I accept new editorial clients by application only, during limited periods.
Applications are currently closed. Sign up for my newsletter here to be notified when they reopen (likely in Spring 2026).
I have been working as a freelance developmental editor since 2016. I am a former Senior Editor at Barrelhouse Books, where I acquired and edited nonfiction. I've also edited for the online publications Narratively and Catapult, commissioning and editing personal essays. I teach creative nonfiction and fiction at Randolph College's low-residency MFA program, and have taught previously at Columbia University, as well as Tin House, Catapult, Write or Die, Corporeal Writing, StoryStudio, and more.
I'm also the author of Negative Space, a hybrid art book/memoir, and First Love, a collection of personal/critical essays; and editor of the anthology Burn It Down.
If you have a manuscript that you've pushed as far as you can on your own, I can provide a fresh perspective that incorporates both art and business. I will meet your work where it is, protecting its creative core while also pushing you to shape it into something with the best shot possible at succeeding in the crowded and competitive publishing market.
My background is in creative nonfiction (specifically memoirs, essay collections, and all of the formally interesting stuff in between). I love projects that bring in elements of other kinds of nonfiction—reportage, cultural criticism, etc.—as well as straightforward immersive narrative memoir. I also work on literary adult fiction.
Across genres, I specialize in narrative structure—whether you're working with a straightforward narrative and just need help honing the arc, or you have a more complex braided or otherwise non-chronological structure and need to make sure it feels fluid and easy to follow. I will point out any extraneous chapters or scenes that may be slowing your story's momentum, as well as opportunities to expand and dig deeper. I will help you push yourself on the big-picture elements like theme, tone, and maintaining narrative tension; and the details like making the most of each scene and smoothing transitions.
Note: I'm not a fit for sci-fi, romance, YA, humor, self help, or "inspirational"/religious projects; and I don't do line editing, copyediting, or proofreading. I am not currently available to edit individual essays.
See below for details and rates. Email me at lillydancyger@gmail.com if you have any questions.
This developmental edit focuses on the big-picture elements of your book-length manuscript: structure, pacing, character development, balance of scene and reflection, and whether your main themes are developing clearly over the course of the story. My critiques come from both artistic and practical perspectives—helping to push your book to be the most compelling execution of your idea and honing its strengths on a craft level, while also taking into account the current publishing landscape and how best to position your book within it. I will give my honest assessment of the project's readiness to query/submit for publication, as well as a clear roadmap for how to get it ready if it isn't quite there yet.
You will receive an edit letter addressing the book as a whole and making suggestions for what the main focus(es) of your next revision should be (this often includes structure, main themes that could be deepened and emphasized more throughout, parts of the story that feel like they're missing or not given enough air time, etc.), as well as several pages of detailed chapter-by-chapter (or essay-by-essay) notes.
I strongly recommend going through at least two full rounds of revision on your own before hiring me or anyone else to review your manuscript. If you're earlier in the process but still want some editorial guidance, I recommend starting with a First 50 evaluation (details below).
This service does not include line edits.
An evaluation of the first 50 (double-spaced, standard format) pages of your manuscript is usually enough to diagnose big-picture issues like structure, pacing, balance of scene and reflection, and narrative trajectory/emotional stakes that likely apply to the full manuscript.
My edit letter on your first 50 pages will include detailed notes on the opening (aimed toward not just polishing those pages, but also setting up the rest of the manuscript), and suggestions for the project as a whole.
I don't do full manuscript reviews on early drafts, but will gladly do a first 50 review earlier in the process to help make sure you're on the right track before you wade through rounds and rounds of revision on the full.
Writers who have previously gone through a first 50 review with me get a $200 credit toward a full manuscript evaluation if you want to come back for more comprehensive feedback (good for one year after I send you my first 50 notes).
If you're not sure whether you need a full manuscript evaluation or just a first 50, I strongly recommend starting here!
This service does not include line edits.
"I’ve worked with Lilly numerous times. She helped me edit my entire book proposal, which resulted in my landing the literary agent of my dreams. As a fellow writer, Lilly understands the craft from an artistic perspective. As a professional editor, she understands the logistics. She examines work through both the lens of a creative writer and industry professional. Her feedback is sharp, smart, straightforward, and constructive. Working with her taught me how to look at my own work with a critical eye. She has helped me become a better writer."