KRGcircle8Stories are flexible things. Sometimes, they are formed of a novel’s first-draft in need of a gentle reader. Other times, your story is an article you’ve polished forever.

You just need someone to check the grammar and make sure the meaning isn’t lost.

With fiction, I read works-in-progress and comment on the story, the relationships between characters, the flow of the scenes, grammar and sentence structure.

From my comments, you’ll know if your reader can make the right connections, has concerns about the characters, cares about what happens and if you’ve explained things well enough to draw someone in.

For non-fiction, I focus on the flow of topics, the main themes throughout and grammar and sentence structure. As these are so different, this package always begins with a conversation agreeing on what the author wants from this service.

The Service

Includes: Thoughts as I read, typing errors, grammar, phrasing, continuity, specific feedback requested.

Length: From 1,000+

Price:  ~ £1 per 500 words.

  • The price varies per project, but this is a rough guide. If you have specific budget, give me an email and I’ll see what I can do.
  • I make all notes in Microsoft word, using comment bubbles and track changes.
  • Submitting a project is an inquiry, not a purchase. We can finalise details such as price, time-scales and depth of edits via email.

What do I need to do?

– Email me with details of your project (fiction/non-fiction, word count) and any questions/specific requests. Then we can discuss where to go, turnaround time and how I can best support your story.

Examples

“Bella wishes that Lilly would find someone lovely almost as much as she wishes it for herself .”
This is Bella’s Point Of View (POV). I can’t tell if you have POV characters here or if it’s all third person omniscient. There’s very little inner thought and emotion for a specific POV. For example, “Bella sighed. Lilly deserves to find someone lovely, who can give her what she wants. They both did. She couldn’t deny she didn’t want the same thing for herself just as much.” This isn’t the ideal wording but you get the picture – we want the thought happening, not to be told that a thought happened while we were out of the room.  
(Adapted from Ebonie Allard ‘s Work in Progress “As You Wish”)Line
“An abrupt knock at the door breaks off any further discussion.”
This feels quite passive, and considering the conversation is a romantic one, the phrase “discussion” feels kind of cold as a description of such a warm and jokey moment. 
(Adapted from a draft of Ellie Di Julio’s novel “The Transmigration of Cora Riley“)Line
“When has force ever gotten us anywhere we wanted to be?” He let the rhetorical question hang as he turned his back to on Nichoali, regarding the silent forest in front of him once more.  [SCENE END]
This doesn’t quite feel finished. Nichoali could still retort so it feels though the conversation could continue. Could Damon walk away and regard the silent forest? Physical distance would give the scene a sense of closure.  
(Adapted from Cheyenne Trumbo‘s Work In Progress “The Forsaken”)Line