Private beta opening soon. Founding members get the $15 Editorial Review free, plus 30% off any package.
Not a one-shot report. A full editorial relationship that reads your whole book, works through it with you stage by stage, and never writes a word in your place.
Founding members get the $15 Editorial Review free, plus 30% off any package.
There’s no commitment beyond the first letter. You only go on if the feedback proves its worth.
Stage 1 · $15
A complete editorial review of your whole novel: an editorial letter that analyzes the book and critiques the story, with overview points to talk through. Yours to keep, whatever you decide next.
Stages 2–6
Continue through the remaining five stages with a one-time package, at your own pace. No subscription, no recurring fee.
Your book moves through the same six stages a professional editor works through, in order, each building on the last.
Edith reads your entire manuscript cover to cover, then writes you an editorial letter that analyzes the whole book and critiques the story: the real strengths to protect, the problems holding it back, and exactly where to start, with overview points to talk through together. This is the stage you try for $15.
The deep work: plot logic, character arcs, motivation, theme, and pacing across the whole novel. The notes that decide whether a reader stays up past midnight or quietly puts the book down.
How the book is built, scene by scene and chapter by chapter. Where to cut, where to slow down, where to move things so the story carries the reader forward without stumbling.
Line by line, the prose itself: clarity, rhythm, and flow, while actively protecting the voice that makes the book yours. Suggestions, never rewrites.
The careful pass: grammar, usage, consistency, and word choice, with a running style sheet so the book stays internally consistent from first page to last.
The last clean read before the book goes out: typos, punctuation, and the small slips that survive every earlier pass, so the finished manuscript looks professional.
No black box. Through the story and style stages, the loop is always the same: you see each note, talk through anything you doubt, and stay in control of every change.
Drag in your finished draft, a Word file up to 150,000 words, with no formatting rules and no chapter tagging. Edith reads the whole book, cover to cover, before she says a word.
Feedback arrives as cards: each one a single, specific suggestion tied to the exact passage it's about. No forty-page report to decode. You mark each one accepted, declined, or leave it noted for later.
Not sure about a note, or disagree? Open it and talk it through with Edith, back and forth, like a real person. Then accept it, decline it, or record your own decision. Nothing is ever rewritten for you.
Download your book with the stage's notes marked up in Word, make the edits yourself, then upload the new draft. Edith checks it against every note you accepted, re-reads for anything that drifted, and flags any notes that now clash.
When you're happy, sign off the stage. Your decisions are saved and carried forward, your voice is re-learned from your latest draft, and the story stays consistent from the first read to the final proofread.
Copyediting and proofreading work a little differently. There are no note cards to work through: Edith marks the line fixes as tracked changes right in your Word file, with a comment wherever the call is yours, and you accept or reject each one. Every word still stays your own.
The kind of note you’ll get, the change it leads to, and the voice that stays untouched. Edith suggests; every word you keep is your own.
Edith marks a doubled-up phrase as a tracked change. Accept it, reject it, or adjust it, the call is always yours.
Your draft
She walked quickly and hurriedly across the room and she sat down into the chair.
With Edith’s copyedit
She walked quickly and hurriedly across the room and she sat down into in the chair.
Edith holds all 150,000 words in mind at once, so a detail that quietly drifts between chapters gets flagged instead of slipping through.
Chapter 2
…Mara’s eyes were grey, like her father’s…
Chapter 19
…Mara turned, her eyes blue in the lamplight…
Edith“Mara’s eyes are grey in Chapter 2 and blue here. Which did you intend?”
Edith shows you where the writing tells instead of shows, then leaves the line to you. The revision below is the author’s, not Edith’s.
Your draft
Naomi was terrified when she saw the letter on the table.
Edith“‘Terrified’ names the feeling from the outside. Put us inside her and let us feel it with her.”
Your revision, in your own words
The letter sat where the postman had left it. Naomi’s hands would not go to it.
Three promises that hold from the first letter to the final proofread, no matter how far you take the edit.
Edith learns how you write and works to preserve it, especially at the line level. She suggests; you write.
Characters, decisions, and style are tracked across chapters and stages, so the book stays consistent end to end.
Every note explains what it means for the reader and exactly what to do next, in language any author can act on.
Stage 1, your complete editorial letter, free for founding members. No commitment to start.
And when you go further, the guarantee holds. Read your editorial letter first, and if it doesn’t show you something you can act on, the package is refunded in full.
Founding members get the $15 Editorial Review free, plus 30% off any package.