I found Dion professional to work with and the book was all the better for his edits. I’d definitely recommend him.
Paul Kane – The Rot
Dion is a fine editor. Excellent attention to detail. I feel very lucky to have had him on my side.
Malcolm Devlin – You Will Grow Into Them
Dion is my go-to editor for UK novels. He has a great eye for detail and a tireless work ethic. He’s a joy to work with.
Graeme Reynolds – Publisher – Horrific Tales Publishing
Dion proves himself very thorough and accurate in his work with us, and has shown a particular sensitivity to and respect for the author’s work. His enthusiasm for the project is coupled with his professional manner and reliability with deadlines.
George Sandison – Publisher – Unsung Stories
The thing with Dion is that his passion and enthusiasm shows through in every project he works on. From conception to final proof, his level of dedication is second to none.
Steve J. Shaw – Publisher – Black Shuck Books / Great British Horror
No matter how brilliant you think your manuscript is already, Dion Winton-Polak will accelerate it to the next level.
Joseph D’Lacey – The Veil (Vol.1)
Courteous, professional, thorough – Dion seems to instinctively grasp that the role of a good editor is to help shape and hone the text into the best it can possibly be. Unafraid to make bold suggestions, he’s also deeply responsive to a writer’s vision and voice. Working with him on my frankly bloody awkward collection was a pleasure, and the final book is much, much stronger for his input.
Kit Power – A Warning about Your Future Enslavement that You Will Dismiss as a Collection of Short Stories and Essays
Dion’s feedback was clear, concise, and extremely helpful. I wouldn’t think twice about using him again!
Mike Garley – The Night Before
This was my first time working with an editor and you made it a very pleasant experience. I thought the editing process would be a bit overwhelming, but you made it manageable and relatively stress free.
Marc Kadushin – Sunny, with a Chance of Zombies
As an editor, Dion is possessed of a keen eye for detail tempered with a loving grasp of the narrative whole. His passionate editorial approach is driven by the uncompromising desire to facilitate a finished work that is both as accomplished and complete as possible. Unlike other perspicacious and gifted editors of my experience, his approach never feels heavy-handed. Results are attained through dialogue and teamwork, made possible in turn by unflinching consideration for the author’s vision.
Andrew Coulthard – This Twisted Earth (Vol.1)
Dion promises to help an author make their work the best that it can be. He achieves this through an excellent understanding of the writing process, plot, characterisation, and pace. Dion has an eye for details, picking up on small facts and inconsistencies to make it all the more believable. He balances the need to change parts with a sensitive approach – a testament to his skills as a negotiator. He encouraged me to think through changes myself, and any suggestions he made were well thought-out. He never forgets that this is your book, and his support and patience make the editing experience a rewarding process.
Paul Melhuish – Highcross
It was fun. Glad to say, it wasn’t too traumatic. I knew there were likely to be a few tweaks to help continuity (since I was submitting to a shared world book that was evolving all the time) but you also made suggestions that strengthened the story on its own merits.
Mike Chinn – This Twisted Earth (Vol.1)
This was my first experience with an editor (outside of academia), and you made it a pleasant one. I was worried that things would be changed without my permission, I wouldn’t get a final say in things, etc. and you took those fears away. I procrastinate and am anxious by nature, but the process was a lot less stressful that I thought it would be. And I genuinely believe that you helped make my story better.
Nikki Tanner – Sunny, with a Chance of Zombies
I hate editing – I tend to put it off for ages. I’ve had other edits done on short stories I’ve published but they have largely been cosmetic changes and have certainly not been such a collaborative process. I was worried that I’d feel a bit ‘precious’ about making changes but your comments were so constructive that it didn’t feel like I was tearing the heart out of my story.
Hereward L. M. Proops – This Twisted Earth (Vol.1)
I’m amazed this is your first go as an editor. I’ve been impressed by the speed and precision of your responses, the organizational abilities displayed thus far and the excitement for the project you convey to all participants. I can honestly not think of a single interaction which could’ve been improved upon.
Chris Bauer – Sunny, with a Chance of Zombies
You went into a level of detail that I hadn’t experienced before, which was difficult for me as my confidence is paper thin, but you dealt with it in such a way that I wanted to improve, and kept coming back for more! You were also far less dictatorial than it seems a lot of editors are. You explain the reasons for your suggestions, accept it when there is a (valid) reason not to change something, and also accept when you thought you made a mistake, which shows a great strength of character.
Jacob Prytherch – This Twisted Earth (Vol.1)
I must say that the biggest thing for me has been how personable and approachable you are (both via email and social networking) which is really important. You feel like a real person, rather than a red pen! I found your editing both sympathetic and strict, which is exactly the balance it needs to be. You helped me improve my story, particularly in ranking up the emotion. I truly believe this story to be the best thing I’ve ever written, and you helped to make it even better.
Angeline Trevena – Sunny, with a Chance of Zombies
There was never a change without a valid justification and you were open to a dialogue which ended in a mutually approved draft. You were quite insightful and enthusiastic. The enthusiasm counted for a lot and eased the sting of any criticisms or change requests. All your changes seemed well-informed and came from a place with an eye to improve the story. There was no feeling that you wished to stamp your influence on it or were heading off on the wrong path. It all seemed to be good-hearted, effective prose-polishing and I got a general sense of the writing getting tighter and dead wood being shaved. Which is exactly what a person would pay for.
Matt Lewis – This Twisted Earth (Vol.1)