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02 Dec

Meet Amy Borg, NWS member and the latest addition to our team of freelance editors!

Amy is a writer, editor, and former agency reader with a Master’s in Publishing and Creative Writing from Kingston University. Over the last decade, she’s been working with agents, publishers, authors, and readers to find and develop stories with an impact. In addition to providing editorial services to writers, she’s been involved in a variety of creative projects and publications.

Keep reading to find out more about Amy’s own work, and how she could help with yours!

You can also see what services she offers here.

Tell us a bit about yourself!

Hailing from the States via the sunny island of Malta, I’m a writer and developmental editor with almost a decade of experience shaping and polishing creative projects. I’ve been involved in various publications in Malta, having acted as the managing editor of the Stejjer Imfewħa artistic heritage initiative, as well as doing copy editing for both THINK magazine and Encore arts and culture. I’m also a writer myself, and my fiction has been shortlisted for both PRH’s WriteNow Scheme and Gollancz’s River of London Award, with short pieces published in Ember Journal and Riddled with Arrows, among others.

A little over a year ago, I graduated from Kingston University with a Master’s in Publishing and Creative writing, and I have been working as an agency reader evaluating manuscripts that come in through the slush pile. It’s taught me a lot about what agents and acquiring editors look for in emerging writers, and I’m eager to bring that knowledge of the publishing industry and my experiences as a writer, reader, and editor together to help other writers achieve the success they’re looking for.

Plotter or Pantser, Architect or Gardener? Tell us your approach to creativity.

I am very firmly a Gardener, and often a very non-linear one, at that. Every single piece of fiction I write starts off with an image and an idea of what that image wants to become. I find that if I try to think too hard about any particular part of the “plot” before writing it down, it all becomes very stiff and lifeless very quickly. In short, I have to write to discover what I’m writing.

That said, that’s mainly how I manage to get down my first drafts. Once the bones are laid down, that’s when I come up with a very detailed, intricate plan of how, exactly, I intend to stitch them together in order to create a story worth reading. So you could say I’m a Panster for the first draft and an Architect for the rest of them. And it’s that Architect mindset that I bring to the table whenever I’m editing — whether that’s my story or yours.

What do you think about writing groups and how have you experienced them?

Writing groups are absolutely invaluable, and I’ve been part of a number of them as I’ve flitted across continents. Most recently, I loved being part of a SF/F-focused writing group down in London, and it would be wonderful to find something similar here. That said, whenever you join a new writing group, you need to know that everyone brings their own experiences to the table, and that can be both a terrible and wonderful thing.

On the one hand, it’s great to get the perspective of so many readers in one go. On the other hand, if you’re a sci-fi writer in a group that is mainly made up of people who write romances or thrillers or slow-burning contemporary novels, then you’re going to need to take their comments with a grain of salt. (You should probably take most comments with a grain of salt anyway — but that could be a whole other blog post).

What wisdom from your experiences would you like to impart on other writers?

A great deal of this industry relies on luck — because publishing is so subjective and forward-looking, one person’s success vs. anyone else’s often comes down to a matter of simple timing or individual taste. That said, while you won’t ever be able to guarantee success, there are two things you can do to maximise your chances. First, make your work the best it can be. Work hard on your craft, and make it hard for people to pass it by or forget about it. Secondly, put your work and yourself out there. The rejections always feel harsh at first — but I promise you, the more chances you take on potential rejections, the more chances you’re giving yourself to get a “yes”.

What are the perks of an editing package with you?

I’ve got both academic knowledge and very real-world experience in terms of the publishing industry in the UK at the moment, and I’ve always been fascinated by the shapes of stories — how plot progression and character arcs work together to really move us, or excite us, or make us think. I’ve also been told that I have quite a collaborative, encouraging editing style as well, and I do believe that if a story is important to you, it will be important to others. Editing is often just a matter of discovering and clarifying what that importance is — getting to the heart of the story, as it were. And this is something that I very much enjoy doing.

For more info about working with Amy or to arrange a consultation with her, email

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