Afternoon Workshops 2026

BREAKOUT

Everybody Is Kung Fu Writing: How Writing and Publishing Are 90% Mental

Alan Markham was a special educator. He is currently a school librarian and is the author of the middle-grade series, Spy Sisters. He has an MFA in creative writing for children and young adults. In his presentation he will show how writing, and your chances of publishing, can be improved using kung fu. It’s about learning, believing, committing and following through. Kung Fu Writing is exciting and a little bit frighting. But it’s not fast as lightning.

HANDS-ON WORKSHOP (HOW)

That First Chapter

That First Chapter—10 people, 1000 words, 1.5 hours.

(Submit pages in advance; You may register here.).

HOWs (Hands-On Workshops) are 1.5-hour, more in-depth classes during the afternoon breakout hours.

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Getting Your Muse Unstuck Through Deep Dive Research Research is the golden secret for fiction writers—not only for writing a believable story, regardless of genre, but also for getting unstuck! Are you struggling with character motivation, unsure about what makes the story unique, stuck on a plot point, at a loss for how to solve the conflict? I’ll show you real examples of how research has solved these concerns time and time again. We’ll examine how a deep dive into subjects that interest you or interest your characters can open up a wealth of insight and prime your creative brain to solve the pesky challenges that block writers from finishing or revising their books.

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Writing Emotionally Resonant Fiction

At the intersection of character, plot, setting, and theme, we find incredible opportunities to craft fiction with universal emotional resonance. In this session, we’ll evaluate these four elements of story and how they work together to bring authentic emotion to your readers. We’ll discuss tools that help your audience feel deep, relatable, complex emotions, using examples of masterfully-written stories in both literature and film. You’ll leave this session with a wealth of exercises and actionable steps you can take with your own manuscripts to hook your readers and keep them talking about how your story made them feel long afterward.

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The Writing Life: Dark and Stormy

Q: How do you get published?

A: First, get an agent.

Q: How do you get an agent?

A: Query a whole bunch of them (like 30+).

Q: But how do you query an agent?

A: You know, write an email. A really good one.

Wow. Sound familiar? This breakout session will teach you what you need to know to successfully query an agent and (hopefully) publish. We'll look at five successful authors who took either the traditional route to publishing or a less traditional route. (One allegedly dreamed her book into print . . . hmm.) Then we'll talk about the practical steps to getting published and how to write a successful agent query.

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Humor in Writing

Literary agent Andrea Brown once said, “Make us laugh or cry, and we’ll get you a deal. Make us do both, and we’ll get you an auction.”  When writing for children, humor is a great tool to connect with them, even if your book is serious in nature. Humor is the sugar to help the medicine go down, and many of the best writers use it to their advantage. While it isn’t an easy skill to develop, there are strategic tactics a writer can use to infuse humor into their writing to make a memorable story. This lecture looks closely at examples of humorous writing and unpacks what makes them funny. Participants will learn about the different types of humor and how to write it more effectively. After all, a story that makes us both laugh and cry is one that will have a long life, because children will always need to do both.

HANDS-ON WORKSHOP (HOW)

Class description coming soon. This class will have a 20 person limit; register here.

HOWs (Hands-On Workshops) are 1.5-hour, more in-depth classes during the afternoon breakout hours.

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What Every Author Needs to Know About Copyright, Plagiarism, and AI

Have you ever wondered when and how to copyright your work, how much control you have over the rights in your contract, or what you can do to stop a tech company from using your book to train a language learning model? We'll cover the basics authors need to know about copyright, including how registration works for traditional vs. self-published authors, how to use quotes and images in your work without getting into legal trouble, what to do if others plagiarize your work, and yes, even how to deal with that thorny issue of AI plagiarization!

BREAKOUT #1

Breaking into KidLit: A Peek into YA and MG markets

What’s going on in YA and MG right now? What are editors looking for? What’s selling? What are the red flags that will land you in the reject pile? Erin will discuss her experience in both young adult and middle grade genres. She will also share insights into both markets from her editors at two big 5 publishers. Come with questions and ready to learn about where you might fit in the current kidlit market.

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Murky, Sagging, Boring Middles—and how to fix them!

Middles are the worst. Come find out how to not just survive writing the middle of your story, but actually enjoy it! We’ll discuss what makes a compelling midpoint, why the middle is so important, and tools you can use to write a middle that compels your plot, character, and your own author excitement forward.

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Author Collaboration: Expanding Your Writing Career

When should you dive into author collaboration? From contracts to marketing, USA Today bestselling author Heather B. Moore will present a road map of becoming a successful collaborator. Starting with anthologies and collections, to boxed sets, to multi-author series, and co-authored works, navigating the publishing world can be tricky, but very beneficial if you can successfully align yourself with other authors and capitalize on each other's market reach.

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What I Learned Switching Sides: Lessons From an Editor Turned Agent 

Moving from editor to literary agent revealed just how much of publishing remains invisible to writers. In this candid and informative session, I reflect on the insights I gained by changing roles—what surprised me, what stayed the same, and what writers most need to know about how their work is read and advocated for. This class will help writers better navigate submissions, manage expectations, and approach their careers with a clearer, more empowered understanding of the industry.

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How to Become Market-Aware Without Killing Your Creativity

Writers are often told to “write for the market,” but what does that really mean, and how do you do it without sanding down what makes your work unique? Drawing on 20 years in publishing and current experience as a literary agent, this class breaks down how agents and editors think about marketability, trends, and positioning, and where originality actually strengthens a book’s chances. Attendees will learn how to understand market context, avoid the trap of trend-chasing, and make informed creative choices that serve both the story and a long-term writing career.

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Marketing for Young Reader Authors: School Visits, Websites, and Beyond

Writing a great book is only the first step. Whether you're traditionally published, hybrid published, or independent, connecting with readers, teachers, librarians, and parents is essential to building a successful career. In this practical session, we'll explore the marketing tools that work best for authors and illustrators of children's and young adult books.

Learn how to create effective school visit programs, build a website that supports your goals, develop an author brand, engage with educators and librarians, and identify marketing activities that are worth your time—and which ones aren't. You'll leave with actionable ideas, real-world examples, and a clearer understanding of how to grow your audience without feeling like you have to become a full-time marketer.

BREAKOUT #1

The Power of Setting: Breathing Life into Place

With so much to keep track of when writing—characters, plot, story—setting is often overlooked. However, a living, breathing setting can pull in readers and transform a good story into a great one. In this workshop we'll discuss the roles of setting (much more than just a place for things to happen!), and ways to infuse setting into stories without info dumping. Come prepared to write as we practice building settings that increase tension, add depth to your story, and much more.

BREAKOUT #2

Evolution of a Picture Book

Picture books are enjoyed by young children, older children, and even adults. Despite the seemingly simplistic storytelling, picture books are complicated and involve a lot of people to bring it to life. Author Janet Sumner Johnson will discuss the behind-the-scenes workings of creating a picture book from idea, through the submission process, to working with an editor and illustrator. If you've ever had questions such as whether an author needs to be (or know) an illustrator to get published, or how much input an author has on the images, you won't want to miss this presentation!

PLENARY

How to Work with Your Editor

You've probably heard people in the industry say that publishing is relationships--and it's absolutely true. Editors often describe their job of working with authors as "part cheerleader, part therapist." Working with your editor can be fun and enjoyable or frustrating and confusing; usually it's a combination of all those feelings and more. In this workshop, you'll learn strategies to get the most out of an author-editor relationship. The better your relationship, the more likely you are to benefit from your editor's expertise and have their advocacy for your book with the sales and marketing teams. And you might just make a lifelong friend in the process.

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Five Ways to Create Strong Settings 

When we talk about the setting of a story, we mean the time, place, and environment in which it takes place. Creating a strong setting to ground your story is essential, but exactly how do you do that? In this workshop, we'll learn about setting, how it functions in your novel, and things you can employ to develop it successfully. Choosing your setting intentionally, developing your character's relationship to the setting, revealing setting through details, employing the five senses in descriptions, and focusing on specifics will help you write an effective, believable setting. We'll also create a physical map of where your book takes place.

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The More Things Change, the More They Stay the Same

I've worked as an editor in children's books publishing for 30 years (Penguin, Scholastic, Farrar Straus Giroux Books for Young Readers/Macmillan), and authors often ask, "How has publishing changed?" In this talk, I'll answer that, and will also explain what parts of this business have remained the same. For example, the way we do the work is quite different, in terms of technology. However, the heart of what makes a good story hasn't changed at all. The way we get books into readers' hands has changed in some ways, given the rise in online shopping. But children most commonly still hear about books from adults--teachers, librarians, or caregivers--so a bit part of our work remains getting our books in front of those gatekeepers. Listeners will come away from this presentation understanding more about today's publishing climate, and how their work can fit into it.

BREAKOUT #1

Children's Books Publishing: The Intersection of Art and Commerce

Your goal as a writer is to find a story to tell about which you care deeply which will also resonate in the marketplace. The big question is: How? In this talk, I'll give examples from books I've edited across all categories--picture books, middle grade, and YA--that I feel are well-told stories which also have strong sales potential. We'll discuss which sorts of topics tend to resonate with young readers, and which are tricky, to help authors make the best possible choices in their storytelling. I'll also try to demystify the business of publishing by explaining what financial calculations are taken into account when an editorial team is considering acquiring a project. Ideally, attendees will learn how best to position their current and future projects for success.

BREAKOUT

Creativity Mode > Unlocked

Come ignite your creative soul in this hands-on workshop. Julie will guide you through several creative exercises to waken your brain and boost your creative thinking, all so you can become a better writer or illustrator. Take these exercises with you to repeat when you hit those blocks or slumps later on.

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Romance Without the Cheese

In many books, readers crave a good romance, but that appetite quickly sours when the love story or key moments within it turn cringy. In this class, I’ll teach you how to dial down the schmaltziness and ignite the heat on true romantic tension, including the art of restraint, believable attraction, challenging the lovers’ devotion to each other, juxtaposition, rich plots and subplots, and utilizing the five love languages. You’ll come away with the best tools to create a romance that’s gag-free and 100% shippable.

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Clarity of Character: Weaving Your Strongest Character Using Intentional Threads

In children’s fiction, character is everything. Crafting a strong character is what makes the difference between published or not. How do you build the protagonist kids will love? Intentionally weaving the elements of character in a unique pattern is the key. In this presentation, publisher Kiri Jorgensen will teach you the six elements of character, show you how to weave, and give you the tools to work your craft. 

PLENARY

The Element of Surprise – Exercising Your Creative Muscle with Writing Prompts

In I Want to be Creative, Harriet Griffey says “Exposure to different stimuli—new sounds, sights and sensations—create connections in the brain via the synapses, the points of connection between the neurons. The more neurons, the more neural pathways and more synapses, and the greater the opportunity to spark ideas and solutions.” In this session, we will look at the science behind how prompts and exercises can help writers break down blocks and discover unexpected pathways in their own stories. It wouldn’t be science if we didn’t test this theory, so come prepared to write.

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Creating a Character Inventory

Let’s borrow an idea from video and table top games, where a character moves through the narrative picking up armor, skills, and life points, all of which are stored in their inventory. What happens if we apply this concept to our stories? We get something less like the enormous character interviews and questionnaires that proliferate on writing advice sites and more like a cheat sheet for what supplies—physical and emotional—are available to our protagonist. A character inventory can help with brainstorming obstacles and complications. It’s also a useful tool when we need to assess what’s available to a character as they walk into a scene.

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How to Start Your Story on the Right Page

How to Start Your Story on the Right Page is a craft-focused workshop on writing powerful openings that hook readers from the very first line. We’ll break down what makes effective first pages work, explore character-driven and plot-driven openings, and learn how to use tools like hooks, inciting incidents, and mini-arcs to create momentum fast. Through real examples from contemporary fiction, you’ll leave with practical strategies to revise your opening chapters so readers—and agents, editors, and teachers—want to keep turning the pages.

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The Editor Is In: A Live Editing Demonstration

Lisa Mangum, Managing Editor of Shadow Mountain, will wield her red pen in front of a live (studio) audience and edit the first pages of one lucky class member. She'll explain how she approaches a manuscript as well as her thinking behind what she changes—and what she doesn't—and why the rules matter.

HANDS-ON WORKSHOP (HOW)

The Graphic Novel

Register Here

In recent years, graphic novels have taken publishing by storm. Lots of authors, especially in kid lit, are interested in dipping their toes into writing graphic novels, but if you aren’t an artist, where do you start? In this class, we’ll break down the pillars of sequential storytelling and the nuances of collaborating with an artist or art team to bring a story to life in a way only graphic novels can. We’ll explore the nearly endless limits of the versatile format while also learning about current trends and standards in the industry. Beyond understanding the mechanics of writing a comic script, students will also come away with a basic understanding of what self-publishing, working with a small press, or working with a traditional publisher is like for graphic novel authors. 

HOWs (Hands-On Workshops) are 1.5-hour, more in-depth classes during the afternoon breakout hours.

HANDS-ON WORKSHOP (HOW)

Manuscript CPR

Register Here

Tired of rejection letters that don’t give you anything concrete to work on? Feel like there’s a gap in the level of writing between your manuscript and published books, but don’t know how to cross it? Join the club! I’ve been there, too. In this H.O.W., we’ll talk about the lesser-known tips and tricks that make your writing stand out in the slush pile. I didn’t learn these until my book got accepted and I started working with my editor. Now, you get to try them out for yourself! In this case, it’s the “little” details that make all the difference.

Come prepared with any questions you might have and (optional) a page from your WIP. The second half of this class will be designed live based around what you—yes, you—need to get out of it! (And just like my class last year, there will be homemade toffee and a new baby penguin.)

HOWs (Hands-On Workshops) are 1.5-hour, more in-depth classes during the afternoon breakout hours.

PLENARY

Beyond the Trade Path: IP, Work-for-Hire, and Educational Publishing for Children’s Writers

Most writers picture a single road into children’s publishing.

1. Write the book of your heart.

2. Land an agent.

3. Sell the book to a New York publisher.

That road’s real, and for plenty of writers, it’s a fine option. But it’s not the ONLY option. In this session, we’ll look at three other paths that can lead to real, paid work for children’s writers.

We’ll talk about the books hiding in plain sight all around you, who makes them, how those jobs get assigned, and what this kind of writing actually demands. We’ll also get into the upsides, the tradeoffs, and the question underneath all of it: where might your own skills fit, and how do you break into one—or more!—of these areas?

BREAKOUT

Why Good Manuscripts Get Rejected: What’s Actually Happening Behind the Scenes

So you write a manuscript that gets praise from your critique group and encouraging feedback from early readers, then watch it flatline upon submission. That maddening gap between "I KNOW this is good!" and landing a book contract is where this session lives.

We’ll examine the hidden pressures, internal conversations, market worries, and momentum swings that shape what happens after a manuscript lands on an editor's desk. If you’ve ever received a rejection that felt baffling or wildly out of step with the feedback, this talk will help you make sense of what may have happened and think more strategically about your own work.

BREAKOUT

It's Okay to Make Mistakes: Learning and Growing as a Writer

Every writer makes mistakes—published authors included. Embrace imperfections as you hear real stories about missteps, rewrites, and rejections that have helped shape stronger stories. You'll learn how mistakes are a vital part of the creative process, and you’ll discover tools for turning setbacks into growth.

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The Long Haul: Surviving and Thriving in Publishing

This class goes beyond the thrill of a first acceptance to focus on what really sustains a writing career: persistence, adaptability, and resilience. You’ll learn how to navigate rejection, handle the emotional highs and lows of publishing, and develop habits that keep your work—and your motivation—moving forward.

We’ll cover practical strategies for submitting consistently, building relationships with editors, managing setbacks, and staying creatively engaged over the long term. Whether you’re just starting to publish or looking to regain momentum, this class offers a realistic, encouraging roadmap for keeping your work in the world.

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Reaching the Pedals: Writing middle grade characters that drive the plot

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Rejecting Rejection: Persisting Past No

Rejection is an unavoidable obstacle when you write for publication, but you can’t let it block your path. No matter how strong your writing is or how many times you’ve been published, resistance will come from both gatekeepers and your own internal editor. In this session, we’ll rally around tactics to push through rejection, stay motivated, and fight for that “yes” when “no” keeps trying to stop you.

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Creating with Pencil, Paint, and Word

There’s a benefit that comes from being able to see the pictures in your head and combine that with the words that tell the story. Sherry will talk about her process of combining the words and the illustrations.  Which comes first the chicken or the egg. Which comes first the art or the words. What’s the most important thing? How do you make the story the most important thing?

PLENARY

The Joy of Writing

I once read, in the introduction to a very weighty textbook on writing, this opening remark:
“Let’s face it, writing is hard work.” I found this textbook in the teacher’s lounge of a high school, where I was about to give a talk to a bunch of young, enthusiastic teenagers. I managed to override my initial instinct to hurl the book across the room, but the statement has stayed with me. I found myself imagining an athlete, let’s say Lauri Markkenen of the Utah Jazz or Caitlin Clark of the Indiana Fever, as a kid, standing on the sideline, watching older kids play the game, really wanting to join in, and some coach coming up to them, with basketball in hand, only to snap it out of their grasp. “Oh, no, you don’t,” says the coach. “Basketball is hard work.”
So, I’m going to talk about the game of writing. The pleasure of it. The work is why we’re here. You are already committed to the work. It’s through play and work we come to the joy. That is  what will keep you going through writer’s block and rejection, the success of others.
The Joy grows out of the effort you put into it, for sure, but it also grows out of a gradual recognition of the satisfaction of being truly embroiled and committed to this, sometimes lengthy, process. The gratification that allays the frustration of delay and distraction. The pleasure of wielding craft with ease, and finding the time in your busy life to dedicate to the writing before you, right at that moment, where the dream is awakening, page by page.

BREAKOUT

The M.A.S.S. of your Novel

It’s a common belief that there are five major constituents to the novel: character, plot, setting, conflict and structure. I like to think that behind the scenes, there are four less tangible but important forces at work: Motivation, Anticipation, Suspense and Stakes. This M.A.S.S. intensifies our reading experience, helps to hold the reader in the story’s thrall, while drawing us inexorably forward.

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Writing as Music: Rethinking Writing Through a Parallel Art Form