Hi. I’m Dr Georgina Green.*
Wondering if your story works? Starting to second-guess your writing?
I can help.
What My Clients Have to Say
“I came to work with you because I suppose I was not sure whether my story worked. While I’ve had a few people read it, I’ve been conscious that most of them would miss probably all of the more subtle details. Would the novel still work if they didn’t understand these things? Would they be prepared to re-read it and see what they missed? The other challenge was knowing how far I could push the unconventional ideas. Overall, I was looking for was an honest appraisal of the novel with an eye on what grabs the reader. Basically, get an idea of:
- What makes it good, and
- What’s getting in the way of it being better?
I have to admit before we started work I suppose I was a bit apprehensive that you would be recommending a wholesale restructuring. Instead I’ve come away with a very targeted set of areas to look at in terms of clarifying to the reader where their attention needs to be; the essential action, the core emotion etc. as well as equipping them to know what to look for and delivering the payoff both intellectually (the non-patronising ‘pat on the head’!) and emotionally.
I’ve tried to develop a thicker skin when it comes to even well-intentioned negative comments, it’s still hard not to get defensive but I think I’m improving. That said, you handled discussing the weaker areas in my work really well- such as the teenage voice- by coming to it from the solution of changing the time setting. Because you had obviously read the novel really closely, I didn’t feel I needed to or wanted to defend my initial decision. You understood what I was going for, and you could see how I could work around the obstacle.
From our previous literary discussions I knew I would be getting the viewpoint of someone who wouldn’t be bewildered by the referential stuff, or why I’d put it there (beyond shameless showing off, to which I plead guilty on all charges). I didn’t quite know what viewpoint you’d come from, so it was a relief when you’d sussed out the tone precisely as I’d intended it. In a lot of ways, this is my attempt to create a particular sensation that I get from my favourite fiction, films and music. From there, it meant I had confidence that any suggestion you made would be sensitive to this idea. And so it proved!
Another worry was my own over-willingness to talk at great length about the writing and how I am more than likely to amble off at a tangent or rapidly skip between ideas, which you coped with magnificently. Over the years I’ve tried to get better at detecting when my audience’s eyes are starting to glaze over, so it was a pleasure not to have to worry about it. I’d say your impressive tolerance for this is a major selling point.
In fact, this was one of the ways you helped. You provided a sounding board where you were comfortably following complex points of plot, tone and characterisation, then feeding that back in a way that I could see for myself the significance of what I had told you.
As I’ve said above, having a clear set of targeted points to work on has been a big help, not least because I can also see where I’m going to take the sequel.Roger Haines
So who am I? What do I do?
I’M DR GEORGINA GREEN.*
If you have a first draft (or most of one), I would love to help you with the revising and editing journey ahead of you.
I help writers through this journey using my superpowers of intuition and analysis when it comes to the written word. I aim to reflect back to you how the idea and the reality of your book are diverging or aligning.
I can see the wood for the trees when it comes to the written word (especially other people’s writing…everyone has a blind spot for their own!). This is the skill that earned me a doctorate in English Literature from the University of Oxford and helped me to become a published author of a well-received book of literary criticism as well as to publish in peer-reviewed journals.
Now, rather than working ‘with’ long-dead writers who are sometimes really uncommunicative, I use my skills in literary analysis to support active writers who are serious about joyfully working on their craft.
The thing I love most about this work is the collaborative, intuition-led discovery of the potential book that hovers just behind what is written on the page before strategising analytically with you about how to bring it out. I’ve been told that from a writer’s point of view this feels like I’m homing in on the moments where you’ve held back or second-guessed yourself, and giving you the confidence to write what you really wanted to.
I aim to recreate for my clients something of the experience of being tutored at Oxford University, where I taught as a graduate student. I also model our work together on my wonderful experience of being mentored and supervised there as I wrote my thesis. Finally, the care I take with your writing-self is informed by my experience of major writer’s block when writing my book (an academic monograph published by OUP in 2014).
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