WHY I EDIT

I’m a sucker for a good story. Great stories don’t just entertain, they share culture, explore the human imagination, and reveal truths, even in the most fictional worlds. They let us see how people think, feel, and navigate the world all while sparking curiosity, empathy, and wonder along the way. I focus so much on story because, speaking for comics and visual narratives, you really can’t fix it in post… The narrative has to work on the page first.

I’ve edited comics and visual stories across children’s and YA fiction, adult memoir, nonfiction, and instructional work, always keeping clarity and voice at the forefront. I believe the stories that stick with us the most feel emotionally honest, so my job as an editor is to protect the heartbeat of each story: tightening what’s loose, unlocking what feels stuck, and giving the narrative room to breathe.

The Loud House & The Casagrandes — Papercutz / Nickelodeon Comics

I’ve edited scripts and artwork across The Loud House and The Casagrandes comics, making sure every story hit the right tone, rhythm, and humor fans expect from the shows! A big part of the job was balancing comedy pacing for YA readers and keeping character voices consistent across multiple artists and writers.

I worked closely with the editorial teams at both Papercutz and Nickelodeon to ensure everything met IP standards and stayed true to the world of the series. I also handled communication between writers, artists, letterers, and colorists to keep each issue cohesive and on schedule.

All cover artwork © respective publishers and artists. Papercutz and Nickelodeon. Covers displayed for editorial portfolio purposes only. I served as an editor on the listed titles.

Papercutz Books (non-Nickelodeon titles)

I worked on a range of Papercutz titles like The Smurfs, Monica Adventures, Geronimo Stilton Reporter, Dinosaur Explorers, and Vincent—many of them international IPs adapted for American readers. As a Brazilian, it was especially meaningful to edit Monica and Vincent, since these are Brazilian originals and I grew up reading classic Turma da Mônica comics.

My focus was on tone and cultural translation: keeping the humor and personality intact while making the dialogue flow naturally in English. It meant collaborating with editors and licensors, fine-tuning pacing and grammar, and making sure each story felt fresh but still faithful to its roots.

All cover artwork © respective publishers and artists. Papercutz. Covers displayed for editorial portfolio purposes only. I served as an editor on the listed titles.

Sequential Artists Workshop (SAW) Anthologies, Booklets, and Comics

For SAW’s comics publications, I oversee proofing and production timelines to keep things on track for publication. I design page layouts and prep print-ready files for both offset and digital release, and handle the technical side—ISBNs, barcodes, metadata, all that fun stuff. The most fulfilling part of my role at SAW is guiding contributors and students on pacing, readability, and visual hierarchy, so each story lands clearly and elevates their voices and artwork.

SAW’s anthologies feature talented work from students and instructors at SAW from programs such as the Year-Long Certificate Program, Graphic Novel Intensive, and Comics Flow + Publish program. I also edit and design original comics from our community for both print and digital release.

All covers displayed © Sequential Artists Workshop and to the individual artists who have generously shared their work.

Bird Brained Books (formerly Bird Brained Zine Anthology)

Bird Brained first burst out of an egg when I went to a small, curated comics-art festival in Brooklyn, NY in 2019. This festival only accepted artists who were already well-known around Brooklyn and NYC, so there were no new faces at the venue. I realized how little I saw new faces at art fests so I wanted to make an inclusive and diverse anthology for unknown and up-and-coming alternative and lowbrow creators who deserve a chance to be seen and recognized for their work. With the help of crowdfunding via Kickstarter, the first BBZA manifested right on the cusp of the COVID-19 global pandemic featuring eager contributors from around the US and the world.

This zine was primarily created to urge off-beat, underground creators to continue to create sustainably and secondly a means to further connect the underground community with each other, find opportunities, or even collaborate with one another on future projects (because the underground is much bigger than the mainstream).

I manage everything from layout and print production to packaging and distribution. The original covers and design were inspired by what drew me to comics in the first place: manga. Bird Brained is my creative sandbox for testing new formats and ideas that don’t need to fit in anywhere else. I am in the process of expanding it into a mini-press as Bird Brained Books rather than its original starting as Bird Brained Zine Anthology.