#IWSG for October 2016

The Insecure Writer's Support Group (IWSG) is the brilliant idea of Alex J. Cavanaugh. The purpose of the group is to share doubts and insecurities and to encourage one another. Please visit the other participants and share your support. A kind word goes a long way.

The awesome co-hosts for this month are: Beverly Stowe McClure, Megan Morgan, Viola Fury, Madeline Mora-Summonte, Angela Wooldridge, and Susan Gourley!

October's IWSG question: When do you know your story is ready?

This differs from story to story for me. Sometimes I am so madly in love with a story, I think it's perfect when I finish the first draft. Thankfully, I've learned to put it aside and come back to it later when I feel this way. That cures me of my endorphin goggles, and I can come back to chop it into bits.

Other times, I never feel the story is ready. I keep picking away at it, pouting and growling and eating way too many cookies. When I feel this way, I rely on my awesome critique partners.

Good critique partners will let you know when a story is ready for the world. It's their job to rein you in when you're going too fast or give you encouragement when you feel like your story isn't good enough. I'd be lost without my CPs. I might write good stories, but they help make them great.

I can't wait to read your answers to this month's question! 

Wicked Wednesday - Critiques (part 4)

This is the final part of my critique series. I'm talking about critiques because we're giving some away to the lucky winners of the MORE THAN JUST A KISS blogfest on September 9 - 15. You can win some awesome ebooks too! You can check out the other posts in this critique series here: part 1, part 2, and part 3.

Once I've gone over the details, I look at the overall story. All the chapters could be fine on their own, but everything needs to fit together like a jigsaw puzzle. A story can have all the technical parts correct with everything in its right place and still fall flat.

Here are some of the things I take into account:
- does the story engage me and hold my interest?
- are all the loose ends tied up neatly at the end?
- am I satisfied with the ending, or does it need something more?
- is the voice consistent throughout the manuscript? If there is more than one POV, does each one have a unique voice?
- does the tension build realistically and reach its height at the climax?
- the plot should have its ups and downs, but are there any places it drags? Or perhaps goes too fast?
- does the conflict(s) add to the plot or are they there simply to entertain?

Remember that critiques are subjective. Everyone is going to feel differently about the various aspects of the story. I've had my critique partners tell me two different things about the same part of a story. In the end, it's up to you to decide what you want to change if you want to at all. The critiques make suggestions. They are not follow-by-the-letter orders. You are the author. You must do what feels right for your story.

How do you wrap up your critiques?

Wicked Wednesday - Critiques (part 1): the beginning

In case you haven't heard yet, the lovely Cecilia Robert and I have revealed our surprise blogfest: MORE THAN JUST A KISS. Sign up and share with us a kissing scene. Along with two marvelous guest judges - Kyra Lennon and Laurelin Paige - we'll be judging the scenes and picking three to win. We will then critique a kissing scene from your latest WIP.

No one does a critique the same way. There are those that pick up on details that others do not, and critics that manage to find plot holes where everything seemed tied together so nicely. Some have a system and order to their critique, and others just dive right in with everything. This is why it's important to have more than one critique partner.

I've learned a lot from my critique partners and from critiquing other writers' stories. I have a system of sorts. I always read it first as a reader. Just for the pure enjoyment of the tale. That way I won't get distracted by the story as I'm critiquing.

The first thing I keep in mind when I'm starting a critique is the specific genre. All romances must have the relationship central to the plot. I'm going to use various sub-genres of romance as examples:

Paranormal romance - must have elements of the paranormal central to the plot

Romantic suspense - the mystery must drive the plot along with the romance

Historical romance - the accuracy of the historical setting and how it affects the romance

Contemporary romance - the romance and how it's affected by the other modern issues the author weaves into the plot

The genre identifies your target audience. You don't need to stick to a specific formula, but if the story is lacking in the key elements of its intended genre, it will fail. If I'm critiquing a romantic suspense, and the mystery limps along as a subplot, I'm going to suggest ways to bring it to the forefront, make it stronger, and integrate it into the central plot. In another manuscript, the mystery of how the hero traveled back in time might not be as important as what's happening in the time period he did end up in, and I won't suggest spending time on something that's mysterious yet not integral to the central plot.

Over the next month, I'll be talking about various parts of my critiquing process. Please feel free to tell us how you go about critiquing in the comment section below. I'd love to hear if you have any tips or tricks!

How do you begin the critiquing process?