I hold a Bachelors Degree in Motion Picture Arts. What does that have to do with editing? Everything and nothing. As I see it university is where my education began. It didn’t end there though for my education continued as I struggled to break into the business as a screenwriter. This entailed writing, editing, proofing, and submitting my work to producers, agents, production companies, directors, actors, you name it. And the rejections. Oh the rejections were epic. But I took all of them in stride as I saw them for what they were: an education. Being an annoying little pain in the arse of the people I subjugated myself to I found a surprising number of those same producers, agents, production companies, directors, and actors were willing to explain why they rejected it (after buying them a coffee or sometimes something stronger). They gave me pointers, tips, techniques to improve my overall work. The result? I’ve been writing professionally for twenty five years. I’ve produced movies and TV, I’ve published comic books and novels, magazine articles … and I never stopped learning. Through my years with Rue Morgue Magazine I edited my work and that of others, in TV I script doctored, edited, and developed ideas with and for other writing teams. I’m not professionally trained in editing, I don’t have a degree or fancy background at the Iowa Writers’ Workshop. I learned the hard way: by doing, by failing, and by doing again and again and again.

And now I offer the following services:

Substantive Editing

This entails both a mark-up of the manuscript/screenplay/TV pilot or novel and pitch package, as well as a ten page readers report addressing the writing, plot, characterization, pacing and suspense, inconsistencies and issues, as well as suggestions for improvements. This is the same template I use when I work for production companies, producers, and myself.

Line Editing

Line editing takes place after your second or third draft. Once structural issues and plot problems have been addressed, the line edit addresses the smaller issues that can make or break a manuscript such as run-on sentences, repetition, contradictions, and unnecessary descriptions that can slow the pace of a story. 

Proofreading

The final step before submission to agents/producers/development execs and/or editors. This is where typos and small details are cleaned up. I also offer a critique, pitch strategy, and logline workshop.

Writing a Synopsis

A short, complete, effective synopsis is crucial when pitching to an agent and to a publisher. Some writers find it a daunting task to boil down their manuscript into a 3-5 page synopsis. I will read your manuscript/TV pitch/screenplay and write a synopsis as part of the submission to an agent/publisher/producer. With film and TV brevity is the spice of life and I will help you craft a killer elevator pitch to get them interested, and a bullet proof pitch page to hook them. The rest is on your abilities as writer.

Developmental Editing

What if you’re not there yet? “There” being “read ready or pitch ready”? This is where I really shine. Because I’ve been there and know the ins and outs, pitfalls and pratfalls of selling your concept to publishers and producers, in this service I work as your silent partner and help need to develop your million dollar idea into a pitch with the potential to earn you millions more. Call me your muse, your sounding board, your uncredited friend in high places; the producer/publisher who would love to unleash your ideas on the world but for these overall issues. This involves how to create a killer concept, how to refine it, how to outline, format, and shape it into something that will change the world (or at the very least get you and your work noticed).

Genres

I work primarily in suspense, horror, sci-fi, coming of age drama, comedy, crime and thriller, commercial, YA and memoir/biography. Unfortunately I do not do romance or poetry and I stay away from literary. 

Rates

I discuss rates for services but only privately (but I can work within most budgets). While I do have an hourly rate posted that’s a starting point for discussion, depending on the services required. Flat rate fees with structured payouts are available for serious offers. If that’s you hit me up at howlingman-at-ymail-dot-com.

Brass Tacks

I know, I know, you’re asking yourself what use good editing has in this 21st century world of AI, Chat GPT, and other cheap shortcuts. Well, ask yourself this: does AI understand authorial intent or voice? Does it understand the art and malleability of grammar & punctuation? Does it understand slang, regional dialects, and – most importantly – the importance of off-the-nose dialogue? Spoiler alert: it does not. But I do.