Course Information

This writing course has payment option. Click the ‘Enrol Now’ link to view the payment options.

Prerequisite: Novel & Script Second Draft course.

Elizabeth Farrelly, Author and Senior Journalist
“For me, this course is where it’s really at. Getting at last to the coalface, the actual word-by-word writing of the thing has allowed me to connect with the character and the story in a way that I had found difficult to this point. I think I have learned to trust the narrative thread and not feel the need to control it constantly.”
Elizabeth Farrelly, Author and Senior Journalist

Writing Your Third Draft

While you will refine your structure in this course, the focus is very much on the writing and making each scene as good as it can be.

This is the most challenging yet exciting part of the whole writing process as readers respond to your work in an increasingly positive way.

Part 1 – Working on the craft

This is where you use the tools, course materials and feedback from your tutor to write your chapters in a way that will engage your readers and keep them turning the page, wanting to know what happens next.

You will learn how to bring your characters and your story world alive so that you engage readers emotionally, drawing them into your fictional world and keeping them there.

You submit writing every month and will receive detailed feedback from your tutor and fellow writers.

Part 2 – Writing ahead

Write ahead without going back and revising. This keeps the story alive in your imagination and creates a satisfying body of work to work on.

We recommend you write at least one to three chapters ahead per month using the templates provided and receive structural guidance to make sure your story is on track.

By the end of the course, aim to have the bulk of your story written in draft form.

This has been my favourite course. I have loved focusing on the writing and the detail that needed to be fleshed out from Drafts One and Two. And I now see how important it was to get the structure in place before embarking on the Third Draft. I have learnt so much about the actual craft of writing in this course. The first lesson was about point of view and it has stuck with me ever since. That and other tools such as having a clear dramatic question have made a huge difference to my writing. And I felt that everyone in the class, after applying the tools and techniques, had a strong story worthy of being published. Kylie Keogh – journalist and media manager

Course Outcomes

During the course you will:

  • Clarify the spine of each chapter before re-writing and editing. To have your writing work on the page for your reader, you need to first be clear about your characters’ motivation and have a sound structure.
  • Learn tools and techniques, including advanced templates, processes and checklists, to re-write and edit your story. This will shape your writing in a way that connects your readers emotionally with you characters and story and has them wanting to turn the page to know what will happen next.
  • Receive detailed, critical feedback on your writing and do extensive re-writing and editing to make every scene work. Having fresh eyes, including experienced tutors, review your work, is critical to your progress as a writer. It will improve the quality of your writing, taking it to a whole new level.
  • Have your writing flowing logically and dramatically so everything makes sense and your story feels authentic.
  • Find your voice and see your writing, story and characters come alive on the page.
  • Have the bulk of your story written in rough draft form.
I can't emphasis strongly enough how important this is, writing leads to writing, that failed attempts lead to eventual success, that the solution of writing problems is made up of all the attempts that lead nowhere. The trouble is that when you're just beginning to write, you may believe that words committed to paper are sacred, fixed immutable. But you're not dealing with a finished, printed, copyrighted book, only with an idea, a pile of words that change shape many times before they take shape as a book. Dorothy Bryant, Author - Writing a Novel

Re-Writing and Editing

While you will refine your structure, the focus is very much on the writing and making each scene as good as it can be.

While learning these new tools and techniques can be challenging initially, most writers find this the most inspiring, rewarding and satisfying part of the process as they witness their writing coming alive on the page.

“Whether you make it or don’t make it is in the re-write,” says Michael Connelly, who has over 80 million books in print.

“The art of writing is the art of re-writing. Success depends on attitude and patience as you take it one step at a time. So much of writing is about re-writing, I never get it right the first few times. I’m of the school that it’s in the re-writes that the story is born. It’s a refiner’s craft. As territorial as we are, it is important to be challenged.” Tina Howe, Pulitzer Prize-winning playwright

“Most writers spend too much time looking at the big picture and not enough time down in the mines doing the nitty-gritty of the scene work. If you can master this skill of the scene you will be well ahead of the game.” Matt Bird – The Secrets of Story

How the Live Course in Sydney Works

Before the first session you will be required to write your first 600 words, find the opening of one novel that you love, write your section summaries for TP 1 to TP 2 and answer some review questions.

Before the rest of the sessions, you will send a 1,500 word document to you tutor and, in the live course, your fellow group members. They will read and analyse your work and give you detailed feedback in class.

By the end of each session you’ll have lots of suggestions to work with. This will give you a clear idea of what works, what doesn’t and what needs to be done to make your story the best it can be.

You’ll be amazed at how much your story and writing improves during the course. One of the big differences between an amateur and a professional writer is knowing what to cut out.

While doing the rewriting and editing, you will write ahead without revising building a significant body of written work.

Penny Robinson, author and executive producer of RPA
"I have emerged from being a dreamer to being a writer. This course has made that possible because it has given me the tools and the courage to give it a go. This has been an incredibly valuable (and sometimes confronting) experience. I think we all discovered what an almighty process this is."
Penny Robinson, author and executive producer of RPA

Course Dates

Dates – 16 November, 2019 – 20 September, 2020 Course

Workshop 1 & Session 1: Saturday 16 November – this will be a full day workshop from 11am to 6pm.

The rest of the sessions are half day workshops. Please note day and times:

Session 2: Saturday 8 February – 2pm to 6pm

Session 3: SUNDAY 15 March – 12pm to 4pm

Session 4: SUNDAY 19 April – 12pm to 4pm

Session 5: Saturday 23 May – 2pm to 6pm

Session 6: Saturday 20 June – 2pm to 6pm

Session 7: Saturday 18 July – 2pm to 6pm
2 months before submission

Session 8: SUNDAY 20 September – 2pm to 6.30pm & Dinner on us


Interested in signing up for the Third Draft – Novel & Script course?
Third Draft – Novel & Script - Sydney

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