Corporeal Writing Collaborating, like all Corporeal Writing Methods, is nothing like traditional editing practices. If you have a short stand-alone and are looking for line edits or proofreading, we are not for you. In fact, we do not do line editing or proofreading. What we DO do is help writers see the corporeal language in their work (trust us you have some) and make suggestions on how to use it to get to their deepest meaning. As editors, we help open a work up, push further, wider, deeper, instead of insisting on using our position to take away, shut down, close off or fix. There is nothing fixed about your revision. Let it multiply.
Contacts are listed for each collaborator; send them a note and tell them what you have and what you are looking for in collaboration. Prices vary by project but are very reasonable. We look forward to supporting you!
Genre: Hybrid, Experimental, Non-fiction, fiction
Editing strength: Inventing revision methods to help writers open their work up and to write to and from bodies.
Lidia has very limited availability, working with about 2-4 people per year. For info contact Zinn, or pursue these other collaborators who have worked very closely with her and are well-versed in her methodologies.
Editing Strength: To follow your creative force
I love joining writers in the creative process and work through conversation & response. I tend to move from the outside in—from the big questions about your project to form to voice to story to lines to language. Your manuscript is a poem; your group of poems is a poetics, and I am a very good reader.
Brigid has a Ph.D. in Poetry and Poetics from Brandeis University and has taught poetry for over 20 years. She published Lives of the Puzzleworkers in 2006. Since then she's practiced creative personal growth work as a psychodramatist and Jungian therapist. More at psycheshorse.com.
Genres: Fiction, Non-Fiction
Editing Strength: Crafting real stories with elements of fiction
I specialize in editing real stories, in order to bring the writer’s experience closer to the bone with elements of fiction. My focus will be to help your work reflect what you want it to reflect. Editing services will include some line editing with an eye towards developmental editing in that we will discuss what is working and whether it comes close to what you want it to say.
Domi has an MFA from Pacific University, and has been working with Lidia Yuknavitch since 2012. They helped develop and launch Corporeal Writing in 2014, and is now co-facilitating the Seasonal Corporeal Writing workshop series.
Genre: Hybrid, Experimental, Non-Fiction, Fiction
Editing Strength: Seeing your whole
I read like a seasoned miner, and all things form & structure are my gold. I love helping people find the nuggets that are already in their work that could lend to their own formal options. That moment when they SEE their whole in their own light is my happy place.
Zinn has an interdisciplinary background in Philosophy, Women's Studies & Literary Theory. While doing her graduate work in creative writing she accepted Lidia Yuknavitch’s invitation to collaborate on Corporeal Writing workshops where she now develops and leads workshops. More at zinnadeline.com.
Editing Strength: Writing & film innovations
As a film maker, I believe that creative writing must come first. I enjoy working beyond the tired out formulas and looking deeper into the belly of your script to help you tease out the meaning you bring to the page and translating that to the screen.
Andy earned a Masters of Fine Arts in Creative Writing, Fiction from San Diego State University. He's written original screenplays that have been made into films and has adapted and directed scripts from works by writers such as Chuck Palahniuk, Monica Drake, and Lidia Yuknavitch. Andy and Chuck Palahniuk recently co-wrote an adaptation of Palahniuk's award-winning novel, Lullaby, which is slated for production. More at andymingo.net.