About me

Clarion Editing

About me

Before moving into editing and proofreading, I worked as an academic for about 20 years, during which time I helped students to write their essays and dissertations.


My special areas of interest are:

  • academic writing.
  • musicology (the subject of my PhD).
  • the other arts and humanities.
  • German Studies (I can speak German to a high level).
  • working with non-native speakers of English (I have done a postgraduate degree in Teaching English to Speakers of Other Languages).
  • Buddhist Studies, mindfulness and meditation.


I am currently in the freelance editor pool for Carnegie Publishing, Liverpool University Press, Clemson University Press, Windhorse Publications, Littman Library of Jewish Civilization, Newgen (for Routledge and Taylor & Francis books), Straive and Integra (for Cambridge University Press books) and Brill Publishing. I also edit for the academic journals Developing Academic Practice, Music, Sound and the Moving Image, Ethnomusicology Forum, Bialystok Legal Studies and Journal of African Law.


I have completed the Essential Proofreading course of the Publishing Training Centre and the Copyediting 3 course of the Chartered Institute of Editing and Proofreading (both seen as gold-standard courses in the UK), the latter with distinction. I am a Professional Member of the Chartered Institute of Editing and Proofreading.


I have published my own book and many academic articles, as well as editing other people’s publications.


As well as speaking German, I also have A-level French (approximately B2 level), and a smattering of Spanish, Italian, Sanskrit and Pāli.


I live in a small town between London and Cambridge - although thanks to the internet, I can work internationally!


Some things I've edited or proofread:


Books:


Journals - selected articles in:


Some things I wrote in my former academic life:

  • ‘The Composer’s Voice? Compositional Style and Criteria of Value in Weill, Krenek and Stravinsky’, Journal of the Royal Musical Association 134/1 (2009), 85-112
  • ‘“I am Blessed with Fruit”: Ideas of Creativity and Gender in Early Twentieth-Century German Music’, in Masculinity and Western Musical Practice, ed. Ian Biddle and Kerstin Gibson (Aldershot: Ashgate, 2009), 183-207
  • ‘Ist politische Oper heute noch möglich? Kreneks Der Diktator und Tarquin’, in ‘Der zauberhafte, aber schwierige Beruf des Opernschreibens’: Das Musiktheater Ernst Kreneks, ed. Claudia Maurer Zenck (Schliengen: Edition Argus, 2006), 181-192
  • ‘Cecile Chaminade’, ‘Fanny Hensel’, ‘Paul Hindemith’, and ‘Clara Schumann’, in Lexikon des Klaviers, ed. Christoph Kammertöns and Siegfried Mauser (Laaber: Laaber-Verlag, 2006), 162-163, 331-332, 339-341, 648-649
  • The Artist-Operas of Pfitzner, Krenek and Hindemith: Politics and the Ideology of the Artist (Aldershot: Ashgate, 2004)
  • ‘Self and Society in the Early Twentieth-Century Künstleroper’, New Comparison (British Comparative Literature Association Journal) 33/4 (Spring-Autumn 2002), 72-83
  • ‘Kreneks Amerika-Bild vor und nach seiner Flucht: zu Utopien und künstlerischer Identität’, in Von ‘Jonny’ zu ‘Jeremia’: Spuren der Vertreibung im Werk Ernst Kreneks, ed. Friedrich Geiger (Saarbrücken: Pfau-Verlag, 2001), 29-44
  • ‘Towards a Feminist Reading of Berg’s Lulu: A Woman’s Place in a Man’s Opera’, in Gender Studies und Musik: Geschlechterrollen und ihre Bedeutung für die Musikwissenschaft, ed. Stefan Fragner, Jan Hemming and Beate Kutschke (Regensburg: ConBrio Verlagsgesellschaft, 1998), 161-171

Contact me

Email me on info [at] clarionediting.co.uk

or fill in the web form here. If you want, I can phone you back if you are in the UK, or Zoom / Skype is also an option.


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