Character is almost always at the heart of a novel or young fiction—the driving force behind it. It creates the very fabric of story and the spirit of it. This implies movement; but how does the writer create an original, unforgettable character and move it through story, idea, and event?

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A good story starts in the middle of a muddle in a world you create. Then it moves forward in time and space. Learn to use the story’s past and the elements of the story world to develop an organic plot—one that won’t be called contrived or thin.

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Everybody belongs somewhere. So does every story. Choosing a setting for your story is as important as choosing the characters that will inhabit it. How can you create lush believable places that will draw kids into your story world and hold them there? Participants will learn the essentials of place, including using all five senses to make your fictional worlds breathe.

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If you want your stories to click with readers (and editors), you must understand the journey that underlies all good stories. We’ll delve into the essential elements of plot, learn how to start characters on their journeys, give them goals that fit the age of the intended audience, and help them solve the problems set for them.

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When thinking about our characters, it's important to consider their physical attributes. What age are they? What do they look like? Do they have some sort of tic or distinguishing feature? Yet, as important as these traits are, once we've set the physical side of them, what do we do about their interior lives? Regardless of whether your main character is a boy or a bear, the attitudes and beliefs that we endow upon our characters can make the difference between a hero that is stereotypical and one that comes to life on the page.

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How do people (or animals) talk in books? What do they say? Why and how do they say it? How do you imagine conversations and then make them come alive on the page? Dialogue is a powerful tool to reveal character and to move the plot forward. If your dialogue reads like transcribed conversation, then you risk boring the reader. Practice writing lively dialogue and reward your reader with talk that sounds real.

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A beginning can be a beginning if it’s good and an end if it’s not. An ending can be remembered or squandered. Both require thought and work.

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Some aspects of character are timeless. Some, however, are very much a product of the world (time and place) a character inhabits. We will look at both aspects of characterization, paying particular attention to the latter. And we will explore the extent to which characterization circumscribes plot.

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Theme is what gets your characters up in the morning. Theme is what keeps your story from sinking. Your characters have their voice. Your story has its voice. Theme is the writer’s voice, your voice, the voice of your caring, your story’s soul. Theme is the answer to: Why?

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Writing convincingly—and originally—of adolescence has its challenges and rewards. In this workshop we will consider voice, language, the power of the right character and the right idea, first person vs. third person narration, all in the context of writing for and about adolescents.

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Historical Fiction seems easy to define: a combination of extensive research—the history part—and strong writing techniques—the fiction part. But writing historical fiction is no easy task. It’s difficult to weave all that fascinating research into a well-crafted story—to be a historian and a writer at the same time! Characters, dialogue, plot, and setting not only have to ring true but also must be historically accurate. This workshop will deal with the research, writing, and rewriting processes for magazine and book publishers.

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How do you create a fantasy world that is real and true? How do you bring characters—and your reader—into that world? Exactly what is the heart of fantasy? Step into the world of your imagination.

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Do you have a knack for inventing crafts that kids love? Do you enjoy making up puzzles or short activities? Learn how to create and market crafts, puzzles, and games, and get your foot in the door at your favorite magazine.

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Children are naturally curious about bats, beetles, and soap bubbles. They also worry about pollution and other environmental issues. Learn how to research and write about these subjects to produce articles or books that are both truthful and fascinating.

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What makes a beginning reader? How do the language, plots, and characters of beginning readers differ from those of older books? We’ll discuss some of the traditional and current approaches to beginning readers (limited vocabulary, word counts, phonics, pre-readers, leveled readers) and approaches to writing both inside and outside those restrictions, and also take a look at the very early chapter book—the next step after beginning readers.

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Writing for magazine publication hones one's writing, not only teaching one to write to fit, but teaching one how to get the information off the page for the reader, and encouraging the use of the conventions of writing. Writing for magazines makes for a more versatile writer. Magazine writing also provides "clips" for one's portfolio, makes one aware of the marketing aspects of publishing (this knowledge is transferable to shaping one's future writing to make it more marketable), provides great visibility to the writer (many niche publishers read magazines to locate writers for their projects), and is a terrific motivator, (the old "Nothing succeeds like success.")

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Heroes and role models are an important part of growing up, and biographies written for young people are an important part of the children’s market. How should you write to appeal to the young reader? How can you find and capture the essence that makes your subject special?

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Somewhere along the line, many adults find themselves put off by poetry. It seems to become more puzzle than pleasure. Children know better. It comes naturally to them. They swim in language like fish in water. Eagerly, they wait for you to share your poems with them.

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The best humor is at the space between laughter and tears. Humor is an excellent way to soften readers, so they can absorb the story within. What different techniques can we consider? What are the ways we can employ this powerful technique?

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Today there are many children's magazines that highlight the world and its peoples and are in search of authors interested in showing how people are the same but also different. Authors who either live within the culture they are writing about or are "observers," sensitive to the attitudes and traditions of others. The workshop leaders will discuss working closely with authors—during the query, editorial, and production stages—and what they look for in articles.

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A guide to who owns what and when. First rights, all rights, serial rights, licensing—what do they mean? How much of this subject does a writer need to know?

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You’ve written your manuscript and polished it to perfection. Now what’s next? Uncover strategies for preparing and presenting your manuscript to an editor. Then learn how to work with your editor to tailor the manuscript for acceptance. As the author, you have rights and responsibilities (as does the publisher) in bringing your book to print. Find out what will be expected of you, and what you should expect from your publisher. Discover your role in working with the editor, copyeditor, art director, illustrator, and marketing and sales departments. From the first submission to the first finished copy, it’s everything you need to know about the publishing process.

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Every author wants to get personal attention, and in this workshop you’ll get some guidance that may help you make it out of the “slush pile.” Topics to be covered include important basics, story types and approaches to avoid, and the usefulness (or not) of agents. Learn what truly helps get an author out of the slush pile from an experienced editor who has pulled more than a few writers out of the stack.

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Find answers to puzzling questions, such as: Do I need an agent?, What happens if I get a contract?, What can I expect to be paid?, and much more.

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That magic time has arrived—you’re writing and making money from it! But how do you make the most of your talents, and keep moving forward? How do you market your evolving abilities? And how can you make the most of your private contractor dollars? This workshop will cover important tips for making a business success of your writing. You’ll learn how to write proposals and query letters that grab an editor’s attention, how to market yourself, important money-management methods, the inside scoop on industry conferences, and more.

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What does the publisher do? What can you do? What can the two of you do together? A long-time publisher shares insights on promoting your books.

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Like all vital industries, publishing is always changing. How is a writer or illustrator to keep up? This workshop will reveal the most recent changes and trends in the publishing industry and share ideas about how they might affect you.

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This is the perfect opportunity to do what you’ve been hearing forever—write what you know. Your story is already in you. We’ll show you how to dig it out.

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Ideas are a little like mosquitoes—you never know when they are going to bite you. The secret—if any—is to be ready, to be alert, to be receptive. Ideas are biting us all the time. The problem is to recognize them for what they are: portals to stories.

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Some kids read nonfiction because it is assigned schoolwork, but many choose it to help satisfy their curiosity about history, people, science, and nature. Nonfiction writers have a hunger for knowledge and an urge to share key ideas and fascinating anecdotes with others. How thorough must the writer’s research be—text and photo/illustration? What is a good format for that research? How much can you invent and still be realistic? And after solid research, how can you write manuscripts that are truthful, clear, inviting, and fun?

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Often, only an interview can give a nonfiction article or book the fresh life and depth that makes it truly original. This workshop covers the basics: the importance of the interview, preparation, tricks of the trade, pitfalls to cautiously avoid, photo research and weaving the results into an article or book. The workshop will also deal with contacting and interviewing experts as part of the research process.

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Find the balance between your writing and editing skills to produce your best possible work. Here are some techniques for polishing and giving coherence to a manuscript so that when it leaves your hands, it looks and feels its very best.

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Where do the really great ideas come from? From you, that’s where! Turn up the volume on your creativity by changing the way you look at the world. Practical advice, stimulating exercises. Let your imagination get LOUD.

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Young people who once played with dolls and dinosaurs have moved onto I-pods and Playstations. See how tapping into new and old areas of interest can help get the attention of your audience and of publishers, too.

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If your audience is young children, your work is going to be illustrated. Here are some insights about how text and illustration work together.

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Just who are you writing for? Before you send your work off to a publisher make sure that your writing is appropriate for the intended audience. Explore the basic categories and subcategories of children's books so that you can target your submissions more effectively.

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Understand the inside track of the publishing business through the eyes of a children’s editor with twenty years experience. You'll learn behind-the-scenes tips on how to query and work with an editor through the editorial, production, and marketing stages.

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