You’re Not Paying for Pages — You’re Paying for Perspective
When I tell people what I do, I sometimes see their eyes widen at the idea of paying for an edit.
Especially developmental editing. Especially if they’re planning to query.
“I thought publishers took care of that,” they say.
Or, “I’m just not sure I can justify the cost right now.”
And I understand that. Truly.
Because when I needed help training my dog, I had the same thought.
Do I pay for a personalized training session? Or do I sign up for one of the national chains offering slick packages, guarantees, and a hefty price tag that starts at $2,500 for a 3-session plan?
Do I go boutique—or do I follow the program?
The Dog Training Dilemma
In my case, I went local. I found a trainer in a small town, someone who charged less than I do for an hour of editorial consultation, but brought a depth of insight that made all the difference.
She didn’t follow a script. She didn’t give me handouts someone else wrote.
She watched my dog. She asked questions. She adapted. She taught me how to notice things, too.
And what I realized was: I wasn’t paying for the session.
I was paying for her perspective.
Her ability to look at a behavior, make sense of it, and respond with precision.
So What Does This Have to Do With Editing?
The same principle applies.
When you work with me on a manuscript—whether it’s through a full developmental edit or a one-hour consultation—you’re not just paying for a word count or a checklist. You’re paying for what I see.
And what I bring to that session isn’t one-size-fits-all.
It’s not built from a template.
And it definitely doesn’t come from a free download.
Here’s what it actually looks like behind the scenes at House of Braus:
I read your manuscript like a reader and like an editor—tracking structure, emotional resonance, POV, motivation, flow.
I take notes that track the arc of your intentions, not mine.
I reflect on your story’s goals—and how well the execution aligns.
I ask myself what kind of feedback will work for you, based on how you revise, how you write, how you think.
I don’t use a stock editorial letter format.
I don’t rely on recycled comments.
I adapt with every project—and with every author.
Because no two manuscripts are the same.
And no two writers think, process, or revise the same way.
Perspective Is the Product
Think about what that means.
It means that when you hire me, you're not just buying my time.
You’re tapping into years of craft development, of teaching, of pattern-recognition in story structure, voice, pacing, and plot.
You're getting someone who will sit beside you, creatively and emotionally, and say:
“I see what you’re trying to do. Let’s get it even closer.”
It’s a boutique process. Thoughtfully built. Carefully paced.
One that evolves over time—especially when I work with an author more than once. Because with each project, I learn more about how you write. And that means I can offer even more targeted, intuitive support.
I Can’t Speak for Other Editors
I can’t promise what someone else will deliver. I don’t know what their training is, or whether they use templates, or how much time they give to your pages behind the scenes.
What I can tell you is what I do.
Why I do it this way.
And how it’s built on a foundation of craft, care, and collaboration.
You’re not just paying for pages.
You’re paying for perspective.
And around here? That perspective is always yours first.
Let’s talk story.
