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3 Creative Writing courses The University of Sydney

THE World Ranking: 60

Graduate Certificate in Creative Writing

Graduate Certificates & Diplomas

Full Time - 6 months

Start date - 29 July 2024

Application deadline

25 June 2024

A$23,500.00 (US$ 15,352) per year

Graduate Diploma in Creative Writing

Full Time - 1 year

A$47,000.00 (US$ 30,704) per year

Master of Creative Writing

Masters Degrees

Full Time - 1.5 years

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Course results for Creative writing Short courses

Undergraduate | MAQ-ENGX1021

An Introduction to Creative Writing

• 22 Jul 2024

Undergraduate | CUR-CWG100

Creative Writing

• 27 May 2024 , 
• 25 Nov 2024

Undergraduate | CUR-PWP110

Introduction to Creative and Professional Writing

• 26 Aug 2024

Undergraduate | LTU-CRA1PWR

Professional Writing

• 29 Jul 2024

Undergraduate | CUR-CWG320

Travel Writing

Undergraduate | GRF-CWR111

Writing the Short Story

• 04 Nov 2024

Need help choosing a course?

Find a time that suits you for a free 1:1 consultation with a student advisor.

Undergraduate | CUR-CWG300

Writing for Children

Undergraduate | CUR-CWG210

Writing Short Fiction

Undergraduate | CUR-CWG310

Writing Long Fiction

Undergraduate | CUR-CWG240

Writing Genre Fiction

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Centre for Continuing Education, the University of Sydney ABN: 15 211 513 464 160 Missenden Rd Newtown, 2042 (02) 8627 6700 [email protected] Payment options: https://cce.sydney.edu.au/Make-a-Payment-CCE Terms and conditions: cce.sydney.edu.au/legal Date of issue:

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Writing the Real Course

Creative writing. express yourself with the written word..

This writing course offers you a rich immersion in creative nonfiction, practical tuition and instruction in composition and style, along with plenty of opportunities to write and be inspired. You’ll learn how to approach nonfiction with imagination, discipline and lyricism. The course explores the distinctions between fiction and nonfiction and the meanings of real and truthful. It encourages writers to understand nonfiction as literature and shows them how to employ imagination, discipline, creativity and lyricism in its composition, just as one would in fiction. Although a work of nonfiction can be every bit as literary in its distinction and design as a novel, nonfiction cleaves to the actual – something that places a heavy burden of truth-telling upon the writer and reorients imagination from invention to witness.

By the end of this course, you should be able to:

• discover the material in your life and world that calls you to write about it
• practise writing non-fiction prose in different genres – essay, memoir, feature journalism, blog, history, travel
• make of the life you lead, the thoughts you think, the places and things you know, works told as freshly and vividly as the best fiction
• grow good ideas and arrange life experiences into finished works of literary art
• apply time-honoured techniques and insights to take you writing from good to great and make it into a work that may touch and change others’ lives.
• Foundations
• Writing practice
• The literature of witness and attention
• The language of solid ground
• Nonfiction as literature
• Principles of writing well
• The elements of style
• Words and music
• The importance of place
• Form and structure
• Writing with your reader in mind
• Getting started
• Carrying on
• The ethics of nonfiction
• Editing and finishing
• Fourteen troublesome words and phrases

Intended audience

Suitable for anyone wanting to write well about the world we inhabit, the things we know - from family history to politics, from sport to philosophy, from self-help to biography and travel.

Deliver modes

• Face-to-face, presenter-taught workshop
• Online workshop via the platform Zoom

Delivery style

This workshop marries informally delivered pedagogy with inspirational ideas and practical tips from an experienced professional writer. It models great writing through a selection of fine readings across all genres; and it invites participants to write each week and receive tutelage and feedback from the facilitator and fellow participants.

Course notes are distributed electronically

Recommended reading

Dillon, B 2017, Essayism .

Gerard, P 2001, Writing Creative Nonfiction .

Gutkind, L 2007, The Best Creative Nonfiction .

Lopate, P 1995, The Art of the Personal Essay .

Miller, P 1994, Writing Your Life: A Journey of Discovery .

Tredinnick, M 2008, The Little Green Grammar Book .

Williford, L et al 2007, Touchstone Anthology of Contemporary Creative Nonfiction .

• Expert trainers
• Central locations
• Free, expert advice
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• CCE Statement of Completion

What others say.

I thoroughly enjoyed the course, it was really well structured and provided exactly what I was after – the chance to work with a small group to explore writing techniques and approaches whilst being supported to enhance my own.

This course provided me with some much needed motivation to write, with exposure to some fantastic non-fiction, and a new-found conviction that writing for any purpose can be engaging and full of humanity.

‘Writing the Real’ is highly recommended. Inspirational tutoring. Sensitive, constructive criticism of writing exercises. A joy!

This course was more enjoyable and useful than I could have imagined and I cannot praise the tutor too highly.

The tutor of this course is one of the most professional facilitators I’ve met – very helpful, caring and a person in the writing field that I have a great deal of respect for. A real asset to your organisation. I learnt a lot and got some great feedback and advice. This tutor helped create a safe environment where all participants in the class could share. Thanks for bringing people with a vested interest in writing together.

The presenter of this course is a generous teacher. He shares his love of writing with his students, and makes you think about each sentence construction.

Inspiring course that reawakened my passion for writing.

I signed up for the course with not much expecations. Right from the first lesson, I’ve been engaged and know I’ve made the right choice to attend.

Through inspiring and lively discussions and guidance the tutor unleashed the creative force within us. I have now found (almost) my own voice in writing and feel confident in writing about topics that I would not think possible before!

Creative Nonfiction Writing Course - Composition and style Learn how to approach nonfiction with imagination, discipline & lyricism in this creative nonfiction writing course. Face-to-face in Sydney. Enrol now.

Class schedule

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<p>This writing course offers you a rich immersion in creative nonfiction, practical tuition and

2024-05-02 Thu 2 May 2024 - 2024-05-23 Thu 23 May 2024

6pm - 9pm 6pm - 9pm (UTC+10:00)

4 sessions, 12 hours total

Mark Tredinnick

Thu 2 May 2024

6pm - 9pm (UTC+10:00)

Room 204 - Face-to-face (CCE Building, Newtown)

Thu 9 May 2024

Thu 16 May 2024

Thu 23 May 2024

If there isn't a class to suit your preferred time or delivery format, please JOIN the waiting list.

Featured facilitators

Mark Tredinnick, winner of the Montreal Poetry Prize (2011) and the Cardiff Poetry Prize (2012), is the author of The Blue Plateau, Fire Diary, and nine other acclaimed works of poetry and prose....

What others say

I thoroughly enjoyed the course, it was really well structured and provided exactly what I was after - the chance to work with a small group to explore writing techniques and approaches whilst being supported to enhance my own.

- Bridget Jackson

- Barbara Fisher

I learnt so much in this course, even though it was only four sessions. The teacher is brilliant - his insights, patience and encouragement made for a great learning experience and I'd have no issues recommending this class to anyone interested in improving their writing.

- Rachel Jones

Related courses

• Creative Writing Course: Masterclass
• Media Release Writing Course: Write and Promote a Press Release
• Memoir Writing Course
• The Poetry Workshop

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Search Utah State University:

Creative writing undergraduate course descriptions , engl 3420: introduction to fiction writing (waugh) .

This introduction to short story writing will help you see all the many things a story is besides what happens. Plot may be “the soul of a tragedy,” according to Aristotle, but it certainly won’t keep your readers if that’s all there is. We will examine why character matters, as well as imagery, description, setting, time, point of view, and sparkling prose, among many other things. By taking this course, you will learn to: 1) use a basic fiction writing vocabulary, 2) identify the core narratological concepts in a work of fiction, 3) recognize the sound and rhythm of good prose, 4) understand and employ various narrative modes and structures, and 5) participate fully and constructively in a workshop oriented class. In-person. Logan.

ENGL 3420 Introduction to Fiction Writing (Denetsosie-Mitchell)

This introduction to short story writing will draw upon natural patterns that exist within nature and help you apply those patterns to your fiction. The craft of writing should extend beyond the dramatic arc, where tension reaches a climax and then falls. Although many great stories have been written using this structure, it can feel stifling. By taking this course, you will experiment with form and nonlinear prose to explore the texture of narrative writing and consider how your story might meander, spiral, or explode. Using Jane Alison’s text, 'Meander, Spiral, Explode,' we will collectively identify new patterns and natural shapes within our stories to produce new narrative vessels that make our stories ring true. In-person. Logan.

ENGL 3420 Introduction to Fiction Writing (Olsen)

This is a fiction writing course that is accessible to beginning fiction writers and beneficial to writers who have had practical experience with fiction writing but minimal academic study in the field. The course is workshop-driven (meaning there will be extensive hands-on analysis of student work) but will also feature serious craft discussion and thorough readings of published material to help students better understand how to approach their own work. Students are encouraged to write in genres and styles that interest them. The course is structured as a hybrid with every-other-week in-class meetings that alternate with weeks where we discuss specific issues related to craft and contemporary fiction. Connect.

ENGL 3430 Introduction to Poetry Writing (Gunsberg)

This course is designed to help you become better writers and readers of poetry. To this end, we’ll discuss student work as well as poetry written by established authors. Our conversations will revolve around craft, which means we’ll explore those time-tested techniques that guide and strengthen poets’ efforts. This approach begins with close attention to the language that moves us and, moreover, careful consideration of why it moves us. Class discussion and careful reading of student work will be enhanced by your efforts to develop a critical/literary vocabulary, one that broadens your understanding of poetry and enlivens your responses to your classmates’ work. In person. Logan.

Eng 3430 Introduction to Poetry Writing: Poetry and Art: Building New Worlds (Grimmer)

In this workshop-based course, we will explore poetry’s role in articulating “better worlds” through a combination of classroom-based learning and experiential learning outside of the classroom. Our guiding questions include: 1. How does poetry interact with and create effects across different modes of art, including popular music and visual arts? 2. What are the relationships between language, bodies, and content across digital and analog forms of writing? 3. What are the sociopolitical effects of these relationships across racialized, gendered, and classed identity groups? This course will be a workshop-styled attempt to explore these questions by reading and experimenting with poetry in a variety of formats and in a variety of settings. Students can expect a combination of individual writing exercises, group-based arts projects, and experiential learning in local museums and cafes. Students will learn different craft techniques for playing with the effects of text-based poems; they will also experiment with translating those effects into audio and visual mediums. Students are expected to attend local readings, write outside the classroom in libraries, cafes, and museums, and practice navigating the dynamic between individual writing, digital content, and community-based arts. In person. Logan.

ENGL 3430 Introduction to Poetry Writing (Olsen)

Regardless of your previous experience or comfort level with poetry, this is a course that will help you find your way. By reading engaging contemporary poems and discussing techniques that will allow your writer's voice to emerge and shine, this class will use both discussion and workshop to help students improve. This is a hybrid course—that means we'll be meeting via Connect every other week and then engaging in poetry writing discussions over Canvas during weeks when we're not in class. There will be frequent workshops in which we will discuss student work and find ways to improve our work. Connect. 

ENGL 3440 Introduction to Creative Nonfiction Writing (Beck)

Nonfiction is the only genre that starts with an apology. It knows that you wished it were fiction and, sometimes, it does too. Because it starts with a stutter step—by defining itself by what it’s not—nonfiction is the most accepting of all genres. If you can follow nonfiction’s one rule, DMSU (don’t make stuff up) you can do whatever you want in the genre. English 3440 will be a mix of lectures and workshops that will focus on creating new nonfiction projects. Few parameters will be placed on the projects you will complete, but the class will emphasize narrative and personal writing. Project mediums will include traditional essays, podcasts and will be open to other experimentations. In person. Logan.

ENGL 3440 Introduction to Creative Nonfiction Writing (Engler)

You got something to say about the world? About your life? About Stranger Things, Beyoncé, or Neon Genesis Evangelion? Say goodbye to boring, dry, academic papers, and come join this workshop-style community where we experiment with the tools of nonfiction artist (like story, character, voice, and style) to learn the genre more popular than fiction. Whatever you might hope to say, this course will help you add layers of meaning and intrigue to find a compelling way to say it. In person. Logan.

ENGL 4420 Advanced Fiction Writing (Waugh)

The purpose of this advanced fiction writing course is to allow you to make the step from story dabbler to serious fiction writer, and to help you, as M.S. Bell says, “deploy unconsciously, intuitively, instinctively” the rudimentary skills you learned in the introductory course. The readings of our own work will be the basis for our workshop discussions, which means you must read the work in advance and come to class prepared with notes to help you give thoughtful, constructive criticism. We will also read exemplary texts to help us better understand what creates good writing, to train ourselves always to read as a writer, and to find how a particular word or sentence contributes to the overall effect. Similarly, we’ll cultivate a writer’s approach to life, the goal being to become what Henry James called, “one of the people on whom nothing is lost.” In person. Logan.

ENGL 4430 Advanced Poetry Writing: Advanced Multimodal Poetry: Building New Worlds (Grimmer)

In this workshop-based course, we will practice techniques for “building better worlds” through poetry and related multimedia arts. Our approach will combine in-class writing workshops with experiential learning outside of the classroom. Our guiding questions include: 1. How can we create poems that can create varied effects across multiple modes of art, including popular music and visual arts? 2. How can our poems help us navigate the relationships between language, bodies, and content across digital and analog forms of writing? 3. What do our own, our colleagues, and contemporary poems in general teach us about the sociopolitical effects of these relationships across racialized, gendered, and classed identity groups? This course will be a workshop-styled attempt to explore these questions by reading and experimenting with poetry in a variety of formats. Students can expect a combination of individual writing exercises, group-based arts projects, and experiential learning in local museums and cafes. Students will learn different craft techniques for playing with the effects of text-based poems; they will also experiment with translating those effects into audio and visual mediums. Students are expected to attend local readings, write outside the classroom in libraries, cafes, and museums, and practice navigating the dynamic between individual writing, digital content, and community-based arts. As an advanced course, students must receive and provide weekly feedback in writing workshops. In person. Logan.

ENGL 4440 Advanced Creative Nonfiction (Wells)

Michel de Montaigne says, “Every man has within himself the entire human condition.” By fairly and accurately investigating the larger meaning of a personal experience, a nonfiction writer can speak to the universal. The nonfiction writer is, therefore, tasked with honesty in their pursuit of discovery and greater knowledge. Often, we hear this described as a pact formed with the reader. However, we also know that memory can be fallible. David Lazar asserts that “Nonfiction blends fact and artifice in an attempt to arrive at truth, or truths.” Calling on memory for meaning may, at times, involve some imagination. So, then, where do the boundaries (if there are any) lie between fiction and nonfiction? What obligation does the nonfiction writer have to the reader? How does structure and form contribute to this discussion?

Advanced Creative Nonfiction builds off of the introductory course, which focuses on memoir and personal essay, to examine varied essay forms. We’ll examine craft techniques in order to deepen our understanding of form and structure. Together, we’ll look closely at braided, lyric, and flash essays to develop and hone our craft, while evaluating our own assumptions regarding writing strategies, memory, and fact along the way. Students will engage in writing exercises and workshops, with a focus on revision strategies to produce a final portfolio of innovative and polished essays. In person. Logan.

ENG 5450 Special Topics in Creative Writing: Mixtures and Margins: An Introduction to Multimodal Composition (Gunsberg)

How do contemporary writers use digital technology to adapt their poems, stories, and essays to a diverse and rapidly changing media textscape? English 5450 investigates this question by exploring different media forms, including alphanumeric writing, film, music, electronic literature, visual art, performances, and installations. Students will have opportunities to create new media texts that combine audio, visual, and interactive elements, such as printed poems that also occur as audio files or videos in conversation with print-based texts. We’ll discuss theories and historical antecedents of contemporary multimodal work before tackling three major assignments: 1) a multimodal adaptation of alphanumeric writing, 2) a digital media project, and 3) a performance or installation. Your efforts on these assignments will be supported by readings, experiments, and class visits from writers who steer their work in many exciting directions. In person. Logan.

Creative writing

Make innovative contributions to contemporary literature

Creative writing at UNSW School of the Arts & Media will empower you to produce innovative contributions to contemporary literature. You’ll explore fresh, experimental writing across genres in fiction, poetry, creative nonfiction and ficto-criticism.

Your study in creative writing will balance literary study and creative practice, with a grounding in the development of new literary techniques, forms and genres throughout history. You’ll be taught by award-winning writers with internationally recognised expertise in teaching and creative writing. Through your study, you’ll achieve a thorough understanding of the critical and social contexts in which your work circulates.

Prepare yourself for a career in the creative arts

As part of UNSW School of the Arts & Media, you’ll analyse links between writing and other forms of art and media through elective courses in film studies, theatre and performance and media and communications. Learning to write creatively and effectively will allow you to apply these skills in various creative industries such as public relations, copywriting, social media and scriptwriting.

Learn from national leaders in research

You'll be taught by award-winning academics, scholars and writers in an innovative, creative and stimulating environment. We support a strong research culture, and our school is benchmarked with the highest global rating of 5 by Excellence Research in Australia (ERA). Our staff have received the Vice-Chancellor's and Dean's Award for Excellence in Postgraduate Research Supervision.

Connect with the wider literary community

UNSWriting runs a series of masterclasses and “in conversation” events with visiting local and international authors. These events enable students to connect with the wider literary community. UNSWriting cultivates ideas and good writing, giving you the chance to experience special events, workshops and public talks with professionals in the field.

Our network of writers, publishers and students gives you valuable industry connections, which will support your future career path – wherever that may lead.

Write for our student-run publication

The  UNSWeetened Literary Journal  is an annual publication run by students at Arc. It provides a voice for students, showcasing the university's creative writing talent and features poetry and prose from both undergraduate and postgraduate students.

Quick links

The undergraduate major includes core courses in creative writing with a range of prescribed electives in English literary studies, media and communications, film studies and theatre and performance. During your study, you’ll produce your own body of creative work by developing practical skills in the craft of writing, and by learning how this craft relates to the history of literary forms.

At UNSW, you'll hone your practical knowledge of creative writing through participation in group workshops. You'll come to view yourself as a participant in the public life of literature and to understand the political and ethical dimensions of the aesthetic choices you’ll make as a writer.

We offer the below undergraduate courses with a major or minor in Creative writing: 

• Bachelor of Arts 
• Bachelor of Arts/Law
• Bachelor of Advanced Science (Honours)/Arts
• Bachelor of Commerce/Arts 
• Bachelor of Computer Science/Arts
• Bachelor of Economics/Arts
• Bachelor of Engineering (Honours)/Arts
• Bachelor of Environmental Management/Arts
• Bachelor of Fine Arts/Arts
• Bachelor of Media / Arts
• Bachelor of Medical Studies/Doctor of Medicine/Arts
• Bachelor of Science/Arts
• Bachelor of Science (Advanced Mathematics)(Honours)/Arts
• Bachelor of Social Work (Honours)/Arts

We offer the below undergraduate courses with a minor only in Creative writing: 

• Bachelor of Arts/Education (Secondary)
• Bachelor of Design
• Bachelor of Fine Arts
• Bachelor of Media
• Bachelor of Social Sciences

You’ll have the option to continue your studies into an honours year. Working closely with a supervisor, you’ll produce a thesis comprising of two complementary parts: a creative work and a scholarly essay. The honours degree provides a basis for further study at the postgraduate research level.

The PhD in creating writing supports students to produce a full-length creative work in any genre (novel, collection of poetry, short fiction, nonfiction, biography, ficto-criticism, etc.) and an accompanying scholarly dissertation of at least 30,000 words.

This original work will explore the flexible connection between the creative and the critical. Previous PhD students in creative writing include prize-winning and best-selling authors: Charlotte Wood and Anna Westbrook.

You can find more information on the variety of scholarships on offer at UNSW.

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Short Form Creative Writing

Course Level Undergraduate

Course information

Area/Catalogue COMM 2058

Offered Externally Yes

Note: This offering may or may not be scheduled in every study period. Please refer to the timetable for further details.

Course ID 100397

Unit Value 4.5

University-wide elective course Yes

Course owner UniSA Creative

To enable students to critically discuss a range of fiction and poetry texts and to practice reading and writing diverse styles, subjects and techniques.

Course content

Students will build on skills gained from first year to read, research, write, and edit fiction and poetry texts and prepare material for publication. Students will be mentored so they are able to integrate effectively into the local and national writing scene and establish contact with the structures operating in the field, such as the Writers’ Centre, local presses, Arts SA, Australia Council and other organisations. By doing so, students will have the opportunity for future professional development after graduation.

Textbook(s)

Prerequisite(s), corequisite(s), teaching method.

Note: These components may or may not be scheduled in every study period. Please refer to the timetable for further details.

EFTSL*: 0.125 Commonwealth Supported program (Band 1) To determine the fee for this course as part of a Commonwealth Supported program, go to: How to determine your Commonwealth Supported course fee. (Opens new window)

Fee-paying program for domestic and international students International students and students undertaking this course as part of a postgraduate fee paying program must refer to the relevant program home page to determine the cost for undertaking this course.

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Degrees this course is offered in

• MBAA Bachelor of Arts (Creative Writing and Literature)
• MBJC Bachelor of Journalism and Professional Writing, Bachelor of Arts (Creative Writing and Literature)

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Major in Creative Writing

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Related majors

Journalism and non-fiction writing, media, culture and communications, browse all majors.

• Undergraduate Programs

Creative Writing

Learn to express yourself creatively with the written word and craft new ideas and new worlds that inform, inspire, and entertain.

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Why Study Creative Writing?

As a creative writing major at USD, you will learn the craft of writing in multiple genres through a hands-on, action-based approach that builds writerly skills in reading, craft and technique, and creative process. Our faculty members–all published writers–challenge students to experiment and take chances, to learn from the critiques of their classmates and professors, and embrace the process of revision. At USD, you can explore writing classes in fiction, poetry, creative nonfiction, screenwriting, and publishing. You also have opportunities to read your work at public events, publish your work, participate in the editing of a student-run magazine, and help manage an independent literary press. Our students graduate with marketable skills in professional writing, editing, marketing, and teaching. Many pursue graduate work.

As a creative writing major at USD, develop real world professional skills while also learning the art of writing.

Degrees & Offerings

English: creative writing specialization (b.a., b.s.).

A creative writing specialization allows an English major to extend the tradition of strong and imaginative creative storytellers, poets and creative nonfiction writers who have honed their skills at USD. Our faculty include novelists, poets, creative nonfiction and short-story writers and a South Dakota Poet Laureate. Students work in small, intimate classes on their own creative work while also gaining a firm grounding in literature and literary criticism.

A minor in creative writing allows you to combine your imaginative interests in writing with your primary major area. This minor pairs well with any Arts and Sciences majors allowing students to work with published writers to develop literary craft and artistic skills across a wide range of genres including poetry, drama, fiction, and creative nonfiction.

Program Details

Undergraduate

College of Arts & Sciences

Student Opportunities

• Editorial and Professional Opportunities
• Writing Center 
• Clubs and Organizations
• Gasque Study in Britain Scholarship

The Department of English offers opportunities for undergraduate students to participate in the operation of two periodicals and a literary press. South Dakota Review , a quarterly journal, publishes both creative and critical work for a national audience. Undergraduate students may assist English graduate students and faculty in the editorial and circulation duties associated with this publication.

The Vermillion Literary Project holds open-mic reading events, an annual writers festival and produces an annual anthology of local fiction, poetry and artwork entitled the Red Coyote. Undergraduate students participate in all of the group's activities. Astrophil Press produces award-winning books of literary fiction, nonfiction and poetry. Undergraduate students may help graduate students and faculty in management of this influential independent publishing enterprise.

Students who excel at writing can become a paid peer writing consultant at USD's Writing Center, which offers help in all areas of writing for USD students. Writing consultants receive training to assist students with any task that includes writing, including essays, reports, theses, short stories, resumes and cover letters. Working as a writing consultant gives you experience as a critical reader, proofreader and editor--all skills that will serve you in a future career.

Academic Support and Resources

USD is home to more than 170 student organizations, including several that are housed in the Department of English. For example, you may be interested in joining Vermillion Literary Project to make friends, develop new skills and explore your interests. Also, Alpha Mu Phi is USD's local chapter of the Sigma Tau Delta international English Honor Society. Students inducted into our chapter hold flash fiction contests, sponsor a little free library in the Vermillion community and present research and creative work at the national Sigma Tau Delta conference.

Get Involved

Thomas and Alice Gasque Study-in-Britain Scholarship 

English students interested in traveling abroad are encouraged to apply for the the Gasque Study-in-Britain Scholarship. This scholarship is awarded to a USD undergraduate with a grade point average of 3.2 or higher, with special preference given to English majors, for the purpose of studying in Great Britain.

Departments & Facilities

Investigate and gain insight into how we understand ourselves and communicate through stories, poetry and other narratives. Cultivate your ability to read and write and think about complex issues with the Department of English.

Faculty & Staff

Darlene Farabee

Duncan Barlow

Prentiss Clark

John Dudley

Paul Formisano

Kenneth Green

Benjamin Hagen

Julie Kelderman

Kevin Magee

Cheyenne Marco

Leah McCormack

Martin McGoey

Joseph Raiche

Lisa Ann Robertson

Michelle Gannon

Lee Roripaugh

Skip Willman

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