ABOUT ME

Dedicated to non-fiction that informs, challenges, and uplifts. 

As an acquiring editor at Penguin Random House, Union Square & Company, and Hachette Book Group, I guided countless titles—including New York Times bestsellers—through the publishing process. 

I now partner directly with authors and agents, bringing an insider’s understanding of how books are positioned, sold, and received by readers. Whether in the earliest concepting stages or deep in revision, I help authors identify the heart of the book and align every word to best serve that vision. I love puzzling out a work in progress until it becomes a shelf-ready book.

My authors include physicians, industry leaders, public figures, and emerging voices. My role is to ensure that every manuscript enters the publishing pipeline as strong, clear, and compelling as can be. It’s a bespoke level of attention that can’t be guaranteed by an in-house editorial team. Together, we can create the best possible version of your book and ensure it reaches its full potential in the market. 

"Danielle was the exact person I needed to take my book from good to AMAZING.

- Sam Kelly, Author of Notice and Do

“She treated my manuscript like it was her own: thorough progress report emails, brilliant ideas that solved problems or issues I couldn't figure out how to fix, and genius ways to structure things differently and make my book better.

  • When it felt like I had given everything I had to give to my manuscript, working with Danielle was like working with a superhero who swooped in, gave me much-needed relief and support, and was the final vital piece of the puzzle that ultimately shaped my book into what I knew it could be.

    One of the best investments I've ever made, hands down. I can't wait to work with her again." 

Editorial Services

  • Trying to get the attention of an industry-renowned agent or a Big 5 publisher? You’ll need a proposal that blows them away. When evaluating submissions, agents and editors don’t look for reasons to say “yes” as much as they look for reasons to say “no”—so let’s make sure your proposal is watertight. After an initial consultation about your project, your background, and your publishing goals, I’ll draft up a powerful pitch that hits all the points to get an agent or acquisitions editor to that “yes”.

  • My developmental edits have two main components: a line edit and a content review. The line edit is the line-by-line review of the work with an eye toward readability, flow, diction, and syntax, and it also includes minor rewriting and restructuring on the phrasal level. The content review is constructive feedback on the manuscript’s overall flow, structure, cohesiveness, story arc, marketability, and general strengths and weaknesses.

  • Sometimes your manuscript just isn’t there yet but the more you try to fix it, the more it falls apart. That means it’s time for a pair of fresh eyes to diagnose and cure the underlying problems. This is heavier than a typical developmental edit and may involve some “surgical” restructuring, like moving chapters around or reworking parts of the manuscript. But by the time we’re done, your book will be in better shape than ever.

  • A good ghostwriting experience feels like the book is being pulled out of your head and put onto the page for you. It’s still your idea, your voice, and your name on the cover—just not your time going into it. This process begins with a thorough initial discussion, then moves into detailed outlines and continued content calls. We keep an open line of communication for ideas and feedback until we achieve the manuscript of your dreams.