The North Texas Romance Writers of America chapter is proud to announce that the 

2016 GREAT EXPECTATIONS CONTEST is open for entries!

The Great Expectations Contest is for unpublished material, to include works from unpublished authors as well as unpublished works from published authors (if you are a published author, please see the 2016 Rules for details.)

Now in its 15th consecutive year, North Texas RWA can help you receive unbiased opinions from three qualified judges on the first 5,000 words of your story. The top four scoring entries (or five, in the event of a tie) will progress to the finalist stage of the contest, where top editors from leading publishing houses will determine the winners.

THE ENTRY!

• 5,000 word entry limit instead of page count
• NO synopsis or blurb (finalists will have the opportunity to include an unjudged synopsis for the editors)

DEADLINES AND FEES

October 1, 2015:  Contest opens for entries

Early Bird Dates and Fees:

DATES:  
October 1, 2015 to midnight (Central Time) December 1, 2015

FEES:  

• $20 per entry for North Texas, DARA, and Yellow Rose Chapter Members of RWA
• $25 per entry for all other contest entrants

Regular Dates and Fees:

DATES:  
December 2, 2015 to midnight (Central Time) January 3, 2016

FEES:

• $25 per entry for North Texas, DARA, and Yellow Rose Chapter Members of RWA
• $30 per entry for all other contest entrants

Midnight, Central Time, Sunday, January 3, 2016 

the Contest Closes for Entries!

Polish up your manuscript and enter today! 

Questions? Contact Fenley Grant, at GECoordinator@NTRWA.org

2015 CONTEST WINNERS!

CONTEMPORARY SERIES ROMANCE
Final Editor: Karen Reid, Associate Editor, Harlequin Publishing

First Place: The Trouble with Freddie ** by Diana Waldhuber
Second Place: Wrong Side of Love ** by Susan JP Owens
Third Place: The Right Sister ** by Sharla Francis
Honorable Mention: Cordelia and Her Cowboy by Deborah Vlahakes

HISTORICAL ROMANCE
Final Editor: Gabrielle Keck, Editorial Assistant, HarperCollins

First Place: The Secret Affairs of a Duke’s Daughter * by Janna MacGregor
Second Place: A Lady In Shadow by Robin Delany
Third Place: Love’s Triumph by Jeanine Englert
Honorable Mentions: Rescuing Mr. Gracey by Eileen Barnes
                                   Love’s Wager by Jeanine Englert

INSPIRATIONAL ROMANCE
Final Editor: Raela Schoenherr, Acquisitions Editor, Bethany House

First Place: Lead Me Home by Natalie Monk
Second Place: The Sacrifice by Megan Besing
Third Place: Reclaimed by Jennifer Rodewald
Honorable Mention: Healing Grace by Anna Taylor

MAINSTREAM WITH ROMANTIC ELEMENTS
Final Editor: Laura Fazio, Assistant Editor, NAL / Penguin Group

First Place: Between Nowhere and Lost by Alexandra Christle
Second Place: Waking the Dead by D.B. Sieders
Third Place: What You Wish For by Gina Wynn
Honorable Mention: Cave Girl by Liz McClure

NEW ADULT
Final Editor: Julie Mianecki, Editorial Assistant, Berkley Publishing Group

First Place: A Cruel Kind of Beautiful ** by Michelle Hazen
Second Place: Feel Again ** by Carilyn Ballentine
Third Place: A Not So Sleeping Beauty by Sheryl Kaleo
Honorable Mention: Branded by Robin Delany

ROMANTIC SUSPENSE
Final Editor: Alex Logan, Senior Editor, Grand Central Publishing

First Place: Broken River: Redemption by Lindsay Cross
Second Place: Wrong Side of Love by Susan JP Owens
Third Place: Forsworn by Michelle Hazen
Honorable Mention: Stalker by Sidney Bristol

SINGLE TITLE ROMANCE
Final Editor: Madeleine Colavita, Editorial Assistant, Grand Central Publishing

First Place: He Loves Me, He Loves Me Not by Nicole Evelina
Second Place: How Not To Be A Tabloid Cover Story ** by C A Speakman
Third Place: The First Word by Isley Robson
Honorable Mention: If I Should Remember by Kirk Van Brunt

SPECIALIZED ROMANCE (Alternate Earth, Dystopian, Fantasy, Futuristic, Paranormal, Time Travel)
Final Editor: Kristine Swartz, Assistant Editor, Berkley Publishing Group

First Place: Skin Deep * by Margo Bond Collins
Second Place: Not His Dragon by Annie Nicholas
Third Place: The New London Marriage Stipulation by Margo Bond Collins
Honorable Mention: Awake and Dreaming by Andrea Contos

YOUNG ADULT
Final Editor: Alice Jerman, Assistant Editor, HarperCollins

First Place: The Nascent Bloom ** by Janet Halpin
Second Place: Song of the Sirens by Carolyn Rogers
Third Place: Colliding Skies by Debbie Koristz
Honorable Mention: Beest by Debbie Van Brunt

Congratulations to our winners and good luck on your road to publication!

PERMISSION TO FORWARD GRANTED AND ENCOURAGED


Denotes Request for Partial Manuscript *
Denotes Request for Full Manuscript **

2015 Finalists

The North Texas Romance Writers of America is proud to announce the

2015 Great Expectations Finalists

Congratulations to all who entered and put your work in the hands of strangers. Best of Luck to the finalists as they submit their work to our final round editors.

*denotes double finalist

(Listed in alphabetical order by title)

CONTEMPORARY SERIES

Final Round Editor:  KAREN REID, Associate Editor, Harlequin SuperRomance                                                                             

Cordelia and Her Cowboy by Deborah Vlahakes                                   

The Right Sister by Sharla Francis

The Trouble With Freddie by Diana Waldhuber

Wrong Side of Love by Susan JP Owens*

HISTORICAL

Final Round Editor:  GABRIELLE KECK, Editorial Assistant, Avon / William Morrow                     

A Lady In Shadow by Robin Delany*

Love’s Triumph by Jeanine Englert *                

Love’s Wager by Jeanine Englert*

Rescuing Mr. Gracey by Eileen Barnes

The Secret Affairs of a Duke's Daughter by Janna MacGregor                   

INSPIRATIONAL

Final Round Editor:  RAELA SCHOENHERR, Fiction Acquisitions, Bethany House                                  

Healing Grace by Anna Taylor

Lead Me Home by Natalie Monk                    

Reclaimed by Jennifer Rodewald

The Sacrifice by Megan Besing

MAINSTREAM with ROMANTIC ELEMENTS  

Final Round Editor:   ALEX LOGAN, Editor, Grand Central Publishing

Between Nowhere and Lost by Alexandra Christle                     

Cave Girl by Liz McClure

Waking The Dead by D.B. Sieders

What You Wish For by Gina Wynn

NEW ADULT 

Final Round Editor:  JULIE MIANECKI, Assistant Editor, Berkley Publishing Group    

     

A Cruel Kind of Beautiful by Michelle Hazen*                

A Not So Sleeping Beauty by Sheryl Kaleo

Branded by Robin Delany*

Feel Again by Carilyn Ballentine           

ROMANTIC SUSPENSE         

Final Round Editor:  LAURA FAZIO, Assistant Editor, NAL/Penguin Group      

Broken River:  Redemption by Lindsay Cross                   

Forsworn by Michelle Hazen*

Stalker by Sidney Bristol                      

Wrong Side of Love by Susan JP Owens*

SINGLE TITLE            

Final Round Editor:  MADELEINE COLAVITA, Editorial Assistant, Grand Central Publishing

The First Word by Isley Robson

He Loves Me, He Loves Me Not by Nicole Evelina

How Not To Be A Tabloid Cover Story by CA Speakman           

If I Should Remember by Kirk Van Brunt

SPECIALIZED 

(Alternate Earth, Dystopian, Fantasy, Futuristic, Paranormal, Time Travel)

Final Round Editor:  KRISTINE SWARTZ, Assistant Editor, Berkley Publishing Group

Awake and Dreaming by Andrea Contos

The New London Marriage Stipulation by Margo Bond Collins*

Not His Dragon by Annie Nicholas

Skin Deep by Margo Bond Collins*                 

YOUNG ADULT 

Final Round Editor:  ALICE JERMAN, Assistant Editor, HarperCollins

Beest by Debbie Van Brunt

Colliding Skies by Debbie Koristz

The Nascent Bloom by Janet Halpin

Song of The Sirens by Carolyn Rogers

CONGRATULATIONS TO ALL GREAT EXPECTATIONS FINALISTS!

Fenley Grant and Angi Morgan

Great Expectations Contest Coordinators

GECoordinator@NTRWA.org

NTRWAGreatExpectations.blogspot.com

www.NTRWA.org

PERMISSION TO FORWARD GRANTED AND ENCOURAGED

CONGRATULATIONS . . .

. . .to our judges.

What wonder men and women you are!

Thanks for completing your volunteer job in record time. We've said this before, but you make this contest possible. We know that the contestants thank you for sharing not only your time, but also your writing experience. 

Judged Entries Due Saturday Jan 31st

That's right everybody!

All judged entries are due back to the GEcoordinator@ntrwa.org

Saturday, January 31st

If you need more time, please contact the coordinator.

CONGRATULATIONS

the

Single Title Romance Judges

who have all finished !

TOPIC: PACING

Is the story well-paced, or does it seem to lose momentum? Does it have you wanting to turn those pages?

"Whether you’re using fast or slow pacing, things must happen. While description makes the story more vivid, it shouldn’t be what’s happening. If you put people on every page and in every paragraph and have them doing something, pacing will unfold naturally. The more things that happen, the faster the story pace."   Maggie Touissant

Maggie's words are great to judge by. Pacing is about something happening in the story . . . fast OR slow.  If you find yourself reading the entry and you've forgotten to judge it . . .  That's a clear indication that the pacing is right on target.

Too Much Back Story * Jarring Sentences * Inconsentent Information

CAN STOP A READER

Mark the confusing passages in the manuscript, then zip down to the scoresheet and give the author page numbers to reference. Let them know why (or which sentence) affected the stopping & starting.

Need some pacing articles? Try the Romance University blog. They have lots of tips and may have exactly the verbiage you need to validate your feeling about the entry.

As always, if you have questions relating specifically to an entry, contact GEcoordinator@ntrwa.org.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

TO SHARE:

KEEPING PACE by Rachel Burkot, Harlequin Associate Editor

How to create strong pacing for your story ~ Writer's Digest

TOPIC: International Writing Differences

Isn't it amazing we can help writers all over the world reach their potential? Unfortunately, our PCs are not always as friendly.

Some of your entries may have international spellings. Please do not count off for this unless the word reappears and is spelled inconsistently.

In addition, international entries may use one quotation mark (standard in the UK) or leave out the period in formal address words such as Mr., Mrs. and Dr. as is used in the U.S.

As always, if you have questions relating specifically to an entry, contact GEcoordinator@ntrwa.org.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

TO SHARE:

The Chicago Manual of Style 

International English: Going beyond U.K. and U.S. English

TOPIC: WRITING STYLES

Please keep the following in mind:
 There are two types of "voice" in writing... 

~ AUTHOR VOICE or WRITING STYLE
Writing style is what identifies an author. Often referred to as 'voice', it's that sparkle every editor is looking for. It's the allusive something that gets you the response... "I know it when I see it."

If you're a beginning author...it's often the most frustrating rejection.

"Voice is the author's style, the quality that makes his or her writing unique, and which conveys the author's attitude, personality, and character; or. Voice is the characteristic speech and thought patterns of the narrator of a work of fiction." ~Voice in Fiction Writing

But along with everything about our business, writing style has to work. I personally write with short paragraphs, short chapters, and often use fragmented sentences. It doesn't work for everyone. But my fans enjoy it. I'd call that my style of writing, but my voice has a little bit more. Friends and fans have said there is a lot of humor in my stories. Even those about serial killers. I believe there is a hint of real-life sarcasm or Murphy's Law that happens in my stories.

At first I was told (by judges) that humor didn't mix with romantic suspense. It was a big no-no back in the day (I have to laugh looking at all the authors who excel at both). The true answer to this quandary is that ANYTHING goes AS LONG AS IT WORKS. Period. End of Story. (mic drop)

Once you find your style and have a hint of original sparkle...that's what fans will recognize and expect when they pick up one of your books.

How does this help judging?
STYLE / TECHNICAL:
       Unique voice or strong writing style
Worth up to 5 points.

The answer here is totally and completely subjective. The five points depends on whether you (as a reader) see that "sparkle". If it's good story-telling then some type of good writing style is probably present.

~ CHARACTER VOICE 
After an author pins down their own "voice" and writing style, each character they create should have their own word choice and unique sound. Guys talk differently than gals. Cowboys talk differently than New York businessmen. Et cetera, et cetera, et cetera. If all the characters sound the same in the entry, please note why and try to select phrasing from two characters for comparison.

Where is this on the score sheet?
CHARACTERIZATION
The amount of points and questions may be unique to each category. It's usually worth 15 points with 3 questions. Please refer to:

• Judge Training 107-CHARACTERIZATION: http://bit.ly/GE_JT107_Characterization

If all the characters sound the same in the entry, please note why and try to select phrasing from two characters for comparison.

OBSERVATION: I’ve judged entries in various contests where an author wrote “said he”, instead of “he said”. At first I would mark them down and explain the correct way. Then I found out in some countries “said he” is the correct way of writing. I still comment that in America it’s written ‘he said’ and editors and agents may see this as inexperience, but I understand other countries don’t write in the same format as we do. I don’t take off for it, and I tell them I’m not taking off for it. Have you come across this and how would you handle it? ~Great Expectation Judge

RESPONSE: Subjectivity
Bottom line?  Is it a good story and does the style work in that story.

An author's style and voice are their own. But so is each story. The way a character thinks and acts in one book won't necessarily work in another. Same thing goes for readers...what one likes, another says maybe not so much. Basic grammar rules may be broken if they don't jar the reader from the story. They may even be used to tell a specific story in a specific way.

So authors may use different tags to identify different POVs or characters. But it has to work.

If it's a distraction, then it should be counted down, but please leave a comment about the distraction--not just the gramatical inconsistency.

As always, if you have questions relating specifically to an entry, contact GEcoordinator@ntrwa.org.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

TO SHARE:

Defining Author's Voice and Character's Voice in Literature by Ginny Wiehardt, Voice in Fiction

TOPIC: POV SHIFTS

There are several ways to switch points of view in a scene.

QUESTION: Can it be pointed out to the judges that a scene break or blank line or ### is NOT required with each POV shift?
                   
ANSWER: Blank lines are not required with a POV shift.
If they aren't used, we refer to that as a transition.

IF a blank line, * or # is used for the POV shift, there's nothing wrong with this style either.

POV SHIFTS for scoring purposes
If the POV changing (or lack of changing) is distracting you as a reader then there's a problem. Many times as a judge I explain to the contestant that I’m not a POV purist, but “head hopping” is not simple POV shifting. "Head hopping" doesn’t allow the reader time to invest enough emotion with one character before shifting to another POV. It's the author's goal to get me to connect with the story's characters. If I’m not in the character's POV long enough to connect...then the POV shifting is not working.

IDENTIFIERS that might indicate a POV problem
Does the Point of View shift every couple of paragraphs?
There's no rule that says a writer can't do this. (I love to use this tool in a love scene.)
     --BUT, does it jar you from the story?
     --DOES it keep you from investing emotion into the characters?
     --DOES it have you wondering whose POV you're reading?

As always, if you have questions relating specifically to an entry, contact GEcoordinator@ntrwa.org.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

TO SHARE:

POINTS OF VIEW IN WRITING ~ AIMS Community College Writing Lab

The Basics of Point of View for Fiction Writers ~ Joseph Bates

Why Head-Hopping Hurts Your Writing And How To Avoid It by Paige Duke

How to avoid Viewpoint slips by Marg McAllister

TOPIC: WORD OVERUSE

I LOOKED at him.
She LOOKED great.
He had a nasty LOOK in his eyes.
LOOK, there’s the mailman.
Who LOOKED at me?

QUESTION: Where on the score sheet do we comment on words or proper names being over-used? 

ANSWER:  Let’s consider these "style" issues (unique voice/strong writing style) ... I wouldn't mark an entry down much for overuse of dialogue tags or proper names, but if it's distracting a slight reduction would certainly be appropriate.  Just note that the duplication of words is distracting. 

Try highlighting the use of mirrored or overused words. The highlight will draw attention to the distraction when the author reviews the manuscript. But as for any deduction, always leave a comment as to why. 

NOTE: Some authors use repetition deliberately -- for emphasis, for comedic effect, etc. So, again, only mark down if the repetition genuinely interferes with your ability to read the story.

As always, if you have questions relating specifically to an entry, contact GEcoordinator@ntrwa.org.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

Young Adult

THE SCORE SHEET

~ ALL SPECIFIC SECTIONS

~Some of the explanations are the same for general questions which require some expected knowledge of the sub-genre. If you require a more in-depth definition of the genre...please send an email for additional information. Additional resources are being posted this week.

~If you have an additional question regarding the Young Adult category or an entry, please send it directly to GEcoordinator@ntrwa.org.

~For your convenience we’ve included the description of the category as described on our FINAL EDITORS page.

*YOUNG ADULT* 

Novels appropriate for young adult readers. Includes young adult heroes and heroines not exceeding 18 years of age. An example is the 2017 RWA RITA winner: The Problem with Forever by Jennifer L. Armentrout

SPECIFIC TO THE YOUNG ADULT CATEGORY

Possible 20 point total to award, 5 points per question

        Does the main character face his / her problem in a believable manner?

        Does the author capture the dialogue of a young adult romance?

        Is the main character moving toward discovering who he/she is as a person?

        Are the secondary characters necessary, interesting, and believable?

Breaking Down the Questions

        Does the main character face his / her problem in a believable manner?

Young adult manuscripts encompass a wide range of subjects, tones, and styles. Contemporary to historical paranormal, first person or third person, slow and steady or action-adventure. Anything goes. The goal of any manuscript is to provide an excellent book. Please keep the writing in mind.

        Does the author capture the dialogue of a young adult romance?

Dialogue is an important part of any manuscript. Do teens curse? Yes. Do they use slang? Yes. Do you still want the story to flow? Yes. Finding the perfect balance is difficult. The most important thing about dialogue is to convey information, progress the story, and NOT interrupt the reader. If you’re jarred from the story…you might want to verify why. Is it because you can’t understand? Or was it a good shock? Only you as a reader can decide this answer. I like the Writing YA for Dummies dialogue section: “blurt it out.” As in teens often TALK first and THINK second.

        Is the main character moving toward discovering who he/she is as a person?

The main character must overcome their obstacle. “The elements of storytelling are the same for young adult fiction and adult fiction, but writers of young adult fiction must come at those elements with a wholly different mindset. After all, this category has its own rules, its own quirks, and its own very opinionated audience: teens and tweens.” ~ Writing Young Adult Fiction For Dummies by Deborah Halverson.  

        Are the secondary characters necessary, interesting, and believable?

As with any length and any sub-genre of romance, the secondary characters must have a purpose in the scene. A second character in the room is the perfect way to give the reader information without the POV character just thinking about it. Dialogue is always better (in my humble opinion). But be careful the character doesn’t begin an info-dump. If this seems the case, will this suggestion help? Example: the author may try a mental note that the secondary character is talking a lot or have the discussion with the secondary character. In other words, draw all the characters into the scene and make it necessary to forward the plot. 

If you have specific questions regarding this section, please contact GEcoordinator@ntrwa.org.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

TO SHARE:

Additional help tips for judging all entries are available through our judge training on the blog.

Need more about what the trends in YA are? Try Romance University

Or how about Writing YA for Dummies

Or how about Publishers Weekly

Inspirational Romance

THE SCORE SHEET

~ ALL SPECIFIC SECTIONS

~Some of the explanations are the same for general questions which require some expected knowledge of the sub-genre. If you require a more in-depth definition of the genre...please send an email for additional information. Additional resources are being posted this week.

~For your convenience we’ve included a description of the Inspirational Romance category as described on our FINAL EDITORS page.

*INSPIRATIONAL ROMANCE*

Romantic novels with an inspirational message/theme, including romantic suspense, historical, etc. An example is the 2017 RWA RITA Romance with Religious or Spiritual Elements winner: My Hope Next Door by Tammy L. Gray.

SPECIFIC TO THE INSPIRATIONAL CATEGORY

Possible 20 point total to award, 5 points per question

	INSPIRATIONAL SPECIFIC
	Do the inspirational elements reflect not sermonizing and seem a natural aspect of character and plot?
	If you took the inspirational element out of the story, would the plot still work?
	Is the protagonist’s faith, belief system or values (or lack of) apparent or foreshadowed?
	Is the tone appropriate for inspirational romance? (language, sexual tension, etc.)

PLEASE remember that “faith” may not necessarily reflect your personal beliefs.

Breaking Down the Questions

        Do the inspirational elements reflect not sermonizing and seem a natural aspect of character and plot?   

Answering this question is a matter of the judge’s opinion. Please refer back to the balance of introspection and dialogue. A balance is needed in any story.

        If you took the inspirational element out of the story, would the plot still work?     

Are the main threads of the story woven together in such a way that the plot would unravel without one of the threads? In other words, if the inspirational element is removed, this story shouldn’t fit another category.

        Is the protagonist’s faith, belief system or values (or lack of) apparent or foreshadowed?

MANY published inspirational romances focus on characters who do not have faith at the beginning of the story; instead, the story is about them developing faith. Our score sheet does not necessarily reflect this reality as well as it should.  So, for our purposes, think of the category-specific question as being about whether there is a foundation for a journey of faith as well as a journey of romance.

        Is the tone appropriate for inspirational romance? (language, sexual tension, etc.)

Tone. If you don’t read several types of inspirational romance, this question may be a mystery to you. Please contact the coordinator for help. But each type and length of a Amish, suspense, category or single title inspirational has its own feel. It’s what a reader would expect when picking up a book not only on a designated/tagged bookshelf, but also by an author.

Sexual tension in inspirational romance is appropriate, just as it’s needed in any romance.

Now … the frame for this will be different because lust doesn’t get mentioned, nor can you have any of the physiological reactions that you would probably show in most other types of romance.  However, these are people falling in love, and as an author, you don’t want that to come across as a brother-sister kind of thing.  In showing attraction or sexual tension in inspirational romance, my approach is similar to what you’d see in solidly family films.

Some of my models for how to do this are the relationships between Jack and Lucy in While You Are Sleeping, Hawkeye and Cora in Last of the Mohicans (1992 version), Danielle and Prince Henry in Ever After,  and Mary and Steve in the Wedding Planner.  In each of these, it’s obvious these people are falling in love, but the tension is as much emotional as it is physical.  And because the focus is on the emotional, you just know the physical will be just fine.

~ inspirational author, Sharon Mignerey

If you have specific questions regarding this section, please contact GEcoordinator@ntrwa.org.

Additional help tips for this category may be available through the coordinator or on our blog.

~ ~ ~

Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog. Articles, tips and references are always welcome.

Mainstream with Romantic Elements

THE SCORE SHEET

~ ALL SPECIFIC SECTIONS

~Some of the explanations are the same for general questions which require some expected knowledge of the sub-genre. If you require a more in-depth definition of the genre...please send an email for additional information. Additional resources are being posted this week.

~For your convenience we’ve included a description of each category as described on our FINAL EDITORS page.

*MAINSTREAM WITH ROMANTIC ELEMENTS* 

Novels that include an element of romance but in which traditional romance conventions are not followed and in which there are themes and conflicts beyond romance. Mainly women’s fiction and chick lit. An example is the 2017 RWA RITA winner: The Moon in the Palace by Weina Dai Randel

Please note that the Mainstream with Romantic Elements category may hint at the possibility of romance. Please do not judge the entry based on the romance, MRE normally focuses on one protagonist’s journey.

SPECIFIC TO THE MAINSTREAM w/ROMANTIC ELEMENTS CATEGORY

Possible 20 point total to award, 5 points per question

	MAINSTREAM w/ROMANTIC ELEMENTS CATEGORY
	Does the story focus on one protagonist and/or their journey?
	Is there an element to the story that takes it beyond a traditional single title romance?
	Does the author build a sustainable story beyond using the traditional romantic elements? (The story should set the groundwork for a potential romantic relationship but should not be the central focus of the story.)
	Are the secondary characters necessary, interesting, and believable?
	Comments:

Breaking Down the Questions

        Does the story focus on one protagonist and/or their journey?

Mainstream or women’s fiction. One protagonist on a journey…normally that is not a journey to find love (although that subject isn’t ruled out as long as the main focus is on the one protagonist). Emotional reflection and action that is a journey of self-discovery. Here’s an article by a women’s fiction author on what to expect.

        Is there an element to the story that takes it beyond a traditional single title romance? 

Wow…now that’s a serious question, right? Beyond a traditional single title…reference back to a journey of self-discovery. It may or may not involve a hero (traditional single title romance must have a hero). It is normally a protagonist over thirty. AND the protagonist saves herself through her self-discovery.

        Does the author build a sustainable story beyond using the traditional romantic elements? (The story should set the groundwork for a potential romantic relationship but should not be the central focus of the story.)      

With many MRE entries, one of the two protagonists may not be introduced in the first 5000 words. Each contestant had the opportunity to view the score sheet before entering the contest. Please use your judgment as best as you can.

        Are the secondary characters necessary, interesting, and believable?

As with any length and any sub-genre of romance, the secondary characters must have a purpose in the scene. A second character in the room is the perfect way to give the reader information without the POV character just thinking about it. Dialogue is always better (in my humble opinion). But be careful the character doesn’t begin an info-dump. If this seems the case, will this suggestion help? Example: the author may try a mental note that the secondary character is talking a lot or have the discussion with the secondary character. In other words, draw all the characters into the scene and make it necessary to forward the plot. 

If you have specific questions regarding this section, please contact GEcoordinator@ntrwa.org.

Additional help tips for this category may be available through the coordinator or on our blog.

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Most of the opinions on judging and interpreting the questions’ intent are my own words. I’ve been in the business over 15 years and have spoken to many authors, gathering information. A lot of the time when a question is asked, I go to authors who publish in that genre for advice. Please use your own expertise and experience, but keep our humble interpretations in mind.

~Thanks, Angi Morgan

AngiMorganAuthor.com

Contributions and edits by Fenley Grant.

Additional help tips for judging all entries are available through our judge training on the blog.