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.

~ ~ ~

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.

FF&P Romance Category

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 Fantasy, Futuristic & Paranormal category as described on our FINAL EDITORS page.

*FF&P ROMANCE*

Alternate Earth /Dystopian / Futuristic / Fantasy / Time Travel / Paranormal / Urban Fantasy

Romantic novels of any time setting (historical or futuristic) with Alternate Earth Histories, Dystopian, Futuristic, Fantasy, Time Travel, Paranormal or Urban Fantasy. Please keep in mind that the emphasis should be on the romance. An example is the 2017 RWA RITA winner: The Pages of the Mind by Jeffe Kennedy.

ONLY ON THE SPECIALIZED SCORE SHEET

This third setting question is not seen in other categories.

SETTING:  possible 15 points 

        Is the world well defined yet understandable for the reader without being overwhelming?

While all novels feature an element of world-building, in that the author makes the setting ' real' for the reader, novels in the FF&P category expand on this skill and build alternate worlds that become more of a character than merely a setting. The world built should seem plausible and well-defined, without confusing the reader with excessive technical jargon. The setting should accentuate the characters and their actions, not overpower them. But please keep in mind that many FF&P romances are set in the present day and may have a paranormal element or feel. Do NOT deduct points for having a real-world setting.

SPECIFIC TO THE FF&P CATEGORY

Alternate Earth /Dystopian / Futuristic / Fantasy / Time Travel / Paranormal / Urban Fantasy

Possible 15 point total to award, 5 points per question

	FANTASY, FUTURISTIC & PARANORMAL CATEGORY
	Is the manuscript’s treatment of the specialized elements (paranormal / fantasy / futuristic / time travel / alternate earth / dystopian) organic to the story, in that the world-build and the characters complement a natural and realistic plot?
	Is the manuscript’s treatment of the specialized elements (paranormal / fantasy / futuristic / time travel / alternate earth / dystopian) organic to the story, in that the world-build and the characters complement a natural and realistic plot?
	Are the protagonists’ unique aspects (paranormal / fantasy / futuristic / time travel / alternate earth / dystopian) credible and do they work within the world built?
	Are the secondary characters necessary, interesting, and believable?
	Comments:

While stories in this category may require an unworldly atmosphere the reader may or may not be accustomed to, they may also have some specialized element as an integral part of the plot. The category is not simply an alternate reality--it is also a ROMANCE. So an element of romance/attraction or the potential of attraction hopefully is evident.

Breaking Down the Questions

        Is the manuscript’s treatment of the specialized elements (paranormal / fantasy / futuristic / time travel / alternate earth / dystopian) organic to the story, in that the world-building and the characters complement a natural and realistic plot?

Please keep in mind there isn’t a point deduction if an unique universe isn't present. Marvel's Avengers certainly has many unique otherworldly qualities, but the actual "world" is present day.

As in any sub-genre of writing, the characters, setting, and conflict must work together to build a cohesive plot. The introduction of unique characters and/or worlds should enhance and flow with the plot. And of course, the unique world created by the author should be able to sustain a story. Even a story about a time loop repeating the same day must have a different purpose to repeat the day over again (i.e.: Groundhog Day where Bill Murray’s character learned new things in order to make changes/save people). 

        Are the protagonists’ unique aspects (paranormal / fantasy / futuristic / time travel / alternate earth / dystopian) credible and do they work within the world built?

The protagonists should behave and interact in ways that makes sense for their character traits and work within the parameters and the 'rules' set in their world. As in any good novel, the reader needs to believe that the protagonists' behaviors are consistent with their internal and external driving forces. Many Urban Fantasy stories use the world as we see it. A good film example are the Avenger Universe series. Each of the Avengers have abilities which must stay consistent or get invented by Tony Stark.

        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 or any entry, 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.