Hi. I’m George.

Ready to make the words on the page match the vision?

You’re in the right place.

So many writers, from Ernest Hemingway to Roald Dahl, have said that writing is rewriting.

Don’t get me wrong, revising can be like trying to see your self as others do, and that isn’t easy. Who really likes looking in the mirror?

Maybe you’re struggling to see the big picture, stuck in the details. Maybe you just feel you need to share your book with the right person and have a good old ‘put-the-world-to-rights’ conversation about it. (If so, check out the Kitchen Table Sounding Board Session.)

Writing that first draft was intense, and now you want to get some feedback on what it is you’ve created.

I’m willing to bet that you and your story are twice as strong as you imagine.

I want to support you so that, instead of procrastinating or feeling fearful, you’re eager to discover how your story is going to evolve today, what you’re going to find out about it as you rewrite and shape it.

Revising your novel doesn’t have to be painful. When you’re doing it right it feels like discovery, not destruction. Like taking great strides, instead of making tiny tweaks.

 

What My Clients Have to Say

“What a pleasure to work with George. If you’re a writer currently sharing your work with only a trusted few, or if you’ve had the misfortune of being truncated and twisted by an over-subscribed, inattentive editor, then I highly recommend you get in touch with George. I found my initial concerns (would I be patronised? Bamboozled? Sent on a goose chase?) totally disproved. Instead I was listened to, encouraged, and was soon working with renewed clarity and belief, followed by a success I hadn’t dared hope for. Whilst George is hugely likeable she’s not afraid to be critical, but manages this in the most polite way ever, matched with knowledge and experience you’d do well to heed. She’s really rather impressive -don’t hesitate!” Jay [anon.]

One on one coaching

“George, I can’t thank you enough for the advice and support you’ve given me in redrafting the book. You’ve helped with so much, but I think the real breakthrough for me was when you helped me identify the genre more precisely. That transformed the structure and also made me see the characters more objectively. The book is so much stronger now and you’ve given me the confidence to embark on self-publishing. I would never have got there without your vision and analysis. Thanks so much.” Sarah Haven

Kitchen Table Session and Page Turning

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“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:

  1. What makes it good, and
  2. 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

Kitchen Table Session

So who am I? What do I do?

I’M DR GEORGINA GREEN.*

*george

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, as well as by simply holding space for you to explore your vision for the book and reflecting back to you how the vision and the reality are diverging or aligning. 

Basically, I am really great at seeing the wood for the trees when it comes to the written word. This is the same skill that earned me a doctorate in English Literature from Oxford University, only now I use it to work with living writers who are in the process of actively creating (rather than long-dead writers who I will never get to have a conversation with).

The thing I love most about this work is exploring with writers the intuitions I have about the potential book that hovers just behind what they’ve written on the page.  Then strategising with them about how to bring it out. I’ve been told that what I tend to do is to hone in on the moments where they’ve held back or second-guessed themselves.

My approach is informed by my experience tutoring undergraduates at Oxford University, my wonderful experience of being mentored and supervised as a graduate student, and my own major writer’s block when writing my book (an academic monograph published by OUP in 2014). The process is probably best placed somewhere on the spectrum between coaching and developmental editing.

My ultimate mission is to help you grow as a writer and create a book you are incredibly proud of. A much-loved book. 

 

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