In the last year, there were more than 75 contests for unpublished writers listed in the Romance Writer's Report, a monthly magazine published by Romance Writers of America for its members—and every year the numbers rise.
   There are synopsis contests, first page contests, hook contests, first chapter contests, contests to test love scenes, conflict scenes and endings. Good grief! How is a fledgling writer to decide what contest is right for her—or whether entering any contest will be worth the time and money spent? These are questions you may wish to answer prior to sending your baby into the contest world for public scrutiny and critique, because the experience could make you want to quit writing altogether. The experience could also be the best thing you've ever done in your writing career.
    Contests are ego busters. The competition is fierce. There are hundreds of excellent writers out there, and they're all clamoring for a place at the top. Low contest scores and negative critiques can blow holes the size of Argentina in your self-esteem. If finding out your book isn't the brilliant piece of prose you thought it was makes you want to take up tatting instead of writing, contests may not be for you. If you're the sensitive type and can't get beyond emotions to view this as a learning experience, you may want to think twice before taking the plunge.
    Contests are also ego boosters. When you win, place or final, you know your writing can compete with the best. High or improved contest scores and positive critiques can give you that lift you need, tell you you're making progress, and carry you through the dark days of rejections. Contests can provide opportunities for growth in a variety of ways that are difficult to get elsewhere during the unpublished years. The most important thing is to understand what contests can or can't do for you before you make a decision to spend the time and money.
    I speak from experience. In the past three years I've entered more contests than I care to admit. I blithely entered my first contest with the lofty hopes of a beginner and the expectation that someone I didn't know would confirm what my husband had been telling me—that my writing rivaled Nora Roberts's, my story was brilliant, cutting edge material sure to be bought by an editor and optioned by Steven Spielberg to become his next blockbuster movie. Visions of meeting Tom Cruise or Adrian Paul, one of whom would undoubtedly play my story's hero, danced in my head.
    Imagine my shock when I received scores that didn't even register in the average zone, and the three returned copies of my entry looked as if they'd been through a blood bath. Stunned, I stumbled into my office with my battered entry clenched in my fist. Next came anger, outrage, and denial. Then, I simply sat and stared at the sad commentary on my writing skills, and the longer I sat, the worse I felt. A sheer black fright ratcheted through me. Self-doubt grabbed me by the throat. I had no talent, no style, no voice. My writing was pond scum. No, it was worse than that—my writing was the brown, goopy muck at the bottom of the pond, and I couldn't tell a story that would interest a C flick movie producer.
    I immediately pitched the score sheets and those ghastly scribbled pages into the circular file and sunk into a deep, black funk. How could I write anything after that? How could I stay in point of view when I didn't even know what point of view was? Why does anyone enter these contests, I wondered? What good are they?
    After approximately four days, my sweet, supportive husband scowled, handed me a bag of hard, left-over Halloween Tootsie Rolls, (the only chocolate in the house) and said, "Get over it! They don't even know you, so don't take it personally."
    A little chocolate brought me around. Wow, I thought. What a concept! You mean what they said might be useful information? Hmph. I wasn't sure about this, but since my husband is always right, (I know this because he says so) I screwed up enough courage to take another peek at the contest results.
    Surprise—the comments weren't "all" bad. And in this more reasonable state of mind, I realized there might be a hair's truth in them. I took a deeper look and cringed. My plot did have holes in it, my conflict was weak, the characters weren't distinctive. It was then that I knew I had a lot to learn. My journalism degree and non-fiction publishing credits didn't mean diddly when it came to writing romance. At that point, there was only one choice I could make. Learn the craft of writing romance novels. I hunkered down and continued to write my stories while studying everything I could along the way. I'm still learning and loving every minute.
    For me, an important part of the learning process involved continuing to enter contests. It took me a while to even enter another contest since that first shattering experience, but I did, and it's paid off. I've gone on to final, place, and win numerous contests, including finaling in the Golden Heart four times with four different books. As a result, I've acquired a reputable agent and hope the big sale is right around the corner. No question about it, contests have played a big role in my writing career so far, and I'd like to share a little of what I've learned about contests.

How to Get the Most Out of Your Contest Experience

    Define your contest goals. Do you want an editor or agent read? An anonymous and, in the best of all worlds, unbiased critique? Scores by which to gauge your writing expertise, your growth, and your manuscript's general acceptance by readers? Or maybe you'd like some credits to use in a query letter to editors and agents, or the prize money, or that all too necessary validation that keeps you writing when rejections start piling up?
    For me, it's a "depends" kind of decision. If I'm starting a new book and just want to see how it flies, I'll pick a first chapter contest. If I want to see if the whole story stands up, I'll pick a synopsis contest or first chapter with synopsis contest. If I'm looking for a read by an editor, I pick a contest that requires a partial (up to fifty-five pages and a synopsis) and in which an editor from the publishing house/line I'm targeting is the final judge. If the editor likes the partial, she may request to see more, allowing me to bypass the query letter stage. If I'm looking for name recognition I pick the larger more prestigious contests.
    In addition to the above, my personal preference is to pick contests that give score sheets and those in which the judges are encouraged to write their comments directly on the entries (this does not include the Golden Heart). I don't choose contests that require me to adjust my manuscript, write a set-up or do anything I don't already have in the works, it takes too much time away from my writing.
    Decide what contest benefit you'd like to gain and go for it.

Some Contest Benefits

• Feedback/critique: You can get a fresh perspective, a critique from someone who doesn't know you. Some judges are fantastic, even down to writing a separate page to help you understand your scores. The Golden Heart is an exception. You won't get any feedback there. Still, it's the premier contest for unpublished writers in the romance genre—enter when your manuscript is completed and polished enough to publish.

• Goal setting: Contests can help you set goals to finish that synopsis, scene, first chapter, or complete manuscript.

• Learn to meet contest deadlines: You'll need this skill when you're published.

• Name recognition: Since the RWR publishes the names of contest winners you'll get your name out there, letting editors and agents know who you are.

• Query letter credits: You say you have no writing credits? Put down your contest win, place, or show. Editors and agents look favorably on it.

• Speed up the submission process: You'll save valuable time if an editor requests your manuscript after reading a partial in a contest.

• Prizes/certificates: Some contests give prize money, others certificates, a year's membership in their chapter, a year's subscription to the chapter newsletter, paid conference attendance, plaques, and more.

• Editor/agent read: Some contests use editors and agents as their final judges. Some of these editors give a written critique (this is better than prize money in my book).

• Monitor your growth: Learn from your mistakes, decide where improvement is needed.

• Motivation/validation: Whether it's great scores, inspiring critiques/comments, win, place or show, all can provide that needed boost when the rejections come in.

• Develop writer's skin (thick like an elephant): Also needed when the rejections come in, or when you're published and the reviews are bad.

• Develop self-confidence in your writing skills: You'll know when you're getting better. You'll learn to discriminate, to know when a comment is valid or not.

• Learn to prepare a professional looking manuscript: Contests can be more rule-bound on this than editors, but learn it anyway. Editors do look more favorably on a professionally prepared manuscript.

• Networking: You can make wonderful friends through the contest network.

Potholes and Pitfalls

• Contest obsession: Some writers get caught up in the thrill of winning contests and never finish a book. Wasting several months, days, or even hours trying to win a contest is time poorly spent if you never complete the book.

• The cost: Contest dollars can add up. With entry fees ranging from $10 to $50, plus copying fees, postage, SASE, and the value of your time, the costs can amount to more than the benefit. Postage for non-U.S. residents can add up to more than the entry fee in some cases.

• Confusing score sheets: Some list elements that might not even come up in a first chapter and yet require the judges to score that element.

• Judge bias: Your contest entry may do well in one contest and not in another based on the personal preferences of the judges. A judge may simply dislike your style and score accordingly. There's no way to avoid it.

• Low scoring judges: Some judges never give a score higher than average. They don't believe any manuscript is perfect and therefore, never give a top score.

• Low scores, no comments: Some judges never make comments and never bother to explain a low score. There are some contests that require judges to justify a score under a particular number.

• High scoring judges: Some judges score everything high and, thus, fail to let you know where improvement is needed.

• Negative/caustic critiques: Most judges try exceptionally hard to give valid, helpful critiques. But I have heard from more than a few contesters who've received scathing remarks. If that happens to you, be sure to let the contest coordinator know.

• Widely divergent scores: One judge loves it, another hates it—just like editors. It's unavoidable, get used to it.

• Judges who live by "The Rules": No one knows where "The Rules" are written, or who wrote them, but these particular judges know without question that; the hero and heroine "must" meet by page three, that every sentence "must" have only one space after a period, that every grammatical rule must be followed without fail, that a writer must never, ever switch to another point of view within a scene, and that an editor will "never" buy stories about athletes, musicians, or artists. There are more of these rules, but I don't remember them, and I don't know where to obtain a copy of the scriptures. If you're an out-of-the-box writer, you'll probably not fare well with these judges.

    Okay, now that you've decided what you want from a contest and are aware of the stumbling blocks, it's time to take a look at which contest to enter. While I'm most familiar with the Romance Writers of America contests, on both the regional and national level, there are numerous contests offered by other writers groups. They can be found in listings in The Writer's Digest or other writing related magazines. If your romance novel is also science fiction, paranormal, single title, romantic suspense, mystery or intrigue, the contest field is wide open. Don't limit yourself to one type of contest just because your book fits a particular genre.
    When deciding on which contest to enter, consider what you want to accomplish. If you're writing a sweet romance, you don't want to enter the Kiss Of Death, Good Things Come In Threes Contest. Yes, it's a well-run contest, judges are encouraged to make comments on your entry, you need only send in three pages, and the cost is low, but the chapter sponsoring it is the Mystery/Suspense Chapter of RWA, and the judges will be looking for plenty of mystery and suspense in those first three pages. Even if your story is a romantic mystery/suspense but the first three pages don't convey that in spades, this might not be the contest for you.
    If you wish to have your work judged by published authors, choose contests like the Orange Rose or the Silver Heart which promise published author judges. Some contests offer "at least one published judge." I find it interesting to compare published judge's comments with the unpublished. I'm not advocating one or the other as better, just that I find it interesting. I think contests need both. I also find most judges to be fair, forthright, and helpful. And remember, they all give generously of their time and expertise.
    Next, you want to make sure your entry package is the best that it can be. To do this, there are some written rules to follow. The contest rules. If you don't follow them to the letter, you risk disqualification. Contest rules usually specify standard manuscript format, which means double-spaced, one- inch margins all the way around, Courier 12 point, non-proportional FONT or equivalent, standard headers with book title on the left side, and the page number on the right. Be sure to check the rules section on each contest as some things can vary. I remember one contest that specified the title should be in the header on the right side with the page number. I don't know if missing little things like this will get your entry disqualified, but why take the chance. And if you don't understand a particular rule, contact the contest coordinator. Never guess.

Anyone who has read this far will receive a book contract!

    Actually, that's an untruth. I lied to get your attention, because getting your reader's attention is the next thing you must do to interest contest judges. And once you've grabbed your judge's attention, you must sustain it and keep her wondering what's going to happen next. Try to end on a hook as well. Don't leave your reader dangling in the middle of a sentence or paragraph simply because the contest requires no more than 15 or 25 or 55 pages. Usually they mean "up to" the number listed. Study your entry and end it with a bang. Leave your judge dying to know what happens next.
    All the contests I've entered have had score sheets to guide judges in their scoring. Most will rate your entry and give points on a sliding scale. Areas of judging may include a number of elements or a few. I recommend requesting a copy of the score sheet from the contest coordinator so you can evaluate your own manuscript before you send it off. Some RWA chapters include their contest score sheets on their web sites. The following are judging elements that have appeared most on score sheets in the contests I've entered:

• Opening/Prologue/Chapter One: Does the story start at the correct place, with an interesting, intriguing hook? Is there a good introduction of characters and plot? Has the writer revealed enough information, or too much, too soon?

• Setting: Is it clearly defined without extraneous detail? Is there a sense of time and place?

• Characterization/Hero and Heroine: Are they skillfully developed, multi- dimensional, and believable? Can you empathize with him/her. Are their actions motivated?

• Plot Line: Is the plot line interesting, unique, skillfully developed?

• Dialogue: Is it natural? Does it move the story? Is it distinctive to each character? Is it appropriate to the genre? Is dialogue well-balanced with the narrative?

• Narrative: Is it necessary, interesting. Does it progress the story. Is it in character viewpoint rather than author-intrusive?

• Pacing: Does the story flow smoothly? Is every scene essential to the story. Are there highs and lows of conflict?

• Motivation: Is it genuine; not contrived? Is it compelling?

• Point Of View: Is it clear and concise? Are transitions smooth and the changes logical?

• Style/Voice: Is the writing vivid and evocative? Is it special, unique?

• Relationship: Can you feel the tension, magic, excitement? Does the relationship progress at a satisfactory rate?

• Mechanics: grammar, punctuation, spelling

• Format: follows generally accepted guidelines

• Overall Impression: Are the characters likeable? Do you want to read more?

    Once you've followed and considered all the steps above and believe your manuscript literally sings, you proudly send it off and wait. And while you wait, your mind begins to work overtime. Did I send a SASE? Did I include a title page? Did I spell check? This, of course, is not a good scenario. Gives me ulcers. So, I make sure I have a check sheet for each contest entered and keep it in a file with copies of my contest entries. Then I forget about it and keep on writing. If I have second thoughts, I simply check my file. I've never had a manuscript returned and I've never had one disqualified. To guard against the most common mistakes, take a look at the Do's and Don'ts list that follows.

Contest Do's and Dont's

• Do follow directions. Different contests ask for different things. Read your check list one last time and check off each item in red before sealing that envelope--check your number of copies, separate and clip them exactly as requested, enclose your check with the correct amount and the correct name on the check, send a SASE with the correct postage on it, and a title page if requested. Include your signed entry form and anything else they require, double check your check sheet before sealing that envelope, and mail to the correct contest coordinator as instructed, well before the contest deadline. Many contests have limits on the number of entries. If you wait till the last minute before the deadline, you risk getting your entry returned.

• Do send the correct size SASE. If you send one that's too small, you may not get your copies back and your postage will be wasted.

• Do proofread—even if you've spell checked a dozen times. Your spell checker won't catch everything, I guarantee it. Typos, misplaced indentations and the like are not picked up by your spell checker.

• Do double check the category you've entered. I once entered the Golden Heart and had a choice of long contemporary or romantic suspense for two different books. When I double checked, I found I'd entered my long contemporary in the romantic suspense category, thus eliminating my intended entry for that category. If your book might fit one or more categories, talk with other writers to determine the best fit. Call the contest coordinator if necessary.

• Don't take any contest critique or low scores as an indicator of your writing ability.

• Do read the critiques with discretion, consider the context in which the scores are given, write the book you want to write, from your heart of hearts, and do it with passion. Whether you're a beginner and simply want someone besides your mother to read your work, or a seasoned contest veteran who's going for the gold, that passion will win out.

• Do notify the contest coordinator if a judge rakes you over the coals instead of providing a helpful critique if that's what the contest promised.

• Do send thank you notes, even to those judges you think are off the mark. Rise above any initial knee-jerk response. You are a professional. If you can't write a sincere note thanking the judges who took away from their own valuable writing time to judge your entry, don't write anything. You don't want to be remembered in a negative way.

    During this last year, I wrote a series of editor interview articles for my local RWA chapter newsletter, and in those interviews, I asked editors if contests made a difference to them. By and large, the responses were the same. Entering contests and making personal contacts with editors can be helpful. But none of it matters if you don't write a good book. Take your craft seriously, always strive to make your book the best it can be, one you really care about. Write romance fiction because you love reading and writing it.
    You can't get any better advice than that.
    Good luck and happy writing.

Copyright © 1999, Linda Style.
All rights reserved.
You may reprint this chapter in whole or in part
provided credit is given to the author.

Linda Style has written four books, all of which have won major RWA contests. She has garnered five first place wins, four second place, one third, and one fourth. In addition, four of her books have finaled in the national RWA Golden Heart Contest, two in the long contemporary category, one in single title, and one in romantic suspense. Linda says her contest strategy is simple. "When I begin a new book, I send feelers out to two of the smaller contests. When I've polished a little more, I choose a couple larger contests with an editor read, and finally the Golden Heart." Once a book has finaled in the Golden Heart and sent to her agent it's retired from the contest circuit. Then she keeps her fingers crossed and continues to write. Linda lives in Gilbert, Arizona, with her husband Jay, and between them, they have six grown children. You can click to e-mail Linda Style.