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 Single Title category as described
on our FINAL EDITORS page.
*SINGLE
TITLE ROMANCE*
Romantic novels released as
individual titles. An example is the 2017 RWA RITA winner: Miracle
on 5th Avenue by Sarah Morgan
SPECIFIC
TO THE SINGLE TITLE CATEGORY
Possible 20 point total to
award, 5 points per question
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SINGLE TITLE CATEGORY
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Does the author build a sustainable plot that
includes a romance essential to the story? (The potential of a romance should
be shown in the entry.)
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Does the author capture the pacing of a single
title romance with additional characters or plot
twists?
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Are the secondary characters necessary,
interesting, and believable?
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Do the secondary characters have a believable
subplot that will add to the main plot but not over-shadow the main plot?
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Comments:
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Breaking Down the Questions
Does the author build
a sustainable plot that includes a romance essential to the story? (The
potential of a romance should be shown in the entry.)
With the additional word
count available to Single Title romances, one of the two protagonists may not
be introduced. If this is the case, is there a hint or chance that the plot
allows for a romance? We don’t want to deduct points based on 5,000 words (or
the lack of a synopsis). Keeping in mind that you are also a reader of romance,
trust your instincts and experience. You'll know if there is a potential for romance
even if it's not mentioned in the first 5,000 words.
Does the author
capture the pacing of a single title romance with additional characters or plot
twists?
Sometimes a single title
begins with a single character. This question is all on the reader. Is there
potential to carry an entire 80,000 word book. Here’s a simple rule: if the
plot problem can be resolved with a conversation… it needs more complexity. Did
the author provide it? Hint at it? Is the story different?
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.
Do the secondary
characters have a believable subplot that will add to the main plot but not
over-shadow the main plot?
Without the aid of a
manuscript synopsis, again, this question has to be decided by the potential in
the first 5,000 words. Don’t be afraid to use your instincts. If you deduct
points, please let the contestant know why. Your impressions of their story is
part of the reason they entered our contest.
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
Contributions
and edits by Fenley Grant.
Additional help tips for judging all entries are available
through our judge training on the blog.
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