Who cares what the chair is called?

Posted on May 17, 2019December 19, 2022 by Judy L Mohr

A few months ago, I found myself in a conversation with other editors about a description that was given to a particular type of chair, asking whether people would actually know what a writer was referring to if they just used the name of the chair. There was a photo posted with the original post of some rusted chair that glided back and forth. You should have seen the comments that went back and forth about locality and age of editors. It was mad. Then I piped in, looking at the sample writing that was provided in the original post and the clunky description that was given to the chair.

In my comments, I provided a potential rework to the passage to smooth out the sentence flow and highlight the significance of the chair itself, but in my rework I had changed the name of the chair from glider to rocker. OMG, I was lynched, because apparently there is a big difference between a glider and a rocker.

My response to the lynch mob: Who cares what the chair is actually called? What matters is why the character is noticing it in the first place. (I think I actually wrote that on the forums too.) What is the significance of this chair, whatever it was called, to the plot?

MacGuffin: A Literary Term Defined

Posted on May 3, 2019December 19, 2022 by Judy L Mohr

How many times have you been in a conversation with fellow writers and they have spouted off some term that you had never heard of before? And how many times have those around you nodded their heads, like they've heard it all before, making you feel even worse for not knowing the term?

Well, this particular feeling happens to me all the time. And you know what: it doesn't make me any less of a writer for not knowing the terms. In fact, like today's literary term, most of those random words are insignificant, but today's term is doubly so.

A MacGuffin (also written McGuffin) is an object or goal sought by the characters of a story, keeping the plot moving forward, though the object itself lacks intrinsic importance.

There’s an Art to Providing Feedback

Posted on April 5, 2019April 7, 2025 by Judy L Mohr

Over the last two weeks, we've been talking about feedback: how to handle feedback and how one might go about finding critique partners. But there is another aspect to this equation that also needs to be covered. I'm talking about the act of actually providing feedback to other writers.

It's all great to be given feedback, but when the tables are turned, you'll be asked to give feedback too. However, providing feedback is more than saying what it is you do and don't like about a piece. It's about more than just pointing out the grammatical errors. And there is a trick to providing that feedback, so you can stay true to yourself while providing honest, useful feedback, but avoid crushing the souls of other writers.

So, let's get started.

Critique Partner Dating

Posted on March 29, 2019March 31, 2025 by Judy L Mohr

Working with critique partners and beta readers is an important part of the editing process. These are people who are looking at your manuscripts when you have become too close to them and help you identify the weak areas. There are differences between critique partners and beta readers, each having a different focus and coming in a different stages of editing.

Your critique partners tend to be involved during the early stages of editing, looking at a story's development. As such, their purpose it to help you identify weak areas of your manuscript, where the writing itself needs to develop or you need to look more into the nitty-gritty of your subject matter.

A beta reader, on the other hand, looks at the full manuscript and is there to provide you with those reader reactions. You can even employ a special breed of beta reader known as a sensitivity reader, who is one who focuses on the way in which you handled the subject matter.

Understanding what these two different types of readers do is one thing. Finding them is something entirely different.

Handling Feedback

Posted on March 22, 2019September 7, 2022 by Judy L Mohr

The Real Costs of Editing. Here we go again!

Posted on March 8, 2019December 19, 2022 by Judy L Mohr

Within my various editing groups, there seems to be a common complaint among editors, and it revolves around the issue of appropriate rates to charge. We editors seem to be in this "damned if we do, damned if we don't" position.

Most of us encounter those who look at our quoted rates and balk at the price — but as one said to me the other day, it's not necessarily the people we think either. (She sent out two quotes the week before, with the same rate quoted: one to a lawyer and the other to a retired gentleman. It was the lawyer who complained about the cost. The retired gentleman smiled as he paid the bill.) The flip side of this coin is that some look at our rates and compare it to the rates offered by others, and go, "Oh, you mustn't be very good. You're not charging anywhere near enough for what you say you do."

What are we editors to do?

Most of us encounter the former type of writer more than anything. Let's face it, there's this inherent nature that people have to be stingy with their finances, complaining that they can't get something for free. There's not a lot I can do about the second category, but with the first, I can educate writers about what it is they really face when working with freelance editors.

What Exactly is VOICE? A Literary Term Defined

Posted on February 8, 2019January 23, 2023 by Judy L Mohr

I love your voice. You need more voice. We're seeking a strong voice.

I don't know how many times I've seen strong voice listed among the desirable traits on an agent's wish list, or comments on those critiquing blogs about lacking a distinctive voice. Meanwhile, the comments from various writers climb: What exactly is voice?

To put it simply, voice is the personality in the writing. It's about understanding how to get your personality, or that of your characters, to shine through on the page. Everything else is meaningless.

Here's the thing about voice: it's something that develops over time as you become more confident with writing. Basically, there really is only one way to develop a strong voice: write, edit, write, edit, write, edit, lather, rinse and repeat.

Using an Editorial Synopsis to Find a Story Split

Posted on June 1, 2018December 19, 2022 by Judy L Mohr

So you've gotten into writing this story idea, and the word counts are steadily climbing. You're not even a third of the way through your intended plot, and already you've hit the industry accepted word count for your genre. Before you rush off to turn your manuscript into a trilogy, think this through.

As I've discussed before in the post Length matters, but story matters more, agents and editors use word counts as a first-level indication of the maturity of the writing. Going dramatically over what is considered to be an acceptable word count length could be a sign of over writing — writing that is filled with too much backstory or unnecessary description. Yet, coming under the word count could be a sign that not enough attention was given to the details — that a story is all tell and no show.

But let's say that you are the most gifted writer on the planet, and that every word in your manuscript has its purpose. (We'll ignore the fact that a professional editor will have different ideas, but we'll carry on.) There is no way that you can do your story proper justice in a single book. Or maybe you set out from the beginning to actually write a series.

The place where a novel finishes is NOT when you hit 100,000 words, but rather when a story plot arc comes to a conclusion. This is where the dreaded synopsis can help in a big way.

Writers who are heading down the traditional publication path are likely about to scream at me. Synopses are scary things — whittling that 80,000+ words into only 500. But that's a submission synopsis. What I'm talking about is an editorial synopsis.

Assassins, Spies and SAS. Oh My…

Posted on April 6, 2018December 19, 2022 by Judy L Mohr

In a recent post, Fight Scenes: Instinct & Perspectives, I spoke about emotional engagement and the perspectives used for writing fight scenes. I touched on fight-or-flight, and how a writer can use that to their advantage. However, I also spoke about believability. If elements of your fight scene delve into the unbelievable, you will lose your reader.

While most people are able to easily visualize how the average Joe will respond in a fight, what their actions would be, and their capabilities, there is one type of fighter that is often used within fight scenes that majority of people can't truly relate to.

I'm talking about those characters who are highly trained to be assassins, spies and special forces soldiers (or SAS, as they are known in some countries). While all of these characters will have different backgrounds and different skill sets, there will be commonalities to the way they behave. Their reactions to a given situation can almost be predicted.

Fight Scenes: Instinct & Perspective

Posted on March 23, 2018February 20, 2025 by Judy L Mohr

Recently, I have found myself in multiple situations where I’ve been shoulder-tapped to look over the fight scenes of others. It’s ironic that I’ve developed a knack (and a love) for those action-pumping scenes that often result in carnage and death. I’ve come a long way since my husband’s single feedback line of my high fantasy novel (feedback given back in 2010): “Your fight scenes suck.”

(Geez… Love you too, hubby.)

However, as much as that original critique strung, I persevered, and analyzed to death what makes a good fight or action scene. (Pun intended.) Now, all these years later, those action-filled scenes that get the heart pumping pour out of me with ease—and the body count rises significantly.