Non award bearing | Institute of Continuing Education (ICE)

Type ref:

Course code:

2526NOE120

Start date:

Monday, 18 May, 2026 - 01:00 to Sunday, 5 July, 2026 - 01:00

Apply by:

Monday, 18 May, 2026 - 01:00

Course tutor id:

1953

Course ID:

31691

Tuition fee:

£525

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

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Overview

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Aims of the course

To give writers the opportunity to push their own creative boundaries in a structured way in a supportive environment
To help writers of all genres of fiction for whom the 'Introduction to...' courses may be less appropriate
To provide a community of writers with whom students can collaborate, co-operate and provide mutual support and peer review

Target audience

Writers past the Introductory course stage
Writers keen to upskill, to re-energise, refresh or re-engage with their craft
Writers seeking an online community of writers with whom to engage and collaborate

Course content overview

Each week has a theme which relates to an area of literary production which writers can tap as a resource for their own writing. Tutor videos will encourage students to explore the theme through structured reading, discussion and writing prompts. Students will be encouraged from the beginning to engage with classmates. There will be a wide range of writing exercises offered each week – students are completely free to engage with as many or as few as they wish, and are only required to self-select one of their own pieces of writing each week to post in the ‘Gallery’ forum. The tutor will respond to this piece. This is to encourage students to try a variety of approaches with no pressure and decide themselves which piece arrives at the most successful outcome, and which would most benefit from feedback. It also enables students with minimum time available to complete only one exercise a week if they wish, whereas those with more time/energy/motivation will have a rich array of opportunities to explore their creativity.

Teaching week 1: Inspiration - what fiction writers can learn from non-fiction

Learning outcomes:

To expand awareness of the resources available to participants - both in the world outside and around them, and in their own personal 'compost heap' (their own unique experience of everything they've experienced, felt, read, watched, etc)
To encourage participants to look for inspiration everywhere and to view inspiration as coming from within, in their own unique response (their soul's 'answering echo' as Ray Bradbury puts it) to stimulus.

Teaching week 2: Poetic license - what fiction writers can learn from poetry

Learning outcomes:

To appreciate what a small amount of material a poem can start from, and hence any piece of writing
To learn from the concision and compression poets use and to appreciate the precision of language as they deploy it
To take any fear out of approaching poetry and to encourage students to see it as an arm of literary production related to their own practise and available to them both as a resource and as a means of expression
To understand the porous nature of the boundary between poetry and fiction (particularly flash fiction)

Teaching week 3: Spoken words - what fiction writers can learn from script writing

Learning outcomes:

To appreciate how writing for performance has influenced the writing of fiction
To understand what we can learn from writing from performance about the role of images in storytelling
To learn from playwrights and screenwriters about effective dialogue, both in character building and plot advancement

Teaching week 4: The art of persuasion - what fiction writers can learn from political rhetoric

Learning outcomes:

To alert participants to language as a persuasive mechanism, as a tool for affecting perception
To equip students with rhetorical skills

Teaching week 5: Multi-tasking - how writers combine aspects of writing to produce effective, efficient and economical prose

Learning outcomes:

To develop an understanding of how the most successful writing is almost always doing more than one 'job'
to develop the ability to combine a number of functions in one scene

Schedule (this course is completed entirely online)

Orientation Week: 18-24 May 2026

Teaching Weeks: 25 May-28 June 2026

Feedback Week: 29 June-5 July 2026

Each week of an online course is roughly equivalent to 2-3 hours of classroom time. On top of this, participants should expect to spend roughly 2-3 hours reading material, etc., although this will vary from person to person.

While they have a specific start and end date and will follow a weekly schedule (for example, week 1 will cover topic A, week 2 will cover topic B), our tutor-led online courses are designed to be flexible and as such would normally not require participants to be online for a specific day of the week or time of the day (although some tutors may try to schedule times where participants can be online together for web seminars, which will be recorded so that those who are unable to be online at certain times are able to access material).

Virtual Learning Environment

Unless otherwise stated, all course material will be posted on the Virtual Learning Environment (VLE) so that they can be accessed at any time throughout the duration of the course and interaction with your tutor and fellow participants will take place through a variety of different ways which will allow for both synchronous and asynchronous learning (discussion boards etc).

Certificate of participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say

"Such an informative, stimulating, and well-designed course. I've benefited immensely from interacting with fellow aspiring writers and reading each other's work, as well as from Sarah's invaluable, thoughtful feedback. The course has equipped me with many valuable tools and techniques. But most importantly, it has given me the much-needed boost of confidence and courage to carry on"

"A greatly stimulating course and my attempts at poetry etc. have surprised me in the devices and techniques that I can see can be transported back to any genre of writing. The week on great speeches I particularly enjoyed. The course materials and Sarah's videos are superb."

"It was so valuable getting Sarah's feedback each week, offering an expert opinion on changes we might want to make; to make our work stronger and us to be better writers. Also, the comments and interactions with the other students were always considerate and helped by providing different insights into whether our writing reads the way we intended it to. I was also appreciative of many comments (from both the tutor and the group) that offered suggestions or directions that never occurred to me. I wasn't so sure about all the different styles of writing when signing up for this course, but I have not been disappointed one bit - actually quite the contrary. Throughout the weeks the course has continued to help me understand my own voice and direction as a writer, and introduce me to new tools and devices to use as a writer. I never in my wildest dreams would've thought the poetry week would be my favourite."

"Sarah has been warm and inviting from the beginning. Her obvious expertise could have been intimidating, but she was always open and inclusive. Sarah's comments on all student's work offered so much learning for the whole group. Her videos shared her obvious love and enthusiasm for both writing and reading and that spilled out into all aspects of the course. I got the feeling she was as excited by the exercises as we were! I would definitely go on another course run by Sarah."

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Our short courses are designed especially for adult learners who want to advance their personal or professional development. They are taught by tutors who are expert in both their subjects and in teaching students of all ages and experiences.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees and financial support

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Fees

The course fee includes access to the course on our Virtual Learning Environment (VLE), personal feedback on your work from an expert tutor, a Certification of Participation (if you complete work and take part in discussions), and access to the class resources for two years after your course finishes.

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

The Institute is proud to offer the Alison Fordham bursary, which is awarded to students who wish to study on one of our short online courses via our virtual learning platform, reducing the fee paid by 50%. The bursary is limited to a single award for each set of online courses.

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Canonical Course ID:

31687

Creative writing: an introduction to short story writing

Short description:

The short story is often described as one of the most satisfying literary genres, both to read and to write. This course encourages students to identify how these stories ‘work’ by considering classic examples which, in each class, illustrate a particular aspect of short story composition. An exchange of ideas and responses between students and tutor enable the student to then put into practice what they have observed in a series of writing challenges, designed to extend their writing skills in this most exciting – and challenging - of genres.

Given the nature of creative writing, it is important that applicants' use of English is sufficiently fluent to be able to understand in English nuances of meaning and have a familiarity with the structure and grammar of English.

Subject ref:

Type ref:

Course code:

2526NOE076

Start date:

Monday, 16 February, 2026 - 00:00 to Sunday, 5 April, 2026 - 01:00

Apply by:

Monday, 16 February, 2026 - 00:00

Course tutor id:

1953

Course ID:

31690

Tuition fee:

£525

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

City or Town:

Postcode:

Single capacity:

Double capacity:

Twin capacity:

Single usage:

Double usage:

Twin usage:

Maximum places:

Booked places:

Course cancelled:

false

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Overview

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Aims of the course:

To introduce students to the art of short story writing
To foster an understanding of various subgenres of the short story, through guided reading and interpretive commentary
To encourage and guide students' own experiments with the form through practical writing exercises

Learning outcomes

As a result of the course, within the constraints of the time available, participants should be able to:

Recognise and appreciate the key elements of short story writing
Deploy with some confidence key skills of short story writing
Apply critical skills to their own writing and the writing of others

Course content overview:

This course will begin with a consideration of what makes a short story - apart from its length - a distinct genre, introducing the elements which combine to produce the short story's unique effect.
Each week will focus on a particular short story or stories by the genre's key exponents, to illustrate developments and variations in the genre. The story or stories will also be used to demonstrate particular technical aspects of short story writing.
Students will discover how writers achieve certain effects and be encouraged to appropriate and experiment with these techniques in their own original writing.

Schedule (this course is completed entirely online):

Orientation Week: 16-22 February 2026

By studying this week the students should have:

Become familiar with navigating around the VLE and from VLE to links and back
Tested their ability to access files and the web conferencing software and sorted out any problems with the help of the eLearning team
Learnt how to look for, assess and reference internet resources
Used forums to introduce themselves to other students
Contributed to a discussion forum to introduce themselves to other students and discuss why they are interested in the course, what they hope to get out their studies and also to respond to News item sent out on behalf of tutor

Teaching Weeks: 23 February-29 March 2026

Week 1 Event-Plot Stories?

What is a short story? What are its limitations? What characteristics do many short stories have in common? Why do short stories appear to punch above their weight? What is an event-plot story? How do they work?

Learning outcomes

By studying this week the students should have gained an understanding of why a short story is not just a story that is short, but a different kind of story. They will also recognise an event-plot story shape and have started to work with this model.

Week 2 Anti-Plot Stories

What is an anti-plot story? Why is it variously called ‘formless’, ‘Chekhovian’ and ‘slice of life’? How is it different from the event-plot story? What characteristics do they share? What makes an anti-plot story different from a sketch?

Learning outcomes

By studying this week the students should be able to recognise an anti-plot story and what distinguishes it both from the event-plot story and from the sketch. They will have started to work with the anti-plot model.

Week 3 Variations (introducing magical realism and flash fiction)

How useful are these distinctions in story types? Is it possible to combine the event-plot and the anti-plot story? What other kinds of short story are there? Are there genres and styles which are particularly suited to the short form? What is magical realism? What is flash fiction? Why are endings so important?

Learning outcomes

By studying this week the students should have an appreciation of subgenres of short story and also an understanding of the limitations of, and opportunities offered by, flash fiction. They will have had experience fashioning a conclusion and gained an understanding of the role endings play in influencing the meaning of a story.

Week 4 Characterisation and Dialogue

Regarding characterisation, what do we mean by ‘telling’ versus ‘showing’? What are their relative merits? What are the functions of dialogue? How can we use dialogue to advance plot? How can we use dialogue to reveal character? How can we give value to what is unsaid?

Learning outcomes

By studying this week the students should have gained an understanding of how to reveal character efficiently and economically and how to use dialogue both to develop character and to advance plot. They will have deployed these skills.

Week 5 Narrative Voice and Point of View

Who is telling the story and how are they telling it? What and where is the ‘centre of consciousness’? What are the respective advantages and limitations of first- and third- person narrative voice? What different kinds of third-person voice are there? What is an unreliable narrator and what is its effect? How much does the narrator ‘know’?

Learning outcomes

By studying this week the students should have a greater understanding of the significance of point of view and the range of possibilities for narrative voice. Taken together with last week’s exercise, they will now have experimented with both first- and third-person narrative voice.

Feedback Week: 30 March-5 April 2026

Certificate of Participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say

"Great to have the opportunity to learn from an expert in the area of creative writing. I really enjoyed the pre recorded videos which provided in depth analysis of each story we read. Whetted my appetite for more of the same!"

"The course was thoroughly enjoyable. The material was engaging, informative, and provided me with a lot of useful information that I’ll be able to apply, hopefully, when writing short stories. The instructor's expertise and teaching style was great too. I’m grateful for the valuable knowledge and skills I have gained."

"I really appreciated my stuff being read by such a perceptive reader, pointing out things I, of course, had not noticed in my own reading through. I felt that about other students too."

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees and financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Course Image version:

Study level ref:

Canonical Course ID:

31688

Creative writing: an introduction to short story writing

Short description:

Subject ref:

Type ref:

Course code:

2526NOE04A

Start date:

Monday, 27 October, 2025 - 00:00 to Sunday, 14 December, 2025 - 00:00

Apply by:

Monday, 27 October, 2025 - 00:00

Course tutor id:

1953

Course ID:

31688

Tuition fee:

£525

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

City or Town:

Postcode:

Single capacity:

Double capacity:

Twin capacity:

Single usage:

Double usage:

Twin usage:

Maximum places:

Booked places:

Course cancelled:

false

course status ref:

booking destination ref:

Tutor role ref:

Purpose ref:

Study mode ref:

tab1name:

Overview

tab1html:

Aims of the course:

To introduce students to the art of short story writing
To foster an understanding of various subgenres of the short story, through guided reading and interpretive commentary
To encourage and guide students' own experiments with the form through practical writing exercises

Learning outcomes

As a result of the course, within the constraints of the time available, participants should be able to:

Recognise and appreciate the key elements of short story writing
Deploy with some confidence key skills of short story writing
Apply critical skills to their own writing and the writing of others

Course content overview:

This course will begin with a consideration of what makes a short story - apart from its length - a distinct genre, introducing the elements which combine to produce the short story's unique effect.
Each week will focus on a particular short story or stories by the genre's key exponents, to illustrate developments and variations in the genre. The story or stories will also be used to demonstrate particular technical aspects of short story writing.
Students will discover how writers achieve certain effects and be encouraged to appropriate and experiment with these techniques in their own original writing.

Schedule (this course is completed entirely online):

Orientation Week: 27 October-2 November 2025

By studying this week the students should have:

Become familiar with navigating around the VLE and from VLE to links and back
Tested their ability to access files and the web conferencing software and sorted out any problems with the help of the eLearning team
Learnt how to look for, assess and reference internet resources
Used forums to introduce themselves to other students
Contributed to a discussion forum to introduce themselves to other students and discuss why they are interested in the course, what they hope to get out their studies and also to respond to News item sent out on behalf of tutor

Teaching Weeks: 3 November-7 December 2025

Week 1 Event-Plot Stories?

Learning outcomes

Week 2 Anti-Plot Stories

Learning outcomes

Week 3 Variations (introducing magical realism and flash fiction)

Learning outcomes

Week 4 Characterisation and Dialogue

Learning outcomes

Week 5 Narrative Voice and Point of View

Learning outcomes

Feedback Week: 8-14 December 2025

Certificate of Participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say

"I really appreciated my stuff being read by such a perceptive reader, pointing out things I, of course, had not noticed in my own reading through. I felt that about other students too."

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees and financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Course Image version:

Study level ref:

Advanced short story writing

Subject ref:

Type ref:

Course code:

2526NOE056

Start date:

Monday, 5 January, 2026 - 00:00 to Sunday, 22 February, 2026 - 00:00

Apply by:

Monday, 5 January, 2026 - 00:00

Course tutor id:

1953

Course ID:

31689

Tuition fee:

£525

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

City or Town:

Postcode:

Single capacity:

Double capacity:

Twin capacity:

Single usage:

Double usage:

Twin usage:

Maximum places:

Booked places:

Course cancelled:

false

course status ref:

booking destination ref:

Tutor role ref:

Purpose ref:

Study mode ref:

tab1name:

Overview

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Aims of the course

Building on our 'Creative writing: an introduction to short story writing' online course, this course provides a 'next level' course appropriate for more experienced writers who seek: a community of writers; expert advice; a mixture of group teaching and one-to-one feedback; and a stepping stone between open access and accredited courses.

As a result of the course, within the constraints of the time available, students should be able to:

deploy the skills they have observed in use in the writing of short fiction
complete an original short story

Students can expect written feedback from the tutor on an individual basis on an extended piece of work (a short story of up to 3,000 words) at the end of the course.

Target audience

This course is designed for students who have already completed the 'Creative writing: an introduction to short story writing' online course offered by the Institute, or students who judge they are already at a level not to require an introductory course but who seek detailed feedback on their own creative writing and who wish to extend their skills in writing fiction.

Schedule (this course is completed entirely online)

Orientation Week: 5-11 January 2026

Teaching Weeks: 12 January-15 February 2026

Feedback Week: 16-22 February 2026

By studying this week the students should have:

Become familiar with navigating around the VLE and from VLE to links and back
Tested their ability to access files and the web conferencing software and sorted out any problems with the help of the eLearning Helpdesk
Learnt how to look for, assess and reference internet resources
Used forums to introduce themselves to other students
Contributed to a discussion forum to introduce themselves to other students and discuss why they are interested in the course, what they hope to get out their studies and also to respond to News item sent out on behalf of tutor

Teaching Week 1 - Structure

A combination of tutor video and structured reading from contemporary and classic short stories will help deliver answers to these questions:

What are the basic kinds of short story? How do event-plot stories differ from anti-plot stories? What is the appeal of each basic type?

How do we structure a short story? Is a plot a series of events or the arrangement of who knows what and when they know it? Does a story have to unfold chronologically? What happens when a plot splits? How do we ‘hide’ plot? How do we avoid ‘losing the plot’? How do we manipulate reader response? How do we ensure an anti-plot story is not merely a sketch?

What is the relationship between character and plot? How do we decide how many characters we need? What are the ways of introducing characters to the reader? How much do we need to plan characters? How do we manage minor characters? Can characters change?

Students can start planning their story and will be encouraged to share an outline on the forum provided.

Teaching Week 2 - Beginnings and Endings

A combination of tutor video and structured reading from contemporary and classic short stories will help deliver answers to these questions:

Why is it sometimes so hard to begin a story? Why am I rewriting my opening so many times? Where should my story start? Is there an advantage in starting in medias res? What is the function of an opening? Does my opening fulfil the function I’ve assigned to it? How do I decide how much the reader needs to know from the outset? How do I stimulate the reader’s curiosity at the beginning of my story?

Why is it helpful to know how my story ends before I begin writing? What are the functions of an ending? How do I decide where my story ends? In what relationship should my ending stand to my beginning? How does my ending define the meaning of my story?

Students draft the opening and the end of their story and will be encouraged to share this on the forum provided. Peer feedback will be encouraged.

Teaching Week 3 - Narrative Voice

A combination of tutor video and structured reading from contemporary and classic short stories will help deliver answers to these questions:

What are the relative advantages and limitations of first- and third-person voices? What different kinds of first person voice are available to us? How can we use internal monologue? How do we achieve the impression of an unreliable narrator? How useful is a non- or semi-participant observer as first-person narrator? What different kinds of third-person voice are available to us? What are their relative advantages and limitations?

While working independently on their own story students will have the option of participating in a range of exercises to experiment with narrative voice and to share their responses on the forum provided.

Teaching Week 4 - Detail and Description

A combination of tutor video and structured reading from contemporary and classic short stories will help deliver answers to these questions:

Why and when do we describe things in any detail? What are the functions of a description of a place? How do we avoid cliché when using metaphors and similes? Why should we be careful with modifiers? How is detail different in short stories? How much detail is too much? How can I use ‘telling’ details? How can I give proportionate attention to details? How is the idea of ‘Chekhov’s gun’ useful? Where is my description coming from? When should I ‘show’ and when should I ‘tell’?

While continuing to work independently on their own story students will have the option of participating in a range of exercises to explore how they might approach description and detail. Sharing on the forum will be encouraged.

Teaching Week 5 - Editing

A combination of tutor video and text will supply guidance on strategies students can apply to edit their own work, including:

Understanding different types of editing, required for different purposes
Editing techniques/methods
Interpreting editing notes

Students will edit and submit their short story for tutor review and feedback. They will also have the option of participating in a range of editing exercises. Sharing on the forum will be encouraged.

Week 6 - Reaching Readers & Feedback

A combination of tutor video and text will supply guidance on:

Entering competitions
Submitting to periodicals
Further study

Students will receive individual and detailed feedback and advice from the tutor on their short story (this takes the place of end-of-course individual feedback). They are encouraged to take notes on board and amend their story as they see fit. Sharing their new improved draft on the final forum (‘Your short stories’) will be encouraged.

Virtual Learning Environment

Certificate of participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say

"I have really enjoyed the course. Sarah’s style is informative, reassuring but challenging. She provides constructive and helpful suggestions. I was impressed by the range of materials provided. The lectures contained so many gems and she was always encouraging. I especially 'enjoyed' the editing section. What she said was sensible, to the point and ultimately reassuring. It cut a daunting task to size. Previously I have not given enough time to the edit or to waiting to do the edit. Following the course, I felt better equipped."

"Simply put, what I gained from this course was what I needed, except when I first started I didn't know what I needed. Though having previously completed several really good writing courses, I was surprised at my high level of discovery and learning. Each module offered me the tools I needed to tangibly improve my writing. I can't express how empowering it feels to reduce the guesswork in my writing. Each week I was surprised by my output."

"I've studied with Sarah before so I knew the course would be informative and useful. I did not expect it to suck out over 2400 words from a single image that I had held in my head for years. The way that the process was constructed meant that it wasn't Everest but the '3 peaks', i.e. challenging but achievable. I had no idea that so much could be made from so little. It has shown me that I can produce something from the tiniest idea and not to dismiss it without trying."

"I have gained a great deal from this course more particularly regarding description, details and editing. It is always a real pleasure to work with Sarah, and it is really motivating. I might do the advanced course again to write another short story. I am now more self-confident. I think I have improved a lot. It is really nice to belong to a kind of 'writing community'."

"Sarah Burton is an excellent tutor. Her tutorial videos, as well as being informal and friendly, flow really well and it feels like we are in the same room. I really like her enthusiasm and her choices for further reading. I have learnt a lot from this course and I am very pleased to have been able to take part in the course."

"I think this course has taught me the valuable lesson of perseverance. Seeing the people here give me some incredible feedback on my ideas, and seeing them enthusiastically interact made me decide to push forward and complete my work."

"What have I gained from the course? The experience of writing a longer piece of work. I seriously didn’t think I was capable of it. Some teachers, like Sarah, inspire confidence and trust. I have really valued her feedback. She unerringly picked up on exactly the things that I was struggling with and suggested simple and effective solutions."

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

tab3name:

Fees and financial support

tab3html:

Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Course Image version:

Study level ref:

Adventures in fiction writing

Subject ref:

Type ref:

Course code:

2526NOE017

Start date:

Monday, 8 September, 2025 - 01:00 to Sunday, 26 October, 2025 - 01:00

Apply by:

Monday, 8 September, 2025 - 01:00

Course tutor id:

1953

Course ID:

31687

Tuition fee:

£525

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

City or Town:

Postcode:

Single capacity:

Double capacity:

Twin capacity:

Single usage:

Double usage:

Twin usage:

Maximum places:

Booked places:

Course cancelled:

false

course status ref:

booking destination ref:

Tutor role ref:

Purpose ref:

Study mode ref:

tab1name:

Overview

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Aims of the course

To give writers the opportunity to push their own creative boundaries in a structured way in a supportive environment
To help writers of all genres of fiction for whom the 'Introduction to...' courses may be less appropriate
To provide a community of writers with whom students can collaborate, co-operate and provide mutual support and peer review

Target audience

Writers past the Introductory course stage
Writers keen to upskill, to re-energise, refresh or re-engage with their craft
Writers seeking an online community of writers with whom to engage and collaborate

Course content overview

Teaching week 1: Inspiration - what fiction writers can learn from non-fiction

Learning outcomes:

To expand awareness of the resources available to participants - both in the world outside and around them, and in their own personal 'compost heap' (their own unique experience of everything they've experienced, felt, read, watched, etc)
To encourage participants to look for inspiration everywhere and to view inspiration as coming from within, in their own unique response (their soul's 'answering echo' as Ray Bradbury puts it) to stimulus.

Teaching week 2: Poetic license - what fiction writers can learn from poetry

Learning outcomes:

To appreciate what a small amount of material a poem can start from, and hence any piece of writing
To learn from the concision and compression poets use and to appreciate the precision of language as they deploy it
To take any fear out of approaching poetry and to encourage students to see it as an arm of literary production related to their own practise and available to them both as a resource and as a means of expression
To understand the porous nature of the boundary between poetry and fiction (particularly flash fiction)

Teaching week 3: Spoken words - what fiction writers can learn from script writing

Learning outcomes:

To appreciate how writing for performance has influenced the writing of fiction
To understand what we can learn from writing from performance about the role of images in storytelling
To learn from playwrights and screenwriters about effective dialogue, both in character building and plot advancement

Teaching week 4: The art of persuasion - what fiction writers can learn from political rhetoric

Learning outcomes:

To alert participants to language as a persuasive mechanism, as a tool for affecting perception
To equip students with rhetorical skills

Teaching week 5: Multi-tasking - how writers combine aspects of writing to produce effective, efficient and economical prose

Learning outcomes:

To develop an understanding of how the most successful writing is almost always doing more than one 'job'
to develop the ability to combine a number of functions in one scene

Schedule (this course is completed entirely online)

Orientation Week: 8-14 September 2025

Teaching Weeks: 15 September-19 October 2025

Feedback Week: 20-26 October 2025

Virtual Learning Environment

Certificate of participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees and financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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The fall of the Roman Empire

Short description:

What killed the Roman Empire in the West? Here we investigate the suspects, from crop failure to barbarian invaders, to discover what destroyed antiquity's greatest civilization.

This course introduces one of the most fascinating periods in history and examines the controversies surrounding events which still affect our world today.

Subject ref:

History

Type ref:

Course code:

2526NOE117

Start date:

Monday, 18 May, 2026 - 01:00 to Sunday, 5 July, 2026 - 01:00

Apply by:

Monday, 18 May, 2026 - 01:00

Course tutor id:

1376

Dr Maty Matyszak

Course ID:

31681

Tuition fee:

£415

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

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Course information

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Aims of the course:

To establish why (and if) the Western Roman Empire fell.
To educate students into methods of historical enquiry.
To teach collaborative working techniques in an online environment.

Course content overview:

This course will examine the death of the Western Roman Empire as though it were a forensic case. We shall look at possible causes of death, match them with observed symptoms and deduce the likelihood that the suggested cause did indeed bring about the end result.
in the first weeks we will look at a variety of causes. The last two weeks will ask firstly 'Did the Western Empire really fall?' (currently being hotly debated by academics), and secondly 'Why did the Eastern Empire survive?'

Schedule (this course is completed entirely online):

Orientation Week: 18-24 May 2026

Teaching Weeks: 25 May-28 June 2026

Feedback Week: 29 June-5 July 2025

Week 0 - Preparing to study this course

Purpose/Learning outcomes

By studying this week the students should have:

•Become familiar with navigating around the VLE and from VLE to links and back

•Tested their ability to access files and the web conferencing software and sorted out any problems with the help of the eLearning team

•Investigated the ICE Online Resources repository

•Learnt how to look for, assess and reference internet resources

•Used Qmail to introduce themselves to other students

•Contributed to a discussion forum to introduce themselves to other students and discuss why they are interested in the course, what they hope to get out their studies and also to respond to News item sent out on behalf of tutor

Week 1 - Was it the barbarians?

Purpose

To examine the role of barbarian incursions in the fall of the western empire. To query whether this is essentially a story of straightforward military conquest. The importance of the sack of Rome.

Learning outcomes

By studying this week the students should have:

•Familiarity with various barbarian tribes and confederations

•Understanding of the military and strategic issues of the fifth century

•An understanding of the chronology of the major barbarian invasions

•Engaged with original texts and sources

Week 2 - Did Rome rot from within?

Purpose

To examine the role that civil war, self-interest and a corrupt bureaucracy played in bringing down the empire.

Learning outcomes

By studying this week the students should have:

•Familiarity with the Late Imperial form of government

•Familiarity with the events of the period

•Understanding of academic debate on the issue, and means of enquiry

•Engaged with original contemporary texts

Week 3 - Was it something else?

Purpose

To discuss other theories for the fall of the western Roman empire. (e.g. Plague, economic collapse, Christianity, depopulation by famine, climate change.)

Learning outcomes

By studying this week the students should have:

•An understanding of the fragility of ancient societies

•An understanding of archaeological and epigraphic techniques

•An understanding of how to present and deconstruct historical theories

•Engaged with original contemporary texts

Week 4 - Did the West really fall?

Purpose

Some academics argue the Western Empire did not fall, but only changed profoundly.

Learning outcomes

By studying this week the students should have:

•Followed the current academic debate

•Re-evaluated the meaning of a 'fallen empire'

•Understood processes of continuity and change in 5th and 6th century Europe

•Engaged with original contemporary texts

Week 5 - Why did the East not 'fall'?

Purpose

To discover why the eastern Roman empire endured for another thousand years

Learning outcomes

By studying this week the students should have:

•Understood geopolitical issues in the 5th century

•Been introduced to the Byzantine era

•Grasped the basics of comparative history

•Engaged with original contemporary texts

Week 6 - What Next?

Purpose

•Assessment of student learning

•Assessment of student satisfaction

•Encouragement of further study

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say:

"The tutor's generosity in sharing his in-depth knowledge with the participants, his thought- provoking questions/answers to our contributions to the forum are the key points to how he provides us with a very enriching experience."

"Thinking about the questions Maty posed which, whilst based on the course material, went beyond the narrow historical facts alone to consider a range of wider issues and conjectural situations was both challenging and thought provoking. A thoroughly enjoyable course and a lot to ponder. "

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Entry requirements

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This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees & financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Popular science writing

Short description:

This course will familiarise participants with a range of perspectives on the value and purposes of science writing, and will explore a range of styles and techniques for writing about science.

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Type ref:

Course code:

2526NOE118

Start date:

Monday, 18 May, 2026 - 01:00 to Sunday, 5 July, 2026 - 01:00

Apply by:

Monday, 18 May, 2026 - 01:00

Course tutor id:

3052

Dr Helen Scales

Course ID:

31682

Tuition fee:

£525

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

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Course information

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Aims of the course:

to familiarise students with a range of perspectives on the value and purposes of science writing
to explore a range of styles and techniques for writing about science, with a focus on writing narrative non-fiction books and essays.
to develop students' skills as effective and engaging science writers

Learning outcomes:

As a result of the course, within the constraints of the time available, students should be able to:

Critique science writing and recognise what makes science writing appropriate to particular audiences and aims
Develop ideas for, and draft, of a piece of non-fiction writing (a book chapter or a long feature, of approximately 5,000 words), using elements of narrative storytelling.
Develop a proposal and pitch for a popular science book
Edit their work to enhance their writing for particular readerships and production contexts.

Target audience:

Students who aren’t necessarily practicing scientists or trained in science, but who are interested in communicating science to the general public
Students who are academics at any stage of their careers and are keen to write effectively about their science for a wide audience, beyond their peers
Students who are keen to write popular science books or long features for journals and magazines

Course content overview:

This course introduces the craft of writing about science for non-specialist readerships, also known as popular science writing.
Students will learn how to read, analyse and critique the work of other science writers, to develop their own skills in effectively communicating science to non-specialist publics.
Students will each develop an idea and draft text for a long piece of narrative non-fiction writing of their choice, most likely a chapter for book or a long feature.
Students will practise their own science writing, with short writing exercises alongside their own work to produce a long feature or a chapter for a book.
Feedback from tutors will be available throughout the course.
Students will learn how to get their writing published.

Schedule:

Orientation Week: 18-24 May 2026

Purpose/Learning outcomes: By studying this week the students should have:

Grasped navigation around the VLE and from VLE to links and back
Tested their ability to access files and the web conferencing software and sorted out any problems with the help of the eLearning Helpdesk
Learnt how to look for, assess and reference internet resources
Used forums to introduce themselves to other students
Contributed to a discussion forum to introduce themselves to other students and discuss why they are interested in the course, what they hope to get out their studies and also to respond to News item sent out on behalf of tutor

Teaching Weeks: 25 May-28 June 2026

Week 1 What makes good science writing?

Purpose: To introduce the basics, and look at some of the main challenges, of writing about science for non-specialist audiences. We will also look at a range of ideas about what it is and what it is for, and why we do it. By studying this week the students should have:

An understanding of a range of perspectives on what popular science writing is
An appreciation of a range of views on the value and purposes of science writing
An understanding of the basic skills and of how to avoid the common pitfalls in science writing

Week 2 Shaping a structure and telling a story

Purpose: We’ll explore ways to structure your writing and develop your writing style. By studying this week the students should have:

Insights into the importance of structure to lead readers through a longer piece of work.
Knowledge of techniques to make writing more stylish and engaging.
An appreciation of how elements of storytelling can be usefully applied to science writing to help readers engage with, understand and enjoy longer pieces of writing.

Week 3 Editing: how to write better

Purpose: Here we will discuss the role of editing in adapting and enhancing writing, for a range of outcomes (such as length, different readerships, or another medium). By studying this week the students should have:

An understanding of the uses of editing
Skills in editing their own (and others’) work to achieve a particular aim

Week 4 Publishing your book

Purpose: To introduce students to the conventions of the publishing world. By studying this week the students should have:

An overview of the market for popular science/narrative non-fiction books
Insights into how to pick and develop an idea for a popular science book
An understanding of how to a develop a book proposal and how to get an agent and publisher

Week 5 Managing information

Purpose: Writing about science involves managing information from many kinds of sources. This session explores ways of gathering, storing, organising, selecting and representing information about your topic. Students will learn about:

The responsibilities and ethics of factual writing
Finding a range of sources (primary, secondary, archive, live, mass media etc.)
Referencing, citation and sourcing that respects other authors and equips the reader
Potential pitfalls, including copyright, plagiarism and libel

Feedback Week: 29 June-5 July 2026

Week 6 What Next?

Purpose:

Sharing of students’ work among peers
Assessment of student learning
Assessment of student satisfaction
Encouragement of further study

Certificate of Participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course

What our students say:

"The personal feedback on the writing exercise and to each post in the forums was exceptional. The best l have seen for an online course."

"Many thanks to Helen for putting together such a great course, and to all for your comments and advice. Reading about your work and writing has had the side-effect of sparking an interest in new topics, and my pile of books to read has grown accordingly!"

"This course has been wonderful. I have received a lot of information in little time. Helen has taught us the skills that are necessary to write properly about science for the public."

“It did a fantastic job of exploring the field of popular science writing from beginning to end. I also managed to connect to a group of like minded individuals for future writing encouragement/collaboration, which was a welcome surprise!”

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees and financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Canonical Course ID:

31560

Instructional Design Fundamentals

Subject ref:

Education

Type ref:

Course code:

2526NOE114

Start date:

Monday, 18 May, 2026 - 01:00 to Sunday, 5 July, 2026 - 01:00

Apply by:

Monday, 18 May, 2026 - 01:00

Course tutor id:

9883

Paul Clothier

Course ID:

31678

Tuition fee:

£415

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

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Overview

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Aims of the course

To provide a practical introduction to Instructional Design
To explore effective theories and frameworks for designing learning/training content
To define effective aims, learning objectives, and learning outcomes
To explore ways to effectively evaluate the effectiveness of learning and training
To have participants create an instructional storyboard for a simple learning project

Target audience

Anyone with an interest in the subject: teachers; instructors; professors; digital learning developers; students; learning managers; and anyone who is a stakeholder in the creation and delivery of learning/training content.

Course content overview

This course is designed for those who want to create highly effective instructor-led training, online learning, or mobile learning content — on any subject and for any audience. The course will cover:

Understanding the function and fundamentals of instructional design
Designing effective instructional content using the ADDIE (Analysis, Design, Development, Implementation, and Evaluation) model
Researching an audience and defining clear aims, learning objectives, and learning outcomes
Designing an effective learning framework using a storyboard approach
Evaluating the effectiveness of learning and training delivery

Teaching week 1 - What is instructional design?

Purpose/Learning outcomes

Describe underlying principles of instructional design (ID) and explain the benefits
Demonstrate a high-level knowledge of different ID models
Describe, explain, and compare each of the phases of the ADDIE ID model
Critically evaluate ADDIE as an appropriate model for ID
Apply these outcomes to participant’s chosen project. Participants will be asked to justify approaches/choices they make.

Teaching week 2 - Learning domains and Bloom's Taxonomy

Purpose/Learning outcomes

Compare and contrast the different types of learning gaps and evaluate the optimal approach for a given audience
State the aspects of evaluating and analysing an audience and its value for ID
Explain the essential elements and underlying principles of needs analysis
Evaluate specific example audiences and present appropriate learning strategies
Describe, discuss, and critically evaluate Gagne and Bloom's idea of Learning Domains
Describe, discuss, and critically evaluate the use of Bloom's Taxonomy to inform an appropriate learning framework
Apply these outcomes to participant’s chosen project. participants will be asked to justify approaches/choices they make.

Teaching week 3 - Defining objectives and choosing delivery formats

Purpose/Learning outcomes

Define what aims, learning objectives, and learning outcomes are
Write and evaluate effective learning objectives using Blooms verbs
Compare and contrast different delivery formats
Evaluate and recommend appropriate delivery formats for different learning use cases
Apply these outcomes to participant’s chosen project. participants will be asked to justify approaches/choices they make.

Teaching week 4 - Designing content

Purpose/Learning outcomes

Describe the concept of a learning storyboard and state its value
Evaluate sample story boards an evaluate their effectiveness
Compare and contrast different ways to create an effective storyboard screen
Create a simple storyboard for a chosen project
Use storyboard screens to help inform the development of learning topics
Apply these outcomes to participant’s chosen project. participants will be asked to justify approaches/choices they make.

Teaching week 5 - Evaluating learning

Purpose/Learning outcomes

By studying this week the students should be able to:

Explain the benefits of evaluation and its relationship to analysis and design
Describe the Kirkpatrick evaluation approach
Determine which aspects of learning/training should be evaluated
Discuss shortcomings of the Kirkpatrick approach
Compare LTEM (Learning Transfer Evaluation Model) approach with Kirkpatrick approach
Apply these outcomes to participant’s chosen project. participants will be asked to justify approaches/choices they make.

Schedule (this course is completed entirely online)

Orientation Week: 18-24 May 2026

Teaching Weeks: 25 May-28 June 2026

Feedback Week: 29 June-5 July 2026

Virtual Learning Environment

Certificate of participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say:

"Paul was very helpful, very responsive, and put effort and energy into guiding us in the right direction. I would happily recommend this course to any teachers looking to move into instructional design."

"It gave a good broad overview of instructional Design, applicable to a range of experiences and job roles."

"The course met all my expectations. It was structured, pitched and delivered just right. I liked the mix of webinar, activities, and support material."

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees and financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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Canonical Course ID:

31548

Heritage Studies: the politics of the past

Subject ref:

Type ref:

Course code:

2526NOE119

Start date:

Monday, 18 May, 2026 - 01:00 to Sunday, 5 July, 2026 - 01:00

Apply by:

Monday, 18 May, 2026 - 01:00

Course ID:

31685

Tuition fee:

£415

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

City or Town:

Postcode:

Single capacity:

Double capacity:

Twin capacity:

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Overview

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Aims of the course

to introduce the history of heritage management and museums
to explore key contemporary debates in heritage studies
to examine how heritage is affected by political and ethical concerns

Course content overview

Heritage is about the past in the present—what survives, what is valued, and what is selected to be preserved. Heritage is a contested domain in flux, with many ‘stakeholders’, layers of meaning, and uses.

This online course asks who owns the past? What places and practices are worthy of being deemed ‘heritage’? How does politics influence our understanding of heritage? If you are interested in these questions, then this course is for you. Join us as we explore some of the big questions about how to understand the role of the past in the present. Specifically, we will look at a range of pivotal and highly contested heritage debates, such as commodification, repatriation, illicit antiquities, and decolonisation.

If you are interested in tackling questions about how we think about our past, then this course is for you. During this course we will explore some of the most charged debates in heritage studies today through a mix of illustrated lectures, live discussions, videos, and readings.

Schedule (this course is completed entirely online)

Orientation Week: 18-24 May 2026

Teaching Weeks: 25 May-28 June 2026

Feedback Week: 29 June-5 July 2026

Teaching week 1 - What is heritage?

What do we choose to pass down from generation to generation? Who does the choosing? What values are these choices based on? The term ‘heritage’ is not static. Definitions of the term have changed over time in response to shifting contemporary concerns and the recognition of regrettable omittances. This week will introduce a history of heritage to explore how and why our understandings of it have changed over time.

Learning objectives:

to familiarise ourselves with the history of heritage studies
to develop an understanding of the key drivers in shifting definitions of heritage

Teaching week 2 - Stealing the past

Who are the looters? Why do they loot? Who are the buyers? Why do they buy? How do the middlemen act as go-be-tweens? What is the impact of looting on the archaeological record and the origin locations?

Learning objectives:

to become acquainted with the drivers behind looting
to gain an understanding of the impacts of looting

Teaching week 3 - Repatriating heritage

Heritage items have been moved around the globe through the processes of trade, expropriation, and conquest. Collections, predominantly in the Global North, contain items which are considered to have national, spiritual, or identity values to other groups. Such collections can include the human remains of the ancestors of others. This week we will explore the complex debates around the questions of what should be repatriated and to achieve what aims.

Learning objectives:

to expand our knowledge of salient repatriation cases
to further our understanding of why certain repatriation agreements have been reached, been denied or remain in stalemate

Teaching week 4 - Decolonising heritage

Heritage has been mobilised as an instrument of power to stake claim to territories, deny the rights of others to them, and to discursively erase certain pasts from the public domain. Calls for the decolonisation of heritage reached a peak in the 1950s and 60s, as formerly colonised nations called for their heritage to better reflect the history of the new independent states. Such calls again came to the fore in the 2010s, as descendants claimed that earlier decolonisation attempts remained incomplete. Yet, the heritage of colonisation is also a part of history.

Learning objectives:

to gain an overview of the contemporary and historic debates around the decolonisation of heritage
to further our insights into the complex questions that heritage managers and community members grapple with when making decisions in such cases

Teaching week 5 - The commodification or heritage

Heritage has many values: social, economic, environmental, etc. However, over the last four decades heritage has become increasingly commodified. Governments demand that it pays its own way. Certain stakeholders seek to cash in on its contemporary value whilst some communities see it as a vehicle to enhance their future well-being. This lecture asks what is lost and what is gained (for who) through the commodification practice.

Learning objectives:

to enhance our understanding of the different forms of values that are ascribed to heritage
to gain the ability to begin to unpack the impact of the commodification of heritage

Virtual Learning Environment

Certificate of participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees & financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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The neuropsychology of decision making

Subject ref:

Biological Sciences

Psychology

Type ref:

Course code:

2526NOE116

Start date:

Monday, 18 May, 2026 - 01:00 to Sunday, 5 July, 2026 - 01:00

Apply by:

Monday, 18 May, 2026 - 01:00

Course tutor id:

9696

Dr Stacey Bedwell

Course ID:

31680

Tuition fee:

£415

Course programme:

Short online courses

Duration description:

7 Weeks

Non-accredited

Course photo:

City or Town:

Postcode:

Single capacity:

Double capacity:

Twin capacity:

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Double usage:

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Overview

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Aims of the course

To gain an understanding of the brain structures involved in decision-making and how they develop.
To gain an understanding of the neural mechanisms of decision-making processes and how these are influenced.
To gain an understanding of decision-making deficits and their role in psychological disorders.

Target audience

Marketing & consumer psychology specialists wanting an improved understanding of what influences consumers decision-making behaviour, how different populations and demographics are likely to make decisions and how the decision-making process can be advantageous in marketing strategies.

Child development specialists, childcare, early years education practitioners looking for an improved understanding of the implications of early experiences, shaping early years education and experiences.

Psychology and mental health professionals for children (counsellors, social workers, CAMHS) looking for an improved understanding of the neurological and psychological impact of early experiences and the importance of experiences in key developmental periods.

Psychology and mental health professionals for adults (counsellors, prison service, mental health care) looking for an improved understanding of the possible roles of early experiences in behaviours exhibited in adulthood. Specifically, in terms of psychological disorders associated with decision making deficits. Improving understanding of the underlying neurological processes of decision-making, driving external behaviours.

Learning outcomes

Identify the key anatomical and physiological components of decision making from a neuropsychological perspective
Explain decision-making development in terms of executive function, the role of the prefrontal cortex and influences on development
Outline decision-making deficits and roles of decision-making in psychological disorders

Schedule (this course is completed entirely online)

Orientation Week: 18-24 May 2026

Teaching Weeks: 25 May-28 June 2026

Feedback Week: 29 June-5 July 2026

Teaching week 1 - Introduction to neuroanatomy & neurodevelopment

This week will provide participants with a basic understanding of anatomy and development, providing an important basis for the following weeks. This week will not have a specific focus on decision making, but provides students with a basic knowledge that will be needed to be able to understand the later content on decision making.

Learning outcomes:

Develop an understanding of basic brain anatomy
Develop a basic understanding of how the human brain develops

Teaching week 2 - The importance of the prefrontal cortex

This week will provide participants with an understanding of what the prefrontal cortex is and how it is involved in high order processes, specifically decision making. Participants will gain a general understanding of what makes the prefrontal cortex unique in terms of structure and function. This week will cover research evidence surrounding the involvement of the prefrontal cortex in various aspects of decision making.

Learning outcomes:

Develop an understanding of what the human prefrontal cortex is and why it is important in decision making

Teaching week 3 - Neurotransmitters, Neurophysiology and decision networks

This week will build upon the anatomical and physiological knowledge developed so far, gaining a more complex understanding of how decisions are made. Participants will learn about the neurotransmitters involved in a decision and how they 'act' in terms of physiology. Participants will also learn about brain connectivity, specifically research evidence surrounding the specific connections and networks involved in decision making.

Learning outcomes:

Building on previous learning to develop a more in depth understanding of the decision making process from a neurophysiological perspective.
To begin to build an understanding of the brain networks involved in decisions.

Teaching week 4 - Decision making styles & the role of childhood experiences in decision-making

This week puts the previous weeks learning into an applied context, exploring decision making and development of decision making as a dynamic process. Specifically, there will be a focus on differences in decision making style exhibited in adulthood and factors in childhood that can affect the development of decision making.

Learning outcomes:

To be able to put their previous learning into context.
To build on basic neuroanatomical and physiological understanding from previous weeks, to explore the development of decision making in more detail.
To develop a further understanding of decision making and what influences it.

Teaching week 5 - Decision making deficits

This week brings together everything covered in teaching weeks 1-4 in terms of neurotypical decision making, to explore deficits in decision making, such as that seen in schizophrenia. The content this week will cover observed decision-making deficits, research evidence suggesting underlying biological causes and the roles of external factors e.g. in childhood.

Learning outcomes:

To build on previous knowledge of neurotypical decision making to gain an understanding of how decision making deficits contribute to psychological disorders and how they manifest.

Virtual Learning Environment

Certificate of participation

A Certificate of Participation will be awarded to participants who contribute constructively to weekly discussions and exercises/assignments for the duration of the course.

What our students say:

"Clear and concise, and I loved the fact that the sessions are divided into bite sized learning making it easier to capture the information and study based on our availability."

"The papers were excellent, and the discussion topics really stimulating."

"Show how practicing self-control can lead to improvements in decision-making."

"Thorough, knowledgeable, interactive, helpful. Thank you!"

"The tutor was engaged and provided feedback in the discussions."

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Requirements

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Entry requirements

This course is open to everyone, and you don’t need any previous knowledge or experience of the subject to attend.

Please note that all teaching is in English. You should have near-native command of the English language in order to get the maximum benefit from the course.

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Fees & financial support

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Fees

VAT does not apply to course fees and there is no service charge (gratuities to domestic staff are left to your discretion).

Concessions

For more information on available concessions, please visit the Concessions information page on our website.

Alison Fordham Bursary

Application criteria:

Applicants should set out their personal learning motivations since priority will be given to those who are returning to learning after an extended break, or have not previously engaged with fully online learning, or are seeking to use the online short course as a bridge towards undergraduate award-bearing study.
Applicants who can demonstrate financial need.
Apply here https://www.ice.cam.ac.uk/bursary-application

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