creative nonfiction module 9 writing a draft

Course Syllabus

Foundations of Creative Nonfiction

Creative nonfiction has become one of the fastest-growing genres in the literary and publishing community. It encompasses forms from memoir and personal essay to literary journalism, travel writing, and hybrid forms like the lyric essay, as well as many others. In this course, participants will get to experience working in a few of these subgenres by writing three essays of approximately 2,500 words. Each of the weekly lectures and readings will focus on a particular issue relevant to writing creative nonfiction, like how to go about conducting research, how to find and select subjects to write about, and how to use the scene building elements of craft to create memorable essays. There will also be optional writing assignments leading up to these larger assignments.

How it works:

Each week provides:

• written lectures and a selection of readings
• discussions of assigned readings and other general writing topics with peers and the instructor

Some weeks also include:

• writing exercises and prompts
• opportunities to submit a full-length essay for instructor and/or peer review (up to 2,500 words and typically in weeks 3, 6, and 9)
• optional video conferences that are open to all students in Week 2 (and which will be available afterward as a recording for those who cannot participate)

Aside from the live conference, there is no need to be online at any particular time of day. To create a better classroom experience for all, you are expected to participate weekly in class discussions to receive instructor feedback on your work.

Week 1: An Overview of Creative Nonfiction

During this introductory week, the lecture and readings will take a broad look at the various genres and subgenres in creative nonfiction. We’ll discuss the tactics writers use to pull us in as readers and we’ll look at what distinctively marks them as creative nonfiction. Because sometimes we know what to write about but other times we may need a jumpstart, the optional writing exercise will focus on techniques for launching a topic and for further developing our ideas in depth.

Week 2: Voice and Authenticity

Having the right voice (or voices) for your subject can harness commitment and understanding from your reader. This week we’ll explore the role voice plays in creative nonfiction. Can we ever really write in an authentic voice? Through a writing exercise, we’ll learn how to draw on our own experiences to individualize our voice. We’ll also discuss how to find the “right” narrative voice for our subjects.

Week 3: Particulars of Scene 

How do we weave together storytelling strategies like description, dialogue, anecdote, character development, and a strong authorial presence to engage the reader in a new world? This week will focus on the building blocks of creative nonfiction. Participants will learn how to create effective scenes that make characters come alive on the page, when to use dialogue and description to dramatize crucial moments, and how to gracefully include backstory without overwhelming the narrative. Participants will submit their first full-length essay (up to 2,500 words) by the end of the week.

Week 4: The Role of Research

This week we’ll talk about the importance of incorporating outside voices in our work, mainly those from research, and how these voices can affirm, support, challenge, and judge our own. The lecture will focus in depth on the ways to gather research—from mining our own memories and utilizing discussions from our friends and family to gathering information online or from public resources. We’ll learn how to use this research seamlessly in our work without sounding pedantic and while still maintaining the authorial voice. With the optional writing exercise, participants will learn how they can broaden the scope of their stories, shifting their work from the personal to the universal.

Week 5: Participatory Journalism

Immersing oneself, firsthand, in a life experience is one of the best research tools for creative nonfiction writers to use. This genre of writing, known as “immersion writing” or participatory journalism, was pioneered by writers like George Plimpton and Hunter S. Thompson. Recent practitioners of the form include Barbara Ehrenreich and A.J. Jacobs. This week we’ll follow in their footsteps and discover ways in which we can immerse ourselves in new experiences and opportunities for our writing—from taking up a new class or hobby to going “undercover” to following a particular subculture.

Week 6: Writing About Other People

This week’s focus will be on the ways we can accurately and honestly portray the subjects we write about. We’ll go over strategies for interviewing people that will let us into familiar worlds through new avenues, and we’ll discuss the legalities of writing about real people. Through this week’s lecture and the readings, we’ll see how writers use description and dialogue, as well as making sure to work in a pertinent backstory, to create individualized portraits.

Week 7: Writing About Place

Sometimes the “main character” in an essay can be a landscape—whether it is a new place we’ve visited, a place like our own hometown that we know very well, or a place we’ve merely passed through once. This week the lecture will focus on the role place can have in our writing, and, through the readings, we’ll examine the ways in which a writer’s presence can still be felt, whether up close or from afar, through the use of sensory details to make the reader feel the writer’s experience. We’ll combine our own memories with here-and-now observation to fully capture a particular place. Participants will submit their second full-length essay (up to 2,500 words).

Week 8: Polemics

Through writers like James Baldwin, David Foster Wallace, and Joan Didion, we’ll look at the polemic or opinion essay, a form that allows writers to construct and share an argument based on evidence, facts, and reason. We’ll discuss the role narrative tone can play in these essays and how to use rhetorical appeals to persuade our audience.

Week 9: Credibility and Fact-Checking

What is our obligation to the people we are writing about? Creative nonfiction writers often walk a thin line between being creative and truthful. This week’s lecture will focus on issues relating to truth, accuracy, and fact-checking in writing creative nonfiction. We’ll discuss the boundary between ethical and artistic clarity to consider whether emotional truth supersedes factual truth. At the end of the week, participants will turn in their third full-length essay (up to 2,500 words).

Week 10: Structure and Form 

A writer must have a repertoire of forms to draw from in shaping their work and so this week will have an emphasis on structure—what are the different ways writers can organize their ideas, images, and facts on the page, and how do these various structures affect how we understand the genre? For our final week, we’ll look at the interplay between form and content, and the readings will focus on writers who’ve pushed the conventions of narrative form.

e-Modules | Senior High School | Applied Subjects

English for academic.

Module 1 - Nature of Academic texts

Module 2 - Text Structure

Module 3 - Summarizing Techniques

Module 4 - Thesis Statement

Module 5 - Outlining a Reading Text

Module 6 - Critical Approaches

Module 7 - Writing Critique

Module 8 - Concept

Module 9 - Concept Papers

Module 10 - Presenting a Concept through Visuals/Graphic Aids

Module 1 - Position Paper (Arguments in Manifestoes)

Module 2 - Position Paper (Arguments and Factual Evidences)

Module 3 - Writing a Position Paper

Module 4 - Objectives and Structures of Various Kinds of Reports

Module 5 - Designing a Survey Questionnaire

Module 6 - Conducting Surveys, Experiments and Observations

Module 7 - Gathering Information from Survey, Experiment, and Observation

Module 8 - Summarizing Findings and Executing Reports

Module 9 - Writing Reports

Practical Research 2

Module 1 - Characteristics, Strengths, Weaknesses, and Kinds of Quantitative Research

Module 2 - Importance of Quantitive Research Across Fields

Module 3 - Kinds of Variables and Their Uses

Module 4 - Research Used in Daily Life

Module 5 - Research Title

Module 6 - Background of Research

Module 7 - Quantitive Research Questions

Module 8 - Scope and Delimitation of Study

Module 9 - Statement of the Problem

Module 10 - Formulation of Conceptual Framework

Module 11 - Research Hypothesis

Module 12 - Terms Used in Study

Module 13 - Research Hypothesis

Module 1 - Quantitative Research Design

Module 2 - Sampling Procedure and Sample

Module 3 - Quantitative Research Instrument

Module 4 - Intervention

Module 5 - Data Collection Procedure

Module 6 - Data Analysis Using Statistics and Hypothesis Testing

Module 7 - Research Methodology

Module 8 - Data Using Appropriate Instruments

Module 9 - Presentation and Interpretation of Data

Module 10 - Statistical Techniques

Module 11 - Logical Conclusions from Research Findings

Module 12 - Formulating Recommendations

HUMSS - Creative Nonfiction

Module 1 - Theme and Techniques in a Text

Module 2 - Literary Elements

Module 3 - Factual or Nonfictional Elements in a Text

Module 4 - Writing a Draft of a Short Piece

Module 5 - Evaluating Other’s Draft of a Short Piece

Module 6 - Revising a Draft of a Short Piece

Module 1 - Types and Forms of Creative Non Fiction

Module 2 - Mini Critique Based on Qualities Concerning Form and Content

Module 3 - Writing a Draft Based on Memorable Experience

Module 4 - Revising the Draft of a Well-Written Creative Nonfiction

HUMSS - Community Engagement Solidarity and Citizenship

Module 1 - Community Actions Initiatives

Module 2 - Strategies of Empowerment and Advocacy of a Community Actions Initiatives

Module 3 - Core Values, Principles, Methodologies and Approaches of Community Action Initiatives

Module 4 - Community Action and Participatory Approaches

Module 5 - Community Action Plan

HUMSS - Filipino (Malikhaing Pagsulat)

Module 1 - Pagtukoy sa Kahulugan at Kabuluhan ng mga Konseptong Pangwika

Module 2 - Pag-uugnay ng mga Ideya mula sa Karanasan sa Binasa

Module 3 - Paggamit ng Wika sa Pag-udyok ng Emosyonal at Intelektuwal na Tugon mula sa Mambabasa

Module 4 - Paggamit ng Imahen, Diksiyon, Tayutay at mga Karanasan sa Pagbuo ng Akda

Module 5 - Pagtukoy sa Iba’t ibang Elemento, Teknik, at Kagamitang Pampanitikan sa Panulaan

Entrepreneurship

Module 1 - Relevance of the Course

Module 2 - Explore Job Opportunities for Entrepreneurship as a Career

Module 3 - Recognize the Potential Market

Module 4 - Part 1 - Screen the Proposed Solution Based on Vialbility, Profitability, and Customer Requirements

Module 4 - Part 2 - Screen the Proposed Solution Based on Vialbility, Profitability, and Customer Requirements

Module 5 - Select the Best Product or Service That Will meet the Market Need

Module 6 - The Marketing Mix

ABM - Organization and Management

Module 1 - Nature and Concept of Management

Module 2 - Functions, Roles, and Skills of a Manager

Module 3 - The Firm and Its Environement

Module 4 - Forms of Business Organization

Module 5 - Nature, Levels of Planning and Types of Plans

Module 6 - Planning Techniques and Tools in Business Decision Making

Module 7 - Organizing

ABM - Principles of Marketing

Module 1 - Marketing Principles and Strategies

Module 2 - Customer Relationship

Module 3 - Strategic Planning and Marketing Process

Module 4 - The Market Environment

Module 5 - Marketing Research

Module 6 - Consumer Behavior

Filipino (Piling Larang-Akademik)

Module 1 - Pagbibigay Kahulugan sa Akeademikong Pagsulat

Module 2 - Akademikong Sulatin ayon sa Layunin, Gamit, Katangian at Anyo

Module 3 - Panimulang Pananaliksik sa Kahulugan, Kalikasan, Katangian at Anyo ng mga Salitang Akademiko

Module 4 - Pagsulat ng Akademikong Sulatin

Module 5 - Estilo at Teknikal na Pangangailangan ng Akademikong Sulatin

Module 6 - Pagsulat at Pagbigkas ng Talumpati

Module 7 - Pagsulat ng Katitikan ng Pulong Tungo sa Epektibong Pagbuo ng Sintesis

Module 8 - Pagtukoy sa Katangian ng Akademikong Sulatin

Module 9 - Pagbibigay Kahulugan sa mga Terminong Akademiko sa Piniling Sulatin

Filipino (Piling Larang-Sining at Disenyo)

Module 1 - Pagbibigay ng Kahulugan sa mga Anyo ng Sulatin sa Sining at Disenyo

Module 2 - Pagkilala sa Iba't ibang Anyo ng Sulatin sa Sining at Disenyo

Module 3 - Pagpapaliwanag sa Kahulugan ng Pinapakinggang Fliptop, Novelty Songs, Pick-up lines at iba pa

Module 4 - Panimulang Pananaliksik sa Kahulugan, Kalikasan, at Katangian ng Iba't ibang Sulatin sa Sining at Disenyo

Filipino (Piling Larang-Isports)

Module 1 - Pagbibigay Kahulugan sa Sulating Pang-isports

Module 2 - Pagkilala sa Iba't ibang Sulating Pang-isports

Module 3 - Pagsasagawa ng Panimilang Pananaliksik Kaugnay sa Kahulugan, Kalikasan, Katangian at Anyo ng Sulating Pang-isports

Module 4 - Pagibibgay Kahulugan sa mga Terminong Pang-isports

Filipino (Piling Larang-Teknikal-Bokasyonal)

Module 1 - Pagbibigay Kahulugan sa Teknikal at Bokasyonal na Sulatin

Module 2 - Pagkilala sa Iba't ibang Teknikal-Bokasyonal na Sulatin

Module 3 - Panimulang Pananaliksik sa Iba't ibang Anyo ng Sulating Teknikal-Bokasyonal

Module 4 - Hakbang sa Panimulang Pananaliksik sa Sulating Teknikal-Bokasyonal

Business Mathematics

Module 1 - Fractions, Decimals and Percentage

Module 2 - Solving Problems Involving Fractions, Decimals and Percentage

Module 3 - Ratio and Proportion

Module 4 - Solving Problems Involving Direct Inverse and Partitive Proportions

Module 5 - Buying and Selling Mark-on, Mark-down and Mark-up

Module 6 - Gross Margin Applied in Sales Trade Discounts

Module 7 - Profit or Loss Break-even Point

Module 8 - Interest as Applied to Mortage, Amortization, and/or Service/Utilities and/ or Deposits and Loans

Writing Creative Nonfiction

For emerging nonfiction writers ready to leap in and get serious, this course begins with a focus on the creative essay and builds towards core competencies essential for embarking on a nonfiction book project. We will take your writing from the planning stage, through chapter by chapter drafting, to sketching out a detailed proposal for a publisher to consider.

Tuesdays 6:30pm-8:30pm (AEDT/AEST), 20 February – 17 September 2024

$3750 / $3187.50 alumni

Across the span of nine months, award-winning author Rebecca Giggs will lead you through the process of writing engaging and authentic nonfiction: coming up with a promising concept; planning your research, from interviewing and deep reading through to immersive adventures; crafting memorable scenes and unforgettable stories; and rewriting (and rewriting, and rewriting) your drafts, until your words do justice to the world they describe.

The first seven weeks of the course are dedicated to examining essay-length creative nonfiction: shorter works that demonstrate the defining features of the genre, personal voice and narrative. Participants next have the opportunity to offer and receive feedback on chapter or essay drafts, with their peers and instructor, in a series of facilitated workshops. A module specifically dedicated to Life Writing follows, taught by Fiona Wright.

Nonfiction can, in many cases, be sold to a publisher off the strength of a book proposal and a set of sample chapters. With this in mind, and building on the foundational skills of writing nonfiction – concept proofing, research and reporting, genre conventions, understanding personal connection to material, structure and form – the concluding module of the program is designed to give you dedicated space to begin building a compelling and captivating book proposal. In this practical program you will be taught the essentials of putting together a solid working document to show to agents and publishers as a ‘proof of concept.’ You will develop a clear understanding of how your manuscript might fit in the marketplace, why you are the only one who could write it, and who its readers will be.

With an international reading list, and guest speakers from around Australia who are experts in creative nonfiction, this program will connect you with the industry and help you think about your work with your ideal readers in mind. Using a combination of targeted writing exercises, group discussion and focused feedback sessions, this course will be centred on your own writing, with the aim of ending the course heading towards a substantial first draft of a portion of your manuscript, and the basis for a compelling proposal to present to potential agents and publishers.

Students who complete Writing Creative Nonfiction will have their work featured in a special nonfiction edition of our highly sought-after Faber Writing Anthology, a professionally edited and printed showcase of student work, sent to leading literary agents and publishers across both Australia and the United Kingdom.

Your course includes:

• Publication in the Faber Writing Anthology.
• A complimentary copy of a recent A&U publication.
• On completion of the course, alumni discounts on future Faber Writing Academy courses and books from the Allen & Unwin website.

Rebecca Giggs

Rebecca Giggs is an author from Perth, Australia. Her work has appeared in The Atlantic, Emergence, the New York Times Magazine, Granta, and in anthologies including Best Australian Essays, and Best Australian Science Writing. Rebecca’s nonfiction focuses on how people feel towards animals in a time of technological and ecological change. Rebecca’s debut book Fathoms: The…

Fiona Wright

Fiona Wright is a writer, editor and critic. Her book of essays Small Acts of Disappearance won the 2016 Kibble Award and was shortlisted for the 2016 Stella Prize. Her poetry collections are Knuckled and Domestic Interior, and her most recent essay collection is The World Was Whole.

In 2024 Writing Creative Nonfiction consists of:

• 16 x evening Tuesday evening sessions (6:30pm-8:30pm AEDT/AEST), inclusive of a 4-week Workshop Series.
• An additional module of 3 x Tuesday evening sessions   (6:30pm-8:30pm AEST) offered by Fiona Wright and focused on Life Writing and Memoir.
• An hour-long one-on-one conversation with your Course Director.
• 1 x workshopping session with the Editor-in-Residence in preparation for the Faber Writing Anthology.

Session 1: Tuesday 20 February   This introductory session begins a conversation about narrative and voice in the telling of true stories, topics we will revisit several times across the months to come. Get to know your instructor and your peers, and start to outline the motivations behind your project. In the week that follows after class you’ll be asked to visit either a library or a bookstore to make some preliminary inquiries about the different genres of Creative Nonfiction.

Session 2: Tuesday 27 February Establishing a routine: note-taking, planning and organising your research. From the outset of the course we aim to help you set achievable writing goals and stick to them. Our focus this week is journaling—or, better put, the pre-drafting phase. We talk about different approaches to journal-keeping and look at examples, including digital tools. A journal can serve many purposes: as a place to trial different voices or literary techniques; a space in which to skim off unhelpful self-criticism, or reflect on your writing hopes and dreams.

Session 3: Tuesday 5 March Creative Nonfiction is an omnivorous kind of writing, ranging through high and low culture, borrowing from scholarly research techniques but giving equal regard to the stuff of the everyday: to anecdote, the body, emotions, our local environments. We return to a subject we began exploring in the first session: Voice. Voice, in this case, as an act of creative orchestration and self-characterisation.

Session 4: Tuesday 12 March Unlike a novel, in factual literature we cannot enter into the minds of other people and grant the reader access to their unspoken thoughts and feelings. But we still need to bring real people to life on the page. This takes some doing! We’ll talk about using dialogue, gestures, context, and telling-detail to render real-life people as fascinating characters. And we’ll begin to consider, more broadly, how this topic fits into researching a piece of Creative Nonfiction. In the second part of class we hone in on opening (lede) paragraphs. What makes a good beginning? How do we entice our reader, and give them some sense of what is at stake in the story we want to tell?

Session 5: Tuesday 19 March Guest speaker: The first of our invited guests, today we’ll hear from a published author of Creative Nonfiction. You will have the chance to ask questions after a short Q&A between the guest and your instructor. More information will be provided in the weeks ahead of this special event.

Session 6: Tuesday 26 March We turn to look at research more squarely in this class: what counts as research in Creative Nonfiction; how to make research come to you; when do you know you’ve done enough research to begin writing; how to integrate research seamlessly into passages of exposition, or in-scene (look out for the perilous ‘info-dump’!); plus, how thinking about your reader can help you narrow down your research tasks. Then we’ll take a closer look at interview technique specifically, one of the main skills of the Creative Nonfiction writer. We’ll talk about how to set up an interview, how to note-take during the conversation, and what potential pitfalls to avoid: you’ll have the chance to practice in a paired in-class exercise.

Session 7: Tuesday 2 April In this session we make space to consider structural matters head on. How does content bear upon structure? Are there commonplace structures in Creative Nonfiction we might take advantage of? Might we make use of subheadings, specific objects, or repeating motifs to help guide our reader through our material? What of ‘momentum’ and pacing, spotlit moments of insight? We’ll take a close look at these questions, and conclude the class with time to think about endings: how to wrap up, and what moves we can make in the final paragraph.

Course Break:  over this six-week break you will advance your writing independently with a view to bringing a completed draft to the peer-workshop series that follows. In the workshop you will have the opportunity to receive constructive feedback from your peers and your instructor, and to offer comments on the work of others.

Session 8: Tuesday 14 May We begin this session with a check-in to see how we’ve all fared over the break. Then, with guidance, we move into the first of our Workshops.

Session 9:   Tuesday 21 May The second session in our Workshop series, we will take the time to give feedback to several writers in the group. In the latter part of this class your instructor will speak about different approaches to rewriting, self-editing, and folding in the commentary of others.

Session 10: Tuesday 28 May Our third Workshop session. Your instructor will also offer thoughts on the qualities of good description, and balancing the conceptual/abstract language of big ideas with sensory imagery and specific detail.

Session 11: Tuesday 4 June  Our forth and final Workshop session. At the conclusion of this class we will discuss how to approach the second course-break, a further period of six weeks in which to dedicate ourselves to advancing our projects.

Session 12: Life Writing and Memoir Module: Tuesday 11 June This session begins a special module dedicated to Life Writing and Memoir offered by Fiona Wright. Go deeper to explore the possibilities of Life Writing, one of the most dynamic areas of nonfiction publishing today. In this module you’ll have the opportunity to reflect on comedic and confessional writing, writing about the body, social history seen through a personal lens, and a more experimental field of ‘autofiction’—writing that questions the boundary between fiction and nonfiction, typically by creating an alter ego with which to examine the writer’s own life experiences.

Session 13: Life Writing and Memoir Module: Tuesday 18 June 

Session 14: Life Writing and Memoir Module: Tuesday 25 June 

COURSE BREAK: with a specific goal in mind, tailored to your own writing project, you will dedicate this time to extending your Creative Nonfiction writing practice.

One on one sessions Week commencing 5 August (time-slots assigned over Monday, Tuesday and Wednesday afternoon and evening).  During this week you will have an opportunity to schedule a one-hour-long conversation with your instructor. Having trouble making progress, or at an impasse with a specific problem in your draft? Fear not! This conversation can either be geared around getting feedback on a short piece of writing, or questions you have about conceptualising, researching and structuring your overall project.

Session 15: Tuesday 13 August  Guest speaker: The third of our invited guests, today we’ll hear from an agent or publishing-industry professional. You will have the chance to ask questions after a Q&A between the guest and your instructor, aimed at learning more about the commercial contexts of Creative Nonfiction in Australia. How do nonfiction books get commissioned, bought and sold? What do I need to know about querying an agent? Are there trends in contemporary Creative Nonfiction I ought to be aware of? More information will be provided in the weeks ahead of this special event.

Session 16: Tuesday 20 August  Book-length Creative Nonfiction and the Book Proposal. Today we consider the process of pitching longer Creative Nonfiction to a publisher. In doing so we’ll return to subjects that are familiar to us: establishing a personal connection to your material, and outlining several ‘driving questions’ that will sustain a piece of writing across many chapters. In preparing for this class you will read the opening chapters of a number of Creative Nonfiction books to see a demonstration of how different authors have tackled the challenges of (1) making the book subject appear to be distinctly  their subject; and (2) setting up interesting questions to be pursued. These are crucial elements to include in a book synopsis, the first section of any Book Proposal.

Session 17: Tuesday 27 August  This week we will continue reading the opening chapters of Creative Nonfiction books, again to see how book projects have been conceptualised by their authors. We’ll also talk about how book-structure is dealt with in the context of a Book Proposal, as well as how to research and write about your market, promotional opportunities, and comparative titles.

Session 18: Tuesday 3 September This Session is given over to a mini-workshop focused on a one-page book synopsis or overview. In small groups we will provide feedback on drafts of these documents, with book-conceptualisation top of mind.

Session 19: Tuesday 10 September The first part of this concluding session will address writing your ‘Bio’, a very short piece of writing that appears in Book Proposals (and often in pitches of shorter work to magazine editors too) profiling your expertise, achievements, training, previous publications, and writing interests. How best to showcase your abilities, achievements and the potential readership linked to your profile as an author? Finally, we wrap up with where to from here ?

Session 20: Faber Writing Anthology Module: Tuesday 17 September After the completion of the core course content, students will engage in an editing workshop with Editor-in-Residence Ellen O’Brien as they prepare to submit to the Faber Writing Anthology. Ellen will work with students on their extracts, tackling both structural edits and line edits, and approaches to self-editing. Students will then go on to work on copy-editing their pieces with Ellen ready for publication.

“I think the course was a fantastic blend of creative and publishing-savvy input from Rebecca Giggs. I also gained much from wonderful and sensitive contributions of other course participants, through class discussions and workshopping.”

“Rebecca was brilliant as a teacher and course/content deliverer and was able to make the group feel relaxed and at ease while also providing generous and helpful feedback.”

“The one on one workshops with Rebecca were really fantastic – Rebecca gave her all to them.”

How to Apply

In the first instance, you will need to submit:

• An  online application  answering several questions asked by our  Writing Creative Nonfiction tutor
• An attachment with a sample of up to 1,000 words of prose

We will ask if you would like to be considered for a scholarship position, or if you wish to be considered for a paid placement. Enter your application here . The selective process ensures that all applicants are applying for the course best suited to their needs and allows the tutor to determine your readiness for the course.

Deadline for applications for scholarship and first round offers is Friday 1 December 2023.

Questions about the course or the application process? Contact us via email  [email protected]  or phone (02) 8425 0171.