Writing was never meant to be done in a vacuum
1-1 coaching & editorial support for authors, academics, service providers, creatives, and business owners who need actual human help
“This was so much better than spending an hour arguing with Claude!”
There’s a writing montage in Greta Gerwig’s adaptation of Little Women where Jo March (played by Saorsie Ronan) gets a cramp in her hand—so she just moves the quill to her left hand and keeps freaking writing.
By lamplight. In a paper-strewn attic. Insane!
This is what most people picture when they conjure the image of a writer—a tortured genius, a curl of tobacco smoke, the words spooling out in an uncontrollable torrent.
It’s all very arty, dreamy, a little punk rock. The writer, possessed by the muse, perfectly at home in their solitude.
–Robin Joy Hilton, Online Business Manager + Content Strategist, creator of The Flow & The Long Exhale newsletters
So when you get paralyzed by your blank screen…
👉🏽 or stuck on a crunchy plot question
👉🏽 or spend 45 minutes “accidentally” watching dog videos
👉🏽 or your own writing puts you to sleep
👉🏽 or you feel so overwhelmed that you can’t even fathom where to start—
It’s all too easy to believe that it’s some kind of personal failure. That you lack discipline; you’re not creative; you’re unmotivated.
That you’re “not a writer.”
But none of that is true—in fact, all of these experiences are pretty normal.
That’s just… what it is to write.
Pluribus, Season 1 Ep. 8, AppleTV
Writing can be hard, and stubbornly slow.
And yes, it’s often done in isolation, especially now.
So when you come up against a sticking point, there’s no feedback loop—no one to offer a gut-check or a word of encouragement, or a gentle nudge to close out that “research” tab and just get back to the page.
Zosia: What was your best day writing?
Carol: [snorts] No such thing… That’s like asking, uh, “What’s the most fun you ever had getting your teeth drilled?”
To alleviate this discomfort, you can turn to AI (and most of us do).
And that helps a little—but just like Carol up there, what every writer truly craves, what’s actually missing, is a human exchange of ideas.
👉🏽 A real reader to help you sift through your ideas and figure out which ones of them are worth writing about.
👉🏽 A sharp-eyed editor who can spot the most important thread inside your tangled-up tangents and straighten that shit out.
👉🏽 A container to help get your ass in the chair, writing without procrastination—or to figure out what’s making it hard for you to do that, and how to work around it.
👉🏽 A calming, encouraging voice reminding you that you ARE a writer, despite all the reasons you keep telling me you’re not.
This is the work I’ve been doing for the past decade as a copywriter, messaging strategist, academic editor, and developmental editor on as-needed, ad-hoc basis.
And now I’m offering it as a real 1-1 service all its own.
"It's like watching my writing become more human in real time."
The way Sam shows up for her clients and community is ART. I felt it immediately.
She brings together this rare mix of deep empathy, keen observation, killer writing instincts, and the skill of editing with sharpness that is always kind. So don’t be surprised if she gets your work better than you do!
RACHEL SANDS, EMERGING AUTHOR, THE METANOIA CHRONICLES
What is independent developmental editing, and how does it work?
Initial consultation (free)
We’ll meet via Zoom so you can tell me all about your book—what it’s about, how it’s going, where you are in the process, and where you’re stuck. We’ll also briefly discuss your goals regarding traditional vs. self-publishing (if you know them).
Proposal & Next Steps
I don’t automatically move every manuscript into a full Developmental Edit—that’s why the assessment is so important. Sometimes, all you really need is someone to bounce ideas and questions off of; in that case, hourly coaching might be a better and more budget-friendly fit for you.
Other times, the story is too unfinished, or there are some writing/craft issues that need to be addressed. In both these situations, I would again recommend coaching first.
In any event, at this stage I’ll send you a proposal that lays out what I’d like to do, including timelines and fee schedules. I will always work with you to create a payment plan that fits your needs.
Manuscript assessment ($850, installments available)
Next, I’ll do a readthrough of your current draft, usually in one sitting. You’ll receive a thoughtful letter detailing all my gushy praise and calling out any areas that seem underdeveloped or funky. At this point I’ll usually have a hunch or two about what needs to happen.
If we move on to a full Developmental Edit, your $850 fee will be credited toward that part of the process.
Developmental Edit ($0.04/word)
In general, this process takes 4–6 weeks from start to finish, depending on the length of your manuscript and the state it’s in. I will keep you updated throughout so you’re not left wondering what I think. 👀
I’ll also be in touch with questions and clarifications as I dig into the editorial process. If you’ve got the notes of a mad scientist, working through all the symbology and genealogy you plan to utilize in a future trilogy? I’ll probably ask to see that.
You will receive:
A semi-revised manuscript (in Word with Track Changes, or Pages if you’re really nice to me) with sample edits, margin comments, questions, etc.
An Editorial Letter that lays out what’s working, what to tease out even more, and suggestions for how to handle any changes that are needed
A 2-hour Editorial Call to discuss the letter and make sure you’re solid on what to do next (most authors find this incredibly exciting and inspiring!)
2 months of ongoing email support as you work through revisions
Reduced coaching rate for developmental editing clients ($85/hr 👉🏽 $75/hr )
Additional Editing Services
Sometimes, one developmental edit is plenty—revisions can take a long time, and you might not need me hanging around while you work through them all.
That said, many authors prefer to keep up a semi-regular coaching schedule to talk through new questions and ideas as they come up, or solve any problems that arise during revisions. Also, there will literally be no one else on earth who understands and loves this book as much as you do—it’s good to have someone (me) to talk to.
In some cases, a second Developmental Edit is needed (like, if you end up rewriting the entire thing—it happens). If that happens, I’ll create a custom quote for you since I’m already familiar with your work.
Hourly Edits & Coaching ($85/hr)
Coaching calls can be used for idea generation and refinement; talking through a plot or character problem; ideating the next installment in a trilogy; or learning and practicing elements of your craft. Developmental editing clients receive a reduced rate of $75/hr for the duration of our work together.
I also use my hourly rate for reviewing heavily revised passages after we’ve completed your Developmental Edit—sometimes when you have big changes to make, it helps to have me take a second look.
Line Editing ($0.027/word)
Line editing is the granular, sentence-by-sentence polish that happens after developmental editing. This is where we argue over word choice; fix any awkward phrasing or syntax; clean up your “author quirks” (like too many parentheticals or an overused word or device); and polish up your rhythm and flow.
Many authors prefer to work with a different editor at this stage (and I agree, fresh eyes are better). But most opt to have me line edit the first 50 pages, especially when pursuing traditional publishing.
Query Package ($1,500)
Query letters, author bios, summaries, comp titles, and target market characteristics are a skill set all their own. I will draw on my decade of experience as a copywriter and marketing strategist, and together we’ll create a knockout pitch packet you can customize as you navigate the querying process.
Query package services include:
1-page query letter (I’ll draft this)
3–5-page summary (you tackle the first draft, I edit)
Author bio (I’ll punch it up what you’ve got to make you sound legit and cool)
3–6 comp titles (we’ll research these together)
Target market research (we’ll also do this together)
Reduced hourly rate if you also want me to help you search for agents ($75/hr)
Payment plans available
Editing Pricing & Timelines
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Readthrough + brief editorial letter to clarify what your next steps should be. This can be done as a standalone or credited toward a full developmental edit.
Timeline: About two weeks
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Full manuscript edit with margin comments, editorial letter, 2-hour call, 2 months email support.
Example: 75,000-word novel = $3,000
Timeline: 4–6 weeks
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Granular, hands-on, sentence-level edits to improve clarity, flow, rhythm, and syntax.
Example: 75,000-word novel = $2,025
Timeline: 2-4 weeks depending on manuscript length
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For discussion, brainstorming, craft practice, talking you off the ledge, or working through specific problems.
*Existing developmental editing clients receive a discounted rate of $75/hr.
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Query letter, synopsis, author bio, comp titles, agent research support.
Timeline: 4–6 weeks
I use a hybrid hourly/per-word pricing model informed by industry standards, my decade of writing and editing experience, and the focus and attention I devote to my clients (and their books).
I am super transparent about pricing, and will work with you to accommodate a fee schedule that feels doable.
Who I work with:
I’m in love with books—the weirder the better—and spending time inside the strange, beautiful brains of fiction authors.
I work best with imaginative, sensitive writers who have worlds upon worlds unspooling in their minds, plus the discipline and commitment to put those stories to paper.
I’ll go anywhere you want to take me.
The genres I prefer to work in include:
Dark, gritty, earthy fantasy (N.K. Jemisin)
Weird fiction (Violet Kupersmith, Helen Oyeyemi)
Speculative fiction & literary sci-fi (Jeff Vandermeer)
Thrillers—but make it weird (Riley Sager)
Genres I’m not the best editor for:
Romantasy
Cozy and/or YA fantasy
Hard sci-fi focused on technical accuracy or space exploration (although… gimme a call anyway)
Straightforward genre fiction that follows a formula
A note on selectivity & availability:
I only take on one developmental edit at a time—it’s too confusing for me to keep all those universes straight—and I’m selective about the projects I say yes to.
That’s because when we work together, I immerse myself in your story, your worldbuilding, your characters, and everything about your book (even the stuff that’s not on the page). I become your book’s biggest fan in a way that would be creepy if you weren’t paying me.
I only take on developmental edits when I honestly believe it’s the right next move for your book. Sometimes, it’s not—and I’ll tell you so. I won’t take your money just for the sake of getting the gig.
Meet your editor…
Hi! I’m Samantha Pollack (but you can call me Sam). I’m an independent developmental editor for dark fantasy, speculative fiction, weird fiction, and literary sci-fi.
In the past decade I’ve worked my way through a 500-page Word manuscript (he’d been reading too much David Foster Wallace); invested 62 hours in Book One of a dark fantasy trilogy; line-edited over 1 million words (rough estimate); and made goo-goo eyes at Amy Tan.
I’ve got a Bachelor’s Degree in Art History (which is like an English major but with pictures), a decade of experience in copywriting, creative writing, editing, and proofreading, and I still know how to operate a real espresso machine.
Some of my favorite books include Joseph Heller’s Catch-22, N.K. Jemisin’s Broken Earth trilogy, and whatever library book is currently on my nightstand. Ask me about my incendiary take on book-to-screen adaptations.
Frequently Asked Questions
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Developmental editing focuses on the big-picture stuff: plot structure, character arcs, pacing, worldbuilding, thematic coherence, and writing style. It’s not about grammar, formatting, proofreading, spelling, or em dashes. If your book is a car, this is the part where the mechanic gets under the hood to see what’s what.
Line editing is a sentence-by-sentence polishing of things like word choice, rhythm, flow, and syntax. This is where we (I) make every sentence, and every paragraph, the best possible version of itself. If your book is a computer program, this is where we fiddle with every single line of code.
Copyediting (also referred to as proofreading but not always) is the final pass: catching any lingering typos, making sure all the punctuation marks are punctuating. This is the last step before formatting—which is how the pages of the actual book someone will hold in their actual hands will be laid out. If you self-publish, formatting is often included as part of what you pay for, but all the editing bits are up to you (us).
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I can help you create a killer query package (query letter, synopsis, comp titles, author bio) that you can tailor to each agent’s preferences and personality. I can also help you research agents who are a good fit for your book and write customized pitch language for them.
What I can't do—what no one can do—is guarantee you'll get representation. That depends on so many factors outside your (or my) control: market trends, what agents are currently looking for, timing, and luck.
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Front matter consists of things like: introductions, maps, and dedications.
Back matter is your glossaries, family trees, appendices, etc.
Book jacket copy is the exciting summary on the back of the book (or the inside of the jacket) that makes a reader want to read your book.
If you're going traditional publishing: Your publisher handles all of this. You'll usually get input, but they control the final product.
If you're self-publishing: You're responsible for all of it. I can help with all this material as an add-on to your editing services.
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You only need to know this if you know you’re ready for a developmental or line edit. If you’re still working on your draft and need coaching, word count doesn’t matter just yet.
If you have an existing draft, here’s how to find it:
In Microsoft Word: Edit → Select All → Tools → Word Count (or you can right-click and a Word Count option may show up)
In Google Docs: Edit → Select All → Tools → Word Count (or you can right-click and a Word Count option may show up)
In Scrivener: Project → Project Statistics
Most novels are 70,000-120,000 words. If you're significantly outside that range, we should talk about whether trimming or expanding makes sense for your story and genre.
Trimming the word count is actually a common request from many of my authors.
Ready to meet your biggest fan?
I can’t wait to read your book! Get in touch below to schedule a call!
Or email me: sam <at> indiecopystudio <dot> com