Petra Sully
Writing a Speculative Fiction Novel
The publishing industry is an exclusive community behind a big, old, rusted gate. Only a select few have the knowledge to gain passage, and prior to being selected for the Faber Writing Academy scholarship to Writing a Speculative Fiction Novel, I did not have the wisdom to enter. Before the course, I had won a couple of emerging writing competitions and published a story. Along the way, my rejections became less automated and more personal… ‘we enjoyed your story, but it isn’t a right fit for us’ (sound familiar?). But no matter how many workshops and critique groups I attended, I could not get an answer on what I needed to improve to be the right fit; I had reached a creative plateau. Enter Jenny Breukelaar, my very own Brigid, goddess of poetry and smithcraft (or in Jenny’s case, speculative fiction). With patience and kindness, Jenny showed me how to forge my very own key to those rusty publishing gates! Combining personalised group feedback with focused lectures, Jenny made the principles of craft, genre conventions, and the mechanics of language both clear and accessible.
Not only, did I get to learn from an accomplished and approachable writer like Jenny, but also to work alongside nine other talented writers. Previously, I’ve done other writing programs with a mix of skill levels. But, because Faber Writing Academy has a written entry requirement, the bar was set higher. Being immersed in the content, amongst talented writers, encouraged me to grow whilst also making friends who share the genre passion.
Faber Writing Academy has shown me that to write a novel is to walk a crooked path. It is a process requiring the daily discipline of showing up to the page, alongside practising kindness, asking questions and reflecting. Having completed the course, I now know I am good enough to write and publish a novel. As I continue to turn up to the page daily, I allow myself space for all the lessons from the course to bubble up in the crucible that forges my novel. Those gates had better brace themselves; ten of us are coming!
Maria Dudko
Writing a Creative Nonfiction Book
Taking part in Writing a Creative Nonfiction Book with the incredible Ingrid Horrocks was one of the best choices I made—not only for my writing, but also for my mental health.
I came to the Faber Writing Academy with a manuscript I thought was more or less finished. At the same time, I knew it wasn’t the best it could be, and I couldn’t pinpoint why. Ingrid’s vast knowledge, immense warmth, and unwavering support completely transformed the way I approached my writing. She gave me the tools and confidence to tackle what wasn’t working and to feel excited about sitting down at my laptop again. After each session, I left with something new: a breakthrough, a new angle on my work, or a set of questions I needed to answer. I rewrote my manuscript completely—and, more importantly, purposefully—making conscious decisions instead of fumbling around in the dark.
Equally important was the opportunity to work alongside the talented writers in my cohort and be invited into their creative processes. Our critique sessions helped me focus on writing instead of all the self-doubt and loneliness that come with it. I can’t imagine a better way to write a book.
Beyond the creative work, the course also gave me the opportunity to meet professionals from the publishing industry. Each guest offered candid, thoughtful insights into what goes on behind the scenes of writing and publishing. This kind of access is really hard to come by, and I now feel much more confident navigating the ins and outs of the industry—from finding an agent to working with an editor and pitching my project.
Writing a Creative Nonfiction Book equipped me with skills I’ll use every time I sit down to write. It’s made me a better reader and writer, and I’m incredibly grateful to have been part of it.
Suri Matondkar
Writing a Novel (Daytime) Melbourne
The Writing a Novel course has been a truly excellent experience. For a fairly long course it’s nicely broken up into little bite-sized lessons, so you don’t feel overwhelmed by the sheer volume of information. And having the chance to read and think about other writers’ works during workshopping helps you get out of your head and dip your toes in that sparkly creative energy every week, even when you’re sometimes in a creative rut of your own. It’s wonderful to have that space and time, and to be surrounded by people who are all dreaming the same kind of dream with the same intensity.
When I started this course, I thought I had a firm idea of where my project would go, but after spending some time reading, listening and writing within this course, I found a whole new direction that feels a lot more exciting than where I initially started out. A lot of that is down to Luke being a fantastic teacher. We had a large group and yet he somehow managed to give us all individual attention and kept up with all our projects. It’s really lovely to chat to your teacher and have them be both enthusiastic and involved. Luke is supportive of everyone’s writing but also offers gentle guidance and asks the kind of questions that help you find the gaps in your work and see things from new angles. That sort of one-on-one attention is almost impossible to find within larger writing groups, but Luke made us all feel it. His kindness and generosity with his own experience and the way he truly wants us all to create the best version of our projects are probably the things that make this course as wonderful as it is. Luke also ensured we interacted with a lot of interesting speakers which really helps you see how authors are approaching their own projects – and how there really is no one ‘right’ way to create. It gives you the courage to experiment yourself and try to find what works for you.
I’m still experimenting but the encouragement from this class has made the process fun and enjoyable again and not the scary, stressful mess it was when I first started.
Steffanie Von Helle
Writing a Novel (Daytime) Sydney
Writing is famously solitary, but the Faber Writing Academy Scholarship gave me a way to step outside my own introspective (and sometimes self-critical) habits and into a community that sharpened my clarity and purpose. Eleanor’s teaching helped me articulate the qualities I admire in other writers — including my incredibly talented peers — and to recognise the literary techniques that genuinely belong in my own register.
Workshopping others’ novels was especially transformative. Watching my peers’ stories unfold allowed me to return to my own pages with a more objective eye. Giving and receiving feedback can be challenging — sometimes temporarily disheartening — but when a comment hits a nerve, you know it’s pointing to where the real work lies. It was equally rewarding to help unblock another writer with a well-placed suggestion, and those exchanges became an essential part of my writing life.
Exposure to industry professionals was invaluable. One conversation in particular helped me realise that what I considered my unique selling point might actually obscure the novel’s strengths from a market perspective. That insight didn’t diminish my attachment to the story; it offered new ways to frame it and a clearer rationale for the choices I make on the page.
I recently submitted work for the Faber Anthology — a rare opportunity to be seen and taken seriously by agents and publishers across Australia and the UK. It also helped me develop a sustainable writing practice with discipline, momentum and real accountability — to myself and my new writing community.
Most importantly, Writing a Novel with Eleanor Limprecht helped me recognise and trust my instincts, shape them with intention, and I leave with a stronger sense of who I am on the page, and with work I’m proud to send into the world.
Fern Nicholls
Writing a Novel Online
Participating in Faber Writing Academy’s Writing a Novel program has been invaluable for my writing, and this is true across all aspects of craft, discipline and industry. The course’s content is comprehensive and immersive, thoughtfully covering the life-cycle of a novel from drafting and editing to preparing a submission for publication. It has answered questions I didn’t know I had, and my confidence in my writing project is incalculably better for that.
Kirsten Tranter is an incredibly skilled teacher and course facilitator. Every session offered a blend of theory, class participation and industry insights, which gave unparalleled depth to these lessons. Kirsten is warm, generous and attentive, and it has been a privilege to learn from her.
The small-group setting and regular workshops delivered a level of personalisation unlike anything I have experienced in other learning environments. Writing is often a solitary exercise, and it has been so affirming and refreshing to share work with other writers. These workshops foster such a supportive, constructive ecosystem of feedback, and I have taken so much from these conversations. I am so grateful to have connected with such a brilliant, inspiring community of fellow writers, who have become much-valued friends.
It is difficult to summarise what receiving a Faber Writing Academy scholarship has meant – and continues to mean – to me as an emerging writer. It has fortified my motivation to write, deepened my love for the craft, and breathed new life into this project. I am immensely grateful to have received this opportunity and for all the opportunities it continues to create.
Scholarship & Early Bird applications are currently open, closing 31 May.
Find out more about each course:
Writing a Speculative Fiction Novel
Writing a Creative Nonfiction Book
Writing a Novel in:
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