In their own words

Patrick Murphy, Managing Editor, Nimbus Publishing:
Kate’s ability to see what a text needs is second to none, and I can always depend on her to finish projects on time and on budget. Kate is a thoughtful, patient editor I trust with my most important projects.

Julie MacArthur, Instructor, Simon Fraser University:
Kate’s editing of my doctoral thesis helped ensure that the finished product was stylistically consistent, polished, and required no revisions. Her keen eye for detail and timely turnaround made my life as an academic writer far easier. In addition, her queries about academic conventions prompted me to consider issues of reader accessibility and use of jargon in a way that I am sure will strengthen my work in the future. I highly recommend her work.

George Sipos, author of The Geography of Arrival, finalist for the 2011 Charles Taylor Prize for Literary Non-fiction:
It’s a rare treat to find an editor who both listens to what a text says, and hears instinctively how it might say it better. Who is, in other words, neither heavy handed nor merely acquiescent. I found Kate’s editing as near as you could hope to that happy balance that leads, in the end, to a better book.

Johanna Skibsrud, author of The Sentimentalists, winner of the 2010 Scotiabank Giller Prize:
Working with Kate Kennedy on my first poetry collection, Late Nights With Wild Cowboys, was the first time that I had worked with a professional editor. I had talked with enough writers by then to know that finding the right editor for your work wasn’t always easy and that the process could sometimes be trying and difficult, so I was pleasantly surprised by how positive my experience with Kate was, from beginning to end. I was especially pleased that she treated my poetry manuscript with the seriousness that she did – I had heard the rumour that poetry is often not edited as rigorously or attentively as fiction, but with Kate this was certainly not the case. She was extremely careful and painstaking with her own edits, as well as patient with my numerous queries and revisions. She challenged me where I needed to be challenged, but was also highly respectful of my own approach. I was always made to feel comfortable and supported, as well as aware that, ultimately, the work was my own – that, in the end, I should do what felt right. Because I had such a positive relationship with Kate after this experience, and respected her editorial opinion so much, I was eager for her to take a look at my novel manuscript, which – happily – she was willing to do. Kate was, therefore, the first person to read the completed manuscript of The Sentimentalists, and its first editor. What I admire most about her editing of fiction is that she has that rare ability to see “the big picture” while remaining attentive – as with poetry – to the subtleties of detail and language. The most drastic edit to manuscript of The Sentimentalists, and the one I found the most difficult, was of the final chapters – what is now the “Epilogue.” Kate suggested a thorough revision, which I can now see was just what the book needed. It would have been a very different book without this change, and I will always be grateful for her clear vision and the confidence with which she guided me toward an ending that felt satisfying and, in fact, far truer to my own vision and intentions.