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Madeline Hunter shares What Judging Contests has Taught Me (about writing, about contests, and about judging itself)
 Posted by Gwynlyn MacKenzie Sep 30 2010, 12:01 am in bestseller, contest judging, craft, guest author, historical romance I met Madeline at a NJRW conference in 2006, and we got to know each other a bit while discussing the evocative cover of her book, LORD OF SIN. Other conferences and conversations followed. Then, last year, Madeline shared something profound in its simplicity. We talked about about conflict–or the lack thereof–within a manuscript. The conversation proved both enlightening and helpful beyond measure to my own work. Now, Madeline has agreed to share some of what she’s learned, insights she’s gained, and what she looks for as a contest judge, with you. Because I have all of Madeline’s books on my “keeper” shelf, I am offering a copy of her newest release Sinful in Satin to one lucky commentor. Please join me in welcoming Bestselling Author, Madeline Hunter, to the blog!
Warning: Blogs are supposed to be short and clever. This one won’t be short, and it will probably be more frank than clever. Let me start by saying that I did not write my first novels in an analytical way. I went with the flow, followed my nose, flew by the seat of my pants, and hoped to heaven that something inside me made it all come out okay. Sometimes my intuitive method worked splendidly. And sometimes it didn’t, and I slogged through extensive revisions to get it up to snuff.. Because I resisted analyzing my writing, I got nervous around people who talked craft. I spent years sure that my books lacked whatever craft point was being discussed. Half the time craft talk made no sense to me. (I still don’t know what the heck a black moment is.) Then I began judging contests. Lo and behold, when I read other writers’ unpublished work, all that craft stuff made more sense. In some cases it made a lot of sense. I began to see patterns. I realized that a lot of writers fell into the same traps, and that a lot of manuscripts suffered from the same flaws. Including some of mine. Hence the “sometimes it didn’t” up above. So here is my bullet list of problems I watch out for now in my own manuscripts, as learned from judging. You might think about them too, as you plan a story and write it, or as you get it spruced up for the Golden Heart or some other contest. (This is geared to romance novels, but with little adaptation it works for most stories.) —-Is there enough conflict in the story? I have a multi- hour workshop that I do on this topic now. Yes, she who hates talking craft goes around talking it ad nauseum on this single point. I developed the workshop because, hands down, this is the most frequent problem I see in unpublished manuscripts. It is also what gets mine in trouble sometimes, and I have learned the hard way how important a good conflict is. A romance novel does not just need conflict, it needs a good, plausible conflict that is strong enough and meaningful enough to keep the hero and heroine apart, even as they are having the hots for each other and as they are falling in love. It can’t be something that a conversation can solve, and it can’t be a matter of willfulness or wound licking, in my opinion. It has to be bigger, and something important that keeps interfering in the HEA. Without a meaningful conflict, problems develop. First, the book runs out of story about half way through, and the author ends up having to piece together small, contrived conflicts to limp to the end. Second, after the big consummation love scene, the romance arc will essentially be completed. After that big love scene there had better be something very significant getting in the way of HEA again, or the story is in trouble. —-Is the hero believable? There are female writers who can’t write guys well. Some tend to make them sort of dumb. Some make them Neanderthals in their views of women. Both of these tendencies may reflect the men these writers have known, but it is important to make the hero better than what we may have known. Then, some other writers feminize the hero. He gets uber sensitive as the book progresses. He obsesses over his feelings in his lengthy thought life. He analyzes the heroine’s every statement. He—well, you get the picture. Judging has taught me to really keep an eye on my hero, to make sure I don’t do this to him as I fall in love with him. Women obviously have a disadvantage in writing the male point of view, but it can be done. Try to become a man when you write the hero. Oh, yes you can. Give it a shot. You need to think like a guy to write a believable guy. You need to be in a guy’s head and see the world through a man’s eyes. —-Is the unfolding of the story fresh? Some contest entries are imitative not only in story lines (there are only so many, right?) but in the way they tell the story. They rely heavily on predictable devices and derivative scenes. I have judged contest entries with this problem that were otherwise very professional in every way. The hard truth is that mastering craft will not get a contract if the resultant story follows an overused sub-genre template. To stand out, to get published, writers need to be creative, distinctive, and not take the easy, well trod path. —-Is the development of the physical relationship realistic? This goes with the last point below, because I am convinced that I have read contest entries that were ruined due to the writer feeling obligated to get that first kiss into the first chapter, to satisfy contest score sheets that ask for “sparks flying.” If you would not kiss this guy at that point in the relationship that is unfolding in the book, don’t let your heroine kiss him. If you would not jump into bed with this guy the next day in that relationship, no matter how hot he is, and have gymnastic sex on the first go round, think hard about whether it is realistic for your heroine to show such enthusiasm at that point. I feel the market pressures as much as anyone, but I have learned that if the right place for the first sensual turning point is not until page 90, I have to put it at page 90, not page 35. It is important for us to be true to our story and not try to make it fit some common wisdom about sensual developments. —-Does the synopsis trace the romance’s development, focusing on the turning points in both the emotional and physical relationship? As sex comes earlier in romance novels, and as the “will they or won’t they?” ceases to be the main story as a result, and as plots become more complex in order to have enough conflict to replace that question (see first point above), it is easy to get off track with the synopsis, and write one where the romance is treated as an afterthought to an action plot or intrigue or mystery. I critiqued many entries with this problem as a judge before realizing I tended to do the same thing! Failing to keep the romance the central thread in the synopsis may not doom your contest entry, because many judges do not pay a lot of attention to the synopsis, or even to the strength of the story itself. It will doom the chances of selling the manuscript to an editor as a romance, in my opinion. —-Is this your story, the way you want to tell it, or have you “written to the contest”? It is easy to get caught up in contest excitement, and to forget that the goal is to get published, not to collect contest finalist placements or wins. Never compromise your story’s originality, voice, or power in order to score higher in contests. Scoring sheets should never dictate how a writer’s story unfolds, or cause her to add a GMC dump to the first chapter, just so a judge has to give her a “5” on the goals and motivation question. I see a lot of contest entries where I suspect exactly that has happened, and where perfectly fine partials were ruined by all that contest tweaking. So,there it is—almost everything I have learned from judging contests. I will end with the line I put on most of the critique letters that I send back with the entries I judge. “This is one person’s opinion, and nothing more. Take what is useful to you, and disregard the rest.” Madeline Hunter is the two time RITA winner of 19 bestselling historical romances. Her latest book, Sinful in Satin, was just released this week. You can find her web site at www.MadelineHunter.com, and she also hangs out at The Goddess Blogs www.thegoddessblogs.com PS. Madeline will be offering her conflict workshop that the NJRW conference this year. If you are attending, I strongly recommend it. –Gwyn Share:
              
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First I want to thank you all for having me. Especially since I have been wanting to write an article or blog on this topic for a long time. Years, in fact. (rubbing hands together).
Fabulous post, Madeline. Thanks so much for this.
I can’t wait to hear you speak again at the NJ conference Madeline. I got so much from your class at NJRW’s special event last spring. Thanks for giving us your the benefit of all your experience today. Your checklist is wonderful!
Ooops. You can add PROOFREADING to your checklist.
Thank you for sharing your tips. As our readers get ready to enter the Golden Heart this information is golden.
I constantly have to remind myself conflict makes a good story. Conflict, conflict, and more conflict. I start out writing my books with the H&H so perfect. Ugg! Even doing a character grid first I have to add in more conflict. I think I’m learning. WIP I have the heroine in conflict with everyone and everything. Family, friends, animals and appliances. Probably have gone overboard but easier to cut it out then work it in later.
Thanks again for being here today.
I have learned that I am better off starting with more conflict and removing some of the secondary points too. Settling on that big, overarching one, what I call the “core conflict” can be hard for me. After all the others get resolved, that is still there, though, and those smaller resolutions help the book’s development.
I have found that if I get it right, the book almost writes itself. If I don’t—– I am swimming through mud.
This is so helpful, Madeline. Getting the conflict balance right is something I struggle with, and it’s encouraging to know an author whose work I really love sometimes struggles, too!
Good morning, Madeline. Thank you for visiting us. This was a great post and I learned alot.
I think you’re right in stating so many writers write the first chapter to fit contests in hopes they will attract attention by an agent or editor, and don’t realize they are shooting holes in the work. The first chapter, no really the first pages are what make the decision for an editor to request a work and a reader to buy the book.
To me two elements need to be clear– one element of conflict, as you stated, and character.
If I only see the hero beautifully portrayed and I fall in love him, but I only catch a glimpse of the herione, I will give the section ‘Was your heroine beliveable?’ as high a mark as I’d given the hero because I know this author has the potential and savvy to do so. (Whew! run on)
I’m working on a synopsis today. I’m glad I read this blog first. You opened my eyes to why I’ve been struggling with it. I’ve been contrating on what happens next and not how they feel. Duh. It is a romance. Double DUH.
Thanks, again for being here. And, I’ll see you in NJ. I’m a Golden Finalist Finalist. GRIN.
If the story has a lot of plot, it is so easy to get off track in the synopsis. I have seen unpublished work that had this problem, and once it was fixed the author sold. I personally feel that not enough attention is given to the synopsis in contests, because they are major marketing tools. Also, if the story does not have enough to sustain itself (like not enough conflict) it shows up there. Ideally we would have contests that judge the whole manuscript, but that is not practical, I know.
You are so right about the book writing itself when the CORE conflict is strong. That’s probably why editors and agents want that one-sentence marketing pitch. If we can’t define our story’s core conflict in a few words, it probably isn’t very compelling. That exercise has become sort of a litmus test for me when I’m considering plot ideas.
You are probably right. But, oh gee, I am so bad at those one line pitches. Hey, my first manuscript was a quarter of a million words, so I think a normal length one is like a pitch
And congratulations on the Golden Leaf finalist placement! That is a good contest, and IMO a wonderful conference. I met my first editor there (yes, I am one of those who actually sold after an interview.)
Thanks. I ‘ll definitely be in your workshop.
I need to make one small correction. At the NJ conference I am talking on Motivation (which obviously is connected to conflict.)
I will be dropping in all day, around running errands, and will try to answer any questions.
That’s my bad. I’m sorry. I looked at the conference schedule, but must have “seen what I wanted to see” rather than what was there.
(Yes, finally in the room with internet service!)
I got your message. I so happy everything went all right.
Hugs.
That is I’M so happy . . .
I really need to learn to proofread before I hit submit.
Madeline, you have such a talent for teaching, you could give a lesson on shoe tying and we’d show up, confident you must have some new insight on the best way to do it.
That is very sweet of you to say
Thanks for coming Madeline. I’m knee deep in contest judging right now.
I am so glad I stumbled over a link to this blog on FB because I was lucky enough to draw Madeline as a contest judge for my first MS. I did EVERYTHING she suggested and I’ve sold five books (not the one she judged – it was irretrievable). So thank you, Madeline. Everyone else: do what she says.
Hi, Miranda! How nice of you to stop by. And for your nice words about my judging helping. That is always nice to know.
Wow! There’s a fabulous testimonial for you!!! Congrats, Miranda!!
Miranda, I have to tell you, I’ve read both of your books (if there are more, I haven’t run across them yet) and loved them. I’m so pleased you stopped to share your experience. Sorry I won’t see you at NJRW this year.
Thanks, Gwynlyn! New Jersey won’t be the same without you.
Fabulous advice, Madeline. That “one person’s opinion” line looks awfully familiar. I think you may have judged one of my entries back in the day. Thank you so much for sharing your expertise!
Now back to trying to wrestle with my little novella which has the opposite problem of too much conflict for the wordcount.
I have only written one novella, in part because I have the same problem. I had people say it should have been a novel. Not true–it did not have a sustainable conflict for one. But I did pack a lot into that short word count, maybe because I am used to writing “long.”
That comment about writing to the contest scoresheets is so true. Sometimes, the scoresheets expect a tremendous amount to happen in 15-25 pages. It’s as if they don’t value those manuscripts that eke out the details over time.
Depending on the contest (and my interest in finaling versus my interest in just getting great feedback), I make a contest-only version of a manuscript. If I’d really like a particular editor/judge to get this manuscript, I might add stuff to the entry just to get it past the scoresheet/first round.
I judged an entry that was fabulous once–but I wasn’t positive who the hero was. The scoresheet had a section that required clarity on the identity of the hero. The author lost a lot of points–even though it was clearly the best entry I judged.
Which is really too bad. Perhaps we need contests to rethink their scoresheets. That’s one of the reasons I like the Golden Pen–for example. Just one number and great feedback.
I was going to do a riff on scoresheets, but the blog was getting a bit long already. however, I find them very frustrating at times. I score honestly, according to what is asked on them, but I sometimes know that the score sheet is missing the big picture. As someone who does eke out the info, I expect I would have scored badly on many of them.
With my judging, I sometimes have to give very high scores to entries that IMO have a problem with story, not craft. I cover that in my critique letter, but I feel that if the whole ms were being judged, the problems would be very evident. So in some ways, for all the complaints about the GH, the fact it is not done by a scoresheet may result in a fairer assessment and less generic finalists. (Although, I would be frustrated not getting something from the judges myself. I wish we could send letters back, that entrants could get if they wanted them.)
Oh, I would want, I would want!
I’d love to hear what you have to say about spreadsheets!!
I so agree about scoresheets being changed. The way we write and what we want to read has changed in the last ten years. Score sheets have not. Why do the H&H have to meet in the first twenty pages?
I make every attempt to judge as the score sheet asks. If the contest does not have genre specific score sheets I will not volunteer to judge. I’ve actually commented to the author that I had to do that and suggested in the future they check out the score sheet before entering. One entry I remember was excellent but didn’t meet score sheet criteria.
Well, I have lots of problems with them, but I realize that what I want is no score sheet, but a score and a critique letter, and that is too much to ask of that many people. But, for example, with conflict, the sheet may say “is the conflict clear?” when maybe it is, but it is something trivial that won’t hold up.
And very few contests give that synopsis the weight they should. Not how well it is written, but what it contains about the story line and development. But I think maybe that is because it is assumed that many of the books haven’t been completed, so the synopsis is very much a work in progress.
Anyway, I always writer that “big picture” letter, to put my scores into context. I think the score alone is just too little to be useful, even with comments on the pages. But I know this can’t be demanded of all judges, or there would never be enough judges.
Madeline, this is going in my bookmark folder the second I get home!
One thing I’ll add as a personal addendum to your list is “Is your heroine sympathetic and compelling?”
My big, big problem in my manuscripts is with my ladies, and I think it’s because I love men. Always have, always will. I even went to a women-only college to cure myself of this fascination with men, but alas! There was a nearly all-male engineering college across the street. I didn’t stand a chance — and I must say, neither did they.
Even though I’m giddily married to the best man I could ever imagine meeting, I still enjoy talking to men. I find them delightfully strange and endlessly intriguing, like a foreign country.
Because understanding men has become a sort of hobby of mine, I just don’t fall in love with my heroines the same way I do my heroes. I’m not sure how to fix that.
I tend to have the same problem, Jamie. One of my solutions is to focus on making the heroine someone I really relate to and sympathize with so I can get into her skin easier. Next time you brainstorm characters and a plot, start out with thinking about the most traumatic things in your life and your greatest fears. If you develop your heroine around those, you may feel more for her.
This is important, at least for me. I also tend to be hero-centric in my writing, and have to keep an eye on the heroine. However, in my judging, I have not for the most part found that to be a common problem. Most writers seem very comfortable with their heroines. Those ladies often snap into view right away. Since that isn’t the case for all of us, though, I agree that it should be on any writer’s bullet list.
Madeline, thanks for this advice. It’s really helpful, especially since it lays out several areas I struggle with but always hope judges won’t notice! Yet, darn it if they don’t pick up on them every time!
You’re right that it’s invaluable to read other unpubbed writers’ work. I once did a swap with someone and kept noting the places where she used almost exactly the same phrases or set-ups that I did in my (*ahem) totally original, very clever manuscript. What an eye-opener.
I think some judges notice more than others. I think a writer who has written a few manuscripts definitely will (been there, done that sort of thing.)
Madeline:
Thanks so much for visiting with us today – SINFUL IN SATIN is sitting on my Kindle and just waiting for me to finish revisions before I can dive in!!
This is such a wonderful post and you’ve really hit on the things that are so hard to learn. That all important conflict really does sit on the top of the list and is so essential to keeping the story moving and the journey of the characters – both together on their journey to love as well as what each learns individually – core to the story.
Addison
I hope that you enjoy it, Addison. I am getting good feedback on it, so I am happy. Good luck on the revisions. I don’t mind them at all if they are ones I figured out. When my editor wants them, and I have to figure out why and how to do them, I like them a whole lot less.
Thanks so much for being here, Madeline!
You won’t remember this, but you were the one who called me to tell me I was a Golden Heart finalist in 2009. Or, rather, you TRIED to call me, but I was at work and saw an email from you at about ten til twelve Texas time…so I called you just minutes before the final lists were due to go up.
I was so discombobulated and clueless, I didn’t even have a pen name picked out, but you were SOOOO nice to me. You actually SPRINTED up some big staircase while still on the phone with me to make sure the necessary info got where it was supposed to get on time.
I was in awe of your generosity of spirit–and by this post, I can see it’s a standard thing for you. Writers who get you as a contest judge are incredibly lucky! This is fabulous advice!!
I’m looking forward to reading the new book!!
Elisa, I remember calling you. I served on the RWA board that year, and everyone said making those calls was one of the big bennies. It was true, and I asked for GH because I knew how important it was to the entrants (not that it isn’t for the RITA too, of course.) On the few occasions I have gotten a call like that, I do not squeal with excitement. I am more stunned and quiet. So I knew not every person I called would have the same reaction.
Thanks, Madeline. What great advice. I’ve been guilty of tweaking a manuscript for a contest score sheet and it’s never made it better, along with many of your other points. Appreciate your visit today and congratulations on Sinful in Satin!
I was sort of aware writers did this. But only when I started judging did I realize how obvious it can be. It really is not a good idea, esp with the GH, where that is the opening that will have to work with the whole book if you final.
But I understand the temptation.
Madeline, Thank you for your wonderfully helpful post. Sorry for promoing the wrong workshop, but I’m sure, whatever you’re teaching will be worth attending. I can’t thank you enough for our conversation last year. It’s made a world of difference.
Hi, Gywn,
Everyone, Gwyn in one of my conference buddies. We see each other at them on a pretty regular basis. You all probably have friends like that too.
Thanks for all the wonderful insights, Madeline, and congrats on the releas of Sinful in Satin. I can’t wait to read it.
I loved the talk you gave at the PRO retreat at RWA Nationals in 2009. It was so inspiring, and although I don’t remember all the fabulous points you made, I totally remember sitting there thinking, “Gosh, I want to be just like her.”
That was a version of a workshop I give called Surviving Almost There. It comes from experience, since I was Almost There for about 3 years. I had an agent who assumed selling me would be a slam dunk. Um, no. . . .
Thanks for running this, Gwynnie! Great info! I sure do miss you!
God willing, life will drop back to some semblance of normal soon. Think of you and your KC (my Patty clone) and Allie and everyone often, but hours are just so many.
Glad you enjoyed the blog. Come see us again!
Thanks Madeline.
I found your blog very interesting. I’m one of those writers who are fearful of entering contests. They always seemed rigid and demanding. You shined a new light on things. Thanks a lot.
Jeane Daly
Fantastic post, Madeline! And thanks so much for joining us here at the Ruby blog! Oh…and it’s okay for blogs to be long when they’re as packed full of good info as this one
Now if only I could hear your conflict workshop. I always feel like something with conflict is lacking in my stuff!
Thanks for the timely reminders, Madeline. That blog wasn’t long at all, with all the useful information.
You really gave us a lot to think about, thanks so much for sharing today!
Thanks so much for sharing, Madeline! Your books *and* this blog post are going on my keeper shelf! I’ve scaled back entering contests. I was guilty of spending too much time making my ms conform to particular contests.
I’ve been a contest junkie, first submitting wildly in 2009 and now judging wildly in 2010. I agree with everything you’ve said Madeline, and add my own thoughts about manuscripts that tell too much too soon. The whole backstory thing hurts so many of the entries I’m judging. I see mis-used prologues, flashbacks as information dumps, and writers telling information and then re-telling it again a few pages later. At least the judging experience has taught me what to look out for inmy own writing, because darned if I don’t make the same mistakes. Thanks to what I’ve learned as a judge, I now pay special attention to those areas before a manuscript leaves my hands.
And the winner of a copy of Sinful in Satin is . . . (drumroll, please) . . . Elisa Beatty!
Madeline,
Great post and a lot of helpful info. Thanks.
I’m a guy who’s written two romantic comedies (among my five completed manuscripts). One of these was in a contest last year and got middling scores from a judge who criticized A, B, D, G, and M on the score sheet (I don’t recall what components she didn’t like). But at the end where she could place comments, she typed, “this chick can sure write!”
So she was telling me at least two things: there was nothing in my writing ‘voice’ which revealed I am male (a detriment, I think, to many in the broader publishing realm which includes ROMANCE) … and she evidently LIKED my entry even though the contest guidelines persuaded her to score it with middling grades.
Thought you’d enjoy that ancedote. I’d like to win your book.
Jeff
Ok, I am *way* late to this party, but wanted to note that I really appreciated Madeline’s point about the romance needing to be central (as represented in the synopsis). I recently got back a rejection from an editor who basically said that my last manuscript wasn’t a romance–and I think she was probably right. That was an eye-opening moment for me as a writer and I’m now thinking long and hard about my wip and whether it’s genuinely a romance or not.