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 **

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.