Starting at $650

I’ll work closely with authors on every aspect of the editorial process, including line edits, ordering, and revision, as well as comprehensive notes and feedback via email and Zoom.

Poetry manuscripts up to 75 pages are charged at a flat fee of $650, though I’m happy to consider sliding scale offers as needed. Poetry manuscripts above 75 pages are subject to a no-fee consultation to gauge the scope of the project and the general state of the manuscript, with a quote provided afterward.

I only work with people who I feel I can substantially help, so please submit a work sample of up to 15 pages if you want to work with me.

Starting at $500

Although I translate from Spanish, I will work closely with translators of prose and poetry from any language on every aspect of the editorial process, including line edits, word choice, syntactic structures, mechanics, dialogue, and revision, and I will provide comprehensive notes and feedback via email and Zoom.

Poetry manuscripts up to 75 pages are charged at a flat fee of $650.

Prose manuscript reviews include a complete manuscript review and a two-hour editorial feedback session, broken up into two, (1) hour segments, for which I would charge $500-$1,200 (total) sliding scale depending on the length of the project.

I only work with people who I feel I can substantially help, so please submit a work sample of up to 15 pages if you want to work with me.

Starting at $250

One hour-long Zoom or phone session to discuss up to 10-pages of poems, poetry or prose in translation. ($500 for 20 pages and two calls).

Topics of conversation could include line-edits, global vision and revision, publication suggestions and working towards a chapbook or full length collection or manuscript, and/or anything else you'd like to discuss regarding your work. In addition to the conversations, written notes on the submission will be provided.

In English or Spanish

Translation and Theft is a generative workshop in which we will read poems in multiple English translations beside the original texts of Eugenio Montale, Jean Follain, Ana Swir, Rainer Marie Rilke, Clara Muschiette, and several others, discuss the translators’ word choices, try our hand at translation, and then write our own poems from those poems.

The workshop is designed to reveal the close relationship between literary translation and one’s own writing practice. It will provide a practical understanding of translation as well as, and perhaps more importantly, foster skills that transfer easily to our own revision processes. In addition to the exercises, we will read and briefly discuss a series of essays on approaches to translation. Translation and Theft does not require fluency in a language other than English or previous translation experience.

In English or Spanish

“Everything is an event for those who know how to tremble…” wrote the French poet and judge Jean Follain (translated here by Heather McHugh). Too often we are at a loss for what to write about, thinking that our subjects must be grand or address some supreme truth. However, the world around us is vast and brimming with events which can lead us to greater intimacy and deeper insight, and help us find joy in the unadorned and humble. What events occur around you every day that you don’t take time to see? How do we uncover the poetry in the mundane? What makes a poem memorable versus simply a list of quirky observations? This generative workshop will address these questions and urge us to create a habit of close looking, slow walking, and deep engagement with the world we inhabit. It will include writing prompts, close reading practice, approaches to editing and always an opportunity to share the work we write.

Readings will include poems by Wislawa Szymborska, Jean Follain, Jean Valentine, Fernando Pessoa, Patrick Rosal, Aracelis Girmay, and others. Please note that this is a rigorous workshop with assignments or exercises due every other day. Participants will be expected to generate work while also devoting time to giving feedback to their peers.

What difference does it make to read John Ciardi’s translation of Dante’s Inferno or Anthony Esolen's? The King James Bible or the New English version? The fact that multiple translations exist implies that translation, like any form of writing, involves a series of choices. The goal of this workshop is to examine the possibilities translators face, the factors that motivate and influence their decisions, and the resulting effects of those decisions, so that you as translators can develop your language, literary and cultural skills.

This workshop will introduce students to the craft of literary translation and the many ways it can help them become better writers. Students will work individually and together to choose authors not yet known in English whose work strikes the students as exciting and innovative. We’ll discuss how the process of choosing an author and bringing that author’s work into English is a way to explore what makes a piece of writing distinctive. We'll look at aspects such as tone, humor and innovative plotting techniques and explore how students might experiment in similar ways with these aspects in their own work. During this course we’ll workshop translations together with original writing and also look at the work of various leading writer-translators and discuss the connections between the authors these writers have translated and the innovations in their own poetry and prose.

Course requirement: it is recommended that students have at least intermediate proficiency in a language other than English, but not absolutely necessary.