Manuscript Crucible
Personal editorial support and story coaching so you can turn your draft into a marketable book without sacrificing your vision.
do you…
want to write a marketable book that magnetises your ideal readers?
feel ready to lay the deep foundations of a story that your readers will love?
need a fresh pair of eyes to help with story knots and plot tangles?
want support to write compelling prose that showcases your writing?
It’s time to TURN YOUR DRAFT INTO A MARKETABLE BOOK without SACRIFICING YOUR VISION with the help of tailored individual support.
Manuscript Crucible will help you to:
🏹 Develop a cause-and-effect trajectory and a clear emotional arc for your protagonist(s), or narrator(s).
🔮 Know that the your reader will have to turn the page to discover what happens next.
🔥 Figure out the shape of your whole book in alignment with your dream vision.
⚡ Understand exactly where your book fits into the literary marketplace, and where to find your dream readers.
💎 Create a final copy of your manuscript that showcases your writing.
Manuscript Crucible Combines practical feedback with tailored support allowing you to articulate your vision in a way that will magnetise your dream readers.
Does this sound like you?
You ultimately want to share your writing with readers, editors, publishers, or agents but you fear that your story is too much, or not professional. Or even worse – not commercial.
You oscillate between the thrill of writing your story and coming up against an industry that feels impenetrable.
You are sick of piecing together writing advice that feels generic or hard to follow.
The publishing industry is unequal, and there are gatekeepers; that’s just the reality. But it is also full of people who are supportive of change.
One certainty is that readers are hungry for stories with meaning. They are looking to explore their experiences, identities, their sense of belonging, and their difficulties. This hunger means that agents, editors, and publishers are excited when they read something fresh and innovative. No matter how safe industry professionals might seem to play, they are all looking for those stories.
The truth is that the very parts of your book that no one else could have written are the parts that will speak most clearly to your dream readers.
Instead of trying to meet some ever-changing imagined industry standard, your book will help to expand the capacity of the industry for innovative and meaningful stories.
elizabeth macneal
Author of Sunday Times bestselling novels The Doll Factory and Circus of Wonders:
“Laura was absolutely pivotal to the development of my writing, and I do not believe I could have conceived of, or written, my novel without her support, guidance and advice.”
Kate Simants
Bath Novel Prize-winning author of Lock Me In and A Ruined Girl:
“Laura was indefatigable: I came away from every meeting knowing that she had read and thoroughly considered every submission and was taking a sincere interest in helping me make my novel the best it could be. Her communication and professionalism were second to none, and I credit her in no small way for helping me to secure an excellent literary agent.”
What you get when you sign up for Manuscript Crucible
A developmental read by Laura of your full manuscript to prepare you to query agents, and find your dream readers.
A thorough editorial report that gives clear, detailed, and actionable feedback that will support your revisions, so you can make the book the best it can be.
Detailed notes and feedback on your manuscript. Edits can seem technical and intimidating but my clients have told me that my feedback is like "gold dust".
A copy and line edit by Laura to showcase your writing, and pick up any dropped threads or story knots.
Two personal editorial calls with Laura. One will offer laser-focus on the craft aspects of the editorial process. One will offer coaching and consultation on your pitching and marketing plans, and prepare you for the literary marketplace.
Written feedback on craft tools (world-building, structure, perspective, point of view, genre expectations etc.)
Written feedback on pitching and marketing tools (finding your niche, comp titles, blurbs, pitches, writing a synopsis, querying etc.)
Marketing checklist
You will leave the process with:
A deeper understanding of the craft elements of book-writing (character, perspective, structure, genre expectations, world-building, atmosphere).
An understanding of your niche in the literary marketplace, and a publication pathway (traditional, indie, or hybrid).
A final copy of a marketable book that doesn’t sacrifice your vision.
Outline of the collaboration:
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Before we begin, I will ask you to complete an intake form. This allows me to tailor the feedback to your goals. It will also help you to reflect on your project, and articulate your vision.
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I will work on the editorial report and annotations.
You will work with guided coaching tools to develop your craft and marketing skills.
You will learn how to consider your audience at every stage of the process, and by articulating the meaning and messaging of your book, you will deepen your storytelling ability.
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You will receive my report, and manuscript annotations.
You will also receive my written feedback on your coaching tools.
We will have an editorial call to workshop any remaining story knots and to prepare you for your revisions.
You will implement your revisions based on Laura’s feedback.
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Laura will work on line and copy editing.
You will have an opportunity to make revisions based on the edits, and Laura will reconcile these, and create a final copy of your book.
We will have a final call to review the book, and prepare your path to publication.
Sarah A. Denzil
Million-selling crime fiction author of Find Her and Little One
“I really enjoyed working with Laura. In particular, I enjoyed our Zoom call to discuss the direction of the book. I was at a point where I was stuck and wasn't sure how to fix the plot holes in the book. Talking it through with Laura really helped me get out of that issue. Many thanks, Laura!”
Naomi Booth
Saboteur-award winning author of Exit Management and Sealed
“Laura Joyce is a brilliant writer, a gifted editor, and an inspiring and generous facilitator. She knows how to stimulate creativity, and how to nurture the best and most interesting aspects of writing. There's no else I'd rather work, write and read with.”
Helen Jukes
Author of critically-acclaimed memoir A Honeybee Heart has Five Openings
“I cannot recommend Laura highly enough. Her insightful, eloquent and in depth feedback has helped me through numerous fiction and nonfiction projects, from ideas stage right through to completion. I'm a better, more committed writer because of her. Thank you Laura!”
Femi Kayode
Little Brown-award- winning author of Lightseekers
“Dr Joyce is a supportive teacher who goes beyond the academic and seeks a deeper understanding of the issues that can help unlock the possibilities within a student's mind. From follow-up calls to little notes of encouragement, Dr. Joyce's influence goes well beyond the classroom, and this is what makes her unique, inspiring, impactful and effective.”
you may be thinking…
I don’t have time to do this—it will eat into my writing time.
I can find this information online for free.
I’m not a professional writer. Is this for me?
The short answer? Yes.
There is a lot of free information online and in library books. The problem is that there is so much conflicting information it can be hard to know where to begin, and inertia can set in.
You will receive MA / MFA-level guidance for a fraction of the price.
For every hour you spend in Manuscript Crucible, you will save countless hours trying to piece information together online.
By cutting to the heart of the book-writing process Manuscript Crucible moves you closer to your goals right from the start.
Whether you plan to share your work with a wider audience through traditional, independent, or hybrid publishing, Manuscript Crucible can support you.
What other writers are saying about Manuscript Crucible…
“I am sending my work out regularly and courageously! I am able to tolerate the negative feelings that come with sending work out and with rejection… I think before I was writing with my hands tied behind my back, which is a challenge as I am sure you can imagine. I now feel able to bring all parts of myself to my writing which is alarmingly liberating and fun.”
— Dulcie Few, writer
“I’ve learnt how to make writing a regular habit, something I didn’t think I could be capable of ever doing. You are kind, warm and supportive. Your feedback is never rushed and always thoughtful and encouraging, whilst also being honest and to the point. My self-confidence has grown as much as the quality of my writing during this process. I can finally call myself a writer without blushing!”
— Matilde Pratesi, shortlisted for the Caledonia Novel Award for Pig
“Through thought-provoking questions and technical advice, Laura has really nailed not only the areas I asked for help with but ones I wasn't aware needed addressing. I feel very positive about my manuscript now and I am eternally grateful to Laura for her help. Gold dust!”
— Caroline Bloor, novelist
“Since our collaboration, using my edited manuscript, I have won a writing competition. I used the updated synopsis and cover letter and got a full manuscript request from an agent.I don't think that would have happened if I hadn't used Laura's services. Thanks Laura, I can see us working together again very soon, I have another MS to edit and pitch shortly!”
— Michelle Elaawar, author of When Arab Women Walk on Air
“This was my first experience working with a professional editor, and I was so nervous about it, but Laura Joyce made me feel at ease through the entire editing journey. She is an amazing editor and a joy to work with. I look forward to working with her again in the future. Thank you so much, Laura!”
— Joanna Wolford, novelist and screenwriter
HI, I’M LAURA.
A few years ago, I decided I had to change dramatically, or never write again.
I had taught for over a decade in writing programmes that didn’t always meet the complex needs of the writers they served. Many people didn’t leave with a full project, or a clear way to connect with readers. Perhaps most importantly, there was little room to explore the inner work that the writing life requires.
I was confounded, because I knew how creative and ambitious the students were, and how committed and talented my colleagues were. I wondered what could be done differently.
It simply didn’t make sense to me that the way we taught was often to make things easier for institutions. That just wasn’t enough of a reason.
I still believe in the power of group work, and in the necessity of sensitive, thoughtful peers and mentors to support writers at every stage of their career.
But I also think that writers are the experts on their own stories and lives, and I craved a way to work with writers concretely, while allowing them space to experiment, explore, and follow their curiosity.
I wasn't sure this was compatible with the ways I had been teaching on writing programmes. I was also personally burned out from decades of masking, and the aftermath of working in an abusive environment.
I had undiagnosed autism, which contributed to my difficulties in navigating the writing industry and academia. The most painful parts of those experiences were being vulnerable to bullying and exploitation, but I was also able to relentlessly work at a problem without getting bored and I wanted to discover how to support writers to finish their books and to reach their dream readers. I knew there was a better way.
I was struggling with my own practice, trying to meet the demands of the Research Excellence Framework (which is just as corporate and soulless as it sounds) to produce a certain kind of book, and finding this disastrous to my personal creativity.
I had to learn how to write from scratch. This meant abandoning everything I had worked towards for decades, and starting again.
I realised that the only way to create a sustainable writing practice, and to write the kind of book that magnetises readers, was to work intuitively.
There is nothing wrong with using the support of existing frameworks. But the writing that readers crave can rarely be constructed by following a formula, or reverse-engineering a project to fit with current market trends.
I’ve worked with writers to connect to their own intuition. Writers who now call themselves writers without blushing. Writers who can stake their claims, articulate their ambitions, and follow their own curiosity instead of someone else’s formula.
These writers are changing the ecosystem by writing books that are meaningful to them and to their dream readers.
Like mystics, these writers are following their own visions as the precursor to mainstream acceptance.
I can tell you three things:
I know this works; I see results.
I don’t know exactly how.
But I can show you.
Manuscript Crucible
£3000
(payment plans are available)
A developmental read by Laura of your full manuscript to prepare you to query agents, and find your dream readers.
A thorough editorial report that gives clear, detailed, and actionable feedback that will support your revisions, so you can make the book the best it can be.
Detailed notes and feedback on your manuscript. Edits can seem technical and intimidating but my clients have told me that my feedback is like "gold dust".
A copy and line edit by Laura to showcase your writing, and pick up any dropped threads or story knots.
Two personal editorial calls with Laura. One will offer laser-focus on the craft aspects of the editorial process. One will offer coaching and consultation on your pitching and marketing plans, and prepare you for the literary marketplace.
Written feedback on craft tools (world-building, structure, perspective, point of view, genre expectations etc.)
Written feedback on pitching and marketing tools (finding your niche, comp titles, blurbs, pitches, writing a synopsis, querying etc.)
Marketing checklist
“It’s been a blast. It’s been so helpful. I feel like we have created a space together where I can not only write, but most importantly, focus on how I write, which is of course related to how I live… I like the mix of the recognition that we live in a capitalist society where we do have to be ‘productive’ and get things done in order to survive, including writing for economic reasons; but at the same time, always with an eye on the real prize: on what can truly nourish us and on why we really write. This is a rare combination.”
May Ngo, writer and critic
Have questions?
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You will work on your manuscript with individual support.
You will unearth the story of your book.
You will learn about where your book fits into the literary marketplace.
While you do this complex work, you will be supported with written feedback, editorial calls, and coaching tools to create the conditions that will help you thrive.
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There is so much power in the workshop model. I have worked as an instructor on MAs and MFAs at universities including the University of East Anglia, the University of Sheffield, Birkbeck, University of London, and Sussex University. Working this way can be transformative.
However, it is rare for a writer to complete a manuscript while they are in an MA or MFA programme. What most writers truly need to finish their book is individual, tailored feedback on the whole manuscript.
All this for a fraction of the price of an MA or MFA.
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I can't promise you a bestseller, a top agent, or a million-pound book deal. I can promise you that if you do the work, you will complete the best book that you are capable of writing, and one you will be proud to share with readers, agents, and editors.
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If you are ready to do the work, then you are ready for Manuscript Crucible.
If you are a writer who seeks to truly learn about your book, your processes, and your deeper writing practice, then Manuscript Crucible will offer a foundation for your future writing career.
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Even experienced authors are in need of support and accountability. Manuscript Crucible offers perspective to experienced writers who are ready to sink into a supportive collaboration.
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Manuscript Crucible is for anyone who is working on a book that truly lights them up.
This could be literary fiction, thriller, narrative memoir, narrative nonfiction, queer writing, experimental fiction, upmarket fiction, horror, weird fiction, romance, paranormal, magical and spiritual non-fiction, or speculative fiction.
It is unlikely to be suitable for technical non-fiction, or stories with a focus on external narrative without an emphasis on the emotional aspects of writing.
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Manuscript Crucible does include line and copy editing, but not proofreading.
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As an author myself, I know what it means to struggle with a book, and to bring it to completion without sacrificing your vision.
My clients and students have published with the big five publishing houses, as well as indie presses, digital-first publishers, and Kindle Unlimited. They have won major writing prizes, secured literary agents, and sold international and screen rights for their writing.
I’ve got a PhD in Creative & Critical Writing, and I’ve taught at several top creative writing programmes. I developed and ran the Crime Fiction MA at the University of East Anglia, and I was shortlisted for an innovation in Teaching award at UEA for my work on the Prose Fiction MA. During my time on those MA programmes, I taught writers who launched successful writing careers as bestselling authors.
I love working with writers on story knots and deep, structural issues, but I’m also called to the work of helping writers connect to their intuition and vision.
You can read more about the books I’ve worked on here.
enrollment is open now
Manuscript Crucible: £3000
(payment plans are available)
A developmental read by Laura of your full manuscript to prepare you to query agents, and find your dream readers.
A thorough editorial report that gives clear, detailed, and actionable feedback that will support your revisions, so you can make the book the best it can be.
Detailed notes and feedback on your manuscript. Edits can seem technical and intimidating but my clients have told me that my feedback is like "gold dust".
A copy and line edit by Laura to showcase your writing, and pick up any dropped threads or story knots.
Two personal editorial calls with Laura. One will offer laser-focus on the craft aspects of the editorial process. One will offer coaching and consultation on your pitching and marketing plans, and prepare you for the literary marketplace.
Written feedback on craft tools (world-building, structure, perspective, point of view, genre expectations etc.)
Written feedback on pitching and marketing tools (finding your niche, comp titles, blurbs, pitches, writing a synopsis, querying etc.)
Marketing checklist