Irma has worked as an editor for over two decades, both freelance and in-house. She was Convener of Editing at the University of Canberra for a decade, and currently freelances for Australian publishers, arts organisations and individual writers.
Irma edits fiction (literary and contemporary), a wide range of nonfiction, anthologies, and children’s books (picture books, middle grade and YA), many of which have won prestigious awards.
Formerly editor of Muse, Canberra’s former monthly arts magazine, Irma also has an ongoing interest in the arts, and has worked for many arts organisations. She has edited books, magazines, catalogues, exhibition panels, blogs and websites for many cultural institutions, including the National Museum of Australia, National Library of Australia, National Gallery of Australia, Museum of Australian Democracy, National Archives of Australia, QUT Art Museum and William Robinson Gallery.
Irma also works with individual writers looking to prepare their manuscript for submission to traditional publishers, or indie writers looking to create a professional self-published book. As a published author of works for adults and children herself, Irma understands both sides of the editing and publishing process.
Irma is a professional member of the Canberra Society of Editors, and a member of the Australian Society of Authors, Children’s Book Council of Australia, Society of Book Writers and Illustrators, ACT Writers Centre and NSW Writers Centre.
Editing services: Structural editing, copy editing, proofreading.
Other services: Project management, workshops on writing and editing, manuscript assessment and development, mentorships (including once-off phone or Skype calls to provide advice on any aspect of the writing and/or publishing process).
Examples of work
Fiction: We Ate the Road Like Vultures by Lynnette Lounsbury; Wisdom Tree by Nick Earls, a series of five novellas: Gotham, Venice, Vancouver, Juneau, Noho (winner of Independent Publisher Book (IPPY) Award and winner of the People’s Choice Award at the NSW Premier’s Literary Awards).
Middle grade: Strangers on Country by Kirsty Murray and Dave Hartley, illustrated by Dub Leffler; Amazing Grace by Stephanie Owen Reeder (winner of the NSW Premier’s Award); Midnight Burial by Pauline Deeves (winner of ACT Publishing Awards Children’s Book of the Year).
Picture books: Sorry Day by Coral Vass, illustrated by Dub Leffler (winner of the CBCA Awards, winner of Best Book for Language and Literacy Development and winner of the Speech Pathology Australia Book of the Year Awards); Tea and Sugar Christmas by Jane Jolly, illustrated by Robert Ingpen (winner of the CBCA Award and ABIA Children’s Book of the Year Award), The Flying Optometrist by Joanne Anderton, illustrated by Karen Erasmus (Notable Book at the CBCA Awards and shortlisted for the Speech Pathology Australia Book of the Year Awards).
Nonfiction: William Robinson: A New Perspective by Nick Earls (Highly Commended in the MAPDA Awards); How to Write and Talk to Selection Criteria (5th ed) by Ann Villiers (winner of the ACT Writing and Publishing Awards Nonfiction Book of the Year); Australia’s Wild Weather by Mark Tredinnick.
Anthologies: The Invisible Thread: One Hundred Years of Words (official publication of the National Year of Reading and the Centenary of Canberra, and winner of the Canberra Critics Circle Award for Literature); The Sound of Silence: Journeys Through Miscarriage (winner of the ACT Writing and Publishing Awards Nonfiction Book of the Year and winner of the Canberra Critics Circle Award for Literature); Impact: Short Stories that Pack a Punch, an anthology of short fiction in association with the 2019 Flash Fiction Festival.
Email Irma to discuss your editing project: irmagoldATiimetro.com.au
Read Irma’s blog post on the collaborative process of working with an editor. She shares why it’s important to be open, let go of your ego, pick your battles and always be professional. Plus how to get the best out of the author–editor relationship.
Read Irma’s post on ‘What I wished I knew before I was published’, after appearing on a HARDCOPY panel with Omar Musa, Lucy Neave and moderator Nigel Featherstone. From expectations around book sales to why your heart is published along with your book.
Listen to Irma interviewed on The First Time podcast about publishing first times. She talks to Kate Mildenhall about wearing the dual hats of editor and author, and much else besides. You can find show notes here.
Listen to Irma interviewed on The Happy Book podcast about editing children’s books. She talks to Tania McCartney about how to edit your own work, how to work with an editor in a publishing house, and thoughts on hiring a freelance editor. You can find show notes here.
The Art of Self-editing Fiction
Saturday 25 July, 1 & 8 August 2020, 2–4pm
Learn how to self-edit fiction like an editor.
So you’ve written a full-length manuscript? Well, now the real work begins. This online program comprising 3 x 2-hour sessions will teach you how to undertake a structural edit and make your manuscript the very best that it can be, increasing the chance of publication. You will learn how to become a more objective reader of your work and identify areas that require improvement. And you’ll receive tips and techniques for working through each aspect of the editing process. This program is for emerging and developing writers. It includes exercises and each session will allow time for questions. For detailed session breakdowns and/or to book visit the Eventbrite page.
‘Irma was BRILLIANT!! I got so much out of her workshop. Please get her back to do more’ — former editing workshop participant
‘I learnt more in this one day than during my creative writing course at university’ — former editing workshop participant
Irma Gold is meticulous and thoughtful, and the kind of editor I’d be happy to work with again and again.
Irma did amazing work on my manuscript. It was a difficult one to edit and she managed it with great skill and gentle persuasion, making the process painless and turning my novel into something I am incredibly proud of. Irma is a writer herself, and I think this makes her an incredible editor because not only does she know good writing, but she understands an author’s connection to their work.
Irma is undeniably gifted at crafting beautiful, polished prose and equally knowledgeable in the fundamentals of elegant syntax. She is honest, too, taking your work from good to great by addressing all that lumbers and lades it. And Irma is nice. Approachable. Patient. Diligent. The kind of editor all writers need and hope for. When we’ve done all we can to see our labours of love to perfection, she actually gets it there!
Irma is an approachable and highly professional editor. We worked together on an extremely complicated manuscript, Strangers on Country, which I co-authored with Dave Hartley. Irma’s meticulous attention to detail and her eagle-eye for consistency made the proofs of this book the cleanest and easiest to finesse of any book I’ve ever worked on.
I have loved working with Irma on two of my novels. Her commitment to maintaining the integrity of the work and her patience with me when things went wrong was so reassuring. I have really appreciated it and hope we can work together again.
As a developing writer, I’ve been privileged to have Irma edit my work. I’ve benefited from her extensive editing expertise and experience, and she has really helped to strengthen my craft. I’ve also attended several of Irma’s editing workshops, where I’ve learnt very useful techniques to edit my own work (and other peoples’ work).
Irma Gold has edited two of my books — one a children’s picture book and the other a creative nonfiction title. I have found her editorial style professional, insightful, comprehensive and invaluable. She is also a pleasure to work with — approachable, helpful and supportive. Irma’s combination of writing and editing skills makes her one of the best editors I have worked with.
Dr Stephanie Owen Reeder
Irma Gold is an editor with whom I felt privileged to work on my middle grade historical novel. She’s got all the moves. She knows, as a writer herself, that an author has to own his/her work, and her tactful pinpointing of trouble spots is followed by giving writers time to find solutions that work for them. She’s always right about what is a trouble spot as well. When rewriting had lengthened my story, necessitating a reduction in word count, Irma knew I wouldn’t have the detachment to make swinging cuts, so she did this for me — with results I could only applaud, even though one of my favourite scenes went under the knife. If she can make me like that, she can do anything!
I feel very lucky to have had Irma Gold edit my manuscript. As a first-time children’s author, I benefitted immensely from her knowledge and experience. She was very thorough and professional, but also generous and encouraging. I learned a lot from her, and I know that my book is much stronger thanks to her. I hope I have the opportunity to work with her again.
I was thrilled to have Irma Gold edit my novel. Irma’s thoroughness and meticulous dedication ensured that my story was plausible, and that the multiple threads hung together in a consistent narrative. However, what I most appreciated about Irma’s work was that she completely understood the voice of the story. Irma ensured that voice remained visible and strong. If a writer is lucky enough to have Irma edit their work, they are guaranteed not only gold standard of precision and diligent attention to detail, but additionally her innovation and vision. The remarkable combination results in a book being the best it can be.
I worked with Irma when she edited my novel, Taken In. Her contribution to improving and polishing my work was immense, from her suggestions on structural issues, to advice on character and plot development, then right through to the minutiae of language, grammar and punctuation.
Irma brings a sharp critical eye and an absolutely thorough approach to her work. And, most importantly, she has the ability to communicate her suggestions in a positive, constructive way. She made it clear to me at the start of the process that she believed in my novel, and that it was my prerogative to reject her proposed changes if I so wished. But her suggestions were always so clearly and persuasively argued, that I had no difficulty in accepting that they would improve the final outcome, and hence found myself almost always agreeing to them.
Irma was thoroughly professional at all times. In my view, she is everything an editor should be.
Irma’s editorial work is exceptional; especially notable is her work with fiction authors. As a result of her experience with all stages of the book-making process, she has an outstanding sense of a book as a whole, which results in very intelligent and sensitive structural editing. She is extremely respectful of the authorial voice, forming valuable and collaborative connections with authors. She is also an excellent project editor. Working with Irma is a joy!
Susan Hall, Publisher, National Library of Australia Publishing
Gold is the perfect word for Irma. Her editorial insights are precious, her style is nothing but grace, her work with authors generous. She is wise, and thoughtful support to the publishers with whom she works, a meticulous copy editor, invaluable structural editor, and her ability to bring a project in on deadline commands my deepest respect.
Donna Ward, Publisher, Inkerman & Blunt