Formerly a literary agent’s assistant with Kimberley Cameron & Associates, I moved on from the agency to delve into book editing; I developed my own list of freelance clients. As a book editor, I want what’s best for my client. I offer helpful, insightful, honest, constructive feedback that’s relevant to the industry. I know how an agent’s brain works; how the market operates. I attend writers’ conferences, speak with agents, take editorial classes. I am a member of the Bay Area Editors’ Forum. In addition, I am also a published writer, so I also relate to the frustration of rewriting and I understand things from the writers’ point of view. Find my fiction at Alfie Dog Press (www.alfiedog.com). Find me on Twitter: Michael_Editor. Email your first chapter (and a query if you have one) to: email@example.com. For specifics related to each type of editing, see my bio page.
Here’s what I can do:
Copy Editing (really a mix of copy, heavy copy, and line)
Query Letter Edit
Writing Projects (ghostwriting; blogging; writing coaching)
Please contact me at: firstname.lastname@example.org for more info. Please send a short query and the first chapter of your ms. I will respond with a rate-quote. I look forward to working with you!
“In an industry that predicates itself on precision, and yet is too often overwhelmed by those who claim to have mastered it, yet are belied by their tendency to ‘dot their T’s and cross their I’s,’ Michael Mohr cuts through, clears the way, and, in the main, raises the bar. A delight to work with, Michael is that rare breed of editor who understands the literary merits of a work while keeping an eye (not the dotted variety; the kind that provides vision) on what the agency circuit looks for. Still, he doesn’t sacrifice those literary merits simply to satisfy the bottom line demands of the prevailing status quo. In practice, he’s actually providing editorial insights that raise the bar for agents as well. No question we will work with him again, or at least until writers run out of words to craft and commit to paper.” [Ralph Scott d.b.a. 'Edward It,' Managing Partner: CREDIT THE EDIT, LLC. (email@example.com; www.credittheedit.com)]
“Michael’s edits on my novel HUSTLE were invaluable, to the book and to me as a writer. I came away from the edited manuscript feeling like a better writer. His work was extensive and astute, but the best thing about his style is his constant enthusiasm. He rolled through the story with me, excited at each turn. There was as much encouragement as there was gentle correction. When my next manuscript was done, his was the first door I knocked on.” [Tom Pitts, author of "Piggyback." Agented by Elizabeth Kracht. tompittsauthor.com]
“Michael, Invaluable. You pointed out the obvious. Except I couldn’t see it. I’ve gotten feedback from agents at writers’ conferences. You think like they do. You’re exactly who I’m looking for. Do you critique mysteries? I’m doing a major rewrite on my first novel, which I hadn’t touched for almost two years. This is the ninth revision, and it will be the next work needing your services. I also think it has more commercial potential.” [Gustaf Berger, freelance client]
“Michael was very thorough and gave me great ideas on how to make the story more action-packed for the kids. Definitely worth the money!” [D. Adrian, freelance client]
“Michael’s editing helped make my writing ready for publication. He showed me how to make my work stronger and made the final revisions much easier. In the process, I’ve learned to be a better writer.” [Joe Garrett, freelance client]
“For the aspiring novelist, scrolling through the classified ad section in back of Poets & Writers magazine is almost as dispiriting as strolling through the fiction section of a major, inner-city branch of Barnes & Noble; the choice confronting wannabe-famous authors in the former setting being only slightly less bewildering than the choice confronting wannabe-satisfied readers in the latter. I cannot now remember what it was about Michael Mohr’s ad which made me read it all the way through, and then read it again, and then scribble his email address in my notebook. But I’m very glad that I did. Michael’s assessment of the sample chapter I sent him pulled no punches. But in amongst the candid negatives there were enough well-argued positives to make me think that the year I had spent writing my book had not been a complete waste of time, and that I might just be able to turn it into something that other people might just want to read. Two months later, thanks to Michael’s further assistance, I’m quietly confident about that. I just hope Barnes & Noble can give us enough shelf space.” [Simon Collins, freelance client]