Meet the instructor: Joy Gugeler

Written by Carl Rosenberg; copy edited by Maggie Clark

On Saturday, May 27, Editors BC will present Joy Gugeler, who will give a six-hour seminar on structurally editing literary fiction. In this seminar, participants will learn how to understand reader expectations, work with authors, and assess and structurally edit fiction.

Joy has more than 25 years’ experience as an acquiring and substantive editor, including acquiring and editing over 80 books for Beach Holme Publishing, Raincoast Books, and ECW Press. She has also worked as editor-in-chief for three online magazines and as an editorial board member for Arc Poetry, Quarry, Portal, and Room publications. Currently, she edits the Ralph Gustafson Distinguished Poet’s Lecture Series and up to 10 titles annually for her freelance firm, Chameleon Consulting.

Joy teaches editing in Ryerson University’s Certificate in Publishing program and SFU’s Master of Publishing program and summer publishing workshops, and at Vancouver Island University. She holds a Bachelor of Journalism and a master’s degree in Canadian studies from Carleton University, and is completing a PhD in communications at SFU.

Carl Rosenberg, a volunteer on Editors BC’s communications and social media committee, talked to Joy about her work and her advice on the intricacies of editing fiction.

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May 27, 2017: Literary Architecture: Structurally Editing Fiction

What: Editors BC professional development seminar
When: Saturday, May 27, 2017, 10:00 am to 5:00 pm
Where: Room 810, 8th floor, BCIT Downtown Campus, 555 Seymour Street, Vancouver | map
Cost: $165 for Editors Canada members ($135 early bird), $230 for non-members ($200 early bird), and $100 for student affiliates. Advance registration required. Registration closes May 19; early-bird rates are in effect through May 5.

Sometimes we imagine fiction as arriving at the publisher in a near-perfect form, ready for publishing. In fact, fiction undergoes as rigorous an edit as non-fiction, and often is signed more for its potential than its readiness. Respecting the originality of the author’s voice and work, while still serving all parties with a sensitive critique, is a delicate balance.

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