I’m a professional independent line editor and copy editor providing services to writers and publishers.
I’m a thorough, meticulous and honest editor, with a sensitive and friendly approach to you and your text, steering clear of pedantry and peeves. My personal and editorial interests and knowledge extend into the arts (particularly music and literature), humanities and social sciences. Recent work has included development editing an indie author’s novel, a book about online privacy, and academic texts in the fields of music history and social studies.
CIEP grade: Professional Member
Keywords: music history, cultural studies, orchestral music and instruments, musical notation, popular music, literature in English, music typesetting
Instruments/Musical skills: oboe, cor anglais
Location: Birmingham, UK
- BA in English Studies
- MA in Writing (Distinction)
- Developmental Editing: Fiction Theory (Liminal Pages), 2023
- Introduction to Fiction Editing (CIEP), 2021
- Word for Practical Editing (CIEP), 2021
- Copy-editing 3: Progress (SfEP), 2019
- Copy-editing 2: Headway (SfEP), 2018
I started my copy-editing career in 2010, and have since worked with dozens of writers on their books, chapters and articles. I’ve edited books for small, independent publishers and self-publishing authors, and I’ve edited academic books in the humanities, arts, and social sciences.
At a time when cutting corners to cut costs seems to be becoming the order of the day in academic publishing, Owen Gregory was a breath of fresh air. Not only did he do all of the technical tasks expected of a copy editor, he also demonstrated initiative (e.g. investigating the norms of my discipline rather than simply asking me to dictate what I thought was correct), engaged intellectually with the content (e.g. showing where I had contradicted myself), communicated effectively, and met final deadlines. By the end of the process, Owen had earned my full trust and respect. I look forward to working with him again.
Dr Stephanie Rocke (University of Melbourne) The Origins and Ascendancy of the Concert Mass