Take your manuscripts to the next level.
Here's how.
Sell More Stories.
The revision process is probably the most challenging part of crafting a story. Not only do you need perspective on your work, but you need the technical eye to see the fundamental and structural flaws that make a story flop.
So how do you make this key step happen?
Manuscript critiques.
A thorough content edit goes over a story and looks for the basic underpinnings of craft. Does this story make me care about your characters? Is there enough struggle to keep me engaged throughout? Is the writing too dense or too flowery? Does the tone match the action? Are there gaping plotholes?
And will my story sell in today's market?
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Also known as a developmental edit, this is the first round of manuscript critiquing. It addresses basic structural issues like characterization, plotholes, conflict, use of tropes, overarching themes, and character arcs. 
I generally recommend starting here unless you know your story has a very specific problem that needs to be addressed or you've already had a professional content edit.
A line edit is much more detailed than a content edit. Like the name suggests, a line edit includes going line by line and smoothing the prose. In particular, you need an editor at this stage who understands your voice and gives you the space as an author to write the story you're trying to tell. There's a fine line between a firm editorial hand at the line-editing stage and re-writing an author's work. 
Copy Edit
A copy edit, or proofread, is the final stage of manuscript critique before sending it off for submission. This is the "move the commas" phase, and it requires a meticulous eye for grammar, punctuation, and spelling. Never trust your spellcheck or especially grammar checker to catch copy editing mistakes. It still requires a real person.

Not quite what you were looking for?
Consider personal writing instruction & coaching with Anna.
Customized approach to fit where you are in your professional (or aspiring to be) career. 
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Because I'm the person who buys the stories.

I've read thousands of broken stories.
You may have heard that one of the best ways to learn storytelling is sitting beneath a slushpile and reading story after story. It's true.  After the 10,000th story or so, you begin to realize that all these stories that don't work have quite a few things in common. And these things are the fundamentals of storytelling that I look for in a developmental edit.
I've worked with authors to fix those broken stories.
It's one thing to sit on the sidelines and throw stones. It's quite another to crawl down into the broken story muck and begin patching things up. But quite honestly, editors edit for a reason (well, good editors anyway). Editing is a process. And I've worked with countless authors, both professionals and beginners, to make their stories shine.
I'm a working writer. 
I know how to write and sell a story because I do it too. I'm in the trenches with you. I undestand the frustration, the heartache, and the self-doubt. But I also know how hard it is to get a manuscript critique that cuts to the heart of the problem instead of giving a pat on the head.  
It's what I do. 
At the end of the day, I buy stories. I publish Flash Fiction Online, a professional monthly literary and genre magazine that's among the largest of its kind. I've had projects featured in everything from Rolling Stone to small, genre-specific blogs. I guest judge and host for other literary magazines and competitions. My online writing courses have thousands of students from all over the world, and my own fiction has been professionally published and translated into multiple languages.  
Besides, I just kinda dig it.

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