Guide number changes with ISO rating and it is related to the aperture, not the shutter speed. This is because the duration of an electronic flash is on the order of 1/10,000 of a second, so your shutter speed is irrelevant if the flash is the only meaningful light source. This is particularly true with an in-the-lens shutter, like with a Hassleblad 500 series, your Fuji rangefinders, Mamiya 6/7 etc. By contrast, a focal plane shutter drags a slit across the film gate at a particular speed. The higher the shutter speed, the narrower the slit. So if the shutter speed is too high, the 1/10,000 flash goes off while the slit is part-way across the film gate, resulting in a negative only part of which is exposed.
If you are looking for a balance of flash and natural light (e.g. using the flash to "punch up" highlights in a flat scene) then it's another matter. Get a flash meter, or do some experimentation.
To get back to your original question, the GN does not double with a doubling of film speed, it is multiplied by 1.4 (just like the progression of f:stops, rounded), so if you have a GN of 80 for ISO 100, you will have a GN of about 110 for ISO 200. Make sense?
[Edit: the answer to your last question depends on what results you are going for and what your ambient lighting is. If you are taking pictures in a night-club with no ambient light, then it doesn't matter. All the light hitting the film will be the light put out by your flash. If you are in a setting with a good amount of ambient light (that is, not dark) like a beach after sunset, then the flash synch speed will be more likely to freeze motion, and a slower shutter speed will allow the ambient light to make some exposure on the film, while the "pop" of the flash will freeze a subject with or without a blurred or ghost-image, depending on the relative movement of you and the subject. This is all highly context-dependent and will require some experimentation by you to understand what you flash will and won't do.]
Good luck and let us know how it all turns out.
Ben Marks