Shorten Your Journey to Book Success with Teleclasses – Part 1 – E-Books
Shorten Your Journey to Book Success with Teleclasses - Part 1
Are you an author who wants your book to be a success? Have you read books, but still need some handholding on how best to promote your book? Are local seminars on book marketing and promotion just not available to you?Something wonderful has happened with our flattening world. We can now give and attend seminars over the phone. As a presenter, I send by email ahead of the teleclass the workbooks and how to materials. If you have joined an eNewsletter like Dan Poynter's "Publishing Poynter's" or Judy Cullins, "The Book Coach Says..." or John Kremer's "Book Marketing Tip of the Week, you probably have seen teleclasses offered in them.What is a Teleclass?A teleclass is a telephone conference call. It's non-techie, conducted completely on the phone! You don't need a computer to attend. You dial into a conference number you'll receive when you register for the class. You will have the option to speak during designated times in the class (making this an interactive experience), though you don't have to talk if you don't want to. You can call in to the U.S. telephone number from all over the world.Who Comes to the Teleclasses?People from the UK, Australia, New Zealand, Singapore and other countries pay long distance fees to get this hands-on learning. From a US phone the fees are usually from $3-$5. Any author who wants to not only share his book's good information, but wants to make good income from it will come to a teleclass.Maybe you resist or haven't tried a teleclass because...-You think you need a computer to do it. Would you be open to knowing that teleclasses use only a phone, not a computer?-You think you won't get handouts to read at your leisure. Would you be open to knowing most teleclasses include reports, transcripts, eBooks, and bonus reports?-You don't have time. Would you be open to knowing that teleclasses are much shorter than regular seminars--usually only 55 minutes at the end of the day after work hours?-Your English is a second language and you are afraid to lose something. Would you be open to know that if the teacher is sharp, she will take your questions after each main point?-You aren't a good listener. Me too, but would you be open to know that it's good to get the other participant's input and questions to learn from the interaction?-You feel it may be pressure to keep up. You want your information slowly. Would you be open to getting a written transcript of the teleclass? You can have a take home of each word.-The money. Would you be open to paying only $25-$50 for information you can't get most places?. That is much cheaper than making costly mistakes in time and money.-You think you can't ask questions. Would you be open to knowing there is usually a Q and A part of each call? Each call should be interactive.-You feel you need to see the presenter in person--to see the action. Would you be open to seeing my mug shot on my home page? Smile.-You feel that you won't be able to hear well enough on the phone. Would you be open to knowing presenters make a point to speak clearly and loudly for all to hear?-You never have experienced it and have some trepidation. Would you be open to trying a good, new way to learn? Your presenter will help you relax and enjoy the interaction.How Many will Come to the Teleclass?That depends on the style of the teleclass. The more interactive ones usually have from 6-25 participants. For a marathon of questions and answers, the presenters may increase the time to two hours and take up to 100 participants.What Happens on the Call?First, the presenter will remind you to use a land phone, and to close the door to noise. We want everyone on the call to hear and get a lot from it. During the teleclass you will receive timely tips, tools, strategies, resources and techniques from professionals in your field. They address your questions and challenges to help you reach your goals.When you come to the call, your presenter will ask for your name, and welcome you to the call. Then, you will receive the goals for the class--what questions the presenter will help you get answers for during the 55-minute to 1-hour program. You can interact and ask questions along the way.Teleclasses are the most cost-effective, quickest, and easiest way to stay on top of your book, business, and marketing skills. They don't replace one-on-one coaching, but they can shorten your learning curve before you spend money on a coach.Part two of this article is available at www.bookcoaching.com/freearticles/article-183.shtml or article-183@bookcoaching.com.Judy Cullins
Writing Tips for your Journey
Writing Tips for your Journey
Tips for your writing journeySo, you'd like to be a writer? Congrats! Writing not only is a great way to express yourself, but can provide an income. Keep in mind not all writers make a fortune, some still cant quit their day job. Below are some tips to start your writing journey.1.Start WritingOkay, so this tip is obvious. For some, it's a question of what to write about, for others how to write. Write how and what you want. What kind of books do you like to read? Fiction, Mystery, science fiction, how to books? How about articles, reports, maybe you're interested in journalism. Whatever the case may be, to get your creative juices flowing, start writing! Don't worry about how it sounds, grammar or other mistakes, you can go back to fix these.2.Join online and offline groups/message boards and chatsIf you already know what you want to write about, consider joining writer groups at your local library, or online groups, along with message boards and chats. It's a great way to network with other writers and published authors. It's also a good place to share your work and receive feedback. Many places online are free to join, some require a membership which usually consist of a user name, e-mail address and password for your user name. Some request more information such as a name, address and sometimes phone number.3.The LibraryYou've probably heard about some books that writers refer to, this could be writer markets, e-book publishing, self publishing and generally how to improve your writing. But what do you do when you can't afford to buy these books from your local bookstore or online? A trip to your library is the key. Many libraries carry writer resource books, which if you have a library card, are free. If you're living out of the area, the library may require a fee for membership. The book you're looking for may not always be at your local library, however libraries borrow from other libraries in and out of state. The method of receiving outside books is called Inter-Library Loan. Later on, if you find the book to be a great resource, you may be able to purchase a used copy online.4.ResearchingThe Internet is also another good resource for information. Keep in mind that not every resource you find online is going to be an honest good resource. It will take time to sort out which websites are useful. Most information is free, so you can sit back and research in the comfort of your home. If you don't have a computer with Internet access, check your local library and see if you can use one of theirs.5.WorkshopsWorkshops taught by experts is a great way to learn from the professionals, but only if you can afford it! Make sure the topic of the workshop is based around your interest. For instance, if you love fiction..it wouldn't be a good idea to go to a workshop based only on non-fiction. It's a good idea to register early to ensure a spot at the event. Bring a new legal pad, plus a few writing tools to take notes.6.ContentsAfter writing a while, you may want to enter contents. Some require an entry fee. I suggest staying away from the entry fee contents until you've entered some other free ones. That way you can get a feel for how contests work. Spend some time writing and re-writing your entries. If you've written your entry in 5 or so minutes, th judges will notice it immediately. You wouldn't want a reputation for sloppy work.There you are, 6 tips to get you started on your journey to writing. Good Luck!About the Author- Laura Hickey is the author of the children's book Mysterious Chills and Thrills- 10 short stories to tickle the imagination. It may be purchased at http://www.laurahickey.com
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My Work Is My Play – The Journey From Survival to Creativity
My Work Is My Play - The Journey From Survival to Creativity
"For the love a' creation!", my father was fond of expounding, when "Pete" and "God" had run their course. It was years later until I realized that sentence actually held meaning for me ? other than an expression of exasperation. It is, most literally, the love of my life.For a remote viewer, creation is both the destination and the journey. It has a very real context, namely, the matrix. It is the void, the confluence of all things singularly rolled into one while simultaneously separated into individual parts made unique by a nuance of frequency. It is that vast and limitless outer expanse only reached by turning inward.In my years of remote viewing, I've been on many journeys. The real goal of this process is to engage the consciousness of the matrix. In the advanced stages, the targets reflect this whether they be of a terrestrial or off-planet nature. There is no other way for me to describe my experience except to say that it is a direct interaction with the creative source and a distinct confirmation that we are part and parcel of this force.As an embodied soul, I am both the creation, bound to a contract of safety and survival, and the creator, inextricably dedicated to risk and innovation. One way of describing survival is to say that it is the eternal quest for the mediator, the recognized other, regulator of our early bio-neurological processes. It is the search for the "savior", the one who can assure us that no harm will ever befall us as long as we remain faithful to the other's perceptions of the world.Creation, on the other hand, is the direct experience beyond time and space. Creation is the personal responsibility of the individual to the collective and has no intermediary. Creation assumes survival.A Biological ImperativeSurvival is our biological imperative. No argument there. However, how we define survival for ourselves and others around us is a component of health and well-being of global proportions. We can, for example, be persuaded to go to war when we're convinced that our survival is threatened. However, resistance not only arises from an immediate life and death scenario but also out of a question of quality of life. Enter creativity. In the final analysis, we are not content to simply "survive".Creativity then becomes the resourced state that sustains life. It is, in fact, an inseparable part of survival. The optimal word here is "resourced". Our greatest resource is our consciousness. Obviously, the more parts (i.e. pieces of consciousness) of ourselves we can convince to stay present in the moment, the more resourced we are and the more creative we can be.
So what tethers us to the path of expectation? How do we mistake opportunities for opportunists, gifts for burdens, or vice versa? This is our survival mechanism in action; this is also our survival mechanism run amuck.Past Tense or Present and Tense?Does the past exist? My answer would be yes, it exists in the present. I have frequently had the experience of remote viewing events, places and life forms in the past. I absolutely know beyond a shadow of a doubt that it is possible to focus on the signal line of such a target and experience that "past moment" in its sensory entirety. As a remote viewer, I am also trained not to take the experience back "home" with me. Consciousness helps me do that.However, when an unconscious part of me is connected to the signal line of a past event, I don't have the benefit of that conscious resource. It's as if that particular part has no idea that a trained remote viewer also shares the same physical container. In that case, whenever some present sensory input amplifies the signal line (to which I'm already unconsciously attached), I experience that event all over again. And the experience registers in my body through the nervous system while my brain draws the same fearful, hopeless or delusional conclusion it's always drawn, based on the limited resources available to that unconscious part of me.Of course, I'm just using my remote viewer part to make the point. The same thing happens when consciousness is brought to that current event by any other method of integrated awareness, as long as it includes the body. The body really needs to know it survived. Otherwise, it becomes impossible to return to calm and safety, the portal to creativity.Survival In the WorkplaceOne place to easily view this in action is in the workplace. When we're growing up, choosing a career sounds like an exciting premise. We don't take into consideration that the unspoken part of our job description will be to fulfill someone else's expectations. The workplace, by its very nature, is an arena of external focus. That makes it a fertile field for the triggering of unconscious past wounds. We can use the experience to heal and grow (creativity) or we can use it to reaffirm our attachment to a certain level of survival.What often occurs is that we measure success or failure by the amount of money earned, possessions garnered, and lifestyle achieved. When we speak of someone as "successful", we usually mean "wealthy. Somehow, this has come to mean that only the "successful", the "creative", have earned the right to play.In this pass/fail world, survival can become a hook synonymous with drudgery, boredom and bitterness. Notice how "successful" people are often touted for their creativity. Ironically, you have to be really creative to survive. It's just that when the majority of your focus/energy is on a picture of survival alone, you don't always acknowledge the creative part of the endeavor. Unfortunately, that brand of creativity rarely gets translated into the quantum-leap realm of "success". We tend to stop at survival instead of peeking around the corner or taking those few extra steps toward a new picture. I must say that one of the major things remote viewing teaches you to do is not to stop at the first picture you think you see. Once again, it's integrated, perceptual training that makes the difference.Work and Play Go Hand in HandWhen exactly did 'work' and 'play' become the Cain and Abel of sound economic theory? In many cultures they used to go together. In some, they still do.How ironic is it that the biggest innovation in the world of corporate training today involves improv theater techniques and game design technology? No doubt about it?play is a primal imperative. Look around in nature. Play sets the stage for life.Stress management in the workplace is really about people learning to work and play together for the creative good. Team building skills are all about that very concept. When the company prospers, then everyone benefits. All work and no play makes Jack? a survivor in my book and that's really only half the story. Life needs creativity to thrive and the creative process needs acknowledged space to happen.I once attended a week-long meeting of advanced remote viewers from all over the world. Approximately twenty-two nations were represented in a group of about 75 people. We came from all walks of life from teachers and ministers to doctors and lawyers. For three days we struggled to agree upon a list of prime imperatives for human survival. The question was "What drives the human race?"Some were easy, like 'love' and 'fear'. Others did not flow so glibly off the tongue, like 'greed' and 'competition'. I was a member of a contingent who tried in vain to introduce the word 'play' into the mix. In the end, 'play' was nixed from the top ten because it was not deemed a powerful enough imperative. What amused me the most was that the group could not sit there for a whole day deliberating on this list without someone starting to play. People either began to joke about other people's words or just act out and laugh. Some of the group began to devise their own game for picking words. But 'play', as visible a driving force as it was, never made the cut.How does our quest for survival sometimes end up being the death of us? It's when our biological history keeps insisting that we're fighting for our life when, in reality, the actual threat in linear time has passed. Our brains have a habit of holding onto strategies that have proved themselves stalwart weapons in the moment only to turn into shackles impeding the march of progress the next day. Humans do it; corporations do it; nations do it.Taking the LeapHow do we make the move from survival to creativity? Well, first we have to recognize that we're stuck on survival level. That's usually the hardest. That's when we want to look around for someone or something to blame ? past or present Many of us are reluctant to move off the "?but you were supposed to take care of me" piece of the healing process. Becoming aware of the fact that "where you are" is more likely "where you've been" is an essential first step to witnessing objective truth in the moment.Remote Viewing calls these scenarios analytical overlays or AOL's. It's easier to understand the concept of what needs to be done than it is to actually train your brain not to close off the creative process of inquiry. That's what we do when we insist on naming or labeling something or someone too quickly. I've found that Remote Viewing actually trains your informational processing system to behave differently. We really don't realize how quickly that conscious part of us wants to draw conclusions. Not every embedded strategy is bad, of course. It's the ones that don't work any more but keep on going like the Energizer Bunny of survival mechanisms that we want to address and resource.On a recent remote viewing journey, I was taken into a part of the matrix that is an energy stream. I saw myself lying there on the mat. The object was to surrender to the energy and have the experience. I suddenly realized that the creative force wanted to "play". I "returned" with a feeling that creation demands a rebate. The message seemed painfully obvious and terribly simple but it was the experience of it, the embodiment of it that drove the point home: It's not enough to be someone's creation. At some point, you have to realize that you're alive ? you've made it ? and you must give back in order for that creative source to survive. Making a conscious decision to move your perspective from survival to creativity is a spiritual experience that grounds your creative power in the three dimensional world.Talia Shafir, MA, C.C. Ht. is a regression therapist and co-founder of the Center for Integrated Therapy in Sebastopol. She divides her time among a practice on both coasts which specializes in trauma and long term PTSD, teaching Remote Viewing throughout the country and running a corporate training consultancy using Improv and a variety of experiential techniques called Bizprov International.For information about Remote Viewing lectures and trainings or therapy inquiries, call 707 829-7904 or visit the web at http://www.soulview.comFor Bizprov International inquiries: 707 829-3757 or Gobizprov@aol.com.