Mainstream with Romantic Elements

THE SCORE SHEET

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*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.