• analytical/critical essay coaching
• college essay coaching
• manuscript consultation
• program descriptions
• annual appeals
• fundraising material
• political campaigns
• marketing materials
• product descriptions
• speech writing
• new products, policies, etc.
• blog posts
• translating research, complex data into accessible language
• manuscript editing
• copy editing
• developmental (literary) editing
straight-up writing projects
editing for the individual
When I was a young writer, I didn’t know what I was doing. I knew I had something going for me, but my writer’s toolbox had two tools in it, a sixteen-ounce hammer and one of those little screwdrivers you might see on a watchmaker’s desk.
When my first story got accepted for publication in a magazine called Cicada, it was edited by a brilliant editor named Debby Vetter who knocked 470 words out of the story (at $.25 per word). Only 30 lines in the entire story were untouched by her pencil.
She told me when cherry trees were ripe in the Midwest. She found two sentences in the same paragraph that ended with the word “night.” She found three appearances of "door" in a paragraph. She found internal rhyme in a sentence that made it sound like a line from a song.
She tracked the number of times I said, "bakery," "garden," "patio," "just," "kind of," "started to," and "began to." She taught me about speaker tags and significant details.
The loss of those 470 words came at a cost to me of $117.50. It was the single most important lesson of my young writing life.
Debby Vetter didn’t help me develop my voice as a writer. She didn’t teach me any new words. She didn’t even need to provide the rationale for her editorial suggestions. But she made me feel like my literary voice mattered, and she taught me to hold myself to a higher standard as an artist. I have Debby Vetter on my shoulder through every editorial endeavor.
Clearly, the work of editors can make a difference in the lives of young writers. The benefits of an editorial education go far beyond the simply service of editing the manuscript. A good editorial education will help you become a deeper reader; ideally, it will help you discover things in literature, on your own. Take it to heart, and a good editorial education will help you become a better writer by constantly challenging you to put precise language to how a piece of literature behaves on paper. Whether your interests are in fiction, poetry, or literary nonfiction, a good editorial education will help you grow in your own development as a writer in any genre.
If precise communication is of value to you, you will not squander the expertise of a good editor. It may be one of the most important things you can do for yourself.
One of the most common editorial requests from organizations is to prepare documents, web content, appeals, and proposals for publication. No one knows the organization better than the organization. Words matter, precision matters, and clarity and accessibility matter. Very often, storytelling, grammar, mechanics, and structure are the job.
It helps to know the subject matter, of course, but if the organization has its experts, the good writer has all the resources they need to get the job done, whether the assignment is about pharmaceutical research, medical procedures, architecture, financial services, an annual appeal for a brand new 501 c 3, arbitrage behavior in ICOs, or new research on insect-born diseases.
editing for the organization
writing for the individual and the organization
Everyone has a story, and one of the great joys of Writing Pros/e is helping people tell their story. The great writer, Flannery O’Connor felt that if we make it through childhood, we’ve had enough experience to write for the rest of our lives.
Whatever the writing task, it’s never me writing the story for the client; it’s merely me helping to tell their story.
Sometimes it means helping them come to better understand elements of the story that are buried beneath the primary narrative. It means helping the client get at the great unsaid—the 95% of the story that churns below the surface.
Other times, it’s a matter of helping the person with the story get started, giving them an idea for structure or point of view. And sometimes it’s simply a matter of listening to them, taking notes, asking questions and follow-up questions, transcribing anecdotes and figuring out the best way to language what for them feels un-languageable.
Whatever the case, it requires a deep understanding of the individual.
"and you need
the right storyteller"
The same is true for the organization. But as with the individual’s story, telling the company story—describing the architecture of the organization, naming and branding new products, solutions, policies, and ideas, communicating with staff and clients about re-organization and personnel, and translating complex topics, data, and research into accessible language—depends on more than just knowledge about the client. It requires a commitment to mission and belief, to the voice, tone, and style of the client.
And you need the right storyteller:
“As a Harvard honors graduate and current chairman of the Great Books Foundation with a lifelong interest in the craft of articulate expression, I regard Billy Lombardo as unquestionably the finest writing instructor my two children (both Ivy League students) were fortunate to study under. From a process standpoint, he provided a methodology and structure that stimulated an effective thought process for thesis conception and development. From the standpoint of substantive editing, his perceptive comments, as both technically and conceptually incisive, significantly advanced the writer’s capability to achieve coherent, concise and original expression. I enthusiastically recommend Billy’s exceptional talents to anyone seeking first-rate writing instruction and editing.”
"Billy transformed my children’s writing. He taught them how to engage a reader as well as the mechanics of writing. Students blossom under Billy’s tutelage as he makes them want to improve for themselves, not just for a grade."
"Billy Lombardo helped me find a way to articulate my voice and ideas by giving me the tools to put my thoughts into clean and precise analytical essays. Part of his ability to push students writing to the next level comes from his deep understanding of craft. He can pick apart any piece of writing and articulate the devices the author uses, or could use, to achieve their desired effect. Billy pushes his students to fall in love with writing and make learning equally fun and rewarding. With his ability to help writers of all learning styles articulate themselves, and methods of adding depth to his student’s analysis, Mr. Lombardo has made a profound impact on me and my classmates, both in terms of our writing and how we approach the world."
"My daughter entered high school without much regard for literature and approached any writing assignment with great trepidation, often sitting in front of a blank screen for hours. After a few weeks of Eva's first semester in Billy's class, I was surprised to see her excited to tackle passage analysis assignments. After two semesters with Billy, Eva's writing skills dramatically improved, earning her high marks on her essays in English and History class. More importantly, her exuberance for literature was undeniable. Eva would often place one of her English novellas on the table and look up with a big smile and say, 'I am so into this reading Billy assigned to us.' Eva and I credit her writing skills to Billy' thoughtful, personalized and spirited instruction. Billy will, undoubtedly, be remembered as 'the teacher who taught Eva how to write.' "
Mr. Lombardo knows how to make the writing process exciting, even when it’s at its most stressful. He worked with me on writing samples for the University of Iowa’s Young Writers’ Studio, and he was a tremendous help in editing my college application essays. I’m a senior in college, and I still keep Mr. Lombardo’s writing advice in mind with all my assignments.
fees for writing, editing
Client provides assignment description, campaign, etc., along with all necessary content/information.
Project may necessitate follow-up questions, conversation, meeting in person if necessary and appropriate.
Ghostwriting with a Heart
Everyone has a story, not everyone writes. I ghost with an ear for your voice, an eye for the truth, and a Heart for your Story.
(contact billy for rates)
fiction, nonfiction manuscripts
* Click Here for an informative description on copy editing vs. developmental editing
Fees depend on job, number of pages
(contact billy for rates)
fees for writing instruction & coaching
the college essay
instruction & coaching
Writing assistance/coaching fees will vary depending on the needs of the client.
Fiction and creative nonfiction projects may vary from idea generation to publication to to working on various features of fiction:
point of view, tense
subtext, narrative threads
(contact billy for hourly rates)
College Essay Coaching from Scratch
• tried and true prompts for
• suggestions for expansion
• commentary on prompts
• suggested essay approaches
(based on prompt responses)
• coaching, editing from discovery
draft, revisions, until final draft
• supplemental essays
(contact billy for hourly rates)
purchase directly from billy (prices include shipping)
"The Logic of a Rose is as rich and vital as Bridgeport, the blue-collar Chicago neighborhood in which these stories are set. Lombardo knows this world intimately and writes with a naturalness that makes his streetsmart surface wholly convincing, but the seeming effortlessness of his storytelling depends on a sophisticated sense of craft and a deep sense of empathy."
Read this to find your heart bursting into song. Such is the utter love for humanity that infuses eery line, glance and gesture in this spectacularly tender collection. At the book's core is the centrifugal force of a neighborhood, an Italian corner in Irish Bridgeport. Out of its stoops and corners, Lombardo weaves poignant stories of emigration and acculturation. With an unerring ear for the keenness of childhood, Lombardo concocts Petey Bellapani, his central narrator. Him, you'll want to adopt. This being impossible, you take him deep and hard into your heart.
"Here is Chicago and a neighborhood coiled in the complexities of class, the sinister & brutal lines of segregation, a city wrapped in memory. Billy unfurls with wonder & candor of a master storyteller, a contaballe, I think the Italians call it, though this is not a fiction. These stories reside in the belly & steel & concrete we walk on here. They sing in the wind as it whips our faces near a Great Lake, & whispers through half open windows, urging us to listen at a table near someone you love, or alone with the city you do."
"How to Hold a Woman is exquisitely written, real, painful, and true. Billy's talent for depicting the nuances of marriage and family is extraordinary; reading this, one feels as though Alan, Audrey and the boys are your close friends, about whom you somehow know a little more than you should. Billy's understanding of the human heart is profound."
– Elizabeth Crane
"Billy's exquisite book shows us a fractured family the only way it can accurately be shown–through a fractured lens. The sorrow and honesty of this wise book is almost unbearable, but it's literature's best kind of unbearable, built upon a foundation of generosity, heart, and masterful craft."
"A switch pitcher? A guy as good as Seaver right and Koufax lefty? The thought intrigues as does Billy Lombardo's touching and original debut novel."
"Ranks with The Natural as one of the finest baseball novels I've ever read...a breathtaking wonder of a book."
"An intriguing and layered look at that hoary old love triangle–Dad, Son, and the National Pastime...a beguiling tale, with pleasant surprises and just the right mix of affection and cynicism. It understands the game–but just as much, it understands what the game can do to those whose it ensnares."