Taste of Cyn

This post has adult content. If you are under the age of eighteen years old and/or sensitive to adult language/situations, please do not read this post.

It doesn’t matter how many years you’ve been writing, how many stories you’ve published or how many awards you’ve won. Your story isn’t perfect.

(If someone says your story is perfect, she’s blowing smoke up your tight ass or is afraid of hurting you or, the opposite, doesn’t give a shit about you or perhaps all of the above. Thank her for her kind words and look for another critique partner or editor.)

Yet-to-be published writers have two choices.
We can send our rough stories out and hope the crazy busy editor/agent we’ve contacted recognizes these diamonds in the rough and works with us through multiple revisions
OR
we can send these rough stories to critique partners (or paid editors) and make them the best they can be first and THEN send out these polished diamonds.

I always make my stories the best they can be first. Unless asked, there’s no resubmitting the same story to agents/editors. (They track this shit so don’t bother being tricksy.) We only have one shot at this and I’d like my shot to be as good as I can make it.

Critique Partners Or Paid Editors

I’ve had very few critique partners in my writing life. Why? Because in a critique partner relationship, manuscripts are exchanged. I’ll read and critique your story. You’ll read and critique mine.

When I was writing professionally part time, I had very little time. I could earn more money working additional hours at my non-writing job than I would spend hiring a freelance editor or paying for a critique. So I opted to go that route. Freelance editor vs critique partner doesn’t make much of a difference to the process. IMHO it merely changes what is being exchanged.

How To Find Perspective Critique Partners (Happy Hour)

One of the best ways to find perspective critique partners is to attend a writing workshop (either in person or online). We know that everyone paying for this workshop is interested in a) improving as writers and b) whichever topic is being covered. I especially love workshops in my specific genre. Angela Knight’s How To Write Sex workshop is a goldmine for finding erotic romance writing critique partners, as are many of the workshops offered by Passionate Ink.

Having critique partners with backgrounds in our genres is AWESOME. I don’t read or write inspirational romance. For me to give feedback on an inspirational romance is waste of everyone’s time. I don’t know the reader expectations. I wouldn’t know a good inspirational romance if it bit me on my ass.

However, I do know contemporary/SciFi/Paranormal erotic romance. Ask me to critique one of these stories and I can add value.

There are also often calls on RWA (Romance Writers of America) loops and other writer hangouts (forums, blogs, loops) for perspective critique partners.

Evaluating Perspective Critique Partners (Dating)

I say perspective critique partners because I’d never ask a complete stranger, someone I knew nothing about, to critique my manuscripts, trusting him or her with my hopes and dreams, with my writing career.

I like to virtually hang out with possible critique partners first, have a discussion, find out their personality types, their pet peeves, their strengths and weakness, hell, their genre.

Here are some questions to ask perspective critique partners…

1) Which genre do you write? Do you read in this genre? Do you LIKE this genre?

As I mentioned, every genre has expectations. Asking me, as an erotic romance writer, to evaluate an inspirational romance is useless. My critique will do more damage than good.

Does this mean that critique partners in different genres can’t work? Of course not. This is writing. I’ve seen every type of relationship work. Simply keep in mind that your genre might have different expectations.

2) What are your writing strengths? What are your writing weaknesses?

When I’m asked to critique a yet-to-be-published manuscript, I always ask what I’m critiquing. If the writer says ‘everything’, I decline because I’m not an expert in ‘everything.’ No writer is. We all have our strengths. If you don’t know your critique partner’s strength, you shouldn’t be asking them to critique your manuscript.

Preferably your critique partner’s strength should be your weakness. I’m terrible at grammar. One of my buddies is the grammar queen. I send critical manuscripts to her. In exchange, I look at her WTF (what the fuck) moments, her plot holes and emotion gaps.

3) How many stories a year do you write? How many words are these stories?
A critique partner relationship is an exchange. If I write 50,000 fresh words a month and you write 10,000 fresh words a month, you’ll spend much more time critiquing my work than I spend critiquing yours. If you’re okay with that, fine, but this is good to know at the beginning of the relationship.

4) How do you like to receive your critiques?
When I receive revisions, I read them, cry, get very, very angry, eat too much Nutella (just joking – there’s no such thing as too much Nutella), and then, the next day, I’ll incorporate them into my manuscripts. I could never receive a verbal critique. My reaction would scare the shit out of those critique partners (and editors). I need to receive critiques by email so I have time to move through this emotional process.

Some of my buddies are the opposite. They don’t learn from a critique until they hear it out loud. They need more of a back and forth on the critique that might be easier done in person or over the phone. Do whatever works for BOTH of you!

Note: Critiques are supposed to hurt like a son-of-a-bitch. If they don’t, either the critique isn’t thorough enough or you’ve developed the much-needed rhino skin or you’re on your third bottle of vodka and wouldn’t feel a transport truck if it ran over your feet.

5) What is your expected turnaround time on critiques?
If you have a family, a non-writing job, and other responsibilities, you might not be able to turnaround a critique in a day or two or three. Again, this is about setting and then meeting expectations. That’s the core of any solid relationship.

6) What do you expect from this relationship?
I usually don’t ask anyone for a critique unless I like her. However, I also don’t have a lot of extra time to chat so I tend to be mostly business. Some writers like chattier critique partners. They want to go for coffee, talk about their kids, etc. and that’s fine, as long as everyone is okay with this type of relationship.

Rejecting Potential Critique Partners (It’s Not You. It’s Me.)

If I get any strange vibes from potential critique partners, if they’re not a fit for me or if they’re unable to give me what I want from the relationship, I don’t waste anyone’s time. I walk away. Romanceland is very small so I’m polite. I simply say something like “I don’t think I’m the type of critique partner you need.”

Many (usually) newer writers are concerned about critique partners stealing premises or story ideas. A story is copyrighted as soon as it is written BUT lawsuit hassles can be avoided by teaming with critique partners we trust. There are plenty of writers looking for critique partners. Don’t team with anyone you don’t feel comfortable with.

First Exchange (The Trial Marriage)

After you decide you’re potentially compatible, consider exchanging a scene or two to test the waters. Before this happens, I usually share with editors and critique partners how I learn. Theory doesn’t mean anything to me. I like it when critique partners give me examples of how they would rewrite sentences. Examples drive some other writers crazy. They prefer the theory.

A good critique partner or editor usually won’t give writers solutions. They’ll point out problems, and perhaps, as I mentioned, give an example or two of how we might fix it. It is the writers’ responsibility to derive the solutions that are right for OUR stories.

Do we have to address every ‘problem’ critique partners point out? No, of course not. No critique partner is perfect. We’re all juggling multiple responsibilities. But we should keep in mind that if one reader (and all writers are readers first) has a problem with the scene or character or whatever, other readers (including agents and editors) might also.

And we should be polite. Critique partners are taking valuable time out of their lives to try to help us. They are doing this because they sincerely want our manuscripts to be stronger.

Evolving Relationships (Marriage)

Relationships change. This is true for critique partnerships also. You might have to amend or possibly dissolve the relationship. Communicate. Be as honest as you can yet polite and professional. If it isn’t working for you, make suggestions for improvement. If there’s no hope of resolution, shake hands and go your separate ways.

Learn from dysfunctional relationships but never talk smack about critique partners, not now, not ever. This is a trusted relationship. They trust you with their hopes and dreams. You trust them with yours. Maintain this trust.

What are some of your tips for finding and keeping awesome critique partners?

***

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Bee Carter has been offered everything she has ever dreamed of—a caring, lasting relationship with a handsome, often charming billionaire; the permanent home she’s never had but has always craved; and wealth to buy the designer fashions she loves, support her hard-working mother, and ensure her acceptance by Chicago’s elite.

To obtain what she’s desired for so long, she has to do only two things: Walk away from her best friend, a woman who is destined to betray her … and end her passionate nightly encounters with a certain tattooed biker, a former Marine who can never give her what she needs.

Her answer should be clear, but the heart has a way of complicating even the most straightforward decisions.

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