Meet your editor,
Stacey Michael
In historical fiction and narrative-driven nonfiction writing, I help authors transform research and factual detail into story. In fiction, I help authors create compelling character arcs, visually rich scenes, and active moments of dialogue, while pacing the plot toward a dramatic, satisfying ending. In academic or creative nonfiction, I work with writers to build immersive settings, craft engrossing and well-supported arguments, and sustain narrative pacing to a conclusion that resonates with their particular insights.
boss’s grant applications more compelling, to write engaging appeal letters, to shape newsletters and web content for a particular audience.
My years in theatre production informs my deep understanding of human storytelling, timing, and dramatic structure. I especially love helping authors transform research and factual detail into “story”, whether fiction or non-fiction. Both rely on
Compelling narrative arcs
Immersive settings
Active dialogue (whether between fictional characters or the reader and the author), and
Sustained pacing to reach a resonant, satisfying ending.
My favorite genres are historical fiction and literary nonfiction, but I have edited and enjoyed speculative fiction, political essays and academic writing in the humanities.
Stories have always been how we make sense of the world — on stage, in books, and across history.
I’d be honored to help you bring yours to life.
About Me
I spent the first 25 years of my working life in theater production—first plays, then opera. That experience cemented in me a deep regard and respect for story.
I had always been (and continue to be) an avid reader, and while working in opera—being steeped in drama, conflict, character development, resolution—I realized how very crucial narrative is to human beings. It is how we make sense of our lives, our history, politics, environment, relationships. It manifests through myth and murder ballads, video games, manga, fiction, TV, movies and podcasts (among others).
I lapped up story in rehearsals and performances, and developed a taste for historical fiction in an effort to fill in the back stories of Ibsen’s Nora, the Italian immigrants of A View from a Bridge, the Swedish king killed by his best friend in Un Ballo in Maschera.
I left the 12-hour days and 6-day weeks of opera production, and parlayed my project management skills into administrative work for nonprofits.
There, I realized my obsession with story and talent for writing could be deployed to make my
