online
online

Writing a YA Novel

w/ Shivaun Plozza, Bec Kavanagh and guests

YA fiction is amongst the bestselling genres in Australia, read avidly by teenagers and adults alike—but how do you start writing for this highly engaged community of readers? In this special course, you will carefully study YA’s complex set of rules and conventions, while working towards completing a full first draft of your manuscript.

Wednesdays 6.30pm – 8.30pm (AEDT/AEST), 26 February – 24 September 2025

$3900/ $3315 (alumni)


Young Adult (YA) fiction is an introduction into the world of reading and flights of imagination, and is many readers’ first true love. Writing YA novels, however, can be daunting. How do you write for a teen audience while retaining an authentic, believable voice? This course will lead you through the key tenets of writing for young adults.

Across 22 sessions, you will be taught by industry experts Shivaun Plozza and Bec Kavanagh, who will guide you through the ins and outs of YA writing. Writing a novel for young adults might look simple on paper, given that YA is often shorter than adult fiction, so the distance to travel may look more achievable. However, YA fiction is just as complex as adult fiction when it comes to developing themes and characters.

Working in a small group and using extracts from a range of successful contemporary novels, you will explore the themes and concepts of YA—including character, setting, world-building, structure and form—and will learn how to apply these insights to your own writing through a range of practical exercises. By the end of the course, you will have a solid story plan and will be working towards a completed first draft of your own YA novel. You will also develop the necessary skills to tackle revisions and pitching.

Presented by Australia’s leading independent publishing house, Writing a YA Novel is a targeted program specifically designed to help you find the focus you need to stay the distance and finish your manuscript draft throughout the year. During this time, your Course Directors will provide you with:

  • Feedback on ~10,000 words of your work-in-progress, delivered through a mixture of whole-class workshops, and 2 x personalised individual one-on-one consultations.
  • Regular online classes covering everything from research, narrative structure and style.
  • The ability to connect with fellow committed novelists, building a close-knit community of trusted readers.
  • The opportunity to establish valuable industry connections with key insiders from the Australian publishing industry. There is no better way to get on the road to publication than to meet the people who know how to make that happen.

In addition to dedicated course work, students who are submission-ready upon the completion of Writing a Novel will have the opportunity submit to the Faber Writing Anthology, a showcase of student work sent out to leading literary agents and publishers in both Australia and the United Kingdom, and launched at a bespoke industry party.


Writers you'll be working with:

Shivaun Plozza

Shivaun Plozza’s critically acclaimed debut novel, Frankie, was nominated to ALA’s Best Fiction for Young Adults List, highly commended at the Victorian Premier’s Literary Awards, shortlisted for the CBCA Book of the Year Awards, and won the Davitt Award for best YA crime novel. Her second novel, Tin Heart, was nominated to ALA’s Best Fiction…

Bec Kavanagh

Bec Kavanagh is a PhD candidate at La Trobe University. Her research explores the homogenisation of the adolescent female body in coming of age narratives. Bec is a recognised expert in youth literature and has worked extensively in feminist literary spaces. She was the inaugural chair of #LoveOzYA and currently manages the Schools Program at…

Course outline

This course consists of 22 x evening sessions, Wednesdays, 6.30 – 8.30pm (AEST), and 2 x 30 minute one-on-one sessions for each student with Bec and Shivaun to take place outside course hours as well as regular in-class workshopping.

Session 1: February 26 Shivaun and Bec
Introduction: Meet your tutors and solidify your intentions for the course.

Session 2: March 5 Shivaun (with guest writer Lili Wilkinson TBC)
Story, structure, plot: What makes a story ‘YA’? How do plot, structure and story work together? How do you determine the best framework for your novel? How do you maintain an intensity and momentum that will engage a YA reader?  

Session 3: March 12 Bec
Beginnings, middles and ends: How do you hook a reader from the first line and sustain their interest through the novel? What note will your novel end on? How do you know when to walk away?

Session 4: March 19 Shivaun
Point of view and voice: How do you choose a POV and tense to tell your story? How do you create an authentic and engaging narrative voice?

Session 5: March 26 Bec + Guest
Theme, imagery and symbolism: What is your story about? What is it really about? And how can you create powerful images that bring these themes to life using sensory detail?

Session 6: April 2 Shivaun
Characters: Who is at the heart of your novel and why? How do they drive the story? How do you bring characters to life? How do you construct a character’s emotional arc?

Session 7: April 9 Bec
Place and setting: Where is your story set? How do you create a setting that is active, not passive, and that interacts with plot and character? What does your setting reveal about the characters?

COURSE BREAK

Session 8: April 30 Bec
Workshop Intensive 1: Here we’ll split into smaller groups for intensive workshopping.

Session 9: May 7 Bec + Guest
Genre and world-building: What is the hero’s journey, and how does it apply (or not) to contemporary YA? What are some of the conventions of particular genres within YA, and what are the conventions of YA as its own genre?

Session 10: May 14 Shivaun + Guest
Dialogue: How does dialogue impact plot and character? How does everyday speech differ from dialogue? Tips for crafting character-specific and authentic dialogue.

Session 11: May 21 Shivaun
Scene and Summary: What is the difference between scene and summary? What roles do they each play in effectively communicating a story? How do you choose when to use one or the other?

Session 12: May 28 Bec
Backstory, time-shifts and narrative time: We’ll explore how to handle the shifting of time in your story, as well as when and how to effectively utilise backstory.

COURSE BREAK

Session 13: July 23 Shivaun
Workshop Intensive 2: Here we’ll split into smaller groups for intensive workshopping.

Session 14: July 30 Bec
Language and detail: How do you create and sustain a distinct narrative voice? What impact do your word choices have on the way your reader encounters your story? How do we make our sentences perform double duty?

Session 15: August 6 Shivaun
Structural Editing: Structural editing focuses on refining your story’s ‘big picture’ elements, such as characterisation, plotting/pacing and themes. We’ll go over the key stages of a structural edit and apply a ‘big picture’ analysis to your story.

Session 16: August 13 Bec
Close editing: Here we’ll look at the nuts and bolts of editing, making sure we know what red flags to look for at sentence level, and learning some tips and tricks to whip a manuscript into shape.

Session 17: August 20 – Shivaun
Editing Intensive: We’ll dive deeply into everything we’ve learned about editing to undertake a series of intensive drafting activities designed to draw out the best of your story.

Session 18: August 27 – Shivaun
Synopsis, cover letters and more:

Here we’ll look at everything you need to create to submit your manuscript to publishers or agents, including plenty of tips and tricks for crafting the most enticing submissions.

Session 19: September 3 – Bec
Pitching and Pubic Speaking: What’s your elevator pitch? We’ll be talking industry and sales and putting together (and practicing) a compelling pitch to get readers and publishers interested!

Session 20: September 10 – Shivaun + Agent Guest
Agent Q & A

Session 21: September 17 – Bec + Publisher Guest
Publisher Q & A

Session 22: September 24 – Bec and Shivaun
The wrap up: After revisiting your intentions and celebrating your successes, we’ll discuss where to next, set new goals for the future and discuss the current market landscape for YA.

The exact course content could be adjusted according to the experience and concerns of the group and availability of guest writers. 

Praise for this course

“It’s hard to fault any aspect of this course.”

“…I rocked up to this course with only the whiff of an idea…I am ending the course with roughly 50,000 words and a much better outlook on where things are heading.”

“I had a great time, met a bunch of lovely people and am incredibly grateful to Bec and Shivaun.”

How to Apply

To apply for Writing a YA Novel, we ask that students submit:

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

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. 

What happens if I am accepted?

If you are accepted into Writing a YA Novel Online, you will be sent an email inviting you to take your place in the course from the Faber Writing Academy at Allen & Unwin team. In order to secure your spot, you will be asked to pay a deposit of $390 / $331.50 (alumni). The deposit will count as your first monthly instalment. Students may choose to pay the full course fee or settle the remainder at any point.

Please contact us if you wish to discuss further payment plan options via email faberwritingacademy@allenandunwin.com or phone (02) 8425 0171.