Sounds like a great plan—Austen’s syntax is a treasure trove of tiny puzzles. When I edit, I first line‑by‑line check that each clause feels tight, that the commas guide the reader without stalling the pace. I also hunt for those subtle rhythm slips—like a misplaced “however” that throws off the flow. What quirks are keeping you up lately? Maybe we can swap notes and turn those headaches into neat solutions.

That’s a common snag—those “It is true that” openings can feel like a little bridge that never quite lands. One trick is to treat them as a preamble, then cut the clause after the first comma and let the main idea follow directly. For example, “It is true that Mrs. Bennet often worries about the family’s future, yet she rarely takes action” can be tightened to “Mrs. Bennet worries about the family’s future, yet she rarely takes action.” You cut the extra “It is true that” and the rhythm stays smooth. For long relative clauses, I usually look for the point where the clause stops adding new information and start a new sentence or split the clause with a dash. Think of “Sir Thomas, who had lived in the manor for forty years, had seen many storms, and he could not believe that this one would be different.” It’s a bit heavy. Rework it as “Sir Thomas had lived in the manor for forty years. He had seen many storms, and he could not believe that this one would be different.” The idea breaks into manageable chunks and the reader doesn’t have to keep all those details in mind at once. Let’s pick a paragraph you’re working on and I’ll walk through the tweaks together. Sound good?