Sonata in C minor (WIP)

Im trying to write a full IV movement piano sonata, I have finished the 1st movement, but I'm having trouble with the following movements.

My plan is this:

I. Moderato-Allegro Sonata form

II. Adagio, Rondo form or theme and variations (I'm not pretty sure about the B part)

III. Allegreto Scherzo

IV Presto or Allegro vivace Rondo sonata form

I have composed a little of the second movement, Does it fit the first movement well?

Also I have composed the first theme of the IV movement, I wanted to "recapitulate" some of the ideas, so I used same harmony as the first movement, but it doesn't convince me so much.

Any feedback is apreciated :3.

This has some nice rhythmic touches. I like how you use various rhythms in the 1st mvmnt. to mix up the action and keep it interesting. There are some tasty bits in there.

When composing your first sonata, my advice would be to keep going at all costs and finish it. Even if the movements don't fit together perfectly, or you may become riddled with self-doubt for some other reason. But at this stage, just keep trucking. The accomplishment of completing this project is an important milestone. 

Once you finish it, you can assess. Is this work original enough to meet your own artistic standard? Did you accomplish what you set out to accomplish? Is this a piece of art that can stand on it's own? Maybe you end up writing more sonatas down the road, and this one starts to feel as if it was student work, so it loses its rank in your mind and a new sonata becomes your first. Or perhaps later you excavate the piece and free the tastiest morsels so they can blossom into new pieces of art. Or maybe you complete this sonata and love it!

The point is keep working on it. You're doing great! You've got a skill here, and the more you work on it the stronger you will become.

Looking forward to hearing the completed work.

Cheers!

Only considered the first movement: I'm a little confused by the tonal language you're going for. It sounds mostly tonal, then you throw a sus chord over a tonic triad in m. 16 for some reason. Consistency is important and it has a lot of that; there are just moments that confused me.
In that same vain, when the traditional voice leading conventions aren't used, like the unresolved leading tone in the beginning, and the doubled third first inversion chords later on (without proper alto/tenor consideration), it sounds a little weird. Definitely not bad, as the piece on the whole was quite good, but just those little moments sounded just the tiniest bit off.