THE FICTION EDITORS
Coombs Moylett works alongside a string of fiction editors, all of whom have worked as copy-editors, structural editors and/or commissioning editors for twenty years or more. They bring a degree of expertise, industry knowledge and confidence to their work that is hard to match.
HOW THE EDITORS WORK
Selected authors, once offered the opportunity to work with one of our editors, will be able to choose various levels of guidance. Options are:
TELEPHONE FEEDBACK
the editor will read and assess the manuscript, and spend approximately one to two hours on the telephone with the author discussing general elements of the novel that need attention.
GENERAL EDITORIAL REPORT
the editor will read and assess the manuscript, make notes about the general elements that need addressing, and compile a written report (usually 8-10 pages).
DETAILED EDITORIAL REPORT
the editor will read and assess the manuscript, give the author a general overview of the elements that need addressing, and also write a report based on chapter-by-chapter scrutiny, giving specific and detailed guidance.
FOLLOW UP
Once an author has assimilated the advice given and reworked their novel, the editor will give it a second reading and further feedback.
FEES
Our editors charge an hourly fee at the standard industry rate. They will always be able to give an assessment of how many hours will be required for the level of support required, and will keep in touch with the author about costs.
Approximate costs for the levels of guidance discussed above on an average-length MS of 300 pages would be in the region of:
- Telephone feedback – £300
- General editorial report – £600
- Detailed editorial report – £800-£1000
- Follow-up – £200-300
Please note that these fees are estimates for guidance only.
THE EDITORS
KATE LYALL GRANT
Kate Lyall Grant has worked in mainstream publishing for over twenty years. She worked as a senior commissioning editor for Hodder & Stoughton for seven years, and for eight years at Simon & Schuster, where she specialised in crime, thrillers and commercial women’s fiction. Bestselling authors she has acquired and edited include Chris Manby (Lizzie Jordan’s Secret Life), Matt Dunn (The Ex-Boyfriend’s Handbook), Terence Strong (The Tick Tock Man), Karen Quinn (The Ivy Chronicles) and Chris Carter (The Crucifix Killer). She now works as an editorial consultant for selected publishers, and also works with unpublished authors to help prepare their novels for submission.
Kate Lyall-Grant is a fantastic editor, with a keen eye for detail and an incredible knowledge of what works and what doesn’t. I was fortunate enough to have her as my editor on my two first novels. Her input and suggestions were immensely invaluable for the success achieved by both books.
Chris Carter, bestselling author of The Crucifix Killer and The Executioner.
Kate bought my first novel back in the mid-nineties. I will always be grateful for the enthusiasm and care with which she undertook the editing of my books. And I will never forget her sage advice that I really needn't use 'that' so very often.
Chris Manby, bestselling chick-lit author of, among others, Lizzie Jordan’s Secret Life and Getting Over Mr Right.
Kate's guidance during the writing of my first five novels was invaluable at every step, particularly in terms of helping me add that elusive page-turning quality, and ensuring characters leapt off the page. Her detailed knowledge of the market inspires confidence, and the rapport she develops with her writers makes for a fantastic – and fun – working relationship.
Matt Dunn, author of the bestselling The Ex-Boyfriend's Handbook, also shortlisted for the Romantic Novel of the Year Award and the Melissa Nathan Award for comedy romance.
I've always enjoyed working with Kate very much, both on my mystery series and my bonkbusters. As you can tell by that, she's very versatile! She's also highly enthusiastic and has a great eye for talent.
Lauren Henderson, author of the Sam Jones mystery series; also writes as Rebecca Chance, under which name she wrote the bestsellers Divas and Bad Girls.
SUSAN OPIE
Susan Opie moved early on from bookselling into publishing. She worked for HarperCollins for over twenty years, graduating to Editorial Director on the fiction list and specialising in historical fiction. For many of those years she was the editor for bestselling authors Philippa Gregory and Barbara Erskine. She is now an editorial consultant and freelance editor, and has worked for Pan Macmillan on editing Peter James' Roy Grace novels and Lynda La Plante among others, and also works directly with authors to provide a thorough structural overview of their novels prior to submission.
Susan Opie and I have worked together on my historical and contemporary novels for about fifteen years and she has been a great ally in my constant struggle for accuracy and precision. I particularly enjoy her grammatical edits and her memory for the turns of a story through a long manuscript. Her understanding of my work has grown and developed over the years and I always open my notes from her with a sense of anticipation. I know that I will find a considered and thoughtful reading of my work, and comments which encourage me to improve.
Philippa Gregory, number-one bestselling author of historical novels such as The Red Queen and The Other Boleyn Girl.
When Susan edited me for HarperCollins I found her to be an extremely competent, acute and observant editor. Editors need accuracy, good memory and tact in a job which could be an invidious one. They need to be aware of someone’s style, not trying to substitute their own. They need, obviously, to liaise with the publisher and be aware of house styles and technicalities which the hapless author may not understand . They need to be aware of deadlines. Sometimes that is all an editor does. But Susan is so much more. She has nurtured me where needed, chivvied me and reined in the worst of my excesses. She is almost the first person to read my manuscript and so is my sounding board, and when I am nervous and lacking in confidence she is my comfort blanket!
Barbara Erskine, author of the international bestseller Lady of Hay.
JULIET VAN OSS
Juliet Van Oss has worked as an editor in mainstream publishing for over twenty-five years. She cut her teeth at Sidgwick & Jackson, then spent ten years at HarperCollins before going freelance in 1997, since when she has edited continuously as a copy-editor and structural editor, chiefly fiction, for all the major publishing houses. She also works with unpublished authors, giving guidance on changes and development required before submission. She enjoys working on a wide range of fiction, including chick-lit, crime, suspense, thrillers, romance and general fiction. She has worked with Vena Cork, Catriona McPherson and Karen Campbell, and has edited a large variety of authors published by the main publishing houses.
I was very fortunate indeed to have Juliet Van Oss edit my last book. She has an incisive mind which immediately identifies exactly where a manuscript needs attention, and the sensitivity and tact to suggest improvements and work through problems without alienating the author. Her immense enthusiasm means that talking things through with her is an exciting and energising experience, even when wrestling with seemingly intractable problems, as she has that rare ability to make you feel she's totally on your side, fighting your corner and willing you to win.
Vena Cork, author of Thorn.
Keep the faith! - this has been the Coombs Moylett Agency's promise to me, ever since I received that wonderful phone call from Lisa saying they'd like to sign me up! Through every step of the publishing process, my agent Lisa's warmth, tenacity and energy has combined with Juliet Van Oss's incisive editing skills to give a really personal, writer-focused service. Always going that extra mile, both Lisa and Juliet are passionate about good writing –including the lovely quirky stuff that isn't immediately easy to place. That's what I love about them –their vision and their faith in their writers.
Karen Campbell, author of The Twilight Time, After the Fire and Shadowplay.
Just wanted to drop you a quick line of thanks – I found your letter and changes enormously helpful, and found that what you had said corresponded exactly to what I was thinking. The book is substantially better as a result. So once again, thank you for your brilliant input into this. All done with great discretion and discernment, and beautifully explained in your letter.
Editor, Macmillan
Big thanks to Juliet for doing such a great job. Reading through this edit has been a total pleasure, I’ve really enjoyed myself!
Bestselling chick-lit author, Random House
Just wanted to say thank you for putting Juliet Van Oss onto this project. She is such a careful and knowledgeable editor, and she is never intrusive. I find myself looking forward to comparing my text with her comments rather than being irritated, as happens with some editors. I’ve found that all her comments/suggestions have improved the text and made it smoother.
Bestselling historical author, Little Brown
AMANDA STEWART
Amanda Stewart has worked in publishing for more than twenty-five years. She started her career at New English Library as an Editorial Secretary, working her way up to Editorial Director of Hodder & Stoughton Paperbacks before leaving to spend three years in New York. Whilst at Hodder, she was responsible for the paperback publication of such authors as Rosamunde Pilcher, Maeve Binchy and Joanna Trollope.
In New York Amanda sold US rights for various British literary agents, and worked as the US correspondent for Publishing News. On return to London she joined the Readers Digest as Books Editor, selecting and editing both fiction and non-fiction titles for use in the magazine. She moved to Severn House in 2000 as Publishing Director. During her eleven years at Severn House she worked with a wide range of commercial fiction authors, spanning sagas, romance, contemporary women’s fiction and crime. Some of her better-known authors there included Sarah Harrison, Bel Mooney, the late John Gardner, Veronica Heley, Anthea Fraser, and American names such as Patricia MacDonald, Marcia Talley and Barbara Hambly.
Amanda and I worked on four novels together and I couldn't ask for a better editor. She opened my eyes to nuances of plot, character and dialog all the while (diplomatically!) providing the tough love I needed to make my novels the best they could be.
Marcia Talley, Edgar-award winning author of the ‘Hannah Ives’ mystery series
Amanda Stewart helped me to develop the Ellie Quicke series. She encouraged me to tackle controversial themes with a light touch, and knew when to rein in the excesses of my imagination. It was at her suggestion and with her guidance that a second series - of the Abbot Agency stories - was born, which now runs alternately with Ellie.
Veronica Heley, author of two popular crime series featuring female protagonists, Ellie Quicke and Bea Abbott
www.veronicaheley.comAmanda has edited several of my novels, and she's great - always quietly encouraging, but perceptive. Her advice is sound and designed to help you play to your strengths. There was never any them-and-us feeling about working with her, writer and editor are part of a team working together for the success of the book. I miss her already!
Sarah Harrison, author of the bestselling "The Flowers of the Field trilogy", and numerous contemporary novels.
Amanda was my editor for six years and I was absolutely able to trust her perceptiveness, understanding of the characters, judgement and skill at adjusting what needed to be tweaked. She has imagination, tact and is always quietly encouraging.
Una-Mary Parker, author of numerous bestselling novels
Any writer would count themselves lucky to have their books edited by the capable, experienced Amanda Stewart. She is a thoughtful reader whose insights and suggestions have proved most valuable valuable to me in my work.
Patricia MacDonald, bestselling American author, most recently of CAST INTO DOUBT and FROM CRADLE TO GRAVE
SAMANTHA BULOS
Samantha Bulos has worked in publishing for twenty years and has broad editorial experience encompassing crime & thrillers, suspense, fantasy, historical fiction, sagas, romance and the full spectrum of commercial women’s fiction. While managing Harlequin’s mainstream fiction programme - including MIRA and the Red Dress Ink imprint, which she created - she acquired titles for global publication and had extensive involvement in international publishing strategies as part of the senior management team. As well as being responsible for the UK publication plans of authors such as Alex Kava, Tess Gerritsen, Penny Jordan, Debbie Macomber, Susan Wiggs and many more, she also commissioned and edited her own list, working closely with bestselling authors including Jane Sigaloff, Sarah Tucker and Sarah Mlynowski.
Since going freelance in 2005, Sam has provided editorial services for all the major publishers, undertaking structural edits, line editing, book doctoring, copy editing and proofreading. Her passion in fiction has always been the discovery and development of fresh talent, and she also assesses new submissions and provides first-read reports for particular publishers, along with giving feedback and guidance to new writers. Alongside her editorial work, she represents a small number of authors, including British thriller writer Will Carver.
Sam is an excellent editor. She is sensitive to both the writing and the author, and insightful without being heavy-handed. Her attention to detail was impressive and she was always very considered and thoughtful. I found working with her very rewarding and an upward learning curve. I trusted all my characters with her, indeed a few blossomed under her beady eye. I am a better writer for having worked with her, and I hope our professional paths may cross again in the future.
Jane Sigaloff, author of Like Mother, Like Daughter, Confessions of an Agony Aunt, The Romancipation of Maggie Hunter and many more. (Published by MIRA)
I have worked with Sam on all of my novels to date and can’t see things changing in the future. I respect and trust her editorial input so completely that it only feels natural that she is the first person to read my manuscripts. She has encouraged and helped to cultivate my voice from the very beginning of my writing career. Her notes and comments are always fair and insightful. She is so precise and thorough I often feel she knows the text better than I do. Always when we work together there is a sense that her aim is not to pick apart mistakes but to turn something good into something great. If I could, I’d have her edit my emails, diary entries and text messages.
Will Carver, author of Girl 4 and The Two (published by Random House)