FRASER
Crichton Editorial
'I’ve been blessed to work with some brilliant editors over the years, and Fraser has truly been one of the gemstones among them. He has really inspired, practical, creative ideas and one thing I’ve particularly enjoyed is how, when he makes an editorial comment, he always provides a solution to go with it. The relationship between any author and editor is one of immense trust by the author, and the more I worked with Fraser, the more I realised just how smart he is and what a very safe pair of hands he has.'
Peter James, author of the number-one bestselling Roy Grace series
'. . . the most helpful copy edit I've had
in 30+ years of writing.'
Hilary McKay, Costa award-winning author of The Swallows' Flight
'Fraser has a sharp eye and a strong sense of what works, and is a pleasure to deal with at every step.'
Malcolm Mackay, multi award-winning author of the Glasgow trilogy
'As both a copyeditor and a proofreader, Fraser has an excellent eye for detail. He is meticulous, thoughtful and fully engages with the text. His comments to authors are always written in a professional manner, but with a warm and friendly tone. We hope to continue working with Fraser, and can certainly recommend him.'
Laura Myers, Publishing Manager, Chicken House
'Fraser worked on my novel The Constant Soldier, and I found his input was considered, accurate and invariably improved it – I’m more than happy to recommend him.'
William Ryan, author of the
CWA Dagger-nominated Korolev series
'Fraser was my editor on books ten and eleven in the Rhona MacLeod series – The Special Dead and None but the Dead. I highly recommend his skill, enthusiasm and thoroughness. He was great to work with and it shows in the finished product.'
Lin Anderson, author of the
Rhona MacLeod series and
co-founder of Bloody Scotland
'Having worked with Fraser for three years [at Pan Macmillan], I can’t recommend him highly enough. He has a natural ear for tone and style; something you can’t readily teach. You need to have an innate love of words and language, and an understanding of how language works both syntactically and semantically. But more than that, you have to have an empathy with an author’s intentions, get inside their head and try to get to the heart of what they’re trying to convey. Fraser has a natural talent for doing so, and coupled with that he’s always keen to go the extra mile in finding a solution and reframing a problem in the simplest, most effective way; what editing is all about.'