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Write Fast Now! Editing Hell Later?

We are rapidly approaching the time of year when writers around the world embark on one writing challenge or another, with the most common writing challenges focusing on writing a minimum of 50,000 words within 30 days. Some of these challenges will extend to the idea of editing and publishing, extending the challenge out to 90 days. But the idea is still to write a lot of words, completing a long-form story within a short period of time.

To some writers, the whole challenge is a daunting task. But for many people who have never written before, embarking on the challenge can be freeing, as it encourages you to turn off the inner critic and just write! However, for many writers who have been writing for a while (myself included), such a challenge forces us to examine our writing habits—and sometimes, reset our routines.

Every year, I share my thoughts about how aiming for a high word count shouldn't be your ultimate goal. In my opinion, the challenge to write 50,000 words in a month is not really about writing those 50,000 words. It's more about developing writing habits that will carry you through into your future writing career.

With that in mind, we need to address certain practices that will help you write fast now but avoid the editing hell later.

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Deciding between First Person and Third Person

If you’re anything like me, when you’re in writing mode, you’ll have a narrative style that you naturally gravitate towards. For me, my default style is third person, past tense, using deep point of view. But again, if you’re anything like me, you will encounter that one story that makes you question whether your default is the right choice.

Perhaps there is something within the narrative construction that makes you think you need to be a little bit closer to the characters. Or maybe there is something within the narrative that wants you to be more distant. Or maybe you just want to experiment and see what you’re capable of doing.

But there are some things about certain narrative constructions and certain stories that lend themselves more to one particular style of narrative as opposed to another. Making that decision as to which is most appropriate is not an easy thing to do.

In today’s post, I want to explore this idea of whether a narrative wants to be in first person or whether it should remain in third person. And I want to discuss what is similar about first-person and third-person, deep-point-of-view narratives and what is different.

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What type of series are you writing?

I've been thinking about the construction of series when it comes to fiction for some time. This is in part because I have several clients who are working on series, but I too am working on multiple different series myself within my own fiction writing.

How exactly one approaches a series will depend on the nature of the series itself. Each type of series comes with its own advantages and disadvantages. And there are some commonalities between the different types of series, but there are also some distinct differences.

In today's post, I want to break down the different types of series that might exist and point out some of the things that you will need to consider when working on a series of that type.

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The Mohr Story Structure Model

Regular consumers of story, either written or film, learn to recognize the patterns that come with the rise and fall of action. They develop this innate instinct about when things should happen. If something is off with the pacing of a story, the readers know. They can feel it. They may not be able to explain why the pacing is off, but they still know that it's off.

Story structure models help to provide reasoning and some mathematics to what the readers know by instinct. This is why story structure is more important than what some writers give it credit for.

However, in all my years of studying story structure, I've also noticed that emphasis is often given to the protagonist of the story, focusing on their actions and decisions. The antagonist is often treated as an afterthought or ignored completely. As such, the dynamic interplay between the protagonist and the antagonist is not leveraged to its full potential.

When I noticed this pattern, I started to develop my own story structure model that leans into the interplay between the protagonist and the antagonist. As I write this blog post, I'm currently writing a full book about the topic, defining the antagonist and looking at story structure in detail, incorporating the antagonist into the model. That book is slated for publication come February 2026, but it's time to start sharing with the world the base structure that I'm calling the Mohr Story Structure model.

The Mohr Story Structure model is an amalgamation of a lot of different models, but adds the antagonistic beats that are commonly missed or misunderstood. I employ a four-act structure.

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Understanding the Nature of the Antagonist

When we start the conversation about the protagonist and the antagonist, some writers instantly jump to the conclusion that we are referring to a good-guy-vs-bad-guy story.

One might ask, "What if I don't have a villain in my story?"

My response: "Not all stories have villains. But all stories have characters striving towards a goal of some sort… and there is always something getting in the way."

I dove deeper into this idea in a previous post, highlighting that the role of the antagonist in a story is to get in the way of the protagonist achieving those goals, whatever those goals happen to be. But your protagonist is not necessarily the good guy of the story. And the antagonist is not necessarily another character. The good-guy-vs-bad-guy concept is one of many protagonist/antagonist pairings that might exist.

It's time to take a dive into the different types of antagonists found in stories. And not all of them are characters. We'll be looking at the classic good-guy-vs-bad-guy trope, but we're also going to dive into man-vs-nature and man-vs-self.

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