Hi, I’m Sunil Yapa.
I am an award-winning novelist and short story writer. I’m also an essayist, screenwriter, memoirist, and, last but certainly not least, an in-demand editor. I worked hard to get where I am, and now I want to help you get where you want to go.
My first novel, Your Heart is a Muscle the Size of a Fist was the showcase title for Lee Boudreaux’s eponymous imprint at Little, Brown, and Company. I was honored to be named one of five finalists for the 2017 PEN/Faulkner award. Time Magazine, Amazon, The Washington Post, Bumble and others named it one of the best books of the year. The novel was described as “fast-paced and unflinching” by The New Yorker, “a genuine tour-de-force” by The Seattle Times, and “a shot across the bows of Jonathan Franzen’s Freedom and Jonathan Lethem’s Dissident Garden…” The Spectator (UK).
I am deeply practiced in the art of the novel and memoir, as well as the art of the screenplay. I know how to develop manuscripts into projects that are fast-paced, character-driven, and deeply-felt. More importantly, I know how to teach others to do the same. My shiniest degree is a Masters of Fine Arts in Fiction from Hunter College in New York City where I studied with the true masters Colum McCann, Peter Carey, and Clare Messud. I also love non-fiction—I’ve published in Guernica and other places, and have worked with Phillip Lopate, Emily Fox, and others. I’m currently working on a non-fiction project, which I call noir memoir, set in rural Appalachia where I grew up. Finally, I’ve done extensive training in Hollywood Structure. I’ve studied television writing at the highest level at the UCLA School of Film and Television, written screenplays, and developed a tv show with Clubhouse Pictures.
I know what editors are looking for and I know how to get you there. As an editor who has worked everywhere from Esquire Magazine to being an early reader for Zadie Smith, as well as being a judge and panelist for some of the country’s best residencies and awards, I bring a honed real-world experience to my editing. I can edit your manuscript. I can edit your query letter to agents and advise you on where to submit. I can even help you craft your elevator pitch. I have great relationships with editors and agents in New York City who work in everything from literary fiction and Young Adult, to fantasy and genre, more generally. I’ve taught fiction at the graduate level at the University of Nevada, Lake Tahoe, at the Center for Fiction in NYC, and at Pam Houston’s private residencies Writing by Writers. I’ve worked hand-in-hand with many writers as a thesis advisor, helping them bring their projects from the idea stage all the way through to the completed work.
I’m not just an editor, I’m also a best-selling novelist and an experienced teacher. I can help you find the gold in your manuscript, and will work alongside you to turn it into a well-paced, deeply-felt, compelling manuscript. One that will not only land you the prized book deal, agent, and editor, but, most importantly, one which you’ll be proud to call your book.
Learn More about Sunil
+NPR’s Morning Edition, interview with Steve Inskeep, 1/21/16 (link)
+New York Times, profile in Sunday Money section, 3/25/16 (link)
+NBC, “Late Show with Seth Meyers,” TV interview aired 1/12/16 (link)
+WNYC/NPR Leonard Lopate show, 2/8/16 (link)
+KOUW Seattle, Ross Reynolds, 2/9/16 (link)
+ABC Radio Australia. Interview with Georgia Moodie. (link)
+Chronogram “Heart of Gold: Sunil Yapa’s Global Vision” (link)
Services
1. Manuscript Critique
This is a big picture edit focused on story development, including thoughts on plot, structure, character development, relationship webs, mystery creation, scene construction, POV and narrative choices, as well as general comments on style and voice. After a close read of your manuscript I will write you a detailed editorial letter, about 50 pages, focused on the above at a big picture level and ending with specific advice. I will also include detailed marginal comments highlighting examples, and places to strengthen the manuscript. I almost always propose a detailed plan for the overall story structure, including model books or films you can study. We’ll also discuss what’s working and what’s not working over a Zoom call.
2. Comprehensive Edit
This is the nitty-gritty line edit, focused on writing compelling scenes, great dialogue, unique and powerful prose. This includes a focused line edit, highlighting syntax, diction, narrative distance and POV on a line level. This also includes the above editorial memo on the prose, drama, and dialogue, as well as marginal comments. Can be a short story, a sample chapter or an entire manuscript. (Rate is a flat fee of $0.10/word). A one time follow up is also included. Phone, FaceTime, in-person meeting, or email.
3. Writing Coaching
This is a more collaborative process to not only help you hone the techniques necessary to write a great book, but also to develop the pro tricks to make the writing happen. I love mentoring students and have been doing this kind of one-on-one work for years. I read your manuscript pages and send you comments about the craft elements. I include craft lessons from my years of teaching and often suggest some books, lectures, and essays, that can help you hone your technique. I have found this approach to be highly effective at building strong tools for writer. However, it does normally take several months.
4.Teaching
I teach annual classes with the Shipman Agency. My favorite is called Film School for Fiction Writers. Using films, tv series, and novels— from Finding Nemo to Ferrante, Gone Girl to the Great Gatsby—we break down 3 distinct techniques to tell a story. Character, Plot, and Suspense. My goal as a novelist and screenwriter is to give you screenwriting tools adapted for the novel so that you can break through on your project. Class includes watching two movies per week, one seminar meeting a week. Each week’s seminar will include a discussion of the previous week’s movies; a new lecture; two copies of the new week’s worksheets, one for the movies to be discussed, and one to be applied to your own work. A manuscript or idea in progress is encouraged but certainly not required.
TOPICS:
Week 1: You Can’t Always Get What You Want
Week 2: Contradictions, Frictions, and Needs
Week 3: How to Create Suspense
Week 4: Hollywood Bullsh*t Demystified plus a short word on Pantsing v Plotting
5. Professional Advice
I’ve published a best-selling novel, won short story awards, but I’ve also been to two graduate MFA programs, been to film school, worked for a high-end magazine, spent countless hours pitching agents, worked alongside editors, sat on the board of national residencies, have been a judge for the PEN Bellwether prize, the PEN Open Book prize, the PEN Jean Stein prize. All of which is to say, I have alot of experience in most every aspect of the writing journey, and I’m happy to share whatever wisdom I’ve accumulated. Maybe a simple phone call over Zoom is the best way for you, for now. Maybe you want to discuss finding an agent. Maybe you want to talk about query letters or MFA applications. Maybe you just want to know if you’re any damn good. We can talk.
Testimonials
Sunil Yapa is an extraordinary editor because he looks beyond the page, into the writer’s vision, and works first to preserve and empower that. His experience as bestselling author, familiar with the ins and out of the NY publishing world, as well as a professor, make him a perfect coach and collaborator. He will uncover the novel hidden in your pages, talk you through your doubts, and help you to finish and realize the best version of your story. He brings his own artistic rigor and craft to your project—adding to your structure, pace and narrative motion—and for me, was a partner in every stage of the process.
—Nayantara Roy, author of The Magnificent Ruins and Sisters of a Halved Heart
Contact
Interested? We always start with a face-to-face consultation. Reach out at Sunil.s.yapa@gmail.com to get started. Or contact my editing house agent at leslie@theshipmanagency.com
