About the Editor
About House of Braus
House of Braus is more than a name—it’s a promise to authors.
It was built as a space for a different kind of editorial work—a response to what’s changed.
Stories are being created and shared in more ways than ever before.
Access has expanded. Volume has increased.
But the kind of editorial partnership that allows a story to fully take shape—through attention, structure, and sustained development—has become harder to find.
That’s where House of Braus comes in.
I work as both editor and creative collaborator, offering the kind of ongoing support that allows stories—and authors—to develop over time.
From your first draft to your fiftieth book, the focus is not just on refining a manuscript, but on strengthening the skills that sustain a long-term writing career.
This is a studio grounded in close reading, strong structure, and a deep awareness of how a story is actually experienced by the reader.
At the same time, I work with the way stories exist now—fluid, evolving, and often developed in real time.
Here, the work is collaborative, the standards are high, and the goal is the same:
To build stories that hold—and a career that lasts.
About Mallory
My relationship with story started long before I knew what an editor was.
I’ve always been drawn to the way stories feel when they’re working—and when they aren’t.
And to understanding why.
Over time, that instinct became something I could name and work with.
I’d notice where a story stopped delivering on what it had set up—even when the writing itself was strong. Where the underlying pieces weren’t fully working together yet.
That’s the level I work at now.
I don’t just look at what’s on the page. I look at how the story is functioning beneath it—how structure, character, and pacing interlock, and what that creates in the reading experience.
Sometimes that means deep structural work.
Sometimes it’s refinement at the line level.
Sometimes it’s stepping in while a story is still taking shape and helping clarify direction as it develops.
But the focus is always the same:
Making sure the story does what it’s trying to do—and that the reader can actually feel it.
My background in teaching informs how I structure feedback so it’s clear, usable, and aligned with how writers move through revision.
I’ve spent over fifteen years editing across commercial and genre markets, including projects that have gone on to become bestsellers and award winners. My work includes experience with publishers such as Harlequin and Amazon Publishing, along with editorial mentorship shaped by traditional New York publishing and agenting practices.
I hold a degree in English from UCLA and a Master’s in Teaching—bringing together my study of narrative and the practical application of how people learn. I’ve also been invited to speak and teach on storytelling craft, sharing practical insight with writers developing their work.
At its core, this work is about clarity.
Seeing what’s already there.
Understanding how it’s functioning.
And shaping each element so it fully carries through.
