Editing & Mentorship
BFA, MFA WRITING
CREATIVE EDITING & MENTORSHIP
*At this time I'm only editing completed manuscripts,
but please feel welcome to join my waiting list for other work*
Hello! I'm regularly available as a creative editor and mentor to literary writers, or writers aiming for a literary standard. I serve writers at any stage of their careers—published writers with manuscripts, writers with mentoring grants (from Canada Council, TWUC, League of Canadian Poets, etc), as well as emerging writers and novices.
I'm willing to consider projects of any length and in any genre, including poetry, fiction, creative non-fiction and memoir, stage and screen writing, genre fiction, young adult fiction and poetry, writing for children/pre-teens, as well as the graphic novel, or any hybrid form. I'm particularly adept at working with genre blends and writing that doesn't fit traditional frames, and also excel at the transference of spoken word forms onto the literary page.
LET'S WORK TOGETHER!
With most larger projects we begin with an hour of work, usually 30 mins of edited work and a 30 min zoom to see if we're a good fit. The cost is $75.
MANUSCRIPT EDITING and EVALUATIONS:
It is my pleasure to offer both evaluations, and nuanced creative editing on manuscripts-in-progress or completed manuscripts by writers with a book-publishing history. A Manuscript Evaluation is an overview of the shape of the manuscript, notes on all poems/chapters/stories, etc., as well as many other insights. A manuscript of poetry begins at 500. A novel or other longer work will more likely begin at 800. Creative Manuscript Editing (my specialty), includes exceptional and nuanced creative feedback on everything from the working shape of a manuscript to minutia at a line level (but especially the minutia, with a focus to lift work to the highest possible standard), and will range from 800-2000. I can also assist with front and back pages, back cover copy, industry letters and bios, etc. We do get very clear on exactly what you want, and finalize the monetary side in advance so there are no surprises.
In addition to full manuscripts, I have edited hundreds of short stories, poems, etc., in small batches, before they've entered manuscripthood. My preferences are poetry, fiction, and any work that breaks from traditional shapes, but I've edited novels, children's books, graphic novels, creative non-fiction manuscripts, scripts, fringe shows... I consider all genres, but only accept work that I feel I can serve beautifully. If I don't feel I can serve your work beautifully, I'm happy to recommend other editors.
MENTORSHIPS for UNPUBLISHED WRITERS:
I will occasionally offer a mentorship series to an unpublished or emerging writer, usually a poet.
The mentorship includes careful editorial feedback, personal zoom lessons, as well as pre-written "Revision Helpers" that offer whatever the writer might be missing in terms of craft. This series is aimed to raise work to a literary standard, so although it will involve ample revision and diligent work on the part of the mentee, it can be very flexible, and slide seamlessly into any timeline/goal. I also send/suggest reading material, publications and contests to consider sending works-in-progress, and will help write industry-standard bios, essential accompanying letters, etc. I usually offer six or twelve month mentorships at a monthly rate (the rate depends upon budget, frequency of meetings, the standard of work, and personal writing goals.)
THE GENRE JUMP:
If you're a professional writer looking to skip across to another genre, the other genre being poetry or fiction, I offer a tailored mentorship series comprised of nuanced editorial feedback and personal zoom calls.
I will treat your work with care, respect and honesty. I will also be thorough, clear, and genuinely helpful with my editorial feedback. I will always allow your work to be what it wants to be (i.e. I don't force my preferred styles upon your work). Each project is unique, and each writer is unique, so I find that my approach shifts to meet the work and the writer, but my aim is always to help you publish your work at its very best.
I most often price by the hour, but I can also can price by the project or by the page depending on the genre, the length, and the caliber of the work. My rate is generally $75 per hour of solid editing, or for zoom editing/teaching calls—I do not charge for emails/brief calls/questions about work-just-edited (that's included in the rate). Clients will sometimes send revisions for quick review, or ask questions about where to send work, or on occasion require a 5 min zoom to clarify something I've just sent, and this is included in the rate.
I accept e-transfer and PayPal—I can also arrange payment by credit card via my website. I offer itemized invoices with time-keeping technology, and I can work with your grant/taxation requirements.
WHAT I DON'T DO:
I don't accept copy editing, proof reading, or academic work (ever), but can recommend those who do this work.
I don't take on work unless I resonate with it enough to serve it beautifully.
I don't offer mentorships unless the fit feels just right.
I don't usually offer grant writing.
With all that said, I HOPE TO HEAR FROM YOU SOON!
"Kyeren has a deft editorial hand. Her comments are clear, constructive and have definitely advanced my work. I'm grateful for her support and for the challenges she has offered, and would be delighted with the opportunity to work with her again."
(Awarded both the PK Page Mentorship through The League of Canadian Poets, and a Writer's Union of Canada Micro-grant)
"Kyeren, THANK YOU!!!!!! Oh my gawd, I feel like I’ve discovered [MFA adviser], reincarnate. I hope I can send you everything for this book I’m working on!! EVERYTHING."
Susan Sanford Blades
(Author of Fake It So Real, winner of the ReLit Award for fiction, nominated for the BC/Yukon Book Awards)
"There are days that I think I actually live on your kind words. Not kidding. I LOVE your thoughtful, direct, beautiful edits. 1000 thank yous."
(Winner of the Island Writer's Poetry Contest, 2023)
"I just read through all of your notes and edits. All of the editing was really clear and understandable and so incredibly helpful....Boy am I glad I hired you!!!"
(Visual Artist, writing a graphic novel)
"I appreciate Kyeren's willingness to let a poem be what it wants to be. She offers generous help and expert criticism, and sincerely wants everyone to succeed—there was so much growth!"
Bonnie: Poetry Workshop Student
(University of Victoria)
"Kyeren provides methodologies, experience, safety, professionalism, inspiration, and hands-on support/critique—she's open, creative and sensitive, and seems to be able to tackle anything. She is divine!"
Renee: Fiction Workshop Student
(University of Victoria)
"I liked the way you found teaching moments in all the stories, pulling out what was good so we could all learn from that, and showing what needed work in a positive way. Thank you for being respectful of all the work—you were honest and open, and I appreciated that."
Michael: Creative Non-fiction Workshop Student
(University of Victoria)
NOT ALL EDITORS ARE EQUAL
(AKA MY EDITING JOURNEY)
THE MALAHAT REVIEW
I was fortunate to spend several years on the board of the iconic national literary periodical, The Malahat Review, first as an intern learning the ropes, and then as a poetry board member. I got to hang out in the office screening envelopes from writers around the globe, often the first one reading new work from renowned people. What could be more fun!? I took special care not to let any promising emerging talent slip past; that was particularly important to me. Editing is a bit like that: I'm often privileged to be the first person to read someone's work. I treat all work like the envelopes at The Malahat Review, with great care and respect.
I also screened and shortlisted work for the journal's three yearly poetry contests, including the famous Long Poem Prize, and once screened through a poem that went on to win the Open Season Awards (which was very exciting!) As an editor, I sometimes see work from former students or from clients enter the world through journals, or publish books of their own, and that's a very magical thing.
Note: before I was invited to read and edit for The Malahat Review, my work was shortlisted for all three of their poetry awards, and also published in issue 171.
THE REWARDS OF MY BFA
I first fell in love with the editing process during my undergraduate degree in Writing; I sincerely looked forward to editing peer fiction and poetry every week for five years. My BFA ended with a wonderful surprise—I earned the Victoria Medal in Fine Arts, which is awarded to the highest GPA in the Faculty of Fine Arts. Grades given in the Department of Writing aren't based solely on creative work—we had to advance as editors too. We were taught to edit, we practiced weekly, and we were graded on our editing abilities. In many classes we were also graded by our peers, and this weighed in on our final grades. It helped that I loved editing, but I also found that I had a talent for it.
THE EDITING TRENCHES OF MY MFA
My editing skills were honed into a tight craft while completing my MFA. I was offered the role of Editing/Marking Coordinator for all of the first year writing work in five genres: poetry, fiction, creative non-fiction, play writing and screen writing. I managed a team of editors, read every piece of first year work (many, many hundreds), and edited a large chunk of them. I worked closely with professors (who were themselves award-winning writers) in five genres to build editing and grading criteria, and calibrated all of the grades that came in so that the system was consistent (and so that no talented writers slipped through the cracks!) In my second year I was given the work of teaching other graduate students to edit and grade (in addition to the aforementioned work). I continued in this role after earning my MFA, and personally edited over 800 pieces of student writing (I read and often added edits to, many many hundreds more). During this editing internship of sorts, I become phenomenally adept at swiftly and thoroughly editing creative writing in any genre, while cherishing each individual voice.
I also worked at the university as a sessional instructor, a teaching assistant, and a substitute instructor at the 2nd, 3rd and 4th year levels. And I created and taught a Spoken Word class, incorporating writing, workshop editing, and performance in four genres. In particular, I delighted in working one-on-one with students during office hours, watching their writing blossom and mature. Some of my most cherished memories include seeing student work (that I had a hand in nurturing) go onto earn publication.
Since 2013, I've been working as a creative editor/mentor for writers, and I LOVE it. I love it when people get published, or win awards, but I especially love seeing people fall in love with their own work and lift it to levels they didn't know they could reach.
I hope I get to work with YOU!