Coaching/Editing packages available

All packages include the following:
  • Full criticism of a text up to 10,000 words. Send me the file or a link to a Google doc. I'll embed comments into the text.
  • Unlimited interaction: chat, email, idea kicking, feedback, creative writing exercises, etc.
  • For those wishing ONLY a beta reading, I have lower rates.
Less Than 10,000 words
$25.00/month
10,000-25,000 Words
  • $150/month
  • $100/month BETA READ ONLY

50,000 words
  • $300/month
  • $250/month BETA READ ONLY
Unlimited words
  • $500.00/month

What is a Holistic Editor?

A traditional editor will read the draft of a manuscript and provide detailed feedback. A holistic editor will do more. I will give feedback as well as offer help in many other areas of writing. We can have discussions about your goals as a writer. If you are looking to publish or produce, I can help you through the process. We can work on areas that need improvement. I can suggest exercises to help you through difficult times. For neurodiverse writers, I can help especially with aspects of the writing process that are challenging and offer alternative solutions. I make the process of writing and editing about multiple elements. The discussion process, whether it be venting or questions or working through artistic struggles, is all extremely important. Many, many writers have few resources or people to help them grow and bloom artistically. This is THE BEST KIND OF WRITING HELP THAT COULD EXIST. Using this technique, we can address weaknesses or areas for improvement on the spot.
Specialization
  • Women authors/issues
  • LGBTQI authors/issues
  • Autism/ADHD
  • playwriting and dramatic structure
  • writing theory
  • non-traditional structure
Solutions
I won't just point out troubled areas needing attention. I will help you work through solutions, no matter how many drafts.
Discussion
One of the most important elements of creative growth is discussion of a variety of topics, but most specifically your particular interests.
Beta Critique
I will read for story structure, themes, character development, sensitivity, genre, and other elements.
examples of a Writing Exercises
  • If you're having trouble with plot and character structure, there's the Humpty Dumpty exercise. Humpty Dumpty sat on a wall, Humpty Dumpty had a great fall. All the King's horses and all the King's men couldn't put Humpty Dumpty back together again. Using the text, identify who the agent of action is. Then change the story to make everyone else involved as an agent action. In particular, (for bonus character work), explain why Humpty is sitting on that damn wall at all.
  • Exploring Vernacular: if you're having trouble with writing dialogue specifically for women, go out in public and sit in a crowded area. With great descretion, listen to the conversations around you. Listen to what women say and how they form sentences, their vocabulary, their rest words (like, uh, so, what). Take notes. Then listen to men. How do they speak? What is their vocabulary? What do both groups do that are similar or different? ***This is a common exercise and the spy aspect makes it fun, but PLEASE be respectful and careful.***
  • If you're having trouble with texture, we would take the first chapter of your favorite novel, and analyze it. Recently, I did this exercise with Stephen King's It. We went through the first three chapters and analyzed the storm, cellar, and parents. We found every word that built the world and were able to track exactly how King created and perpetuated horror in such a short period of time. This is close work that seems tedious (which, I'll grant, it may be, but I love it), which is why the novel is your choice. One of the failures of literature classes is teaching what must be taught vs what students want to be taught. Stephen King is literature. Teach him.
  • If you want to exercise your creativity, we can do the Brick exercise. A brick has one basic use: it's used in the construction of walls and pathways. Come up with 10 different new uses for a brick. This is a standard test of creativity. We'll take it further. Pick three of your favorite new uses and write brief scenarios around this usage. Then pick one of these uses and expand the scenario, but this time making the brick a sentient being capable of speech and movement.
What does criticism include?
Using a Google Doc or PDF of your text, I will give embedded comments that will ask questions, make observations, highlight confusion, etc. At the end, I will provide an overall statement about the story, characters, sensitivity, creativity, genre, and any other matters I feel warrant attention. The object of the criticism is always to make the text as strong as possible. It is never personal. I will endeavor to be sensitive and careful about the language I use. If I fail to do so, I will encourage a discussion so we could find a common ground for communication.
Analysis
Plot and character structure, sentence construction, word choice, and punctuation: I will examine every aspect of your writing to an unusual depth.
Sensitivity
This reading isn't only for potential offensive material. I also provide an overall statement as to the message of the story: what lesson will your readers receive?
Genre
Whether or not you wish to adhere to an established genre or go off the rails, this is an imperative understanding of the text in order to create the work you want to create.
Creativity
Is your work cliche? Are your characters stereotypes? Is your plot predictable? Does the story lack texture, seemingly insignificant details that flesh out the world?

FAQ

Why are you encouraging Me to seize a cow?

The myth or theory that cows are abducted by aliens, mutilated, and returned to ranches goes back decades. It's gruesome, weird, and intriguing. In order for one to take a cow, one must be a powerful force. The force must be able to do such a complicated act without being seen or leaving evidence. The story is that of a monster. That's one way to look at it. Seizing the cow has a mysterious motivation. The story is unknown. As writers, seizing a cow is about writing your own story, being a monster or not, and using your power. I have chosen the alien storyline because it's outrageous. I feel writers much be outrageous, not in subject matter, but in how we tell our stories. We must be in control of our narratives by understanding WHY we are telling a story in a certain way and being brave enough, and strong enough to do things differently.

What if I can't afford your prices and I still want to seize the cow?

Talk to me. I can be flexible with my rates. I also have a blog that explains many concepts and theories I've devised or used through the years. It's not the same as working one-on-one, but you can always ask me questions.

What would working with you look like? What would happen?

This can be anything. I can work with your specific needs. I do have a general format I would follow with anyone:
  • We will chat through emails where I ask a few questions to get to know you. You're welcome to ask me questions as well.
  • Depending on the length of your manuscript, I would read one section at a time. I'd give you initial feedback: what I see in general that's strong, then, maybe, some weaknesses. At this stage, if the text is in an early stage, I won't be too critical. I will encourage you to write the story I believe you're working to tell.
  • The closer you get to solidifying the text, I'll point out problems that may exist.
  • We'll move through a manuscript in this manner. If I feel you're spinning your wheels in a certain section, we'll move forward and return to it later.
  • If at any point there is a specific area that I feel needs improvement (such as characterization or descriptions in general), we can do focused exercises.
  • Discussion throughout this process is vital. It's important for writers to talk through what they're working on to help them think about what the story they want to tell. I encourage emailing regularly to maintain communiation and accountability.
  • At the point when the manuscript is finished, we can work on finding publishers or agents, writing a cover letter and/or synopses.
  • This is all flexible and can include writing other pieces, discussions about movies or books, close analysis of a text, etc. Everything I have mentioned is more than helpful if you want to exercise your writing muscles.

Testimonials

In my brief time working with Margie Pignataro as an editor, I’ve found her to be unusually good at finding opportunities in my own text that I’d missed. This is what you want from an editor. Not just copy editing but knowing what you want out of your work and helping you achieve it, finding strategies to make it more of what you want it to be. She’s really good at this.
Orion K.
From the first tale I sent her, Margie has proven herself as an invaluable asset to my writing. I've worked with writing groups for years and seen numerous critique styles, but Margie has a unique talent for delving deeply into a story, identifying critical pieces, and asking important questions. Her excellent communication skills and focused advice, centered on my personal style, have driven me to achieve a higher level of polish.
Kurt H.
From her very first comment on my short story draft, I could tell Margie knew what she was talking about when it came to a story. She gave specific, directed advice that helped me tighten the prose and the story as a whole. At one point she pointed out the stakes and motivation seemed too low in my draft, and this spurred me to add a whole new layer to a subplot that considerably enhanced the emotional stakes and clarity. Thanks to her help, I have my first story acceptance and couldn't be happier. I highly recommend her services to other aspiring storytellers.
L. J.
Margie gave excellent advice and coaching. Working from just a short story of mine, she was able to highlight both my strengths and areas that would benefit from additional attention. She posed thought-provoking questions that pushed me to delve more deeply into my characters' mindsets and development, as well as flesh out themes that would further enrich the piece. I appreciated her drawing my attention to a piece of work by another author to show additional ways the story and the writing itself could have played out. Her analysis and encouragement have made me more confident in moving forward with my writing, giving me more direction and focus to grow as a writer.
Adam M.

More FAQs, But without the Qs

  • All package months will start and end on the date of first payment.
  • There are no refunds if an entire month is needed to complete the work.
  • In the event that only a portion of the month is needed to complete the agreed upon work, the client will be welcome to submit another manuscript of the same length, thereby continuing our arrangement.
  • Payment will be made through Zelle or Paypal.
  • If affording coaching is a problem, please speak with me. I'm not an asshole. I want to help you if you want to learn.
  • At any time, the coaching/editing relationship can be terminated by either party.
  • All packages are by the month because I cannot, with absolute certainty, predict how long it will take to work on a text.
  • I will be sending the writer chapter by chapter updates, either in the form of pdfs or comments on a shared document. The writer will ALWAYS know where I am and what my progress is.

Let's talk

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Margie Pignataro

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