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"For the second time Cornerstones' editorial work has licked my manuscript into a state that has attracted a publisher. Friends never tell you the truth - only a professional editor will. More than the truth, they improve your work in a way that is almost impossible to do on your own."
Charlie Ellingworth, 'A Bitter Harvest' (Quartet, April 2019) -
"Dinah's thorough, wise and helpful report really helped improve the manuscript. The fact that she was so positive carried me through the tough months before publication of We Do Not Kill Children."
Penelope Wallace, 'We Do Not Kill Children', Mightier than the Sword -
"Cornerstones helped me navigate the treacherous journey between first draught and finished manuscript, and with their encouragement, I was shortlisted for The Bath Novel Award and now have an agent."
Scott Bain, 'The God Bullet' -
"Working with the staff at Cornerstones was one of the best writing decisions I’ve made. They gave me direction and the belief to keep going - can’t thank them enough."
Libby McGuan, 'The Eidolon', Solaris, and shortlisted for British Fantasy Awards 2014 -
"I always loved writing, but my writing was aimless and unfocused – and getting nowhere. Cornerstones gave me the missing piece. They taught me the crucial editing, planning and plotting tools that focused my work and led to publication. I might still just be dreaming if it weren’t for Helen and Lee."
Dean Carson, 'Dead or Alive', Endeavour -
"My Cornerstones’s report was a pivotal moment in the writing journey. It guided me towards the story I wanted to tell and it gave me clarity and confidence. For a debut, would-be author, these are things that money can't buy."
Claire Hajaj, 'Ishmael's Oranges', Oneworld -
"I’d managed to work my manuscript (and myself) up into a bit of a tangled mess that I couldn’t seem to get out of… Cornerstones helped me to unpick the knots and smooth out my plot, and they did this with clarity and simplicity. The guidance and feedback they offered was instrumental in helping me to find a home for my writing, and now I’ve signed a great deal with a fantastic publisher for a Young Adult trilogy!"
Johanna Handley, 'The Burning of Juniper Slaide', Rudling House -
"Cornerstones' review came at a pivotal moment, as I was about to give it up and stick to Sci-fi. The journey was long, and I wrote to 25 agents and five publishers; in the end it was three publishers who got back to me, two of whom made an offer."
JF Kirwan, '66 Metres', Carina -
“At a time when I nearly gave up, Cornerstones provided encouragement, tools and tips, and – most importantly - hope. They’re like a literary hug, with a sprinkling of magic.”
Rosemary Dun, 'The Trouble With Love', Sphere -
"I always loved writing, but my writing was aimless and unfocused - and getting nowhere. Cornerstones gave me the missing piece. They taught me the crucial editing, planning and plotting tools that focused my work and led to publication. I might still just be dreaming if it wasn't for Helen and Lee."
Anthony Galvin, Penguin and Endeavour Press -
"Many thanks to Cornerstones and the team for the invaluable advice. I took it seriously, and now it's paid off! My journey to publication has been a really long one, but I'm glad I stuck it out."
Imran Hashim, 'Annabelle Thong', Epigram Books -
“I was a complete novice about writing and coming to the publishing industry very green. Cornerstones helped to shape my manuscript, find an agent and now the book is being published. It’s the realisation of ten years of work and a dream come true for me to see my story about my disabled twins finally come to light.”
James Melville-Ross, 'Two For Joy', John Blake Publishing -
"Thanks for building up Cornerstones, Helen. I sometimes wonder whether I would have given up by now if you all hadn't been there to push and guide and shove. You really do provide a remarkable service to us budding writers with big dreams."
Tina Konstant -
"Cornerstones really gave me that initial kick start and I'll always be grateful. I am thrilled to say I'm now signed with PFD and have a book deal with Scholastic in the UK and US."
Lisa Thompson, 'The Goldfish Boy', 2017 -
“For constructive and professional editorial advice, contacting Cornerstones is a very wise move for any aspiring author. Their reports pushed my writing in the right direction, and I’m so pleased I picked up the phone and said; “The thing is, I’ve got a first draft of a novel and…”
Daniel Godfrey, 'New Pompeii', Titan Books -
“Sound advice and constructive criticism–invaluable whether you’re starting out as a writer, or simply in need of a fresh pair of expert eyes.”
Craig Simpson, 'Resistance', Random House -
"I believe the process I went through with Cornerstones helped me get my manuscript in shape to secure a book deal."
Annabel Kantaria, 'Coming Home', three-book deal with Harlequin -
“My first experience of working with a professional editor came through Cornerstones; it’s taken a few re-writes but I’m now proud to say I’ve signed a five-book deal with Accent Press.”
Jan Ruth, 'Wild Water' -
"From start to finish, I found the process seamless. My manuscript was critiqued by a fantastic editor and I wouldn't have been signed so quickly by such a prestigious agent had it not been for Cornerstones. Thank you!"
Abi Elphinstone, 'The Dreamsnatcher', Simon & Schuster -
"When I first began writing I sent an early draft to Cornerstones, and without their encouragement I would probably have left it there. Thanks to their belief in my potential, I now have an agent, write full-time, and have an international three-book deal."
Rachel McIntyre, 'Me and Mr J', Egmont -
“My Cornerstones report was invaluable. Too close to see what I needed to address, my editor's advice helped me focus with clarity. And she was inspiring. I surged ahead with the re-write and added 12,000 words. Now, with an agent, I am looking forward to the next stage.”
E J Whiston, 'Me Two' -
“Cornerstones offered crucial help at a time when I really needed it. Thanks to the team for matching me with the right editor: my manuscript transformed from something that had previously only given me panic into a story that inspired confidence.”
Roshani Chokshi, 'The Gilded Wolves', Wednesday Books -
“The Cornerstones edit was a turning-point. It made all the difference.”
Lynn Bushell, 'Painted Ladies' (Sandstone Press, 2019) -
“Once I had finished the first draft of my debut novel, I knew it could be improved but felt I needed some help and guidance. Cornerstones very quickly matched me with a wonderful editor who saw both the potential in the book, and what I needed to do to make it the best it could be. The feedback was honest but encouraging and I got back to work. After a several more re-writes, I was over the moon to be picked up by one of my top-of-the list agents, followed by exciting publishing deals in the UK, US, and with sales of foreign rights. Thank you so much Cornerstones for the help and support!”
Louise Fein, People Like Us (Head of Zeus, 2020) -
“Once I had finished the first draft of my debut novel, I knew it could be improved but felt I needed some help and guidance. Cornerstones very quickly matched me with a wonderful editor who saw both the potential in the book, and what I needed to do to make it the best it could be. The feedback was honest but encouraging and I got back to work. After a several more re-writes, I was over the moon to be picked up by one of my top-of-the list agents, followed by exciting publishing deals in the UK, US, and with sales of foreign rights. Thank you so much Cornerstones for the help and support!”
Louise Fein, People Like Us (Head of Zeus, 2020)
Learn how to Edit Your Novel the Professional Way on our new online course.
Over 18 weeks, literary consultants Kathryn Price and Helen Corner-Bryant will show you how to take your novel from draft to agent-ready submission. We’ll introduce you to the techniques used by professional editors based on our time-tested approach to author development, as well as the skills outlined in our essential guide to editing, On Editing. You’ll need to put in up to 10 hours per week to make the most of the course (180 hours over the 18 weeks) – that includes reading and thinking, completing practical exercises, feeding back on your peers’ novels, and contributing to forum discussions. You can work at any time of the day (or night) – you just need to meet the final deadline in each class.
“The course is giving me such a depth of understanding of what editing fiction involves that I may even add these skills to my CV. Now, that can’t be bad can it?”
– Stella Soerensen, Edit Your Novel student
“I knew when I decided to do the course, with the expense considerations and the time, that if nothing else it would make me a better writer, but honestly it’s really surpassed my expectations. I just feel like I’ve been given a complete tool-kit.”
– Cary Johansson, Edit Your Novel student
Start Date: 3 February 2020
Course Director: Helen Corner-Bryant
Course Leader: Kathryn Price
Price: £1,500 + VAT (Early-bird £1,300 + VAT)
Location: Online
Duration: 20 weeks
Format: 7 fortnightly classes, plus final class lasting one month
This course is for authors who have a complete draft of a novel – either a current work-in- progress or one you would like to revisit. You may have completed a novel-writing course, or a writing masters, and are now ready to make the leap to the next level. Or you may be published and working on a new novel.
We’ll introduce you to the key skills needed to edit a novel and show you how to use those techniques to diagnose and fix problems in your own work. We will also show you how to prepare your submission package to present to the trade. During the course, there will be forum and chatroom participation, a moderator to answer day-to- day and technical queries, and a tutor overseeing your comments and posted work. You will receive individual tutor feedback on three occasions during the course.
Course Outline
Aim: Learn about diagnostic structuring techniques and how to apply them to your own work. Outcome: Find and fix plot problems and produce a solid structural overview (synopsis). You will talk to your tutor about your novel (15-20 minutes).
Aim: Find out how to assess character strengths and weaknesses, and flesh out less defined characters. Analyse characters in terms of their role and function in the plot, looking at character arcs and their impact on structure.
Outcome: Make a detailed analysis of your protagonist, including their inner and external conflicts mapped side by side with your plot structure.
Aim: Examine different POVs and explore their effect on tension and readability. Learn the dos and don’ts of (POV) and how to make yours as effective and intimate as possible.
Outcome (choose one option):
- A: Edit 500 – 750 words of your novel to avoid head-hopping
- B: Edit 500 – 750 words, using a different POV
- C: Edit 500 – 750 words using advanced techniques to bring us even closer to the POV character
Aim: Understand the purpose of dialogue and how to juggle context, text and subtext. Explore ways to use description to kick-start the reader’s imagination, and blend dialogue and description effectively within the parameters of POV.
Outcome: Red-pen and rewrite one short scene to make more of your description and dialogue (to include infrastructure, scene- setting and dialogue/cushioning).
Aim: Learn how to prioritise material so that each scene has a clear purpose and direction, using questions and answers to increase tension and make scenes shine.
Outcome: Check that each scene in your first 10,000 words is really needed and rewrite one full scene implementing the techniques you’ve learned.
Aim: Develop advanced approaches to balancing material — dealing with overwriting or superfluous elements, and knowing when to extend/slow down and when to cut back/speed up. Discover how to apply the idea of pacing to your overall structure.
Outcome: Rewrite a dramatic incident employing pacing appropriate to the subject and atmosphere.
Aim: Find out how to spot telling in your writing, and why, how and where to dramatise instead. See how to use ‘show not tell’ as a lens to examine every aspect of your writing and learn how to inhabit the ‘show not tell’ mindset when editing.
Outcome: Edit your first chapter using ‘show not tell’ techniques to guide you. You’ll participate in a tutor-led online group discussion on common problems, with troubleshooting tips.
Aim: Create an industry-level package to submit to agents; learn how to research and pitch, with tips on how to land on your chosen agent’s desk. Write a catchy book description and covering letter, using an editing checklist of dos and don’ts.
Outcome: Apply the techniques you’ve learned to your first 10,000 words, then write your covering letter and finalise the synopsis you produced in Class 1. At the end of the course you’ll receive detailed tutor feedback on your first 10,000 words, synopsis and covering letter.
You’ll have an edited and industry-formatted version of the first 10,000 words of your novel, together with a synopsis and covering letter, ready to send out to agents. You’ll also have a good working knowledge of the professional editing techniques you need to apply to the rest of your manuscript, and a plan to put those skills into action. At the end of the course you’ll receive detailed tutor feedback on your first 10,000 words, synopsis and covering letter.
Payment information
We do accept payment in instalments for the Edit Your Novel course. If successfully offered a place on the course, a £600 deposit must be made prior to the course start date, and the remaining balance can be settled in two or three instalments prior to the midway point. For example, applicants who are eligible to pay the full rate (£1500 + VAT = £1800.00) may pay a £600 deposit, followed by 3 x £400 instalments. These instalments must be arranged as a standing order, and proof of this must be sent to the office via email.
Payment can alternatively be made upfront in full. Successful applicants who make a deposit or full payment six weeks (minimum) before the course start will be eligible for the Early Bird discount.