I’ll show you mine if you show me yours — a call for critique

Writers! I seek critique and offer my own unique services in return.

I propose a scheme, if you’re keen, in which we swap stories of similar length and critique the bejeezus out of them, before sending the mutilated corpses of our creative babies back to each other, weeping ourselves to sleep over the deluge of red ink.

I have three tales ready to be torn to smithereens, and suggest a straight swap with anyone who has a story of similar length (let’s say no more or less than 500 words’ difference?), to ensure we’re not exchanging a short story for a Tolstoyan tome.

All three are vaguely horror, while The Pumice Stone opens with a little bit of rude blueness.

I’ll critique anything (although I’ve not read an enormous amount of romance fiction. Regardless, willing to give notes).

So, those stories in person:

The Family Suite

3,500 words

Harry’s trying to survive a marriage of crushing disappointment, but during a family holiday to Cuba, even the hotel suite is leaving him with no room to breathe.

The Pumice Stone

4,500 words

Ever since Jess was 14, Hannah bloody Arlington has been stealing her men, dwarfing her glory and usurping her career. Now she’s got the chance to hurt her back, by bedding Hannah’s fiancé Giles. But Hannah’s on to the affair, though not the culprit, and Jess must escape the terrifying trap laid for her.

The Tourist

6,400 words

After one too many benders in Phuket, Joe has the hardest comedown of all: self-reproach and a cocktail of guilt and shame to wash it down. Determined to get clean – in both body and soul – he heads as far from the maddening tourist crowds as possible and finds refuge in a hidden village deep in the Thai interior. But Ang Nam has a horrifying secret, and Joe has to decide between salvation and survival.

——-

If any of these tickle your fancy, please leave your Twitter handle in the comments and we can DM over that way to orchestrate the exchange.

I’m suggesting overall thoughts; notes on characters and their agency; on writing style and choice of words; on emotions drawn; on pace and suspense; on dialogue; and a bit of a proof to boot.

I’m reliably informed by folks I’ve critiqued before that I give incisive notes and good analysis. Not to mention I’m a sub-editor by trade, so I should be able to flag the odd typo for you.

Just one story per person please! And let’s keep it to finished pieces, rather than extracts of something larger.

Look forward to hearing from you.