Neil White, Publisher, The Nautilus Publishing Company
Kate Lechler is one of my favorite editors. She is young in spirit (and years) but Kate is old-soul wise. I trust her. If a project isn’t right for Kate’s skill set or interests, I can count on her candor. If she accepts a book project, I know the work will be exemplary. Editors like this — talented, engaging, and with great range — don’t come along very often.–NW
“Arrow of Time,” Gamut Magazine, by Kate Dollarhyde (2017)–beta-read
Kate is an especially astute editor. She has the ability to read with a certain generosity toward the story that is, I think, relatively rare—she approaches a story on its own terms, always with careful consideration of authorial intent. She’s especially brilliant at seeing the bones of a story and showing you which bits you can lose and while still maintaining structural integrity. Kate also brings a light editorial hand to her work and only gives you editorial advice on what you ask for—she won’t give you line edits when you actually want help with logical flow. Ultimately, I trust very few people with my work like I do Kate.–KD
Sarah Gailey, author of River of Teeth, etc.
Kate is a goddamn delight to work with. She’s brilliant and insightful and you should be so lucky as to gain access to the unfettered excellence that is her feedback.–SG
“Diver” and “Malebolge,” by Allison Thai (2017)–beta-read
Kate presents a thoughtful, balanced critique detailing both the story’s strengths and what could be improved, all without being harsh, preachy, or unreasonable. Her comments and questions throughout points in the story teach me to keep the reader’s view in mind for future writing, so I can better discern my vision and strive for clarity. Overall I feel she has informed and encouraged me every time I look back at my work with her insight. –AT
“Untitled Novel,” by JD Stark (2017)–developmental edit and line edit
It was an absolute pleasure working with Kate. She is helpful, discerning and deeply cares about moving the story in the most satisfying direction. She is not afraid to get in the weeds and to give very specific and detailed advice. I’m very grateful for her work and would gladly recommend her.–JS
The Eternal Front, by Walter Blair (2016)–manuscript evaluation, complete developmental edit
In early 2016, I dropped a sprawling, ungainly 170,000-word “Untitled Project” into Kate Lechler’s capable hands for a developmental read and analysis, and hoped for the best. “Untitled Project” is a beast of a book. It has multiple viewpoint characters. It veers between conspiracy, romance, and retro-future trench warfare. It leans in for tense, whispered conversations between spies, and then slingshots into orbit for global views of the planet. A lot can go wrong in this kind of book.
Kate quickly and professionally provided a comprehensive developmental analysis of “Untitled Project” that gave me a crucial external perspective into what worked and what didn’t: how the characters actually read on the page, whether the plot points were pointy enough, even where the recurring motifs began pointing different directions. The big fear of writers is that our most important early reader of our new book, the lifecoach of that piece of fiction, isn’t perceiving every detail or understanding its potential. If I can speak for “Untitled Project,” it felt completely understood, and since a 170,000-word novel can get up to a lot of mischief, that’s saying something.
Kate’s analysis was full of insight and advice which was either immediately actionable or slow-simmer valuable. Immediately actionable: dumb things I couldn’t see, being too close to the story. Slow-simmer valuable: insights and suggestions for interweaving all the story threads, and orienting the buried themes, to make the novel’s voice less fractious. In all, the developmental analysis took my sprawling 170,000-word “untitled project” to a tighter (and slightly less sprawling) 140,000-word hard science fiction novel called The Eternal Front. Yes, it finally earned a title (title might change). Objectively speaking, this book is a different creature now. It’s much more “what it is” than before, and it has a much better chance to find an audience.
Working with Kate is also a pleasure. She brings all the gusto, excitement, and energy of someone who doesn’t know what they’re getting into… but with all the keen insight, industry perspective, and seasoned understanding of a crusty professional. You’re ultimately forced to realize that she might be the rarest of unicorns: a genre expert and master of craft, who is good at dealing with clients, and who actively loves what she’s doing. You can bet your life I’m working with Kate again. In fact, I’m already back with another project. I’ll keep coming back until she gets too busy and famous to take my calls.–WB