I’m with my critique group in someone’s back yard. They’ve read a draft of my latest short story this week, and it’s time for critiques. They won’t be cruel. They’ll praise what they like but pull no punches. I need them not pulling punches. We’re trying to become better writers.
Tonight, though, maybe I need to feel safe more than I need to improve. What they don’t know, and I won’t tell them, is that this story isn’t purely fiction. It’s about a part of my past I don’t talk about.
Coincidentally, I also have fresh messages to call both my parents. The timing is troubling. We weren’t due to speak again for another two months, on my birthday.
In our group Peter (historical thrillers) is the sensitive one. He goes first, from across the table. Tonight I’d rather he went last. He’s our Balm of Gilead.
“Jeri, this is fiction, right? And the female MC isn’t you?”
By rule, authors just listen to the critiques, but we’re not strict. “It’s fiction,” I say. “She’s not me.”
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