Happy Clients
‘I’ve worked with many editors and proofreaders on three different continents in relation to my published work. I can confidently say Immy is brilliant. Her feedback is thoughtful, intelligent and she catches the smallest issues of grammar, problems with the progression of ideas and the lack of clarity of expression.
She quickly grasped the complexities of my subject matter – not something every editor can do. On top of that, her warmth and friendliness have made working with her a genuine pleasure. I heartily recommend her.’
— Professor Graham H. Twelftree (FRHistS), LST
‘Immy’s eye for detail is amazing, nothing slips past her! Her feedback was always thoughtful, precise, and constructive. She didn’t just correct my writing; she elevated it. She understood exactly what I was trying to say, even when it wasn’t fully formed, and she helped me express in an academically compelling way. Her editing consistently improved both the coherence and confidence of my work.
She is reliable, encouraging, and genuinely invested in your success. Working with her felt like having a teammate, not a critic, which made a huge difference during stressful deadlines. If you want someone kind, insightful and very skilled, then book her ASAP!!!
— Vanessa, mature student, aged 52
‘Immy has an exceptional ability with words. She took our rough drafts and refined them perfectly. She saw the changes we needed in our story and walked us through them clearly and so generously. Don’t miss her!’
— Jonathan, Osborn Coaching & Consultancy
Portfolio Pieces
Here are some examples of my recent work.
Line edit and proofread of Professor Graham H. Twelftree (FRHistS) upcoming publication (CUP)
Professor Graham H. Twelftree (FRHistS) is a previous Academic Dean and Professor at the London School of Theology. He brought me in to line edit and proofread his manuscript ahead of publication. It was a conceptually sophisticated project where clarity of argument and precise expression are not stylistic preferences but intellectual obligations.
I worked through the manuscript with focusing on consistency and coherence of argument, the quality of evidentiary support, flow between sections, and the fundamentals of grammar, spelling, and punctuation. I also provided written feedback on the strengths and weaknesses of the work at both section and whole-text level.
The subject matter required not just editorial skill but genuine intellectual engagement with the text.
Story Editor for The Last Word TV
The Last Word TV is a UK production company working across global projects. I have been embedded with their team for the past six months as their first Story Editor — a role I conceived, establishing a developmental editorial process that didn’t previously exist within the company.
My primary project is a feature-length documentary following a family’s circumnavigation of the globe aboard their boat — an ambitious, ongoing production that spans continents and years of footage. Alongside this, I work on the company’s family legacy films, a quieter but equally demanding format that requires a strong instinct for narrative shape and emotional truth.
Across both, my work involves combing through raw footage and scripts to find the story — not just the sequence of events, but the character arcs, dramatic tension, and thematic coherence that make a documentary worth watching. I produce plot sequences, character maps, and full developmental critiques, giving the team a clear editorial framework to work from at each stage of production.
Fiction Editor at The Common Ground Journal
Common Ground Oxford is a peer-reviewed journal affiliated with the University of Oxford, publishing anti-racist and post-colonial writing. I served as Fiction Editor, working across both developmental and line editing stages to shape short stories.
Developmental editing at this level demands more than structural coherence — each story must earn its place in the issue’s theme and serve the journal’s broader mission. That means assessing whether a piece genuinely engages with thematic ideas, or merely gestures at them. I worked with authors to deepen that engagement without overwriting their voice.
At the line level, I edited for precision, rhythm, and clarity, ensuring the prose met the standard expected of a peer-reviewed academic publication while retaining the distinctiveness that makes literary fiction worth reading.
Developmental edit for Vanessa’s Durham University dissertation
Vanessa came to me at a critical stage of her dissertation in Theology, needing developmental editing support that went beyond proofreading. Working with her 10,000 word dissertation, I focused on structuring her arguments for logical coherence, sharpening her academic voice, and ensuring her ideas — which were substantive but sometimes unclearly worded — were expressed with the clarity and confidence her work deserved.
As a mature student returning to academia at 52, Vanessa faced particular pressure to prove herself in a demanding academic environment. My role was to honour what she was trying to say and help her say it better without overriding her voice.