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I edit scripts, thumbnails, and combinations thereof for independent and DIY comics creatives, including Hari Connor's DiNK Award-winning Finding Home, as well as creator-owned projects at publishers, like Henry Barajas and Gonzo's La Voz de M.A.Y.O Tata Rambo at Top Cow (Image). Any genre, projects big & small, serial or oneshot—I'm here to make YOUR comic the BEST IT CAN BE. First of all, here are some reassurances:

Why hire me? What can an editor do for your independent comic/super-great script/creative drive?

What does an editor do in comics?


"Editor" can mean a lot of things. In corporate comics—monthly issues put out by publishers that own their own "universes"—an editor is often a project manager, and may have a lot of control over the direction of the story. But this is independent, freelance editing, so I'm able to define my own role. In this context:


An editor is your first reviewer— and nobody reads what they thought.


An editor asks the questions only you can answer about your story—while you can still go back and answer them in the text.


An editor will tell you what’s too confusing! You can rearrange things so they’re clear when you publish.


An editor can identify and respond to the themes you’re dealing with, while you’re still dealing with them, so you can make them as prominent, as textured, as bold as you desire—or take them out entirely if you aren't ready to handle them.


An editor will point out connections you didn’t intend, so you can remove them to preserve the clarity of your vision. (Or draw them out further, because they suddenly inspire you!)


An editor will ask you if you’re sure, so you can discover whether you are or not.


An editor will make suggestions based on what they're reading, which you can come up with better versions of, because it’s your story.


An editor will absorb your characters’ voices, and discuss them with you, so you can be sure this character is registering as you want them to. They'll help you develop those voices. You'll know that there aren’t any accidental misleads for your readership, and when your foreshadowing is working.

An editor will make sure you're providing enough information for your artist, before you give them something confusing to work with.


An editor will check your spelling! And...


An editor will provide the affirmation and supportive challenge that will allow you the confidence in your work that it deserves.


Will an editor be nice to me?


Do I have to pay for this excellent service?

Yes! But I charge hourly rates, and feedback for a single issue usually takes about one hour. Currently, my base rate is £45 or $60 (US) per hour's work. This includes reading, notes taken, further discussion of anything perplexing by email, and (if you prefer it) Skype discussion or workshopping. Depending on what you have to show me and how much work it needs, one hour of my time might cover a script or thumbnails of between twenty and forty pages. You can cap my time or give me free rein; it's all negotiable. I'm happy to look at a project in any state, and to look at multiple drafts. I want to work with you!

For some cheaper help, download my eBook, Writing Better Characters, on Gumroad.

Can you give me a sense of what this process is like?


I sure can. Here's an example of the sort of notes I'd offer a writer on a script. It's also fine to send me thumbnails or layouts with dialogue, or any form of comic at any point in your process—but if you have a script that needs looking at, this should give you the sense of the kind of help, advice and questioning that I'll be offering.

Can you look at my pitch/write my blurb/help me with something else?

Most likely! Please get in touch.