SD40 Workshops, Schedule & Staff

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The SCWC provides multi-tiered workshop tracks. Advance sign-up is not required for most workshops, so conferees are free to go to any session they choose. Should you find that a particular session is not for you, or if you’d prefer to simply tap into another. Workshop summaries can be found here (when available).

Dates for our 40th annual winter event are Martin Luther King, Jr. Weekend, January 16-18, 2026.

• Authors & Industry Experts
• Workshops
• Weekend Schedule
• Frequently Asked Questions
• All About Advance Submissions

Special Guest Speakers

PADDY HIRSCH is an award-winning journalist and novelist whose work bridges the worlds of fact and fiction. He is the author of The Devil’s Half Mile and Hudson’s Kill, the Justice Flanagan historical thriller series set in early Manhattan, as well as Man vs. Markets: Economics Explained, Plain and Simple, a guide to making sense of Wall Street. With more than 20 years in journalism, Hirsch has worked with NPR’s The Indicator from Planet Money, Marketplace, and the BBC, earning honors including an Edward R. Murrow Award and a Knight Fellowship at Stanford. Known for making complex subjects accessible, he brings the same clarity and narrative drive to both his reporting and his fiction.

JONATHAN MABERRY is a New York Times best-seller, five-time Bram Stoker Award-winner, anthology editor, comic book writer, executive producer, magazine feature writer, playwright, and writing teacher/lecturer. He is the editor of Weird Tales Magazine and president of the International Association of Media Tie-in Writers. He is the recipient of the Inkpot Award, three Scribe Awards, and was named one of the Today’s Top Ten Horror Writers. His books have been sold to more than thirty countries. He writes in several genres including thriller, horror, science fiction, epic fantasy, and mystery; and he writes for adults, middle grade, and young adult. Red Empire, the fifth in his Joe Ledger and Rogue Team International series, is available now for pre-order.

TO BE ANNOUNCED

Authors & Industry Experts

GAYLE CARLINE is a humor columnist for an Orange County newspaper and author of the popular Peri Minneopa Mysteries, including Freezer Burn, Hit or Missus, The Hot Mess, Clean Sweep and A More Deadly Union, featuring a housecleaner-turned-detective living in the OC. Other titles include the stand-alone From the Horse’s Mouth: One Lucky Memoir, the first of a new equine-themed murder-mystery series, Murder on the Hoof and new historical fantasy Dragon Shadows trilogy, Blood Dragon Rising, Moon Dragon Falling and New Dragon Soaring. Writing as M.G. Wetherholt, here latest is geared for younger readers, Paws on the Pier (A Magical Mouse Caper).

• SESSIONS: “Avoiding Stereotypes, Cliches and the All-Too Common,” “Battle Plan: Everything You Need to Know Before Going Indie” and “The End is Just the Beginning”
• ADVANCE SUBMISSION CRITIQUE: Fiction, mystery, humor, columns; first 10 pages (or multiple columns up to 10 pages), cover letter

DENNIS CROSBY is an award-winning author of the bestselling Kassidy Simmons paranormal suspense series, in which the Reaper of Souls struggles to maintain harmony between life and death by returning lost souls to their proper place in the afterlife. Introduced in 2020, the series is now comprised of Death’s Legacy, Death’s Debt and the latest installment, Death’s Despair. With a degree in Criminal Justice, Dennis spent six years working as a private investigator, and while pursuing a Master’s Degree in Forensic Psychology, transitioned into social service to aid adult men and women facing mental health and addiction challenges. His short fiction has appeared in numerous anthologies, including Literally Dead: Tales of Halloween Hauntings, Blood Fiction: If It Bleed It Reads and Castle of Horror volumes 5 and 8.

• SESSIONS: “How to Craft a Strong & Believable Villain” and “Networking for Introverts”

KRISTI (K.A.) FOX is the USA Today bestselling author of the YA urban fantasy Murphey’s Law series, comprised of The Devils Own, Judas Kiss, and Earthly Shadows. In it, the Devil’s estranged daughter must grapple with the inheritance of her’s father’s infernal powers and combat succumbing to them in effort to protect those she loves. Writing bestselling short romances as Krysta Fox, she ranges from contemporary (Surprised Under the Mistletoe) to the paranormal (the Surprise Shifters series) and has released over seventeen titles since September 2020. She can be found online on Facebook as imkafox and KrystaFoxAuthor.

• SESSIONS:  “Let’s Get Cozy (Fantasy),” “Turn the Page: Making Readers Keep Reading,” “Writing Good, Bad and Ugly Better” and Read & Critique (Mixed-Genre)
• ADVANCE SUBMISSION CRITIQUE: Sci-fi/fantasy urban fantasy, contemporary and paranormal romance; first 10 pages, cover letter

MICHAEL STEVEN GREGORY, Executive Director of both the Central Oregon Writers’ Conference and Southern California Writers’ Conference, is an award-winning filmmaker and screenwriter. He has scripted network series, directed television and features, and been involved as a writer, producer or director in over 150 short films. His longform projects include the doculogues We, The Writer and We, The Screenwriter, the romantic-comedy A Valentine Carol, and groundbreaking Don King Presents: Prizefighter, for 2K Games. His books include Disc Golf: All You Need to Know about the Game You Want to Play, which remained a periodic bestseller well over a decade after publication. Michael is also the owner of AuthorEdge, a transmedia content producer for publishers.

• SESSIONS: No-Host Mixer, Introductions
  
• ADVANCE SUBMISSION CRITIQUE: Screenplays, TV and short-form scripts; first 15 pages in proper format, cover letter

KC GRIFANT is an award-winning writer based in Southern California who creates internationally published horror, fantasy, science fiction, and weird west stories, including Melinda West: Monster Gunslinger (Brigids Gate Press, 2023) and Shrouded Horror: Tales of the Uncanny (Dragon’s Roost Press, 2024). Her short stories have appeared in podcasts, magazines, games, and Stoker-nominated anthologies. She is co-founder of the San Diego Horror Writers Association (HWA), co-creator of Monster Gunslingers The Game, co-chair for the 2024 StokerCon, and a writing instructor.

• SESSIONS: “Big Punch in a Little Package: Creating Short Stories that Sizzle and Sell” and “From Whispers to Screams: The Art of Horror”

ARA GRIGORIAN is a USA Today Bestselling author whose novels include the international award-winning Game of Love, Ten Year Dance, 15 Days With You, and inclusion in the Desire After Dark anthology. Fascinated by the human species, he writes about choices, relationships, and second chances. Ara’s latest is the start of a new series of contemporary women’s fiction, which includes two books, Reunion at Fortuny Bay and Secrets of Fortuny Bay.

• SESSIONS: “Every Story is a Love Story,” “Front Story: Pouring the Foundation of a Powerful Tale,” and “Story Beats: Your Story’s Pulse”

HENRY HERZ’s stories will/have appeared in Daily Science Fiction, Weird Tales, Pseudopod, Metastellar, Titan Books, Highlights for Children, Ladybug Magazine, and anthologies from Albert Whitman & Co., Blackstone Publishing, Brigid’s Gate Press, Air and Nothingness Press, Baen Books, and elsewhere. He’s edited seven anthologies and written twelve picture books. www.henryherz.com

• SESSIONS: TBA

PADDY HIRSCH is an award-winning journalist and novelist whose work bridges the worlds of fact and fiction. He is the author of The Devil’s Half Mile and Hudson’s Kill, the Justice Flanagan historical thriller series set in early Manhattan, as well as Man vs. Markets: Economics Explained, Plain and Simple, a guide to making sense of Wall Street. With more than 20 years in journalism, Hirsch has worked with NPR’s The Indicator from Planet Money, Marketplace, and the BBC, earning honors including an Edward R. Murrow Award and a Knight Fellowship at Stanford. Known for making complex subjects accessible, he brings the same clarity and narrative drive to both his reporting and his fiction.

• SESSIONS: “Audio as Opportunity: Beyond the Book”

JONATHAN MABERRY is a New York Times best-seller, five-time Bram Stoker Award-winner, anthology editor, comic book writer, executive producer, magazine feature writer, playwright, and writing teacher/lecturer. He is the editor of Weird Tales Magazine and president of the International Association of Media Tie-in Writers. He is the recipient of the Inkpot Award, three Scribe Awards, and was named one of the Today’s Top Ten Horror Writers. His books have been sold to more than thirty countries. He writes in several genres including thriller, horror, science fiction, epic fantasy, and mystery; and he writes for adults, middle grade, and young adult. Red Empire, the fifth in his Joe Ledger and Rogue Team International series, is available now for pre-order.

• SESSIONS: “Genre Jumping: Beyond Plot and Character”

ERIC PETERSON is the author of three novels. His debut, Life as a Sandwich, was a finalist in the San Diego Book Awards. His second, The Dining Car, which introduced audiences to legendary food writer and bon vivant Horace Button, won the IBPA Benjamin Franklin Gold Award for Popular Fiction, the San Diego Book Award Gold Medal for Contemporary Fiction, and the Readers’ Favorite Book Award Silver Medal for Literary Fiction. Publishers Weekly’s BookLife named it a “Book to Watch.” It’s follow-up, Sunshine Chief, returned with another high class adventure with Button and entourage on his vintage private railcars. Possessing a Communication degree from Stanford, majoring in journalism, Eric’s foray into nonfiction is Museum of the Unknown Writer, a collection of essays which first appeared in the online daily magazine, Piller to Post.

• SESSIONS: “For a Few Dollars More: The Cost of Selling Yourself Short” (with Jennifer Silva Redmond)

JUDY REEVES is an award-winning writer whose work includes A Writer’s Book of Days (named “Best Nonfiction” by the San Diego Book Awards and a “Hottest Books for Writers” by Writer’s Digest), Writing Alone/Writing Together, The Writer’s Retreat Kit, and Wild Women, Wild Voices. Her fiction, nonfiction and poetry have appeared in numerous journals and anthologies. Judy’s taught at UCSD Extension, and led writing practice groups for 30 years. Her awards include those from the San Diego Writers and Editors Guild, San Diego Writer’s Festival, and The African American Writers & Artists Association. San Diego Mayor Jerry Sanders declared July 24, 2010 “Judy Reeves Day.” Her long-awaited memoir, When Your Heart Says Go, is now out.

• SESSIONS: “Into the Deep: Description & Details,” “Into the Deep: Scene,” and “Into the Deep: Time”
• Advance Submission Critique: Memoirs, narrative non-fiction, women’s fiction; up to 10 pages double-spaced, cover letter

DR. JANINA SCARLET is ia Licensed Clinical Psychologist, author of 18 books, written chapters for nineteen others, and a creativity coach. A Ukrainian-born refugee, she survived Chernobyl radiation and persecution. She immigrated to the United States at the age of 12 with her family and later, inspired by the X-Men, developed Superhero Therapy to help patients with anxiety, depression, and PTSD. Dr. Scarlet is the recipient of the Eleanor Roosevelt Human Rights Award by the United Nations Association for her work on Superhero Therapy. Her work has been featured on Yahoo, BBC, NPR, Sunday Times, The New York Times, Forbes, and many other outlets.

• SESSIONS: “Unmasking Burnout and Imposter Syndrome: Helping Writers Restore Confidence and Flow”
• Advance Submission Critique: Memoirs, narrative non-fiction, women’s fiction; up to 10 pages double-spaced, cover letter

JANIS THOMAS, Director of the Southern California Writers’ Conference, is the author of such domestic suspense novels as All That’s Left of Me and What Remains True, both with Lake Union, and three critically acclaimed humorous works of women’s fiction—Something New, Sweet Nothings, and Say Never—as well as the mystery Murder in A-Minor. She has written more than fifty songs and two children’s books, which she created with her dad, is a passionate writing advocate, a popular workshop leader, speaker, and editor.  Her latest novel is the paranormal thriller Finding Grace, which Kirkus Reviews calls “An authentically creepy tale.”

• TRACK: Novel Boot Camp >>Details

It consists of the following sessions:
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1. What’s it All About, Author?
2. Who Comes First?
3. The Structure of it All
4. The Beats Go On
5. WE’VE got the Beats
6. We’ve got MORE Beats
7. Brass Tacks and Hard Facts
8. The End is Just the Beginning

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LINDA THOMAS-SUNDSTROM, is an award-winning author of contemporary and paranormal novels and novellas, with over 40 books trespassing realms of the supernatural across a half-a-dozen series. Published by Kensington Brava, Amazon Montlake, Harlequin Nocturne, Harlequin Desire, and the urban fantasy trio “GothicScapes.” her most recent titles include Arthurian fantasy Places of Power, and Moonstone, the next installment in her long-running Wolf Moon series.

• SESSIONS: TBA
• ADVANCE SUBMISSION CRITIQUE: TBA

CLAUDIA WHITSITT is an award-winning author and retired special educator teacher who has published four mysteries in the Samantha Series, Identity Issues, Intimacy Issues, Internal Issues and Inherited Issues, as well as a stand-alone, The Wrong Guy. In middle grade historical fiction, set during the Vietnam era, the Kids Like You series consists of Between the Lines, Beyond the Lines, Broken Lines and, the latest installment, Battle Lines. Geared for adults, a new series, Love and Loss, consists of three novels. Black Ice was released in 2021, Lake Fog in 2022, and the third, Lingering Clouds, will be out shortly. When she isn’t writing, Claudia is visiting schools and teaching writing to middle grade students. She’s known for her kind nature, even when telling you that your works sucks, and will make you want to become a better writer.

• SESSIONS: “Infusing Micro-Tension Into Your Story,” “Supporting Cast: Crafting Purposeful Secondary Characters,” “Voice: Finding Your Unmistakable Own” and Read &amp; Critique (All-Genre)
• ADVANCE SUBMISSION CRITIQUE: Middle-grade fiction, mystery; first 10 pages double-spaced, cover letter

Agents & Editors

JACQUELIN CANGRO worked at Penguin Random House and Simon & Schuster for more than twenty years. Now, as an independent developmental editor and book coach, she’s reviewed hundreds of novel and memoir manuscripts, providing writers with feedback to make their stories the best they can be. Her editorial specialties include women’s fiction, romance, YA, and upmarket. Jacquelin’s short fiction was selected as one of the Saturday Evening Post’s Great American Stories, and her other works of fiction have appeared in Stonecrop Review, The Macguffin, Valparaiso Fiction Review, and Cortland Review. Her first book, The Subway Chronicles: Scenes from Life in New York, is a collection of essays about the New York City subway system. You can find out more about Jackie and her work at https://jacquelincangro.com.

• SESSIONS: “Setting and Place Masterclass” and “Unlocking Your Novel’s Inciting Incident” and PAGE ONE CAGE MATCH
• ADVANCE SUBMISSION CRITIQUE: Fiction; nonfiction; first 10 pages, double-spaced, cover letter

MICHAEL CARR is an agent with Veritas Literary. With a strong background in editing and writing, he represents writers in a variety of genres with a special emphasis on historical fiction, women’s fiction, science fiction and fantasy, memoir, narrative nonfiction, and popular science. He is fluent in Spanish, Swahili, and speaks conversational French. Before joining Veritas had professions as diverse as programming simulators for nuclear submarines and owning an inn in Vermont.

• SESSIONS: TBA
• AGENTS PANEL: PAGE ONE CAGE MATCH
• ADVANCE SUBMISSION CRITIQUE: Historical fiction, women’s fiction, science fiction and fantasy; Narrative nonfiction, popular science; first 10 pages, double-spaced, cover letter

CATHIE HEDRICK-ARMSTRONG is an agent with Marsal Lyon Literary. She deliberately keeps her author list small in effort to give her authors the time dedication each deserves. She looks for manuscripts that catch her attention within the first few pages. If you can evoke an emotional reaction in the opening pages—make her laugh out loud, cause her pulse to race, make her cry, etc.—you’ve likely got a winner. While never interested in sci-fi or fantasy, some paranormal aspects in the vein of Victoria Laurie’s Abby Cooper and Ghost Hunter Series, or a more contemporary version of something akin to Karen Marie Moning’s Highlander Series may will be considered.

• AGENTS PANEL: PAGE ONE CAGE MATCH
• ADVANCE SUBMISSION CRITIQUE: Young adult, new adult, contemporary romance, general women’s fiction and suspense; BIPOC, Own Voices, and LGBTQ+; first 10 pages, double-spaced, cover letter

CHERIE KEPHART‘s award-winning memoir, A Few Minor Adjustments, is called by Kirkus Reviews, “A rich and complicated story, told on each page with clear dialogue and memorable anecdotes,” and by Publisher’s Weekly, “A story of gut-wrenching perseverance and determination.” Her other publications include, The Healing 100 and Poetry of Peace, as well as essays, short stories, and poems in various literary journals and anthologies. Cherie is also a freelance editor, writing coach, and workshop facilitator with a passion for helping writers on all aspects of their writing journey. A graduate with first class honors from the University of Auckland in Medical and Cultural Anthropology, Cherie also holds a BA in Communications from UCSD and a Certification in Scientific and Technical Writing.

• SESSIONS: “Getting Naked: Memoir Stripped Down,” “Mastering the Art of Revision,” and “Soul Therapy: The Spiritual Side of Writing Memoir” and Read & Critique
• ADVANCE SUBMISSION CRITIQUE: Historical fiction; Memoir, personal stories, wellness, practical nonfiction, self-help, personal transformation, metaphysical; first 10 pages, cover letter

JAKE LOVELL is an agent with Dijkstra Literary, actively seeking to build his list. He is interested in upmarket fiction, with an emphasis on Gothic, horror, thrillers, westerns, military, and speculative fiction (supernatural, paranormal and UFOs). In general, he’s especially drawn to character driven stories written in distinct and diverse voices. Nonfiction-wise, Jake’s especially interested in working with historians, up-and-coming scholars looking to transition to trade readership, journalists, doctors, veterans, and people with unique takes on important issues. Born and raised in Southern California, Jake proudly comes from a mixed cultural background and is second generation Chicano on his mother’s side.

• AGENTS PANEL: PAGE ONE CAGE MATCH
• ADVANCE SUBMISSION CRITIQUE: Upmarket and speculative fiction (excluding romance, fantasy, sci-fi, YA, or children’s); Narrative nonfiction; first 10 pages, double-spaced, cover letter

MARLA MILLER is an author and freelance editor. She wrote for the OC Register’s lifestyle magazine for 16 years before becoming founding editor-in-chief of an O.C. coastal lifestyle magazine. Her first book, All American Girls, the only authorized biography of the iconic World Cup/Gold Medal winning U.S Women’s National Soccer Team, was published by Simon & Schuster in 1999, and her sports oriented columns appeared in Oxygen.com. Marla launched MarketingtheMuse Workshops in 2003, motivated by her recognition that most traditionally published authors receive little help from “big house” marketing departments. Her experience in the entrepreneurial author movement includes “with author” bylines for two indie books, The Booty Bible and Decode the Black Box of Group Health Insurance, along with her own Days Gone By and first e-novel, Deadly Little Secrets, published under MarketingtheMuse Publications. MarlaMiller.com is a resource center for writers with emphasis on marketing information in publishing/epublishing.

• SESSIONS: “Cold Openings: Your First Five Pages,” “Pitch Witches: What’s Your Book About?” & Pitch Witches: Query Letter Critique” (both with Jennifer Silva Redmond)
• ADVANCE SUBMISSION CRITIQUE: Fiction, narrative and prescriptive nonfiction, columns (Note: anything emphasizing medicine or psychology, Marla’s your reader); first 10 pages, cover letter

JENNIFER SILVA REDMOND spent more than a decade as editor-in-chief/acquisitions editor at Sunbelt Publications before becoming a freelance publishing consultant and editor. On the staff of the Southern California Writers Conference and San Diego Writers, Ink, she was also prose editor for A Year in Ink Vol 3, and co-founder of the Sea of Cortez Review. Her essays, articles, and short fiction have been published in various anthologies, such as Latinos in Lotusland, and national magazines. She is always looking for “great new stuff” and has a wide circle of agents, editors, and publishers with whom to share marketable fiction and nonfiction. More information, a short list of edited titles, and client testimonials can be found at www.jennyredbug.com.

• SESSIONS: “Beyond Plot and Character: Who, How, Why,” “For a Few Dollars More: The Cost of Selling Yourself Short” (with Eric Peterson) “Head Hopping: Putting POV in Perspective,” and “Pitch Witches: What’s Your Book About?” & Pitch Witches: Query Letter Critique” (both with Marla Miller)
• ADVANCE SUBMISSION CRITIQUE: Fiction, nonfiction, memoir, short stories; first 10 pages double-spaced, cover letter

LAURA TAYLOR is an author and freelance editor, whose work has received endorsements from Pat Conroy, W.E.B. Griffin, and Stephen King. She is the recipient of numerous awards for her writing, including 6 Romantic Times Lifetime Achievement, Reviewer’s Choice, and Career Achievement Awards, 2 Maggie Awards from GRW/RWA, 2 Golden Heart Finalist Awards (RWA), an RWA RITA Finalist Award, and a Golden Rose Award from the Gold Coast Chapter of RWA. Having sold over a million books in print, an additional 550,000 digital editions have been downloaded by e-book readers. Her novels feature sassy, strong-willed heroines and determined alpha male heroes. Her romance e-books include: Desert Rose, Midnight Storm, Heartbreaker, More Than Friends, Fallen Angel, Wilder’s Woman, Warrior Series Boxed Set, Moment By Moment, The Christmas Gift, Anticipation, Seduction, Surrender, Sublime, and the Love at the Beach Boxed Set.

• SESSIONS: “Indie Excellence: Glocalization and the Key to Survival,” “Romance Writing: The Nuts and Bolts of the Fictional Happily-Ever-After” and Rogue Read & Critique (All-Genre)
• ADVANCE SUBMISSION CRITIQUE: Mainstream, historical and genre fiction, romance; first 10 pages double-spaced, cover letter

PATRICIA WILKINSON is a writing coach, freelance editor, novelist, and coauthor of Amazon bestselling and Readers’ Choice winner Brain Stages: How to Raise Smart, Confident Kids and Have Fun Doing It. A credentialed, mentor teacher of 23 years, Trish has helped numerous writers find their voices, hone their craft and move on to publication. Her clients include David Crow, whose memoir The Pale Face Lie: A True Story sold more than 100,000 copies, Captain Jack Molan (You Can’t Make This Stuff Up: My Thirty Years as Captain in the Bering Sea), Linda Berry (The Killing Woods), and Howard Shulman (Running from the Mirror: A Memoir).

• SESSIONS: “Reboot Your Brain” and Electrify Your Writing”  and “What ‘Show Don’t Tell’ Actually Means”
• ADVANCE SUBMISSION CRITIQUE:
  Adult and YA fiction; Memoir, narrative and practical nonfiction; nonfiction book proposals, first 10 pages double-spaced; cover letter

Workshops: Read & Critique

• All-Genre
• Commercial/Women’s/Memoir/Romance/Narrative
• Literary/Alternative/Narrative Nonfiction
• Mystery/Suspense/Thriller/Crime
• Paranormal/Horror/Transcendental
• Young Adult/New Adult<

Workshops: Craft & Execution

Avoiding Stereotypes, Cliches and the All-Too Common
Leader: Gayle Carline
Objective: Does your world-weary detective fight an uphill battle with his gruff police captain? Does your big-city young woman find true love when she moves back to her small hometown and opens a bakery? Maybe it’s time to think outside these boxes. This workshop will discuss the various ways to take the all-too common and make it special, crafting a unique story that will keep readers engaged.

Beyond Plot and Character: Who, How, Why
Leader: Jennifer Silva Redmond
Objective: While plot and character are vital to any narrative, this session delves into the often-overlooked elements that resonate with readers: point of view and tense. Uncover how choosing the right—or wrong—narrative perspective can profoundly affect a story’s impact. Should you write in first-person for intimacy or third-person for breadth? What happens when a limited viewpoint keeps readers guessing, or when an omniscient narrator reveals all? We’ll also examine the emotional distinction between present-tense and past-tense prose, learning how each can either heighten immediacy and tension, or offer reflective depth and nostalgia.

Crafting Voice in Young Adult Fiction
Leader: Kristi Fox
Objective: The first word. The first sentence. The first paragraph. It’s all about voice. The wished-for agent, the stern editor, and finally those faithful readers, are first drawn into your work through voice. It is what most separates one author from another. This is especially true in YA. But what exactly is voice? It’s not exactly style. Nor is it quite POV. We will explore voice through a close read of a variety of YA openings. Bring your own to share if you like. Writers of other genres are welcome, of course.

The End is Just the Beginning
Leader: Gayle Carline
Objective: If you don’t know where you’re going, you’ll never know when you arrive. Every writer has a different process for telling their story, but at some point, they need to know how it ends, and whether they’ve told the tale they intended. This workshop will discuss how to work toward a satisfying ending to your story, and what to look for in your manuscript to ensure it’s a tale told well.

Every Story is a Love Story
Leader: Ara Grigorian
Objective: Every story has an element of love, whether it’s a Romance (Outlander, Notting Hill), a story with a love interest sub-plot (Hunger Games), a buddy love (Jaws, Die Hard), or team love (Harry Potter, Avengers). In this session we’ll cover the various ways love is incorporated into all story types; how the theme of your story drives its heart and is tightly coupled with the lesson your main character(s) will learn during the journey; and explore how both structure and the associated story beats drive the love story.

From Whispers to Screams: The Art of Horror
Leader: KC Grifant
Objective: The horror has been growing in popularity, in part because it serves as a vital lens through which we can explore the complexities of human emotion, societal fears, and deep anxieties. Aside from shocking and entertaining, horror also provides a safe space for reflection and catharsis, as well as fosters empathy by prompting us to consider perspectives outside our own and consider the darker aspects of humanity. Learn how to write horror stories that don’t just shock and scare, but also make a meaningful and lasting impact to readers.

Front Story: Pouring the Foundation of a Powerful Tale
Leader: Ara Grigorian
Objective: Front Story is the foundation where the “A” story is fully fleshed out, the narrative elements keep the reader connected to the story, the main character, and her transformative journey. In this workshop you’ll learn what is expected (by an agent, editor, reader) and recommended when constructing your story’s Act I structure to better build beyond.

Getting Naked: Memoir Stripped Down
Leader: Cherie Kephart
Objective: Craft a memoir that is raw, real, and unforgettable. Through practical techniques and guided reflection, you’ll learn to embrace vulnerability, confront difficult memories, and write with fearless honesty that forges a powerful connection with your readers.

Genre Jumping: Beyond Plot and Character
Leader: Jonathan Maberry
Objective: Whether mystery, thriller, fantasy, science fiction, horror or romance, understanding the core promises unique to each genre is key to maneuvering successfully between them. In this session we’ll explore how to adapt style and narrative priorities accordingly to avoid misalignment that can break reader trust and expectations.

Head Hopping: Putting POV in Perspective
Leader: Jennifer Silva Redmond
Objective: Whether writing a novel or a memoir, you need to understand why your choice of Point of View matters, and how the right POV can help, or hurt, your story.

How to Craft a Strong & Believable Villain
Leader: Dennis Crosby
Objective: Villains have traditionally been depicted as the ultimate in evil—doing bad things for the sake of being bad. In recent years, writers have given villains some incredible backstories, making them much more complex, giving readers a chance to watch the journey from innocence to evil. This workshop explores this shift and provides tips on methods to add depth to villains to create believable tension and conflict between them and the hero.

Infusing Micro-Tension Into Your Story
Leader: Claudia Whitsitt
Objective: Micro-tension is achieved on a line-by-line basis. We will delve into not just “how” microtension works in a novel and memoir, but “how to” infuse the small, subtle changes that keep a reader engaged throughout your story.

Into the Deep: Description & Detail
Leader: Judy Reeves
Objective: One of the ways to move the reader from reading to experiencing your writing is through the effective use of description and detail. Not enough detail and you’re awash in a sea of generalities; too much description and you must slog your way through seaweed to get to shore. But the right details in the right place and vivid and lively description bring the writing to life and include the reader in the world of the story. This workshop will address the use of specificity in description, character, dialogue, and narrative, and focus on how to select and render the telling detail. We’ll take a look at that old chestnut: how to “show, don’t tell,” and when to telling is important. We’ll practice writing descriptions that move (motion pictures vs. studio portraits and painted landscapes) and the use sensory details to bring place and characters and the story alive.

Into the Deep: Scene
Leader: Judy Reeves
Objective: The difference between a ho-hum story and a page-turner is the writer’s ability to create dramatic, believable scenes. Scenes are what allow the reader to experience the action at the same time as the characters and to take the reader from outside the story to the interior of the conflict. In this workshop we’ll examine the elements that go into crafting successful scenes focusing on character, plot, and purpose, and we’ll discuss when to use scene and when to use summary, how to get from one to the other, the value of exposition and the power of emotion to keep the reader turning pages.

Into the Deep: Time
Leader: Judy Reeves
Objective: Story is tied to time in a way that is outside the time it takes to read it—a story that takes twenty minutes to read might happen in a period of a minute or twenty minutes, twenty days, twenty weeks, months, years… James Joyce Ulysses takes place in a single day — and the book is nearly 800 pages long. In this workshop, we’ll take a deep dive into the uses and effects of time in writing including how to use flashbacks and backstory while keeping the forward motion of the story. We’ll also discuss when to slow down and when to flash forward and when to take time leaps and the effective use of scene and summary.

Let’s Get Cozy (Fantasy)
Leader: Kristi Fox
Objective: One of the hottest new genres in the current market, Cozy Fantasy is quickly carving out its own niche and drawing in readers with stories that offer them a much needed escape. In this session, we’ll explore what elements make this genre so popular and how authors can embrace those aspects in their own writing.

Romance Writing: The Nuts and Bolts of the Fictional Happily-Ever-After
Leader: Laura Taylor
Objective: This workshop will provide an overview of the romance genre and its many sub-genres. We’ll start with this premise: everything that occurs in a romance novel revolves completely around the love story. Romance book sales constitute more than a billion dollars in profits globally each year for traditionally published, hybrid published and independently published books. It is one of the most viable and accessible fiction lanes a writer can opt to pursue, but … those writers must willingly and fully grasp the expectations of romance readers. If the writer fails to meet those expectations, readers will simply say, “Next.” Lots of information to share in this workshop, so don’t be shy. And, yes, romance writing can get a little sexy. Sky’s the limit!

Setting and Place Masterclass
Leader: Jackie Cangro
Objective: In this workshop, we will uncover the myriad ways to use these detail to make the story sing. We’ll discuss what a writer should make the setting a natural extension of the character how to choose the right descriptive details.

Soul Therapy: The Spiritual Side of Writing Memoir
Leader: Cherie Kephart
Objective: Writing a memoir is a journey beyond words. It’s a soulful experience. Enter the unwritten and learn about writing a memoir from a spiritual vantage point. It’s about relinquishing the power your story has over you. By learning to let go of the story that is holding you back, you can craft the story you were meant to tell. In this workshop, we will explore the fears that block us, the truth behind our intentions for writing our stories, how to discover the real message we are communicating to the world, what to focus on, what to let go of, and how this entire experience transforms us.

Story Beats: Your Story’s Pulse
Leader: Ara Grigorian
Objective: One tried-and-true method to becoming a better storyteller is to decompose and analyze favorite works (books, movies, etc.) like a surgeon until finding the inherent patterns that makes all stories flow. These internal patterns are story beats—the pulse of story. Story beats are the events, the decisions, or discoveries that alter the way our protagonist pursues her goal. This session will help you understand the core beats that all great stories share and apply them to your own.

Supporting Cast: Crafting Purposeful Secondary Characters
Leader: Claudia Whitsitt
Objective: The world in which a protagonist exists is often populated by a variety of characters, each with their own perceived life, or at least their own agenda, even if appearing in only one scene. We’ll explore the tricks of infusing secondary characters with meaningful purpose to bring main characters truly to life.

Turn the Page: Making Readers Keep Reading
Leader: Kristi Fox
Objective: You don’t have to write great, deep “literature” to earn a devoted readership. A simple story told simply well is often all it takes. Beyond craft (and editing), character, pacing, clarity and tension are key. In this workshop participants will leave with methods to keep readers turning pages, regardless of the genre.

Unlocking Your Inciting Incident
Leader: Jackie Cangro
Objective: The inciting incident is an important beat in a story that moves the protagonist toward a new course of action. It’s a gateway scene from the before to the after for the protagonist, from the what was to the what will be. We’ll debunk the myths about inciting incidents and review examples from published works. Then we’ll unpack recommendations for making a story’s inciting incident dynamic and compelling.

Voice: Finding Your Unmistakable Own
Leader: Claudia Whitsitt
Objective: How one lays out the plot is not “authorial voice.” Authorial voice is what distinguishes one writer from all others. Comprised of far more than simply sentences containing a subject, a verb, and main clause, voice is prose that speak singularly and almost always immediately to the stranger across a page. Voice pops to attention. In this workshop we’ll focus on how to recognize “voice,” and apply what tools are available to cultivate one uniquely your own.

What ‘Show Don’t Tell’ Actually Means
Leader: Trish Wilkinson
Objective: Demystify one of the most common pieces of writing advice: “Show, don’t tell.” Through discussion, examples, and exercises, participants will explore the difference between showing and telling as well as apply practical techniques to immerse readers in their stories and transform flat, expository prose into vivid, dynamic scenes.

Writing Good, Bad and Ugly Better
Leader: Kristi Fox
Objective: Calling all writers who want to write faster and freer. In this session, we’ll explore the power of fast writing, the liberation of no editing, and the inspiration found in focused sprinting sessions. Together, we’ll empower your creativity and kindle the spark that fuels your passion for writing. If you’re a plotter, bring your outline. If you’re a pantser, bring your ideas. And if you’re somewhere in between, bring whatever you’ve got. But most of all, come ready to write and bring your willingness to embrace imperfection and leave your inner editor behind. Let’s unlock the words within and set your stories free!

Workshops: Business & Alternative

Audio as Opportunity: Beyond the Book
Leader: Paddy Hirsch
Objective: The first stories were told and heard, rather than written and read. Instead of reading supplemental stories about characters, imagine being able to hear stories about them, through interviews, or third person accounts. Great for promotional material or specialist add-ons, learn how to write soundbites, edit your work, then score it with music and other aural elements to bolster audience engagement.

Battle Plan: Everything You Need to Know Before Going Indie
Leader: Gayle Carline
Objective: There are many reasons to go indie, but impatience is not a good one. Being an independently published author lets you make all the decisions and reap all the rewards — it also means you take all the risks. This workshop covers what it takes to publish your book independently. We will talk about the realities of the costs of both time and money, the pros and cons of various platforms, and the different mindsets an author must adopt in order to see their work released for public enjoyment.

Big Punch in a Little Package: Creating Short Stories that Sizzle and Sell
Leader: KC Grifant
Objective: Learn the benefits—and pitfalls—of flash and short story writing, including how to hone short stories to improve your novel writing and expand your reader base. Participants will learn how to create an irresistible hook, ways to make your story stand out from the slush pile, practical exercises to get started, and business tips to keep in mind when submitting your short stories.

For a Few Dollars More: The Cost of Selling Yourself Short
Leaders: Jennifer Silva Redmond & Eric Peterson
Objective: How much is too much to invest in your book. While there are countless valid reasons for investing in publishing your work–independently, or via hybrid press–many try to achieve excellence on a cut-rate budget. After publication, faced with poor reviews and sales, those authors find themselves wishing they’d spent more. In this session, author Eric Peterson and editor Jennifer Silva Redmond will address what is meant by money well spent.

How to Make the Most of the Conference
Leader: Janis Thomas
Objective: The vital relationships forged at any given SCWC often extend well beyond the close of any given conference weekend, ultimately resulting in many of our notable publishing success stories. In this interactive overview, learn how to navigate the schedule and best take advantage of opportunities over the conference weekend.

Indie Excellence: Glocalization and the Key to Survival
Leader: Laura Taylor
Objective: Despite today’s chaotic publishing world, authors have more opportunities than ever to reach readers and build sustainable careers. This workshop dives into the key aspects of digital publishing, helping indie authors navigate what prospects and challenges come with self-publishing. Whether a first-time self-publisher or an established writer looking to refine your strategy, this workshop offers actionable insights to help you thrive in the digital marketplac

Mastering the Art of Revision
Leader: Cherie Kephart
Objective: Revision can be one of the most creative, liberating parts of the writing process. In this dynamic workshop, we’ll move beyond fixing sentences and dive into re-seeing your work from fresh, bold perspectives that invite discovery rather than dread. Perfect for fiction and memoir writers alike.

Networking for Introverts
Leader: Dennis Crosby
Objective: From first to final draft, a writer works with a very select few individuals. All that changes as you near publication, and beyond. As a writer you now must market your work, and yourself. That’s a tough job. It can be even tougher when you’re an introvert. In this workshop you’ll learn your introvert type, and the natural abilities that come with that type. We’ll talk about how to use those hidden skills to grow your network and readership in a way that feels natural and comfortable. Extroverts welcome!

Reboot Your Brain and Electrify Your Writing
Leader: Patricia Wilkinson
Objective: You’ve blocked the time to write—but the words don’t come together the way you’d hoped. Whether you write fiction or nonfiction, in this workshop, you’ll discover what your brain needs for you to think at your best. Then you’ll try several quick activities and tailor your own “brain reboot” to refresh your mind and boost your thinking power for writing.

Unmasking Burnout and Imposter Syndrome: Helping Writers Restore Confidence and Flow
Leader: Dr. Janina Scarlet
Objective: This workshop offers supportive, science-informed tools, designed to help writers reconnect with their creativity. Through the presented evidence-based strategies, case studies, and practical applications you can begin using today, we’ll explore how burnout and imposter syndrome develop, and how to manage and overcome them. You are not alone in your experiences, and you deserve to thrive in your writing journey.

Audio as Opportunity: Beyond the Book
Leader: Paddy Hirsch
Objective: The first stories were told and heard, rather than written and read. Instead of reading supplemental stories about characters, imagine being able to hear stories about them, through interviews, or third person accounts. Great for promotional material or specialist add-ons, learn how to write soundbites, edit your work, then score it with music and other aural elements to bolster audience engagement.

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Frequently Asked Questions

• What should I bring to the conference?

  Definitely bring your manuscript, and do not hesitate to bring a work-in-progress. For many this is the only opportunity to receive authoritative feedback on a manuscript before sending it out to agents and editors. Our workshops are geared solely to help pinpoint possibly problematic issues of character, structure, and prose in order to facilitate your ability to market a commercially viable manuscript. As each conference we have an SCWC Topic writing contest (the Topic is announced Friday night), you should also have the ability to write during the weekend.

• What if I haven't written anything yet, and don't quite know where to start?

  You will. There are many workshops geared to writers just starting out– as well as those of every level.

• What awards are given at the SCWC?

  The conference recognizes notable accomplishments in Fiction, Non-Fiction, and Screen. These awards are given only when work is deserving of such recognition. Such work is discovered during Read & Critique Workshops and one-on-one consultation, and is determined through a consensus of the workshop leaders. We also bestow an SCWC Flash Fiction Award for the best piece, in any form, of 250 words or less based on the one word subject named Friday Night. Recipients are awarded Sunday. As a result of their being honored, several SCWC award-winners have had their recognized manuscript go on to publication.

• Is the SCWC Banquet a formal affair?

  While not quite formal, it is semi-formal, or at the very least “business casual.” Figure it as the one chance we have all weekend to shed our grubbies and look less like writers!

• Can I attend more than one workshop during a session?

  Yes. If you find that a particular workshop is not for you, or if you’d prefer to simply tap into another, you are encouraged to do so.

• How does a Read & Critique Workshop work?

  Each workshop is run according to the preference of its Leader. In Read & Critiques and Troubleshooting/Lecture/Q&A Workshops many allow the author to read his/her material, then selectively request feedback from members, while others address the work directly and move on to the next. One simple rule for workshop read & critique is that the author is not allowed to respond to the critique unless directly asked.

  The following Read & Critique Workshop Rules serve simply as a guide.  The workshop leaders ultimately run their workshops as they see fit.

  1.  Length of reading time limit to be set by workshop leader.
  2.  Critiques are done one person at a time, interruptions are not allowed.
  3.  Reader may respond to questions or comments only after critique.
  4.  Critiques will be directed only to work read, not critiques given by others.
  5.  Only the Art and Craft may be critiqued—not content.
  6.  “Pickies” (errors in grammar, usage, etc.) are written, not given orally.
  7.  No one may interject critique/comment until all others are finished.
  8.  Readers may not explain their work in advance, or defend it against critiques given. If explanation is necessary, chances are that the work needs more work.
  9.  Don’t “read and run.”  It’s rude.

• Can I arrange for more than one Advance Submission Critique?

  Yes. You can select as many readers for advance submission as you wish by paying an additional fee for each additional reader.

• If I'm planning to stay at the hotel, do I call the hotel to reserve a room?

  Yes. The hotel itself is the physical site of the conference. Discounted lodging rates are available to SCWC conferees. Be sure to mention the SCWC when booking to ensure you receive the discounted rate. Those planning to register for the conference with hotel lodging must do so by no later than the deadline indicated on the web site.

All About Advance Submissions

• What are advance submissions?

  The SCWC offers conferees optional Advance Submission Critique of manuscripts, followed by one-on-one consultation with our respective readers for an additional fee of $50 for each submission. If you are uncertain of who would be best for you, email Michael Steven Gregory or phone him at (619) 303-8185 for guidance.

• What is the deadline to submit pages?

  All Advance Submission Material must be received for the San Diego 40 conference by no later than December 12, 2025. Advance Manuscript Critique is available only to registered conferees. Appointment times for individual one-on-one consults will be made available at the Registration Desk upon check-in.

  You may register first then submit your material later, so long as material is received no later than the deadline. You may also submit material to more than one reader, accompanied by additional payment.

• Who are the advance submission readers?

  The readers for San Diego 40 are: to be announced (see the kind of work they accept for evaluation at the end of each workshop leader description above).

• How do I submit my material?

  First, be certain that the manuscript pages you’re submitting are the final version of the pages you want read. Do NOT send multiple, “updated” versions. There is no need to submit weeks before the deadline. Wait until you are absolutely certain the pages are ready, then:

  • • • Save your cover letter as a RTF, DOC or DOCX file.
      • Save your manuscript pages as a RTF, DOC or DOCX file.
      • Attach the saved RTF, DOC or DOCX files to an email addressed to MSG [at] WritersConference.com.
      • Enter “Advance Submission(s) from YOUR LAST NAME” in subject line.

  We will confirm receipt so you won’t have to fret.

• Who can submit manuscript pages prior to the conference?

  Advance submission of manuscript pages for evaluation prior to the conference, followed by one-on-one consultation with the reader(s) of your choice during the event is available only to registered conferees.

• What should be included in my submission?

  Unless otherwise noted, you may submit the first 10 pages of your manuscript, in standard professional submission format. A cover letter must also be included, but does not count as part of your total number of manuscript pages (check reader’s bio for exact number).

• Can I submit pages from the middle of my book?

  No. Regardless of how exceptional material may be later in the manuscript, no readers will ever discover it because of their inability to get beyond lackluster, problematic or downright sucky opening pages.

• What is the *proper format* for manuscript pages?

  As follows…

  • • • Times New Roman, 12 pt. font
      • Double-spaced print on one side of the paper
      • No double spaces between paragraphs (unless it’s a page break)
      • Single space only after periods
      • Header (TITLE/Your Last Name on left margin; then the page number (against right margin) starting w/page 2)
      • 1″ margin all the way around

• Should I include a cover letter?

  While not mandatory for advance submission feedback, a cover letter is recommended if for no other reason than to apprise the reader of what genre the pages s/he will be reading is and provide a thumbnail understanding about what the story is about.

  The last thing anybody wants is to submit a contemporary dark thriller, the execution of which leads the reader to believe is a comedic fantasy. (It’s happened!)

• Should I include a synopsis?

  No. A synopsis should be included only if a reader requests one.

• Is my cover letter and/or synopsis considered part of my page count?

  No. Cover letters and synopses do not figure into the count of your total number of first pages.

• Do you accept submissions via email?

  Yes. The COWC accepts advance submissions via email, preferably in DOC, DOCX, or RTF file format. Submissions should be sent as an attachment.

• Where do I email my advance submission?

  Email your submission(s) as an attachment to Michael (msg [at] WritersConference.com). Include “Advance Submission” in the subject line of your email. Be sure to include your email address on your cover letter.

• Can I mail hardcopy of my advance submission?

  While email is our preferred choice, you may also submit materials to our postal address: COWC, PO Box 433, Redmond, OR 97756.

• Can I place multiple submissions in one envelope?

  Yes. Including multiple submissions in one envelope is encouraged and will naturally reduce your cost of mailing submissions.

• What if I need help choosing a reader?

  If you need guidance choosing a reader, feel free to contact SCWC Executive Director Michael Steven Gregory via email or phone.

• What time will my one-on-one appointment(s) be?

  The bulk of advance submission appointments will take place on Saturday, with a few rare exceptions that are rolled into Sunday. You will receive appointment time(s) when checking in at the front desk to pick up your name badge and final schedule.