Advice Cred is a resource we’ve created here at Film Cred, with the understanding that sometimes talented new writers need a push in the right direction to deepen their understanding of film criticism as an art form within itself. We’re not interested in just giving you the groundwork — we also want you to have access to the wisdom of writers and editors who have been a part of this community for years. With Halloween around the corner and sneaking up on all of us faster than expected, we interviewed online horror legend Mary Beth McAndrews, an editor for Daily Grindhouse, Dread Central, as well as our very own Film Cred. Alongside her editing she’s also a consistently published writer and Rotten Tomato-approved critic, as well as the cohost of two separate podcasts: Scarred and Watched Once, Never Again. We were lucky to talk to her about the processes of editing, writing, and how a genre like horror can inform both of these processes.
Film Cred: Hi! Can you please introduce yourself and where you’ve worked as an editor?
Mary Beth McAndrews: Hi there! I’m Mary Beth McAndrews, and I’ve been an editor for Daily Grindhouse, Film Cred, and now Dread Central. I’ve also written for a bunch of pop culture websites across the internet such as Fangoria, RogerEbert.com, Polygon, Thrillist, Bitch Mag, and more.
FC: How did you get started in editing?
MBM: I started editing in high school actually, where I was an editor on my school newspaper. I was the entertainment editor, then the assistant editor-in-chief. I’ve also loved reading other’s writing and giving them feedback and shaping their pieces. I studied film in college, then started freelance writing after I graduated. I became a staff writer at a now-closed website and worked my way up to editor. From there, I continued to work across different outlets as a writer, eventually working as part-time editor for different sites. This was all while I worked a full-time job.
FC: How do you balance feedback to your writers?
MBM: I don’t only make notes where there needs to be a rewrite/restructure, but I also make notes about sentences and paragraphs I really love. I try to use that positive feedback to point back to where they have edits to help show how they can strengthen their points. But I also try to honest with my writers and let them know what really needs tightening. I had a really hard time at the beginning of editing to give that negative feedback because you don’t want to hurt feelings. But ultimately, I remember that I’m here to help and make the piece the best it can be, not hurt any feelings or put anyone down. That’s a huge thing I’ve learned in the last few years.
FC: How do you support your writers’ growth?
MBM: I always ask my regular writers what their goals are for the next year, like are there any dream publications they want to pitch. But I also ask what part of writing they want to try and experiment with. I like to be really open to a dialogue with my staff writers to make sure what they’re doing is fulfilling for them somehow, even if it’s just learning how to write SEO.
FC: What do you think the structure of a good review should be?
MBM: I don’t like a ton of plot summary. I typically like 3 to 4 paragraphs of synopsis, then most of the review dedicated to what worked technically/performance-wise/etc and why it worked/didn’t work. I want a really strong POV, which can be challenging when a movie isn’t that impressive. But a good review can strongly state why a film is/isn’t successful and really back that up.
FC: What is a grammar/spelling mistake that annoys you?
MBM: Please check your names, titles, locations, etc.! My biggest pet peeve is when a writer misspells a name, especially a very well-known one. Also, Oxford comma forever.
FC: How long do you think a writer should wait before checking in on a pitch they sent in?
MBM: One week.
FC: What do you expect in a pitch?
MBM: Subject line for the email should say ((PITCH: -working title here-)). Keep the pitch brief, no more than 5 sentences. If you can’t distill your point to 5 sentences, then you need to narrow down the pitch. Please include 2 to 3 links of previous work.
FC: How strict are you on deadlines?
MBM: I’m really flexible unless it’s tied to a specific date (in which case we’d just cut the article and it’s not a big deal). The world is just on fire and writing shouldn’t cause you anymore stress. If I can give an extension and give someone just a bit of a reprieve, then that’s what I carry about. We need to remember that film writing is incredible and we are so lucky we get to do it, but it’s also not the end of the world if someone can’t hit a deadline on the dot.
FC: Do you have any advice for aspiring editors?
MBM: Be kind and put any ego to the side. Always think about how you would feel if you received that feedback in your own article. Editing isn’t about slashing people’s writing and being uber-critical. It’s about encouraging a writer to make their article the best it can be. You’re there to give advice and suggestions, guide the writer rather than control their hand.
FC: Do you have any advice for aspiring film critics?
MBM: Watch movies in every genre. And make sure to watch some movies for fun. It’s so easy to get sucked into wanting to write about everything you see, but it can make watching movies not so fun after awhile. Carve out time to just watch movies and enjoy them!
FC: Are there any books or articles that you would recommend a new writer read?
MBM: Just read as much as you can. Read the works of your peers and see how they write and how they approach film. I’ve learned the most by reading fellow writers’ work, which sounds so basic, but it really is the best way to see how the field is shifting and growing.
FC: What are some things you’ve learned as an editor that you wish you could tell yourself when you first started writing for film?
MBM: Really hone in on how to craft your pitch. It’s your first impression to an editor, even if you’ve worked with them previously. You want to make sure you give enough detail to grab their attention but not write half an essay that’s overwhelming to read over an email. Pitching really is an art and I wish I knew that when I started writing. Take your time on it. Also, I wish I wasn’t so hard on myself for needing to adjust deadlines. Please just ask for extensions! Editors are (usually) much nicer than you think and understand how overwhelming writing can be on top of everything else.
FC: As someone who spends a lot of time both writing and editing, how do you find a healthy balance of writing and sharing your own words with the world while helping others do the same?
MBM: Honestly I’m still trying to find that balance. As EIC, I do have a lot of extra responsibilities that make it difficult to write for myself. Since I am in a place of privilege of having a lot of writing flexibility, I do prioritize the works of others. But when I do find a topic I’m very excited about, I make sure to carve out time to focus on it and let myself write. I also have a tendency now to be a bit at the mercy of SEO and I get discouraged about my own ideas. HOWEVER it’s so important to keep yourself happy and in love with your craft, analytics be damned.
FC: In a genre as diverse and varied as horror, what things do you consider when you’re writing a review, and do you think there are any elements that differ when writing a review of a horror movie compared to other genres?
MBM: This is a great question. I think there’s a tendency to want to base a horror review around if a movie is scary, which is valid to a point. But you also need to consider WHY it’s scary and how the filmmaker wants to craft those scares/fear overall. I’ve learned to pay better attention to the score and editing in horror, as they are crucial in crafting a film’s horror. Ask yourself what does the filmmaker find scary here and why? Is that effective?
For a better glimpse at the mind of Mary Beth McAndrews and the spectacular writing she helps to produce from both sides, you can check out a few of the websites she’s written and edited for, such as Daily Grindhouse and Dread Central, as well as following her on Twitter @MBMCANDREWS. And as always, for more resources useful to writers and editors, be sure to swing by film-cred.com/advice.
