"In Michael Wilde I found my dream editor. Apart from being thorough and meticulous, he knew exactly how to enhance my work without losing my own voice, and how to make it shine. Add to that his passion, paired with a sensible approach, and you couldn't find a better editor. He did a fantastic job and I highly recommend him." -- Sibel Edmonds, author of Classified Woman: The Sibel Edmonds Story, a Memoir
(Edmonds, May, 2012).
"Michael Wilde's passion for the printed word is matched only by his intelligence. He is part-scholar, part-grammarian, part-logophile, part-poet, and part-bloodhound with a nose for prose. They don't make them like Michael anymore. Grab him while you can." -- Myla Goldberg, author of the best-selling Bee Season (Doubleday, 2000), Wickett's Remedy (Doubleday, 2005), and The False Friend (Doubleday, 2010).
"Michael Wilde’s faith in my book and patience with me was as essential to the success of Living Through Charlie as was his knowledge of structure and expertise in storytelling. As a first-time novelist, I needed an editor who believed in me and my book as much as I needed one with fantastic copy skills. In Michael Wilde, I found both." -- Rebecca Woods, author of Living Through Charlie (Createspace, 2012), Kirkus Reviews' Best Indie Books of 2012.
"Michael Wilde began as the copy editor for Summer for the Gods, but he became virtually its co-editor. He did a magnificent job." -- Edward J. Larson, author of the Pulitzer Prizewinning Summer for the Gods (Basic Books, 1997).
"If my writing is pleasing to any extent, it is to the credit of Michael Wilde, the most thorough and theaterwise copy editor in my publishing experience." -- Martin Gottfried, author of Arthur Miller: His Life and Work (Da Capo, 2003) and former chief drama critic for the New York Post and Saturday Review.
"Michael was specific about what needed to be changed, as well as about what was good. He pointed out story problems -- and more importantly, he also suggested possible solutions. His feedback was specific, thorough -- and very useful. He made Shock Point a better book." -- April Henry, author of the Claire Montrose mystery series, Shock Point, an ALA 2006 Quick Picks for Reluctant Readers (Putnam, 2006), Girl, Stolen (Henry Holt, 2010), and coauthor of the New York Times bestseller Face of Betrayal (Thomas Nelson, 2008).
"Michael Wilde is the kind of editor writers dream about. He has a deeply sympathetic ear for character and voice, while remaining meticulous in grammar and story logic. On top of all this, his respectful and enthusiastic sensibility make him a pleasure to work with." -- Curtis Gillespie, journalist and author of Playing Through (Crown, 2004) and Crown Shyness (Brindle & Glass, 2007).
"While working on my book -- A Futile and Stupid Gesture -- I decided to get an outside opinion of my final manuscript from Michael Wilde, who took what my publisher thought was a fine book and helped me turn it into much more than that. Michael not only enhanced the structure and language, but he had insights into my subject that I'd missed during 2+ years of research and writing. Michael helped me go the extra step to make the book the best that it could be." -- Josh Karp, author of A Futile and Stupid Gesture: How Doug Kenney and National Lampoon Changed Comedy Forever (Chicago Review Press, 2006).
"Michael Wilde is an extraordinary editor! He turned my manuscript into a poetic piece of art. Michael gives you more than you ask for, because he cares about the project and wants it to be the best it can be. He has a brilliant command of the English language; his editing and writing skills are so beautiful that you know he is highly gifted and well educated. My book Light as a Feather is getting rave reviews, and I know it is in part because of Michael Wilde! I can't wait to write another book so that I can have the opportunity to work with Michael again. Michael is a rarity in the editing world, he is a true artist." -- Lissi Kaplan, Light as a Feather (Little Finch Press, July 2016).
"[Regarding this] thorough and amazing revision of my manuscript. Revision isn't the right word. Revitalization is more like it. Rereading it was like opening my eyes on a bright spring morning after a rainfall, where everything outside looks brighter, sharper and more vivid. [I]t really flows and has a new level of energy to it that, I believe, will keep readers more engaged. Perhaps most remarkable was how you shaved off more than 5,000 words seemingly by magic without making it appear as though anything was lost (and I guess since I didn’t miss it, it wasn’t)." – Joshua Rosenthal, author (February 2021)