Module 1: Pre-Flight Checks
Get set up privately so your unpublished work stays yours.
You’re the Captain. The crew is here to teach you.
You’ve spent years finding how you sound. This course shows you how to bring AI into your creative work as a crew member, not a replacement, so the work still sounds unmistakably like you.
Cleared For Take-Off is a plain-English AI course for writers, authors and makers, built on one idea: AI does the typing and the drafts, you keep the voice, the taste and the final call. Six modules, about six to eight hours, at your own pace. $49 AUD once with lifetime access, and Module 1 is free with no payment details.
Module 1 is completely free. No payment required to start.
This isn’t a course where you sit back and let the technology fly. From the first minute, you’re in the pilot’s seat of your own journey with AI. You set the destination. You make the calls. You keep control of the aircraft, always.
AI never flies the plane. It reads the instruments, drafts the flight plan and hands you the options. Every decision stays yours.
Meet your creative crew: ChatGPT for raw volume and first drafts, Claude for depth, structure and tone, Perplexity for fact-checking, and Suno when the project needs music. They do the heavy lifting and teach you the controls. They never take them.
You finish not as a nervous passenger hoping the tech behaves, but as a confident captain who knows when to call the crew and when to fly solo.
“If I use AI, it won’t be mine anymore. It’ll sound like everyone else, flat, generic, soulless.”
That fear is correct about lazy AI use, and completely wrong about skilled use. The whole course is built on one idea: AI does the typing and the drafts; you keep the voice, the taste, and the final call. By Module 4 you’ll have a Voice Guide that makes the tools write like you, on purpose.
Get set up privately so your unpublished work stays yours.
The four flight controls (context, role, format, iteration) tuned for writing and ideation.
Drafting at volume without going generic: outlines, rewrites, edits, blurbs, captions.
Your real project: a manuscript chapter, album notes, a Substack, a script, built with the crew.
Originality, disclosure and the ethics of AI-assisted creative work, handled honestly.
A weekly creative routine that keeps momentum without killing the part you love.
Module 1 is a free preview: try the controls before you buy the seat.
One course, told in the language of your work. Whichever path you choose, the full kit comes with it.
Roughly 6 to 8 hours of plain-English lessons, broken into short, watchable pieces.
Watch the exact clicks, the exact prompts and the real results. Nothing hidden, nothing sped up.
Print it, stick it next to the keyboard, and fly with it until you don’t need it.
Guided exercises that turn watching into doing, one small win at a time.
A plain-English guide to the wider AI fleet, so you know which tool suits which job.
The tools keep changing. Your course keeps up, at no extra cost.
I have written fourteen books and two hundred and sixteen songs, so let me say the scary part first. AI cannot write the thing only you can write. It does not have your childhood, your grudges, the specific way you notice a room. What it can do is take the friction out of the grind around the work, so you spend your good hours on the words that matter instead of the scaffolding. Used as a crew, not an author, here is where it genuinely earns its keep.
Beating the blank page. The cruellest moment is the empty document. I ask for a rough, deliberately ordinary first draft of a chapter or a verse, then I write against it. Half the time I disagree with every line, and that disagreement is the thing that gets me moving. A bad draft to react to beats a blinking cursor every time.
Outlining and structuring. Dump your messy notes in and ask it to suggest a shape. Where does the argument sag, what is missing, what order actually builds. You keep the through-line. It just lays the bones out so you can see them.
A tough-but-fair editor. Paste a passage and ask where it drags, where the meaning blurs, where you have said the same thing three ways. It will not protect your feelings the way a friend does. Take the notes that land, ignore the ones that flatten your voice.
Brainstorming angles and titles. Twenty title options, ten angles on the same idea, a list of what you have not considered. Most are duds. You only need the one that makes you sit up.
Repurposing one piece into many. A chapter becomes a newsletter, a social post, a back-cover blurb. Same heart, different lengths. This alone gives writers back hours every week.
Research starting points. It points you at what to look into. Then you verify every fact yourself, because it will state a wrong date with total confidence. Treat it as a lead, never a source.
Three things never leave your hands. The ideas are yours. The voice is yours. The judgement of what is good is yours. And when AI has helped in a way that matters, you say so, honestly. The assistant does not get a byline.
Won’t it make my work sound generic? Only if you let it do the writing. Hand it the whole job and yes, you get beige. Use it as a crew, drafting scaffolding and chasing the busywork while you keep the pen, and your voice stays yours. The generic comes from outsourcing the soul, not from using a tool.
Is it cheating to use AI to write? No more than a thesaurus or a sharp editor is cheating. It is a tool. You are still the author who decides what is true, what is good, and what stays in. Where AI help genuinely shaped the work, you disclose it. Honesty is the line, not the tool itself.
What is it actually good and bad at for creative work? Good at drafts to react against, structure, editing for clarity and pacing, and turning one piece into many. Bad at genuine originality and bad at facts, which it will get wrong with a straight face. The original spark and the truth-checking stay your job, always.
Module 1 is free to preview, no payment details, no commitment. Also available: Cleared For Take-Off, the book, on Amazon Kindle. Training a whole team? Workshops and institutional programs are available separately.
Copy one, swap the bracketed parts, and paste it in. All three keep you in the writing chair rather than handing the writing over.
Never ask it to write in the voice of a living author by name. Give it your own work as the sample instead.
Here is a section of my draft. Do not rewrite it. Tell me where the tension drops, where I have explained something twice, and which sentence is doing the least work. [paste your draft]
Then: The instruction not to rewrite is the whole prompt. Without it you get your voice sanded off.
My [chapter three] is not working. The reader needs to understand [why she leaves] but I keep telling them instead of showing it. Give me five different structural approaches. Do not write any of them.
Then: You are using it as a whiteboard. Take the one that annoys you least and write it yourself.
Write a warm, professional email to [a festival organiser] following up on [a panel invitation from three weeks ago]. Short. Not needy.
Then: This is where AI genuinely earns its place in a creative practice. It does the emails, you do the work.
No email, no sign-up. If you want a feel for how this is taught before you spend anything, start here.
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The same six modules, with the examples and prompts rewritten for your field. Pick the one that sounds like you.