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writer, editorial services :
Bryan A. Bushemi
200+ Editorial Consulting and Writing Service
Chicago, IL 60618

I have worked as a writer for more than a quarter of a century, publishing my writing mostly under various pseudonyms—I am diligent about maintaining my privacy because I'm a journalist at heart and not very interested in "becoming the story." I have written newspaper editorial and opinion pieces, interviews, contemporary lifestyle nonfiction, reviews, and screenplays for films. From time to time, I publish contemporary fiction, science fiction, fantasy fiction, historical fiction, and horror fiction for both adult and juvenile readers, some of which have been nominated for and have won a few awards over the years, although I don't really pay much attention to accolades. My writing has been included in testing materials for a number of educational organizations, including in New York City and Ontario, Canada. Additionally, I have written and published more than 50 pieces of poetry under my various pseudonyms.

Since 1989, I have worked as an editor and publishing consultant on dozens of publications of every sort. I have extensive experience in editorial production and management, copyediting, proofreading, content selection, and development in a variety of written fields, including literary and genre magazines, newspapers, newsletters, and commercial magazines. I have consulted on more than 100 book-length manuscripts of both fiction and nonfiction content, many of which have seen success in publication. I have also edited, contributed research to, or worked on approximately 2,000 scientific, medical, and technical peer-reviewed articles, textbooks, and studies in nearly every academic and professional scientific field.

I have served as an editorial management and publishing consultant for Jettison Quarterly, an online entertainment and culture publication focused on news, art, music, fashion, and more in Chicago and the Midwest. I was the Managing Editor for the Chicago-based Third Coast Press (a monthly progressive news and arts publication), where I handled editorial management and production tasks, as well as writing author profiles, literary and arts reviews, and feature-length articles on a variety of subjects. I am also the former Managing Editor and Copy Editor of Velocity Magazine, a nationally distributed, Chicago-based lifestyle and culture publication. In 2002, I acted as the chief editorial consultant for the Chicago Park District’s premiere issue of @Play magazine.

In addition, I am a former Associate Editor of F Magazine, an award-winning commercial literary annual produced by the Fiction Writing Department at Columbia College Chicago. I served as the Managing Editor of the online fiction magazine for Twilight Tales (a small-press book publisher and organizer of a long-running Chicago-area reading series), where I was responsible for overseeing selection, development, and acquisition of short stories and nonfiction articles from some of the leading authors of horror, suspense, fantasy, science fiction, and darker contemporary fiction.

For several years, I also worked as a lyricist on a for-hire basis in Germany and the United Kingdom, contributing English language lyrics to dozens of rock, blues, jazz, and folk songs for independent record labels and recording artists.

I am a veteran of the U.S. Armed Forces, having served for five years in the U.S. Army, including in combat during Operation Desert Storm. I also verified and maintained accuracy of sensitive military information and documents as an editor when not performing my other military duties. I have degrees in Fiction Writing and Journalism from Columbia College Chicago, as well as a strong professional and educational grounding in criminal psychology and criminology. I occasionally teach writing workshops for aspiring writers.

years experience: 35+ for writing, 30+ for editing
rates: Starting at $20.00 hourly for basic editing services, $30.00 hourly (or $0.10 per word) for writing services, and increasing according to difficulty and complexity of task.

This writer is looking for an agent
Writing, Ghost-writing, Copywriting, Technical writing, Fiction writing, Developmental editing, Proposal writing/editing, Permissions, Research, Book Doctor, Line-editing, Copy editing, Proofreading, Indexing
General fiction, Mystery, Fantasy/science fiction, Juvenile fiction, Reference, Biography, History, Health, Lifestyle, Children's books, Sports, Science, Horror, Journalism, Marketing and promotional writing, Professional and legal writing, Script and playwriting, Publishing consulting, Production editing and editorial management, Graphic design, Photoshop, Interior design and layout, Photography
Every editor and writer worth their red pens will promise to give you their best efforts and benefit of their expertise. In that regard, I am no different. I want my clients to be completely satisfied with the work I do for them. Where my philosophy differs from most editing and writing consultants is that I am not in it just for the money. Sure, I think this is the best job in the world and I consider myself lucky to be paid for doing it.

However, money isn’t everything. I would rather have a small group of regular, very satisfied clients who I work with over many years, instead of a large number of one-time jobs that come and go like pencil shavings brushed from a page. So, if I am not actively looking for clients and advertising my services, I simply will not take on new clients, no matter how lucrative it might be to do so. That way, I can devote my attention to those clients I already have, to develop professional relationships with them for the long run, and get to know them and their needs intimately.

While this might not seem to be the most financially ambitious way to do business, I just don’t care. I love working with words much more than I do counting cash. I am strange that way, but my clients seem to appreciate it, since most of those who hire me are referrals from other satisfied clients. I also always require that a contract or work agreement be signed between a client and myself for any work whatsoever. It's just simply good business practice and acts as a guarantee to those I do work for that they will be getting what they are paying for. Because I am very keen on developing close relationships with my clients, I also require at least conversing by phone with them before we agree on any sort of terms and project details. While I can't meet everyone in person to get to know them, this way it establishes a personal connection between us, something that I find always improves the experience.

I believe that my clients' projects and the work I do for them are theirs alone, and I sign confidentiality agreements with all of my clients.

I will never show my clients' materials to potential competitors in their field or industry, even as portfolio samples, without their express written consent. My clients can be assured of the security of their intellectual property rights for all projects I undertake on their behalf.

Once I decide that a client is worth taking on, I will gladly provide digital or hard-copy work examples of mine to more than sufficiently establish my expertise in whatever project I am undertaking.

Since I write fiction only under pseudonyms, please contact me for details regarding information of any works I have listed, including detailed chapter-by-chapter synopses of the manuscripts, condensed synopses, and the complete, publication-ready manuscripts available in any format required.

Adult book manuscripts:

1. A c. 115,000-word, stand-alone thriller/crime novel in the vein of Lorenzo Carcaterra’s Sleepers and Dennis Lehane’s Mystic River. This is the first book of a potential three-book series.

2. A two-volume or single very long (c. 125,000 and 145,000 or 270,000 words respectively) complex, literary-minded, epic crime novel set in the end of the 20th century, along with a parallel flashback storyline set in the 1980s, “targeted” individual flashbacks, and a series of “dreamlike” vignettes. It is a carefully crafted “whodunit” tale, laden with precisely placed clues and red herrings designed to simultaneously reward and confound intelligent, thoughtful readers. However, it can also can play purely as straightforward suspense, making it suitable for a broad audience ranging from the casual thrill-seeking reader to the insightful literary detective.

Children's and young adult book manuscripts:

1. A c. 53,300-word YA humorous contemporary superhero-themed science fiction novel, told from the first-person viewpoint of the teenage male protagonist, targeted at ages 13 to 15, suitable as a 200-page spot-illustrated novel. Written as a co-writer.

2. A children's humorous fantastic- and animal-character adventure book series, consisting of three completed manuscripts, with a fourth planned, with word counts of c. 8,250, 11,200, 12,800, and 12,000–13,000 projected, targeted at ages 7 to 10, suitable as a 64- to 96-page text-heavy illustrated chapter books. Written as a co-writer with the illustrator of the books.

3. A c. 5,600-word children's contemporary humor monster-themed story, targeted at ages 6 to 9, suitable as a 48-page text-heavy illustrated chapter book. Written as a co-writer.

4. A c. 3,450-word children's medieval fantasy adventure/fairytale, targeted at ages 5 to 10, suitable as a 32- to 48-page text-heavy illustrated book. Written as a co-writer.

5. A c. 2,600-word children's science fiction adventure story with a female protagonist, targeted at ages 7 to 9, suitable as a 32- to 48-page text-heavy illustrated chapter book. Written as a co-writer.

6. A c. 2,500-word original por quoi folktale with a female animal protagonist, targeted at ages 5 to 10, suitable as a 32- to 48-page picture book or illustrated chapter book. Written as a co-writer. On my own, I have already written and sold a short film adaptation (15-minute running time) for this project to a large college film and video school for educational use by their Animation department. I retain all rights to the story and characters, as well as the ability to pursue further animation subsidiary rights of the story in the longer format script (c. 30–60-minute running time) I have developed.

7. A c. 1,300-word children's inspirational, animal-themed story targeted at ages 6 to 9, suitable as a 32-page early reader picture book. Written as a co-writer.

8. A c. 1,280-word early-reader chapter book, along the lines of Yearling/Bantam Doubleday’s First Choice Chapter Books series, with a female protagonist and a message of diversity and cooperation, targeted at ages 5 to 8, suitable as a 32- to 48-page illustrated early chapter book. Written as a co-writer.

9. A c. 1,150-word original medieval fairytale, targeted at ages 5 to 10, suitable as a 32-page picture book. Written as a co-writer.

10. A c. 320-word story along the lines of such works as Nancy White Carlstrom’s Goodbye Geese, targeted at ages 3 to 8, suitable as a 32-page light text “mood” picture book. The book is designed to be read to younger children by their parents to create a quiet, tranquil feeling in the listener. Prose-poem text is used to describe the setting and events occurring in the book. The pervading impression of the book is calm, ageless, safe solitude. Written as a co-writer.