When it comes to kidlit, age is more than just a number. Our readers span the developmental stages from first steps to leaving the nest (with countless important moments in between) and our writing must keep pace. Understanding age categories is a vital part of our writing and illustrating practice, especially in the current climate of book banning. In this session, we’ll discuss the key differences of kidlit age categories, from board book to young adult, and why these distinctions matter now more than ever. Then, we’ll explore relevant examples and do hands-on exercises to practice what we’ve learned.
If you've ever wanted to see how real editor feedback shapes an author's work, this is the class for you! In this session, I'll share how the opening chapter of THE GREAT OUTDOORS iterated into its final, published version—including actual feedback I got from my editor at Simon & Schuster during the revision process! We'll do a live edit during class, which will include a mix of big-picture issues all the way down to tiny line edit tweaks, with bonus thoughts on "How do I know which notes I should take?" that you can apply to your own projects.
Last year, I discussed how using a "Bridge," like those used in music, can keep your story from sagging in the middle. This year, I'm going further. I'm explore the structure holding that bridge up. It's called a Problem Nest: The problems that the protagonist faces as they move from the midpoint to the final act of the story. We'll analyze the Problem Nests of popular movies and, more importantly, the archetypes of the allies solving these problems for the protagonists, as defined in Christopher Vogler's THE WRITER'S JOURNEY. With the aid of these problem-solving archetypes, the protagonist crosses the bridge, and enters the climax a character that readers can't wait to cheer for.
This class seeks to create a distinction between two types of poetry, the literary and the revelatory, and how a healthy approach to that dichotomy can benefit all writers. With the former challenging poets to stress the boundaries of the poem and the latter teaching writers to capture the integrity and honesty of a first draft, the ability to recognize each camp and master their benefits galvanizes all writers towards greatness. This class will feature an educational lecture, followed by an interactive workshop experience.
Your first five pages are the seeds of your story—the moments that will hook readers and make them eager to turn the page. In this class, you’ll learn how to cultivate a compelling opening that sets the stage for an unforgettable narrative journey. We’ll review the essentials of an opening scene, common pitfalls, and what goes into a powerful beginning—all while having fun planting ideas you can grow in your own work. We’ll put these techniques into practice through writing prompts. This class is intended for writers who already have a firm story idea and are actively drafting, rather than those exploring new concepts.
Narrative position is one of the fundamental building blocks of storytelling, yet many authors struggle with to grasp it. Going beyond a simple matter of point-of-view, narrative position adds incredible layers to a story. In this class, I will teach narrative position by studying examples of effective and ineffective narrative position and equipping authors with the tools they need to deepen their story through their narrative position.
Is this your first writers conference? Classes with a ✅ in the title like this one are especially good for newcomers.
Build likable, relatable, and flawed characters who your readers will root for on every page. Use backstory and internals to dive into their troubled pasts without slowing the pace of your novel. Dig deep into why your characters act they way they do.
We love our research, but when it comes to writing historical fiction, we have to fight the urge to show it all off. Learn specific strategies for invisibly weaving facts into your fiction so the plot will keep moving, characters will keep developing and readers will keep reading.
When first writing, everyone imitates, but how do we get past that to create interesting stories? What’s the difference between an homage, a pastiche, a ripoff? Everybody borrows. Discover how to put your own spin on tired old cliches.
Is this your first writers conference? Classes with a ✅ in the title like this one are especially good for newcomers.
We all recognize writing that makes our hearts soar and our pulses race, but how do we make that happen on our own page? Set the craft books to the side for an hour, and let's talk about strategies for finding practical answers to your thorniest writing questions, all within the pages of your favorite books.
Is this your first writers conference? Classes with a ✅ in the title like this one are especially good for newcomers.
Whether you keep the door closed, leave it cracked, or blow it off the hinges, there's an art to mastering the different heat levels in romance novels. This class is all about how you navigate which heat level best fits your brand and how to make it authentic for you and your readers.
Facial expressions and body language are some of the most powerful tools in a writer’s arsenal—but they’re also some of the easiest to overuse. In this class, we’ll talk about how to write meaningful nonverbal communication without falling back on repetitive gestures, empty actions, or bloated stage direction. Learn how to assess the emotional undertones of a scene to choose movements, expressions, and physical blocking that deepen characterization and tension while keeping prose immersive and natural. We’ll also discuss the fundamentals of stage blocking in fiction and how to choreograph intentional, organic movement so your scenes feel alive on the page rather than mechanically arranged.
Female characters written to be strong are often swinging a sword, or wearing a pantsuit, or girl bossing it up. And that’s wonderful. But we can go further. We can reflect a whole range of female strength in our writing. In this class, we will explore different forms of strength, and complex traits, you can give your female characters. Come learn how to get your leading lady leaping off the page and becoming lifelike.
Katie is The New York Times, USA Today, and #1 Indie bestselling author of Beth Is Dead.
She’s an award-winning creative director and a long-standing member of
the DFW Writers’ Workshop. As the oldest of three sisters, she’s a
diehard fan of Little Women.... Read More →
Saturday October 3, 2026 11:30am - 12:20pm CDT Room 3
This session teaches writers how to borrow narrative techniques from fiction—like pacing, tension, and "the hook"—to build a compelling structure that keeps readers turning pages. Learn how to bridge the gap between raw research and a finished manuscript that anchors every chapter.
Exploring the many styles and uses of humor in writing such as satire, dark humor, slapstick, and sarcasm. How and when each each of these humorous style additions can add depth to make characters unforgettable.
Bluff your way to convention glory in a big game of book-themed Balderdash! Write short descriptions of imaginary plots and attempt to convince others you’re describing real, published books. The goal? Become a more concise writer who communicates ideas effectively, and explore how simple, direct writing makes for stronger storytelling. Oh, and be sure to bring your A-game because there will be PRIZES!!!
Is this your first writers conference? Classes with a ✅ in the title like this one are especially good for newcomers.
Not every craft book is created equal, and Self-Editing for Fiction Writers by Renni Browne and Dave King is a treasure of a book loaded with advice that can transform your book on every level. Bring a scene and work with a partner under the guidance of Kate Khavari, USA Today Best selling author and craft book snob, whether you think it just needs polishing or a total overhaul.
Is this your first writers conference? Classes with a ✅ in the title like this one are especially good for newcomers.
Nothing is born from the void--and neither are the fantasy worlds we love to read about and create in our own work. This class is designed to help attendees use the world they know--their homes, the familiar streets, and the places they see everyday--to create grounded worlds in their fantasy genre pieces. After all, authors put in little bits of themselves in everything they create, and what better way to build a fictional world than one that includes the cracked tiles of their bathroom or the vaulted ceilings of their local city hall.
Dana started making up fantasy worlds when she was eleven years old and
hasn’t stopped since. She graduated from the University of Texas at
Austin, where she earned degrees in English and Advertising. Dana
currently lives in Austin with her husband and her two dogs whose... Read More →
How do some authors do it? In just a few sentences, they evoke a kaleidoscope of emotions, set the mood, or draw an entire character. After dissecting the work of some incredible authors, this class will exercise their own writing abilities by workshopping a few underdeveloped passages into powerful ones. In the process, you’ll fill your sentence structure toolbox to improve your flow, style, tone, and impact.
Brooke Fossey was once an aerospace engineer with a secret clearance before she traded it all in for motherhood and writing. She’s a past president and an honorary lifetime member of DFW Writers’ Workshop. Her work can be found in numerous publications, including Ruminate Mag... Read More →
Helen Dent's career as a writer began at age nine, when her grandfather paid her a dollar a page for what turned into quite a lengthy story. She studied monster theory (among other things) in graduate school, taught English at a Chinese university, and toured the Scottish Hebrides... Read More →
Saturday October 3, 2026 3:10pm - 4:00pm CDT Room 1
We've all seen how writing looks in the movies—aesthetic writing desk, soothing soundtracks, and perfect weather. But what happens when real life (neurodivergence, disabilities, parenthood, night shifts, etc.) gets in the way? This session explores practical ways to build a writing practice that fits your brain, your schedule, and your reality so you can hit your writing goals.
Is this your first writers conference? Classes with a ✅ in the title like this one are especially good for newcomers.
We all love a good anti-hero character, but what about the unreliable narrator? What IS an unreliable narrator and why would a writer choose that approach? This class helps writers understand the purpose of the unreliable narrator by looking at successful examples in literature and film and dissecting the methods and outcomes that make it such a compelling point of view.
Something has gone terribly wrong with this manuscript. Legend has it the draft is cursed—and only a team of sharp-eyed writers can break the spell. In this hands-on, fast-paced workshop, participants will work in small groups to solve a series of editorial “puzzles” designed to rescue a story before time runs out. Equal parts craft lesson, puzzle room, and collaborative chaos, this session transforms the editing process into an adventure. Whether you’re a beginner or a seasoned writer, you’ll sharpen your editorial instincts, learn how to identify (and fix) common manuscript mishaps, and have more fun editing than you thought possible. Break the curse. Save the story. Escape the draft — if you can.
Conflict ignites every scene in your novel. But how do you stoke those fires to keep your readers engaged and your plot moving? In this workshop, you'll learn that conflict isn't about confrontation; it's about character choices. This 7-step method will guide you in turning up the heat on your characters with intense stakes and escalating tension. Get ready to light up your manuscript with the tools to craft a story so powerful, it will burn in the minds of your readers long after they turn the final page.
WRITING FOR KIDS THESE DAYS examines current reading/publishing trends in the YA spaces through research data and anecdotes from 7th grade readers. This class is designed to equip authors with the tools needed to create a youthful engaging voice to write a story “kids these days” are interested in reading.
