Editing & Mentorship



Hello! I'm regularly available as a creative editor and mentor and love serving writers at any stage of their career. What is creative editing/mentorship, you might ask? Well, it can be a number of things. For example:

1. You might have a completed manuscript that's suffered a series of rejections from publishers (or a series of self-rejections). You and your manuscript would probably enjoy some unbiased and yet encouraging feedback on the current state of affairs, and perhaps a new round of skilled editing. We can wade along the shorelines, or dive deep into the ocean of your words. Whatever level of editing or mentorship you choose, I will treat your work with care and respect and honesty. I will also be thorough, clear, and genuinely helpful. My aim is to help you publish something you're proud of.

2. You might have a bundle of short stories, or a folder full of poetry, or a half-finished screenplay... whatever your creative project, I would love to help your work emerge from the dusty desk drawer or hidden laptop folder, and into the bright bright world. Whether you're a dabbler who'd like to know if your work has potential, or a serious novice who wants to take the next step, I have what you need to help you move forward and follow through on your writing goals. And I will also offer you whatever you might be missing in terms of craft. 

3. I also offer creative and editorial assistance on manuscripts-in-progress or completed manuscripts by writers with a book-publishing history. I give nuanced creative feedback on everything from the working shape of a manuscript to minutia at a line level. I also frequently edit stories, poems, etc., in small batches, before they've entered manuscripthood. My specialties are poetry, and any work that breaks from traditional shapes. I consider all genres, but only accept work that I feel I can serve beautifully.


EACH PROJECT IS UNIQUE and each writer is unique, so I find that my approach shifts to meet the work and the writer. Some people are super clear on what they want: they have a time frame, a budget, and a crystal goal. I can work with that. Some people haven't yet caught a whiff of their goal, have no time frame, and no budget to boot. I can also work with that. And everything else in between.

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, and writing for children/pre-teens. I'm particularly adept at working with genre blends and writing that doesn't fit traditional frames.


With most projects I offer a free 30 min Zoom and a free page of edited work.

It goes like this: you fill in the contact form on this website and tell me briefly about your work. I send you an email asking a few questions and telling you what I need as a sample. You answer the questions, send me the sample. I edit it, send it back to you, and then we talk about the edit and about your writing needs via Zoom (or another platform that suits you: Skype, What'sApp, Facebook video, telephone...). And if we decide we want to work together, we set out from there.

The editing/mentorship process usually includes meetings via Zoom, etc., to discuss the work and editorial comments. I'm not meeting in person presently, for obvious reasons, but as soon as we have the pandemic all-clear, coffee shops meetings for clients on Vancouver Island can resume.


I usually 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. You'll find that you will usually receive more from me per hour than you expect. I accept e-transfer, PayPal, check, postal money orders, and cash; you can also pay by credit card via my website. I offer itemized invoices with time-keeping technology, and I can work with your grant/taxation requirements.


I don't accept copy editing, proof reading, or academic work.

I don't take on work unless I resonate with it enough to serve it beautifully.

I don't usually offer grant writing.

With all that said, I HOPE TO HEAR FROM YOU SOON!

Read testimonials from students and clients:

"I found Kyeren to be a positive and friendly editor with tons of supportive and critical feedback. She's open, creative and sensitive, and seems to be able to tackle anything."

"Kyeren is always available, always willing to clarify and explain (or cajole) as needed--her edits were always challenging."

"I appreciate your willingness to let a poem be what it wants to be. Thank you for your generous help and expert criticism."

"Kyeren provides methodologies, experience, safety, professionalism, inspiration and hands-on support/critique--she is divine!"

"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 also 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."

"Kyeren has so much knowledge of content, extremely helpful feedback, and motivated me big time. Thank you!"

"I thought you made the effort to help every piece reach it's full potential--you handled everything with great care, and the positivity was effective to create a helpful environment for all."

"Kyeren sincerely wants everyone to succeed--there was so much growth!"

"Kyeren had lots of great ideas for where stories could go in revision, and was very kind in the delivery of constructive criticism--Thanks, Kyeren!"

Piles of Books

Read a brief Q&A about my approach

to screening poems for The Malahat Review:



I was fortunate to spend several years on the board of the iconic national literary journal, 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 the first to read someone's work, and I treat it like the envelopes at The Malahat Review, with great care and privilege.


I also read and shortlisted work for the journal's three yearly poetry contests, including the Long Poem Prize, and once screened through a poem that went on to win the Open Season Awards (which was very exciting!) Sometimes I see work from former students or from clients enter the world through journals, or books of their own, and that's a very magical thing. (Before I read and edited for the journal, my work was shortlisted for all three of their poetry awards, and also published in issue 171.)


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 weren't only comprised from creative work, we had to be good 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.


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 (hundreds and hundreds), and edited a large chunk of them. I worked closely with professors 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 (on top of the aforementioned work!). I continued in this role after earning my MFA, and personally edited over 700 pieces of student writing (I read and calibrated the grades for, and often added edits to, 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 I had a hand in get published.


...I do what I described at the very top of the page: I work as an editor/mentor for writers, and I LOVE it. I love it when people get published, 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!

medal 2.jpg
medal 1.jpg

This is my Victoria Medal... I'm pretty proud of if, but it just sits completely unseen in a box on my bookshelf, so I thought I'd add it to my Editing & Mentorship page, because I do mention it briefly, and if nothing else it proves that I have a strong work ethic...or perhaps an out-of-balance work ethic. Well.