"Brilliant comedy mixed with a damn good mystery plot" DAILY MAIL
"HOPE McINTYRE has a distinctive and completely engaging voice" Harley Jane Kozak, author of DATING DEAD MEN
"Plenty of action, some smart twists, and a fine line in kooky characters. Extremely promising." YORKSHIRE POST
"Engaging dialogue, a fascinating cast of offbeat characters, pretty solid plotting and light-handed humour." CRIMESPREE MAGAZINE
"Entertaining - always engaging - original and surprising." REVIEWINGTHEEVIDENCE.COM
"Mysterious and full of sassy wit, McIntyre's Lee Bartholomew ghostwriter novels are delightful and intriguing." ROMANTIC TIMES
"McIntyre vividly portrays the East End of Long Island and the eccentric characters who live there, any one of whom might be capable of murder. A winner all the way, Lee Bartholomew is one of the most engaging protagonists to come along in ages." BOOKLIST
"McINTYRE has a winner in her engaging protagonist and is adept at writing gripping mysteries that will keep you guessing until the end." BOOKLOONS.COM
"The light touch of HOW TO SEDUCE A GHOST is deceptive, for there are serious issues and predicaments here, yet it is both smart and hugely enjoyable." ELIZABETH BUCHAN, author of REVENGE OF THE MIDDLE-AGED WOMAN
"If you mixed Bridget Jones with Monk, you'd get Lee Bartholomew, the recluse who is afraid of being alone. This is the thinking woman's chick lit - sexy, witty, but dealing with serious issues as well." RHYS BOWEN, author of the Evans Evans and Molly Murphy mysteries.
"A finely crafted mystery." LIBRARY JOURNAL
"McIntyre delivers a page-turner with a socially redeeeming message." PUBLISHERS WEEKLY
"Readers will have trouble putting the books down. They will be puzzled as more and more facts and people get involved. Readers will guess repeatedly and be very surprised with the ending." BOOKREVIEWCAFE.COM
WELCOME TO FIRST BASE - an editorial service that will guide you through the writing of your first novel, and put you in touch with a literary agent.
For instructions on how to submit your work to me, see below:
Author of CANCEL THE WEDDING, sold to HarperCollins October 2012
"Caroline's editing was essential in helping me refine every facet of my novel. The character development, pacing, and plot were all improved by her small questions, subtle comments, and more often than not exasperated red notes. I had a love-hate relationship with those red notes. Even more importantly, Caroline was the catalyst for the sale of my novel with her many connections to the publishing world."
Author of AMITY AND SORROW, sold to Little Brown, US, Headline Review UK and Bruna in Holland, December 2012.
"Caroline asked the key questions that helped me rewrite AMITY AND SORROW, as well as making the vital connections that helped to sell it."
whose first novel, ONE ROUGH MAN, a military thriller, sold for six figures to Dutton and published in February 2011, is now a New York Times Bestseller. His second thriller featuring Pike Logan, ALL NECESSARY FORCE was published in January 2012, and Dutton have contracted for five more books in the series.
"Without a doubt, Caroline is the primary reason I have an offer for my first book. She took my completed manuscript and worked with me for over a year, page by page, scene by scene, until my work became what it is today: a saleable manuscript. She had an uncanny ability to pull out my best writing - to include innovative suggestions that made me balk at first, such as changing the POV from 3rd to 1st. It's not all roses, though. She'll suggest a path, but it's up to you to hack your way through it - no matter how long that takes. And be sure to check your ego at the door .. she doesn't waste time pampering. But the constructive criticism always made my sense of success much sweeter when I got it right. She demanded my best and wouldn't settle for anything else, and throughout the process she gave me confidence that it wasn't a question of if I would be published, only a question of when. To that end, her insights and contacts within the publishing world proved invaluable in finding an agent and making a sale. Outside of writing the manuscript itself, Caroline was the single best thing I could have done to get it published."
author of SOUTH OF SUPERIOR, published by Riverhead/Penguin in June 2011.
"Working with Caroline has been pivotal for me. In addition to her skill as an editor, she is capable and knowledgeable about the publishing world and swiftly arranged for agents to read my work who probably wouldn't have taken an interest otherwise, and certainly not so quickly. Her help has been invaluable and I am glad to have worked with her."
Author of TWIRL GIRL, a Y/A novel on submission in New York from agent Victoria Skurnick
"I have never worked with someone who gave such succinct and intelligent feedback. One of the things that helped me most was that she could always see the big picture."
BARBARA CLAYPOLE WHITE
author of DOGWOOD DAYS - sold to Mira August 2011
"When I discovered Caroline, my manuscript was a mess. But after a year of working one-on-one with her, I had excavated the story that would become my debut novel. Her brilliant advice gave me the confidence to release my obsessive-compulsive hero, and once I listened to him, I had found my story. She's the best."
SIMON VAN BOOY
author of THE SECRET LIVES OF PEOPLE IN LOVE (published by Turtle Point Press) and LOVE BEGINS IN WINTER (published by HarperCollins and Winner of the Frank O'Connor International Short Story Award.)
"THE SECRET LIVES OF PEOPLE IN LOVE, Simon Van Booy's debut, concerns many kinds of human love. After such a breathtaking first book of fiction, you wonder what this some-time poet could possible do for an encore." LOS ANGELES TIMES
"I recommend Caroline Upcher's editorial service without any reservation. She helped me develop my stories in ways I never imagined. She helped me dig up the treasure I knew was there. She helped me maintain the integrity and uniqueness of my voice, while coaching me about the market and how my work might be more accessible in today's publishing world. She was that vital step between being ready and being published, and understands the point of view of both writer and publisher."
"Each of these stories (in LOVE BEGINS IN WINTER published May 2009) has moments of sheer loveliness." PUBLISHERS WEEKLY
author of SAND IN THE ARENA and THE FIGHT FOR ROME, published by McBooks Press.
"Caroline is a miracle worker. She helped me break a creative deadlock with my publisher by suggesting the perfect compromise. HER IDEAS ADDED A NEW, UNEXPECTED TWIST TO THE STORYLINE THAT MY PUBLISHERS AND I BOTH LOVED. You can't ask for more than that from an independent editor. I'll continue to be working with her on my upcoming books. She's the real deal."
author of WATERMARK, published by AVON BOOKS
"I first approached Caroline Upcher with a manuscript I knew wasn't working, but didn't know how to fix. In short order, she was able to point out what worked, what didn't, and give me suggestions as to how to go about my revisions. Over the course of a year, she worked with me both on individual chapters and the work as a whole, helping me to hone my story, my characters and my point-of-view. The result is a manuscript that I am proud of, one that has been picked up by a prominent agent and sold. I cannot recommend Ms Upcher's editorial services enough!"
author of THE MANHATTAN WELL MURDER, who has recently been taken on by an agent
"One does not get to the heart of Caroline's thought provoking comments until re-working and editing. Each of her insights inspires new ideas. Without being heavy handed, Caroline is able to pose questions that challenge. She draws out good writing."
HOW TO SUBMIT YOUR WORK
FIRST BASE is an editorial service designed to help and encourage people writing fiction for the first time. What I try to do is to help you get to 'first base', to reach that first step on the ladder to becoming a published author.
Publishing has changed considerably over the last fifteen years. There was a time when an author could submit a manuscript to an agent or a publisher and even though there might still be a lot of work to be done on the book, the publisher would make an offer. They would see beyond the surface problems to the potential talent and set an editor to perfect it for publication.
Those days are almost over. Now a book has to be virtually ready for publication to get anybody's attention, let alone command an offer. Yet in my twenty-five year career as an editor at major publishing houses both in London and New York, I have seen writers progress in leaps and bounds once they received encouragement and interest in their work. And from my own experience as a writer, I know how valuable individual input from an editor can be. A fresh and objective take on your work can help you overcome problems you never even knew were there.
1. Send me an email at email@example.com telling me about the novel you are writing, where it is set and when, who the main characters are and give me a one-liner about the story. Also, tell me a little bit about yourself. I am interested to hear about what books you read and enjoy, and to learn which are your favorite films and TV series.
DO NOT MAIL OR ATTACH MANUSCRIPTS AT THIS STAGE.
HOW I WORK
I will respond to your email and invite you to send me your material. Once I have read it,I will write you an editorial letter - which can be anything from 3 - l0 pages in length - outlining, among other things, the potential market for your book, its strengths and weaknesses, where it needs cutting or expanding and which characters need work. For this I charge a flat fee.
If you decide to go further and have me edit and guide you through subsequent drafts, then I charge by the page with the amount decreasing with each draft.
MANUSCRIPTS SHOULD BE DOUBLE SPACED AND THE PAGES MUST BE NUMBERED WITH AT LEAST A ONE INCH MARGIN. IF YOU ARE MAILING YOUR MANU8SCRIPT, PLEASE DO NOT BIND, STAPLE, FOLD OR PUT YOUR STORY IN A FOLDER.
A LEGIBLE STANDARD FONT SUCH AS TIMES NEW ROMAN at 12 pt size is preferred.
I have been an editorial director for fiction at the following publishers: Pan Books, Macmillan, Heinemann, Random House UK, and Fourth Estate. In New York I was editorial consultant for Miramax Books, and now edit freelance for HarperCollins from time to time. Over the years I have acquired and published hundreds of authors, among them: Anne Tyler, Louise Erdrich, Nora Ephron, Joyce Carol Oates, Douglas Adams, Ellen Feldman, Ann Patchett, Susanna Moore, Gail Godwin, Joan Didion.
Among the FIRST NOVELS I have published in hard and/or soft cover are those of the following authors: Alice Hoffman, Terry McMillan, Robert James Waller, Tony Parsons, Rupert Everett, Julie Burchill, Kristin Gore, Sue Miller, Elizabeth Buchan, Bebe Moore Campbell.
I cannot guarantee representation of your work by a literary agent - or its subsequent acceptance for publication - but I will be happy to recommend to you literary agents who I feel would respond to your work. If your work is subsequently represented by an agent with whom I have put you in touch, and if that work is then sold to a publisher, I charge a small referral commission. I am in constant touch with agents in New York and London and often alert them to novels by authors.
Authors with whom I have worked have subseuqently had their first novels published by several mainstream publishers, among them Farrar Strauss, HarperCollins, Dutton, Riverhead, Avon, Monsoon Books in Bangkok, Little Brown, Headline, Mira and small literary presses.
Coco Myers and Kay Spear Gibson, whose first novel DUSTBUNNIES I have been developing for the past year and which currently has inerest from three New York agents, have written the following description of how I have helped them.
"You helped us take what was an idea of a novel and turn it into a story with a beginning, middle and end. You encouraged us to keep the voice and the spirit of the book, but craft it into something someone else would want to read. You guided us in the development of the plot, making suggestions as to what needed cutting or expanding. You were able to tell us when something wasn't ringing true, or when to take something further. You advised us on the characters' inner lives - what motivated and moved them. You pushed us to create their biographies, which made them so much more real ... the brainstorming sessions ... and the outside perspective that you brought to the book, through your editing experience and your appreciation of nuance, humor and word play, were all invaulable. As was your unwavering support for the whole darned creative process!
For books by Hope McIntyre and Caroline Upcher see My Works