of editing – and I try to work on two to three projects at a time, overlapping different levels of edits. I take new clients occasionally.

I prefer to edit series of books and in these genres: Contemporary Romances, New Age Fiction, Thrillers, Historical and Fantasy, Contemporary fiction and Paranormal.

My website:

My contact information:

All rates can be viewed on my website  or discussed upon contact with clients.

Pat, what is your best advice for authors approaching an editor?

Read in your genre. Know what appeals to you as a reader. Apply that to your work. Take your work seriously and take it as far as you can on your own. Then find a good critique partner and revise with their suggestions in mind – only the ones you agree with and that strengthen your story. Find out who edits books you enjoy reading. Then approach that editor if you feel they would be a good fit for you, for your genre, for your writing style.

Realize a professional editor has only so much time to spend on your manuscript. If it’s thrown together, lacks logic, contains many errors or requires extensive revision, that will limit how far the editor can help you take your book. Also, realize editors are taught not to take on work that doesn’t appeal to them. So, if they can’t envision ways to help you make it better it’s one they’re likely to turn down. Make sure your editor likes your story and has a level of interest or excitement about working with you on it.

Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?

It’s so subjective. Basic writing skills, applied to a great story, can get my attention. If I see an easy fix – a way to address and strengthen skills with instruction – I might take a chance. Initially I read twenty pages of a manuscript to size it up – that’s about two hours of my time – before making a decision based on the writing and a concise summary. And I mean a summary, not the back jacket blurb. I need to know the ending too. If I accept the edit on the basis of 20 pages, but find the rest of the book does not meet expectations or style, I will step back and suggest another editor or writing coach.

I work with writers willing and open to learn and who demonstrate that during the process. I’ll take on tried and true authors, who’ve written successfully in one genre, received awards, and have worked with editors before, even if they are switching genres, especially if their intention is to begin a new series. I will sometimes take on new clients sent my way by authors I already work with. I do not advertise. I was fortunate to be mentioned and endorsed in The Naked Truth about Self-Publishing five years ago. My most prolific client, Chris Taylor, came my way through that recommendation – all the way from Australia – and we work well together. Twenty plus books, I believe, over three series in four or five years.

Sometimes I’ve been asked to do a “ghost” substantive edit for another editor working on a difficult project. They combine my notes with theirs to present to the author. This is done on a barter basis with another editor whereby they’ll do the same for me if I require a second set of impressions/suggestions.

I have also gently let clients drift away if they keep repeating same large types of errors even if I’ve repeatedly shared instruction and examples. For me, that’s fair.

How do you judge if you and the author are a good fit?

If I can edit the anticipated pages in the time I expect. If it takes five or six times longer, then I am unable to work with the author on their project and will refer them to someone who offers coaching as well as editing. I am very willing to recommend someone else edit a piece. If we communicate easily – and not too often – and if questions and suggestions relate to the project, if timelines are met and if writers are satisfied and come back for more, then I’m happy. I’m not a warm and fuzzy type editor and sometimes the highest praise an author gets is “nice” in the margin. I don’t edit and comment as I would a student on a report card. I take the writer to be a professional and try my best to help.

How far in advance do you schedule clients?

New clients, five months or longer, in advance. Series authors create a rhythm that we all work within. There’s a tacit understanding and a unique style guide created for each series and I follow those. It’s like a dance. Depending on frequency of completions and preorder and formatting deadlines this work rises to the top and is given priority. Others are fit in when there are openings.

New authors are aware this could lengthen their editing time and agree to that ahead of time. They have to be more willing to be flexible with time, perhaps stretching the edit to two months instead of three passes over four to six weeks. If an edit goes on too long, with huge gaps between drafts being returned, it can become stale. If I believe my substantive suggestions are huge, I will bill for that portion after the first pass and let them know it’s okay if they’d like to find another editor who can move them up in the priority pile.  Once in the cue we’re good to continue, though, if they wish..

What is your expected turn-around time — You to author and author to you?

Four to six weeks to completion for series authors once the process begins. First pass often takes me ten days to two weeks and that’s when I begin to create the author’s style sheet – recording decisions they make as writers – and then I apply those consistently. Then it’s back for a week or two with author who works on major revisions. I take about a week for my second pass. This works if authors take three or four days to do these less obtrusive edits. A week is required at the end because it often involves two proofreaders going through the manuscript and we come to consensus on final line edits.

Facing facts, I‘ve learned new authors, or authors requiring a lot of coaching, take longer than this because of the cueing system with series authors, but also because the learning curve can be huge, on both sides.

I learn something new or appreciate something different with every edit I do. Sometimes it’s about sentences that flow like clear water, or dialogue that grabs my attention, or characters I don’t want to let go of at the end of the book – even after three passes. As well as inspiring me, writers constantly challenge me.

Over time I’ve become less rigid, more bendable. For the first years in the business, I enforced every mote of convention on writers. Would not allow my name attached if they chose something other than convention. My wonderful authors pushed back, exerted their style, intuition and common sense, and over time they taught me about what is most important: It’s not so much about which style guide I use, but rather, what their readers will understand and accept and then applying that consistently.

I’ve learned that if writers are consistent with style, readers will stay on board. I’m working on a book now on this topic as it relates to dialogue: Dialogue Dilemmas. In it I illustrate and discuss how different authors I work with (Bev Pettersen, Julianne MacLean, Chris Taylor, Benjamin Stevens, Autumn Jordon, Anne Zoelle and others) handle different types of dialogue in ways that readers understand. The book’s completion depends on finding time in this crazy life though – and it may never get its time.



I’m an English major by education and a software and process engineer by trade. I recently stopped telecommuting to Silicon Valley to teach, edit, and write full-time. I’m an award-winning paranormal romance author, an award-nominated editor (for my indie release, TEMPT ME), a frequent contest judge, and a feral reader of most romance sub-genres. I recently joined the teaching staff at The Loft Literary Center in Minneapolis, teaching workshops on story structure and three-dimensional villains. I offer developmental editing, beta reading, and sensitivity reading of full-length romance novels for all sub-genres except YA/NA and Inspirational, and I’d be delighted to work on your edgiest sci-fi and erotica projects. Sensitivity reading topics include software engineering, women in STEM, Silicon Valley work culture, chronic pain and pain management (including opioid use), and living with sensory sensitivities. Please contact me at to discuss your project, your timeline, and rates.  

What is your best advice for authors in approaching an editor?

A) Is there a particular area of the manuscript, or of craft, which concerns you? That’s great information to provide to an editor up front.

B) For best results, please deliver a manuscript that’s largely free of spelling, grammar, and punctuation errors!

Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?  

I feel there’s only so much “Writing 101”-type instruction that an editor can effectively provide during the editing phase of the work. For that reason, I prefer working with published writers, or with writers who have a strong working knowledge of craft fundamentals. (Intermediate-Advanced)    

How do you judge if you and the author are a good fit? 

Ooh, that question of alchemy is a tough one. I think I’m a good fit for clients who know their strengths and weaknesses (we all have them) and who don’t necessarily need a lot of hair pats. That said, I’ll definitely let the client know when something’s working well. 🙂   

How far in advance do you schedule clients? What is your expected turn-around time– You to author and author to you?

I prefer to schedule work at least one month in advance, and the expected turnaround time varies depending on client need and my own commitments. Depending on the length of the work, I can usually provide feedback within a week.



My name is Christa Desir and my editorial experience began with a nine-month internship at Entangled Publishing when they first opened their doors. I then became an acquiring content editor for Samhain Publishing from 2011 until they closed in 2016. Most recently, I have been doing freelance content editing for St. Martin’s Swerve, as well as copy editing for Kensington and Macmillan’s YA imprints. I continue to content edit for many of my Samhain authors who are now self-publishing. I’ve worked across many romance subgenres (paranormal, contemporary, UF, historical, LGBTQ, NA) but tend to prefer higher heat books. I also have a personal affinity for multicultural romances as well as queer books of any type. I’m a pro-sex feminist and rape victim advocate, so I prefer not to work on books that involve rape/abduction fantasies or are predicated on a romantic rivalry between women. You can find my rates and contact me at or on Twitter at @EditorChrista.

What is your best advice for authors in approaching an editor?

Mostly, I prefer when authors contact me with a completed manuscript and some specifics about what they’re looking for in an editor, what their scheduling needs are, and what they want to accomplish with their book. My best advice is to be patient with editors getting back to you. I try to get back to everyone within a week, but sometimes life happens and I’m on an editing deadline. Also, the earlier you hire an editor, the better. (This goes for payment too!) A lot of really good editors are booked out pretty far in advance so waiting until the last minute is leaving you with fewer choices. A good rule of thumb for me is to book the next season out. So if we’re in summer, reach out to me about my fall/winter schedule. Sometimes I have last-minute openings, but those tend to get snagged up pretty quickly.

Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?

With authors I’ve never worked with before, I generally ask them to send me 5-10 pages that I’ll quickly edit for them and I can see what I’m dealing with in terms of their skill level and they can see how I edit. If I can see that a book will take more time from me, I’m not going to say no necessarily, but I might push the book further back in my schedule so I have the time to give it a thorough edit. Also, not every author is going to love my style and I think it’s best if new authors approaching me get a feel for how I edit and make sure that’s what they want.

How do you judge if you and the author are a good fit?

A lot of my work comes from referrals so I trust the people who have referred me. In terms of our fit, again, that 5-10-page edit helps a lot. Some editors won’t do that because they don’t have the time, but I find it very fair for a new-to-me author to ask me for it. If I don’t have time, then I’m always honest about that and will refer to other editors I know.

How far in advance do you schedule clients? What is your expected turn-around time– You to author and author to you?

I’m booked 3-4 months out, so I’d like authors to schedule me as early as possible. In terms of turn-around time, it depends a LOT on the needs of the book. I generally can complete one editorial pass in about a week. But a lot of times the author will have to do some extensive work so I don’t want them to feel they have to get it back to me in that same amount of time. Here is where communication and scheduling expectations are critical and need to be made clear before work starts. For more seasoned authors, generally the entire editorial process can take a month if I’m doing multiple edit passes (a week per edit pass and a week per author revision). If the novel is shorter, I can sometimes get it done more quickly, but I don’t want to make those promises.

Thank you for having me!



I started working as a freelance editor six years ago. After a manuscript from one client sold to Spencer Hill Press (which primarily published YA), that publishing house took me on as a copy editor and later as a senior editor. I continued to do freelance projects on the side to get a broad sampling of more genres. Last year, I transitioned into technical editing and writing, but I still enjoy doing fiction editing on the side. I most often edit YA, fantasy, science fiction, romance, and mysteries. I also have a some experience with historical fiction and middle-grade work and am happy to explore other genres: the middle-grade steampunk fantasy I edited recently was a great change of pace. I do take on new clients, primarily for developmental edits or line/copy edits on full manuscripts.

All rates can be viewed at my website here:

For more questions, contact me at

What is your best advice for authors in approaching an editor?

Before you look for an editor, decide what you want from the experience. Are you looking for big-picture help in tightening your plot and growing as a writer? Are you happy with your fourth draft and looking for someone to help catch details before you send it to agents? Knowing what you want makes it easier to send those initial inquiries. The more specific you are, the more an editor can help.

 Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?

I can work with newer writers, especially if they’re open to advice. I enjoy hearing from writers who haven’t been published before and are willing to say “I like the plot I have, but my dialogue feels clunky. Can you help?” If the sentences are so oddly assembled that I can’t figure out what’s happening, though, that writer probably isn’t ready for an editor. You want to get good value for your money, so take the manuscript as far as you can on your own and maybe with beta readers before you bring in an editor.

How do you judge if you and the author are a good fit?

If an author and I are a good fit, we often have conversations about projects. My first client and I are a great case here. She used to be published through the same publishing house where I worked. Both of us have moved on from there, but we still get dinner together to brainstorm her books and she likes to get developmental edits during the writing process to help bring everything into focus. Not everyone has that kind of time, but I’ve worked with authors who send me several books over the course of months or years and I enjoy watching their writing grow and change.

In the shorter term, I find that sample edits help a lot with this. If writers send in a few chapters at first, it’s a small payment to test the waters. We can have a conversation about what I mean by comments or where they want more attention: it helps so much in establishing a rapport.

How far in advance do you schedule clients? What is your expected turn-around time– You to author and author to you?

Scheduling varies a lot based on the time of year: conventions, holidays, and NaNoWriMo leftovers tend to make things exciting. I like to have at least a week or so of warning when I schedule projects, especially for line edits. If a writer asks if I can start a project tomorrow and turn it around in a week, the answer is no unless my schedule is clear and it’s a short sample edit. If you know you need an editor in October, start asking around in August or early September: my schedule can fill up quickly if a lot of people want to make pitches at the same convention.

For an average book (70-80k), I’m generally comfortable turning that around in two weeks. For a longer book, or something that needs very detailed line edits, I might book closer to three weeks. I like to do two passes with a little space between them so I respond both as a fresh reader and as someone who already knows what’s coming. Authors spend very different amounts of time if they want to send the same project to me twice: I’ve done passes a few weeks apart and almost a year apart.



Hi there! I edit under my name, Linda Ingmanson, and my website is I’ve been freelance editing for twelve years for various publishers including Samhain and Loose Id, and I currently work with indie authors at various stages in their careers. My schedule is pretty full right now, but I’m always open to talking to potential new clients. I’ll edit anything, but I’ve handled primarily romance — any heat level, any subgenre including m/f, m/m, sweet to boiling hot, etc. My process is to do two rounds of edits, with the first covering the bulk of the line editing as well as content editing, the second round cleaning up revisions, and then it’s off to the proofreader for a fresh pair of eyes and a final polish. Rates are posted on my website. I can be contacted at

What is your best advice for authors in approaching an editor, Linda?

I will edit anything with words, but some editors do have preferences or genres they’d rather not work on, so it’s good to establish up front if your editor has any content limitations. Also, when discussing deadlines, be sure you tell the editor the date you need all completed edits back to you, not your release date. There’s no way for an editor to know if you need the book back three weeks ahead of your release date or one day ahead of it, as every author is different. Clarity of communication makes the entire process run smoothly. Please ask how much time is required for edits. For example, I ask for six to eight weeks for books over 50,000 words. That doesn’t mean I’ll be working on the book for six weeks, but that gives me time to fit it into the schedule and get it back to you in a timely fashion so we’ll meet your deadline. 

Do you expect authors to have a certain level of skill, and how do you judge that? Or do you work with beginning writers who show promise?

 I have worked with everything from first-time authors to NYT bestsellers. I really enjoy working with beginners because the growth and improvement is so much more evident as we progress from the first book onward. However, of course, those edits are much more time-consuming and require patience, a degree of hand-holding, and probably more than the standard two rounds from me. I don’t take on too many first-timers anymore because of time constraints. If I am curious about a writer’s level of skill, I’ll ask for a few sample pages and go for there with estimates of price and turnaround time. I also enjoy working with established authors as they tend to be very professional and know exactly what they want and need out of an edit.

How do you judge if you and the author are a good fit?

The first couple of times you work with someone, you’re feeling them out to see how receptive they are to edits and suggestions, how hard you can push for changes, how much explanation you need to give with each change, how much feedback they’re looking for, etc. Most authors are great to work with. I really have very few complaints. My “regulars” and I work together like a well-oiled machine, and I know they trust me to make the right suggestions for their books and there won’t be much back and forth. The author always has the final say in any edit, of course, so even if there’s something I feel strongly should be changed, and the author really wants to leave it in, then I respect the author’s decision. I think mutual respect and, as mentioned above, clear communication builds a solid author/editor relationship. If an author is uncomfortable with something in the process or wants me to focus more on a certain aspect of the story, I’m completely open to adjusting to whatever they require.

How far in advance do you schedule clients? What is your expected turn-around time– You to author and author to you?

I ask for four to six weeks for novellas, and six to eight weeks for novels, but authors are frequently late finishing their drafts and have already put the book up for preorder, so I try to be flexible. If an author sends me a book and says there’s no hard deadline, or they have a few months to work with it, I just want to kiss them, because it’s rare not to be under pressure to hit a tight deadline, lol. Again, those windows don’t mean I’m dropping everything as soon as the book hits my inbox and leaping on it, but if I have the book in hand, then I can put it in the queue and it’ll be there as soon as I’m ready to start. My proofreaders require a week as well (or a bit longer on books over 100K), so that also needs to be factored in. Some authors are super quick to turn around edits, and others are slower, so that should be considered when scheduling an edit. One thing I would recommend is having your betas go through the book before you send it to the editor, because there can easily be a case of too many cooks in the kitchen and the author tying herself in knots trying to please everybody when she’s getting conflicting advice in the final rounds.  

17 responses to “Freelance Editor Showcase”

  1. Gwyn says:

    I’m still looking for a good editor. Having already paid two for developmental edits that turned, in one case, to an infuriating alteration of genre, and in the other, a very detailed line/copy edit (and in fairness, she missed NOTHING, but that’s not what I asked for), I’m so leery of going for a third. I feel like I’ve thrown that money away, and it’s not like we’re rolling in it. Still, need to find someone, so thanks for this, AJ.

    • Gwyn, I’m so sorry you’ve had bad experiences. I’m sure you’re not alone, and that is why I wanted to showcase some of the editors that the Rubies have worked with and love. I love my editor. She pushes me to be better.

      But, no need to thank me. Thank these wonderful ladies who time out of their busy schedules to answer my questions. They are amazing.

      I hope you find a match soon.

    • Rita Henuber says:

      That smarts! But I hear this over and over. The reason this post is so important.

  2. Julia Day says:

    Thank you for putting this post together, Autumn!

    I want to emphasize how helpful that a sample edit can be. It allows you to see the kinds of problems that an editor can find–and it also lets you see if you have compatible styles. Both are important. It’s easier to accept hard truths when the presentation works for you.

    • That is so true. Getting a critique of your first chapter or chapters can save both you and the editor a lot of angst. It’s a relationship and like any other it might take time to find the right editor for you.

  3. Thank you so much to our editor guests and to Autumn for putting this together!

    I have worked with both Gina and Christa and personally meshed well with each of their editorial styles. I was thrilled with the ways they helped me improve my work. It can be very tricky to find the right freelance editor for you – the dynamic is very different from a traditional editorial process – and I’m happy to see resources like this one out there. Thank you!

    • Again, true. Hiring and working with a freelancer editor is a totally different relationship than working with a traditional editor. With traditional publishing you’re assigned an editor and sometimes those relationships can be very stressful.

      You are the decision maker for your business. The editing process is so much easier when you work with someone who gets you and works with you to improve your craft.

  4. Rita Henuber says:

    Thanks to all these amazing editors for sharing their thoughts and insights. So very helpful.

  5. What a great post! Thanks to all the editors for their helpful advice and to Autumn for putting this together. Having an editor you enjoy working with and who improves your book is so important.

  6. Heather McCollum says:

    Thank you to all the editors for coming out today! What wonderful information, and you all are so interesting!
    It’s been great to get to know you.

  7. Linda says:

    Great post and valuable information! Thank you, Autumn and editors who responded.

  8. Elisa Beatty says:

    Wow! This is amazing information, and a great look inside the freelance editing process.

    Will be sharing this post!!

  9. Cynthia Huscroft says:

    Wonderful post with excellent information, particularly for a “newbie” like myself.

    Thank you Autumn & Editors!

  10. This post is amazing! Thank you for posting and thank you, Editors, for joining us! I use incredible beta readers and have a fantastic continuity editor, which takes a lot of dedication to a single series. But you guys are indispensable. Totally bookmarking this page!

    Thank you again, Autumn and Editors!


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