Read more about Too Many Dragons or Never Enough? Contemplating the Familiar in MG/YA Fantasy
Making an intentional choice between first and third person, past and present, omniscient or limited narrators can elevate your novel. This panel offers tips on making the best choice for you.
Read more about POV: You’re Choosing a Tense and Perspective
Read more about When Clank! Clank! Meets Pew! Pew!: Combining Fantasy and Sci-Fi Elements
A dive into the realm of fierce and angry heroines with a panel of SFF authors as they dissect the portrayal of anger in female characters. Unravel stereotypes, explore empowerment, and uncover the power of anger in shaping unforgettable female protagonists in SFF literature.
Read more about Fury Unleashed: Exploring Angry Girls in SFF
Video games are the most lucrative entertainment industry sector, with 65% of the US population playing regularly. What can SFF authors writing in non-game mediums — novelists, writers of short stories, novellas and novelettes, etc. — learn from gaming? What do video games teach us about world-building? How is video game storytelling the ultimate example of “show, don’t tell,” and what techniques can writers extract from it to use in a non-visual medium? How do video games create compelling characters with a spare minimum of dialogue/description, and how can we as authors learn to do the same? While our readers may not be able to control our stories as directly as players in a game, what can we learn from gaming to create the same feeling of first-person urgency through deep POV? What video game titles in particular do panelists feel have the most to teach us as SFF authors?
This panel explores what makes a great magic system, how to weave magic systems into the plot and setting, and how to introduce the system without heavy exposition.
Read more about Worldbuilding in Motion: How Screenwriters Develop SFF Worlds for Films and Shows
With poetry now accepted as SFWA qualifying work, let’s spend some time examining what speculative poetry is — how does it differ from non-genre poetry? are there rules and conventions? what markets are out there, and how does poetry publication differ from short fiction or novels?