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 Journal of the Royal Musical Association, the Royal Musical Association Research Chronicle, 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:

All articles from 2025 in:


And 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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