The Fiction Editor Who Wanted Her Voice

A small independent publisher needed to scale without losing what made their books distinctive. Their head of books had spent decades developing an editorial sensibility—one that couldn't be captured in a style sheet but showed up in every margin note.

We built a custom Claude skill together. Not a generic fiction editor, but one trained on her feedback patterns, her pet peeves, her instinct for when a scene needed tightening versus when it needed room to breathe. The process took weeks of iteration: sample edits, corrections, refinements.

The result isn't a replacement for her judgment. It's an amplifier. The tool catches what she'd catch, freeing her to focus on the decisions only she can make. First-pass edits that once took hours now take minutes. The publisher's voice stays intact across more titles than one person could otherwise touch.

More Success Stories

Explore how other teams are transforming their editorial workflows.

Self-Editing Across Borders

Authors working in English come from everywhere. Some write from London, others from Dublin, still others from Berlin or Barcelona. They share a language but not always a publisher, not always a market.

The Publisher Who Needed More Than English

A publisher working in a right-to-left (RTL) language faced a familiar problem: most editorial AI tools assume left-to-right text flow and Western typographic conventions. Their existing workflow felt cobbled together, with localization gaps that slowed production and frustrated editors.

Working Across Languages

Our early assumption was simple: build for English first, figure out the rest later. The right-to-left language publisher taught us otherwise. Since then, we've expanded support incrementally—German, Spanish, and others—learning each time that language support means more than translation.

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