Not Just Another Book Of Shadows: A Wiccan Priestess Shares What she has learned.
With all the published Book of Shadows out there, many of which are authored by famous Wiccans and Pagans, why should anyone buy my ebook of shadows, Out of the Shadows and Into the Light? I'm not famous--at least not yet. I don't belong to a coven or church. The training I've had hasn't been structured or formal; I didn't go into a classroom to be taught by Lord or Lady High Priestess or Priest. None of this was around when I started down the path. Back in the late 70's and early 80's, there weren't occult bookstores, at least not where I grew up. If you were lucky you could find books on Astrology--what you sun sign meant, but not much more. Books on magic taught you tricks. Witches were evil. Pagans were backward and ignorant. If you were clever, you found books on Spiritualism. Nor did my family have a long history of casting spells and stirring cauldrons, so I can't lay claim to a long magical heritage. I was raise Catholic, which in a way prepared me for doing rituals
That is what I didn't have. What I did have was so much more than could be found in books or with title honored teachers. There are so many things that can't be taught with words or demonstrations in a classroom; it can only be found by practical experience and good old fashion hard work.
On both sides of my parentage, there were abilities. My grandmother was not only able to sense the dead, but frequently see them. She also had a way of knowing with out knowing how she knew, which helped know when to play the lottery. Although, she never won big, she won frequently. Unfortunately, her Christian heritage kept her from understanding and training her gift. When she saw the other side, it frequently frightened her. Her sister, Edith had a natural intuitiveness about people. She could read them like no other, but she also didn’t understand her talent. Instead, she used alcohol to suppress her impressions. There were family rumors about their mother, but back then, children were never included in the discussions about the weirdness in the family. My grandmother would say, “little pictures have big ears.” Sometimes at night, I would pretend to be asleep so that I could listen; unfortunately, it didn’t take too long for me to stop pretending and I missed out on a lot. My mother knew how to communicate with animals and instinctively knew they needed to be healed. We had two puppies that contracted parvo that the vet had given up on. She brought them home and proved him wrong. She had a knack of seeing into other’s lives. Once she described to a woman her entire house down to the color of the walls in her bedroom; the woman’s reaction prevented her from ever doing it again. They were Christian, yet they were also spiritually gifted in ways that they didn't understand therefore never gained control over their abilities.
When I was about five, I told my grandmother’s neighbor, Kate, that I saw fairies in her garden. She took me into her kitchen and poured water into an old bowl and put candlestick in the center. She lit the candle and had me watch the flame as she talked to me. Decades later I remembered in a dream how she shut down that part of my natural gifts. When I was ready, not only did the memory come back but the ability as well. Kate was a very spiritual woman, who went to church every morning at 6 am. Her faith was an active part in her life, yet she still knew how to reach the earth spirits. Although her age kept her from doing much work, her gardens were always lush and her grapevine remained fertile in spite of its age. Her home was old and run down. She was one of the last people in town to install indoor plumbing. The only source of heat for the large two story home was a wood stove in the kitchen, yet it was always warm. Her house was unique. It was two story, but the upper level could be reached both from the inside and out. The wooden stairs led to a porch and then the entrance. She had board it up, keeping whatever was in on the inside and keeping the rest of us out. When she died, so did her gardens and the house seem to collapse into itself.
Growing up, I felt safer and more at home in woods than anywhere else. My grandmother's boyfriend had an 80 acre farm. I would spend hours wandering by myself, knowing that nothing could harm me while I was among the trees. It was the place I where I was the most connected. Just before the swamp, there was a natural circular field with a single tree in the center. It was a was the place I went to hide and think.
Just out of high school, my friend, Kim and her father, Bobby taught me channeling. Kim, another friend, Lynne and myself spent the summer walking between worlds. To say we were obsessive would be an understatement. We became very good at allowing the Goddesses and Gods to speak through us and they helped us open the spiritual doors within us. We were young and felt immortal, which made us fearless of the unknown and the consequences of our actions. It was a spiritual summer that changed all of us, especially me. That fall the three of us parted ways. I wandered through life for almost a year. What I had experienced made me question everything that I had been taught. I was very confused, so I did a lot of drinking and partying to stop the thinking.
In 1977, I started community college before going on to Michigan State University. By moving away, I was able to start releasing the old negative beliefs about not only myself but also the world beyond. I started doing more research and join the Metaphysical Society that met on the MSU campus. Through this group I met a beautiful soul could have very well been an incarnated angel; Mary was an older woman, who was not only wise but also very loving. Her nurturing heart helped me have faith in my abilities. She helped me open the doors that Kate had closed. We studied Eastern philosophies, kabala, and energy healing. It was also the time I picked up my first Tarot deck and started to use them to focus my intuition. The summer of 1981 when I officially initiated, my dragon spirit awakened and reentered by soul. It was a time of great awareness and challenge. What I had received what had I asked for, but it was more than what I was emotionally prepared to deal with. It took me several years to regain balance.
That all happened before the mid eighties. It was years ahead of the spiritual awakening that was to come for others. The late 80's and the 90's when the spiritual awakenings began in mass, I had already gone through the karmic test of air, fire and had started the emotional test of water. I had learned how focus my energy into healing through Reiki and became disciplined enough to control my other gifts. When I gained control over myself, I was able to reawaken memories from the lives before, which brought forward past lessons and gave me access to old talents.
All that I have experience has given me a unique perspective not only on life, but also gave me the ability to see how we are all interconnected. None of us are really alone. Like pieces of a puzzle, we all have our own unique shape and image, but we are also part of one big picture. Out of the Shadows and Into the Light is more than a book of spells and rituals; it contains what I have learned along the way. When we lack something in our life, whether it be love, prosperity or security, the sources is always an emotional or spiritual wound. By healing the injury, the path to healing opens and you will be able to find what you seek. Oprah once said there are two emotions, love and fear. I have gone one step further by adding--if you come from fear, you can never have love; however, if you come from love, you will never lack for it. By healing ourselves, we open our hearts and souls to that which we desire the most. It is this perspective that make Out of the Shadows and Into the Light different than other Book of Shadows. It is a 114 page full color ebook with information on healing, love, prosperity and protection. There are also sections on Dragon Magic and Justice Rituals. In addition, there are articles on Kundalini, the elements and manifesting. The download costs 5.00 through paypal and is only available on my site at www.theresachaze.com.
Friday, November 30, 2007
Wednesday, November 28, 2007
Police Abuse of Power: Driver arrested for asking why he was stopped
This petty officer is nothing but a nazi. The driver had the perfect right to know why he was stopped and to ask questions. Police are public servants--not public masters. This officer needs to be fired and sued for false arrest. The couple should sue both the department and the individual officer. He did not attempt to flee or put up a fight; he only wanted answers to his questions.
Publishing and Publicity Consultant--Let Me Help You Make Your Book Successful
Publishing and Publicity Consultant--Let me help you make your book successful
If you have a book you want to publish you no longer have to depend of the whim of traditional publishers or on the ethics of new breed of POD publishers. Getting your book in print and distributed is cheaper and easier than you think. Hire me and I will make your book look professional. Follow the link below and see what I can do for you.
http://www.geocities.com/tirgana/Valkyrieserves.pdf
If you have a book you want to publish you no longer have to depend of the whim of traditional publishers or on the ethics of new breed of POD publishers. Getting your book in print and distributed is cheaper and easier than you think. Hire me and I will make your book look professional. Follow the link below and see what I can do for you.
http://www.geocities.com/tirgana/Valkyrieserves.pdf
Monday, November 26, 2007
Sunday, November 25, 2007
Federal writers Grant
The synopsis for this grant opportunity is detailed below, following this paragraph. This synopsis contains all of the updates to this document that have been posted as of 10/31/2007 . If updates have been made to the opportunity synopsis, update information is provided below the synopsis.
If you would like to receive notifications of changes to the grant opportunity click send me change notification emails . The only thing you need to provide for this service is your email address. No other information is requested.
Any inconsistency between the original printed document and the disk or electronic document shall be resolved by giving precedence to the printed document.
Document Type: Grants Notice
Funding Opportunity Number: 2008NEA03LFTP
Opportunity Category: Discretionary
Posted Date: Oct 31, 2007
Creation Date: Oct 31, 2007
Original Closing Date for Applications: Jan 07, 2008 Applicants must submit their applications electronically through Grants.gov, the federal government’s online application system. The Grants.gov system must receive your application no later than 11:59 p.m., Eastern Time, on January 7, 2008. The Arts Endowment will not accept late applications.
Current Closing Date for Applications: Jan 07, 2008 Applicants must submit their applications electronically through Grants.gov, the federal government’s online application system. The Grants.gov system must receive your application no later than 11:59 p.m., Eastern Time, on January 7, 2008. The Arts Endowment will not accept late applications.
Archive Date: Feb 06, 2008
Funding Instrument Type: Grant
Category of Funding Activity: Arts (see "Cultural Affairs" in CFDA)
Category Explanation:
Expected Number of Awards:
Estimated Total Program Funding:
Award Ceiling: $20,000
Award Floor: $10,000
CFDA Number: 45.024 -- Promotion of the Arts_Grants to Organizations and Individuals
Cost Sharing or Matching Requirement: No
Eligible Applicants
Individuals
Additional Information on Eligibility:
Individual translators who meet the publication requirements that are listed below are eligible to apply. Applicants must be citizens or permanent residents of the United States. You are eligible to apply if you, alone or in collaboration, have: •Published a total of at least 20 pages of translations of creative literature into English in literary magazines, anthologies, or books; or •Published a translation into English of a novel or a volume of at least 20 pages of fiction, poetry, or belles-lettres (creative nonfiction, criticism, and essays); or •Translated into English at least one full-length play that has been produced by a professional theater company. This publication or production must have taken place between January 1, 1993, and January 7, 2008.
Agency Name
National Endowment for the Arts
Description
Through fellowships to exceptionally talented, published translators, the Arts Endowment supports projects for the translation of specific works of prose, poetry, or drama from other languages into English. We encourage translations of writers and of work which are not well represented in English translation. All proposed projects must be for creative translations of published literary material into English. The work to be translated should be of interest for its literary excellence and value. Priority will be given to projects that involve work that has not yet been translated into English.
Link to Full Announcement
Web Site Announcement
If you have difficulty accessing the full announcement electronically, please contact:
Web Manager
National Endowment for the Arts NEA Web Manager's E-mail Address
Home page for active links
How to Prepare and Submit an Application
These application guidelines provide all of the information that you need to submit an application.
Individuals must submit their applications electronically through Grants.gov, the federal government’s online application system. Applications will not be accepted in paper format.
Before you apply through Grants.gov for the first time, you must be registered. Registration with Grants.gov:
Is a multi-step process.
Takes time; allow a few days.
Must be completed before you can submit your application.
Is detailed in Step 1 below.
The Grants.gov system must receive your application no later than 11:59 p.m., Eastern Time, on January 7, 2008. The Arts Endowment will not accept late applications. We encourage you to apply well in advance of the deadline.
Please be aware that the Grants.Gov Customer Service hours are 7:00 a.m. to 9:00 p.m., Eastern Time, Monday to Friday. Should you encounter any difficulty submitting your application right before the deadline, the Arts Endowment will not accept your inability to contact Grants.gov after hours as a valid excuse for a late application.
We recommend strongly that you REGISTER WELL IN ADVANCE OF THE JANUARY 7 DEADLINE (Step 1 below). We also encourage you to COMPLETE AND SUBMIT YOUR APPLICATION EARLY (Steps 2 and 3 below); do not wait until the last minute. Grants.gov can slow down during periods of high usage, which most often occur between 12 noon and 5:00 p.m., Eastern Time. You will have a better experience if you submit your application outside of these hours and in advance of the deadline. In addition, we urge you to read these instructions in their entirety before you begin the application process.
If you are unable to submit your application electronically, you may request a waiver from this requirement. A waiver will be granted for the following reasons only:
Internet access is not available within a 30-mile radius of your address.
Disability prevents you from submitting your application electronically.
Your waiver request must be in writing and must explain which of the two grounds for an exception prevents you from submitting your application electronically. Include accurate contact information (including phone number) so that we may notify you of the status of your request.
All waiver requests must be received (not postmarked) at the Arts Endowment at least three weeks before the application deadline, or no later than 5:30 p.m., Eastern Time, on December 17, 2007. You may fax your request to 202/682-5660 or send it to:
Deputy Chairman for Grants and Awards
Grants.gov Waiver Request
Room 710
National Endowment for the Arts
1100 Pennsylvania Avenue, NW
Washington, DC 20506-0001
The National Endowment for the Arts continues to experience lengthy delays in the delivery of First-Class mail. Please consider faxing your waiver request or using a commercial delivery service, particularly if you are sending your request close to the December 17 receipt deadline.
In the event a waiver is granted, your complete paper application package must be postmarked (or show other proof of mailing) no later than January 7, 2008.
APPLY THROUGH GRANTS.GOV
Applicants should access Grants.gov by following the instructions below. You will find customized instructions and links to everything that you need right here on the Arts Endowment's Web site. If you go to Grants.gov, you will merely be directed back to these instructions. We urge you to read these instructions in their entirety before you begin the application process.
Step 1: Register with Grants.gov
All applicants who have not yet done so must register with Grants.gov prior to submitting their application. Registration is a multi-step, one-time process, which can take a day or more to complete. DO NOT WAIT UNTIL THE DAY OF THE APPLICATION DEADLINE TO REGISTER.
Step-by-step instructions for registering are available at Individual Registration. As part of the registration process, you will be asked to provide the Funding Opportunity Number of the grant that you intend to apply for on Grants.gov. Enter 2008NEA03LFTP for Literature Fellowships: Translation Projects.
If you have problems registering, call the Grants.gov help desk at 1-800-518-4726, e-mail support@grants.gov, or consult the information posted on the Grants.gov Web site at Applicant Help. The Grants.gov Customer Service hours are 7:00 a.m. to 9:00 p.m., Eastern Time, Monday to Friday.
You do not need to complete the registration process to download the application package and begin to prepare your material (see below). However, you will need your Grants.gov Username and Password that you obtain in the final step of the registration process to submit your application.
Step 2: Prepare your application material
To access the application package:
Access the application package on Grants.gov by clicking on the link below:
Funding Opportunity Number 2008NEA03LFTP
This will bring you to the "Selected Grant Applications for Download" screen.
Download the application package and follow the instructions below. It is not necessary to download the instructions from Grants.gov as you will merely be directed back to the instructions in this document. You may find it helpful to print out these instructions so that you will have them available for easy reference as you complete the forms. You also may want to keep these instructions open in a window in your computer as they contain helpful links to information that you will need as you complete your application.
You must have Adobe Reader version 8.1.1, a small, free software program, installed on your computer in order to access, complete, and submit applications. Other versions of Adobe Reader may lead to errors and prevent you from submitting your application to Grants.gov.
To determine which version of Adobe Reader you have, when in Reader, select Help > About Adobe Reader.
If you do not already have Adobe Reader version 8.1.1 installed on your computer, please download and follow these installation instructions.
When you download the application package, the Grants.gov "Grant Application Package" screen will open. Click on the "Save" button at the top of the form and save the application package to a location on your computer or network where you can find it readily. Close the saved application package before you start to work on it for the first time. Always open and work on your application from this location. Save your changes each time you work on your application. You do not need to be connected to Grants.gov or the Internet until you are ready to submit your completed application.
To work on your application:
Open the application package that you have saved to your computer and the Grants.gov "Grant Application Package" screen will appear. In the "Application Filing Name" field, enter your legal name.
Move all of the forms in the "Mandatory Documents" box to the “Mandatory Documents for Submission” box. You must move the forms before you can open them. Once moved, the two forms merge into a single document. You can access each form by clicking on it to highlight it and then clicking on the "Open Form" box OR you can scroll down your screen and you will come to each form in succession.
Within a given form, you can move around either by scrolling or by clicking on the "Next" or "Previous" button at the top of the form itself. You can move throughout the full multi-form document either by scrolling or by using the small arrows at the bottom of your screen. Do not use the Back Button arrow at the top of your screen as this will take you out of the Grants Application Package altogether.
Clicking on the "Close Form" button at the top of a screen will capture your information and return you to the "Grant Application Package" screen. Before closing the "Grant Application Package" screen, click on the "Save" button to make sure that your most recent information is saved.
When you click the “Save” button you will get the message "The File already exists. Replace existing file?" Click “Yes” to ensure the most recent version of your application is saved to the same location on your computer.
There are two mandatory forms that you must fill out before you can submit your application. On each form, you will find instructions by positioning the cursor over each item or, where relevant, over the radio button (the box to the left of the text) for an item. Please do not type in all capital letters when completing these forms.
The forms are:
Application for Federal Assistance SF 424 - Individual Form: This form asks for basic information. See instructions for completing this form below.
Attachments Form: This is not a form in the conventional sense, but rather a place to attach additional items as PDF (portable document format) files. These additional items (e.g., your resume and the Literature Fellowships Application Supplemental Information form) must be included for your Grants.gov application package to be considered complete. See instructions for completing this form below.
Step 3. Submit your application
In the top left corner of the Grants.gov menu screen you will see buttons for Save & Submit, Save, Print, Cancel, and Check Package for Errors.
When you have completed your application (i.e., the two Mandatory Documents have been completed and saved), click the Check Package for Errors button to double check that you have provided all required information. This will alert you if you have left any required fields on the forms incomplete. This will not check the accuracy of your information or whether you have attached all required documents. Correct any errors and click Save to save your application package again. When your required fields are complete, you will receive the message, "Validation Passed."
If you want a hard copy of your completed application for your files, clicking the Print button will print out the two forms in the Mandatory Completed Documents for Submission box. For a hard copy of the items that you are attaching to the Attachments Form, you will have to print each of these out separately from your computer.
Click the Save & Submit button. [This button will not become active (and turn from dark to light gray) until you have saved your application with all required fields completed. Clicking this button will prompt you to save your application package one last time. When asked if you want to replace the existing file, click “Yes.” You will then be reconnected to Grants.gov and the Internet.] You will be prompted to provide your Grants.gov Username and Password that you obtained during registration. (REMINDER: You must have successfully completed the registration process in order to receive your Grants.gov Username and Password.)
Click the "Login" button. This will bring you to the "Application Submission Verification and Signature" screen, which provides a summary of the Funding Opportunity for which you are applying. If everything looks accurate, click the "Sign and Submit Application" button to complete the process. Be certain that you are satisfied with your application before you click this button. No revisions to your application are possible through Grants.gov once it is submitted.
If you do not want to submit the application at this time, click the "Exit Application" button. You will be returned to the previous page where you can make changes in your material or exit the process.
Grants.gov will put a date/time stamp on your application when you click the "Sign and Submit Application" button. Your application must be stamped no later than 11:59 p.m., Eastern Time, on January 7, 2008; the Arts Endowment will not accept late applications. Remember that Grants.gov’s Customer Service hours end for the day at 9 p.m., Eastern Time. Should you encounter any difficulty submitting your application right before the deadline, the Arts Endowment will not accept your inability to contact Grants.gov after hours as a valid excuse for a late application.
After you hit the "Sign and Submit Application" button, you will receive two notifications from Grants.gov:
First, you will receive confirmation that your application was received by the Grants.gov system. This confirmation will include the Grants.gov Tracking Number assigned to your application. Print a copy of this notification to include with any material that you might mail to the Arts Endowment and keep a copy for your records. The Tracking Number also will be e-mailed to you.
Soon thereafter (generally within 24-48 hours), you will receive notification as to whether your application was successfully validated by Grants.gov. If there are any errors in your application (e.g., you attach a file with a virus), it will be rejected by Grants.gov and not delivered to the NEA.
If Grants.gov rejects your application and the deadline has not yet passed, you can correct the error(s) in your application and resubmit. If the deadline has passed, you will not have this opportunity.
You also can track the progress of your application by using your Username and Password to log in to the Grants.gov system and clicking on "Application Status."
After the deadline for this category, Grants.gov will notify you via e-mail when the Arts Endowment retrieves your application from Grants.gov, and again soon thereafter, when your application has been assigned an Agency Tracking Number (this will be the Arts Endowment-assigned application number). This process will serve to acknowledge the receipt of your application by the Arts Endowment.
Additional Help
For additional help on how to use Grants.gov, please see the help material on the Grants.gov website at Applicant Help. You also can send e-mail to the Grants.gov helpdesk at support@grants.gov or call them at 1-800-518-4726 from 7 a.m. until 9 p.m., Eastern Time, Monday to Friday.
If you contact Grants.gov for assistance, your question will be assigned a case number. This number only documents your inquiry to the help desk. It is: 1) not, in itself, an indication of a Grants.gov system problem that would excuse a late application; and 2) not related to the tracking number that Grants.gov will assign your application once it has been successfully submitted.
For specific help on how to complete your application, please review the instructions in these guidelines or contact the Literature staff at 202/682-5034 or davisg@arts.gov.
Detailed Instructions for Each Form in Your Grants.gov Application
Do not type in all capital letters when completing the forms.
You will find instructions by positioning the cursor over each item. More detailed instructions are provided below.
How to fill out the Application for Federal Assistance
SF 424 - Individual
NOTE: All asterisked (*) items and yellow fields on this form are required and must be completed before you will be able to submit the form.
1. Name of Federal Agency: Pre-populated.
2. Catalog of Federal Domestic Assistance Number: Pre-populated.
3. Date Received: This will be filled automatically with the date that you submit your application; leave blank.
4. Funding Opportunity Number: Pre-populated.
5. Applicant Information:
a. Name and Contact Information:
Applicants using pen names must list their legal name here. All transactions with the Arts Endowment must be made using the legal name. Contact information must be valid through November 2008. You must notify us of any changes.
b. Address:
Enter information for your permanent address. Information must be valid through November 2008.
Use Street 1 for your street address or post office box number, whichever is used for your U.S. Postal Service mailing address. Street 2 is not a required field and should be used only when a Suite or Room Number or other similar information is part of your address. Do not use Street 2 to provide a second address.
In the Zip/Postal Code box, enter the full 9-digit zip code that was assigned by the U.S. Postal Service. If you do not know your full zip code, you may look it up at www.usps.com/zip4/ .
c. Citizenship Status:
If you are a permanent resident of the United States, provide your Alien Registration Number.
d. Social Security Number (SSN): Leave blank.
e. Congressional District of Applicant: Enter the Congressional District that corresponds to your permanent address. Use the following format: 2 character State Abbreviation-3 character District Number. For example, if you live in the 5th Congressional District of California, enter "CA-005." For the 12th district of North Carolina, enter "NC-012". If you do not have a Congressional District (e.g., you are located in a U.S. territory that doesn’t have districts), enter 00-000. If you need help determining your district, please visit the House of Representatives Web site at www.house.gov and use the "Find Your Representative" tool.
6. Project Information:
a. Project Title: Indicate the title, author, and language of the work that you propose to translate.
b. Project Description: In two or three sentences, briefly describe your specific project. Include the genre and the approximate number of total pages to be translated.
c. Proposed Project Start Date/End Date: Enter the beginning and ending dates for your requested period of support. The Arts Endowment’s support of a project must start between November 1, 2008, and November 1, 2009, and may extend up to two years.
7. Signature Block:
By clicking the "I Agree" box, you are certifying that your application is true and correct to the best of your knowledge and that you are in compliance with relevant federal requirements that can be found in the Assurance of Compliance section of these guidelines. The "Signature" and "Date Signed" boxes will be populated by Grants.gov upon submission of the application.
How to use the Attachments Form
This "form" is not a form in the conventional sense. Rather, it is a place to attach documents that you have completed, converted to PDF (portable document format) files, and saved elsewhere on your computer. One of these documents is itself a fillable Arts Endowment form; the others are narratives or lists that you must create in accordance with the instructions below.
Several important points:
When submitting through Grants.gov, attach only one copy of each item.
Attach PDF (portable document format) files. Using PDFs allows you to preserve the formatting of your documents so they can be presented to panelists exactly as you intend.
Attachment 1 (Literature Fellowships Application Supplemental Information) is a fillable form; you will find a link to it. This form can be filled in, saved to your computer, and attached without the need for special software.
Attachments 2 - 12 are documents (e.g., resumes, descriptions of work) that you will develop in accordance with the instructions provided. These non-form documents can be created using any word processing software. When you have completed the document, save it to your computer and convert it to PDF before attaching. If you don't already have software to convert files to PDF, there are many low-cost and free software packages that can do this. To learn more, go to PDF Conversion Programs. NOTE: Next year, applications with attachments that are not in PDF format may not be accepted.
Do not embed non-printable media files (video and/or sound) in your PDF documents. Static images (e.g., pictures) are acceptable. Please do not enable any document security settings or password protect any PDF file you submit to us.
For documents such as resumes and descriptions of work, label pages clearly with the name of the item (e.g., Justification for New Translation) and your legal name. Leave a margin of at least one inch at the top, bottom, and sides of all pages. Do not reduce type below 12 point font size. Do not type in all capital letters. Number pages sequentially.
Name your files as indicated below and attach them in the proper order. Please note that you cannot change the name of a file on the Attachments Form. Therefore make certain that each file is named correctly before you attach it. See below for details.
When you open the Grants.gov Attachments Form, you will find 15 attachment buttons, labeled "Attachment 1" through "Attachment 15." By clicking on a button, you will be able to choose the file from your computer that you wish to attach. Please attach the proper file to the proper button as listed below.
ATTACHMENT 1:
To this button, attach the Literature Fellowships Application Supplemental Information form [ Download Form ]. The file name should be your last name followed by "SuppInfo.pdf" (e.g., JonesSuppInfo.pdf).
Under Category Under Which Support is Requested, check "Translation Projects." Then choose prose, poetry, or drama. Note if this is a collaborative project or a retranslation. Specify the language of the work to be translated.
ATTACHMENT 2:
To this button, attach a Summary of Publications/Productions to establish your eligibility (two-page maximum). The file name should be your last name followed by "SummaryPubsProds.pdf."
List the specific published translations into English that establish your eligibility (see Eligibility for details). Use the bullets below as column headings for your list. For each publication note:
Title, author.
Language, genre.
Publisher (including name of magazine or press with address and phone number).
Publication date (month and year).
ISBN number.
Number of pages that you translated.
If your eligibility is based on the production of your translation of at least one full-length play, note the title, author, producing company, location, and dates of each performance.
Example:
Title/Author
Language/Genre
Publisher
Publication Date/
ISBN # / # of pages
A Walk in the City/
John Doe
Spanish/poem
University Press
1234 Main St.
Springfield, IL
123-456-7891
12/2004, ISBN 0000000000, 200 pages
The Arts Endowment may contact you to verify the accuracy of the information that you provide. Therefore, you must maintain on file, and be able to provide to the Arts Endowment upon request, proof of your eligibility. For each publication listed in Attachment 2, maintain on file one clearly reproduced copy of each of the following:
The title page or cover with your name and the title of the work.
The copyright page with the publisher's information, publication date, and ISBN number.
If you are using the production of a play to establish your eligibility, proof that your translation of the play was produced by a professional theater company [e.g., playbill with date(s), promotional material].
Where applicable, highlight your name as it appears on any of the above.
NOTE: When you check the Certification box on the SF 424-Individual form, you are certifying that all parts of your application, including your summary of the publications/productions that establish your eligibility, are true and correct to the best of your knowledge.
ATTACHMENT 3:
To this button attach a single file that includes all of the items below that are relevant to your application. The file name should be your last name followed by "Resume.pdf." Label each item clearly.
For all applicants: Your resume or a narrative account of your education and experience (three-page maximum). Indicate any time that you spent in the country of origin and any previous cooperation (or commitment for future cooperation) with the author(s) of the original work, or other relevant information. Optional: Graduate students may add a one-page letter of recommendation from a current or former professor.
For collaborations: A resume or narrative account of the credentials of your collaborator (three-page maximum).
ATTACHMENT 4:
To this button, attach a brief resume or biographical information for the author(s) of the work that you wish to translate (two-page maximum). The file name should be your last name followed by "AuthorResume.pdf."
ATTACHMENT 5:
To this button, attach a brief description of the work that you wish to translate (two-page maximum). The file name should be your last name followed by "DescriptionofWork.pdf."
Describe the work's scope, importance, and place in the author’s works; and explain why you selected this author and this work. List the existing English translations of the author’s work and indicate whether the author has been translated into any languages other than English. Whenever possible, cite reviews of the original work.
ATTACHMENT 6:
If the proposed project is a retranslation, to this button attach a statement justifying the need for a new translation including specific examples from the proposed project (two-page maximum). The file name should be your last name followed by "JustificationforRetranslation.pdf."
ATTACHMENT 7:
To this button, attach a statement on the clearance of rights necessary for your project. The file name should be your last name followed by "Rights.pdf."
This statement must attest that you have 1) secured consent for your translation from the holder of the copyright (identify the copyright holder and date of consent), or 2) verified that the material to be translated is in the public domain. You must have secured any rights necessary by the time of application. The Arts Endowment may contact you for documentation of rights clearance at any time.
ATTACHMENT 8:
If your project is for a collaboration, to this button attach a statement of agreement that specifies the collaborator’s role and the recognition that he or she will receive for the project. The file name should be your last name followed by "Collab.pdf."
ATTACHMENT 9:
If your Manuscript Material is an excerpt from a novel, play, or other long work, to this button attach a one-page précis that places the manuscript sample in context. The file name should be your last name followed by "Precis.pdf."
We encourage you to submit items 10, 11, and 12 below electronically through Grants.gov wherever feasible. However, you have the option of submitting any or all of these items in hard copy directly to the Arts Endowment. If you submit hard copies, send nine copies of each item and see the instructions under "Application Material to be Submitted by Mail."
If you submit items 11 and 12 as scanned documents, please observe the following guidelines:
Scan images at a resolution between 150 dpi and 300 dpi. Resolutions over 300 dpi will result in unnecessarily large files, and those below 150 dpi may result in hard-to-read printouts.
Save the images as black-and-white JPEGs. Please be sure you are not saving them in color, as this significantly increases the file size.
Experiment with the JPEG quality settings. Saving the document as a "medium quality" or "low quality" JPEG will reduce the file size, and is not likely to reduce readability.
When you have scanned the images, concatenate them into a single PDF file. Submit a single file; do not submit a separate file for each scanned page.
When you have created the document you are going to submit, print out a few pages to make sure it is easily readable.
ATTACHMENT 10:
To this button, attach one copy of a 10-15 typescript page sample of your translation. The file name should be your last name followed by "Manuscript.pdf." Put your name and the page number in the upper right corner of each page. Do not crowd pages. Do not submit more than the maximum number of pages that are allowed; excess pages will be removed.
Your sample must be drawn from the same body of work that you propose to translate during the grant period.
For collaborative projects, your sample must be prepared by the collaborative team. All other samples must be independent work of the translator.
ATTACHMENT 11:
To this button, attach one copy of those portions of the original work which your sample translation renders. The file name should be your last name followed by "OriginalWork.pdf." Put your name and the page number on the upper right corner of each page. Label the sample with the English translation of the foreign language title and author.
ATTACHMENT 12:
If your project is for a retranslation, to this button attach one clearly reproduced and labeled copy of at least one existing published translation of the approximate sample submitted. The file name should be your last name followed by "ExistingTranslation.pdf." Put your name and the page number on the upper right corner of each page. Label the sample with the English translation of the foreign language title and author.
You do not have to fill the remaining Attachment buttons.
If you try to view an attachment by clicking the "View Attachment" button on the Attachments Form but are unsuccessful, check the bottom of the screen for the message: "Pop-ups were blocked on this page." If you see this message, press "Ctrl" and "View Attachment" to see the attachment.
Reminder: Be sure to submit all attachments as PDF files. If you work in Word initially, convert each item to PDF before submission.
Application Material To Be Submitted by Mail
If you are able to submit all items detailed in Attachments 1-12 above electronically, no additional submission of material to the Arts Endowment is required. However, if you choose to submit Attachments 10, 11, or 12 in hard copy, you must mail the following items to the Arts Endowment. Mailed material should not be sent before December 1, 2007; it must be postmarked (or show other proof of mailing) no later than January 8, 2008.
Mailed material:
A copy of the Submission Confirmation from Grants.gov that includes your Grants.gov Tracking Number. (Upon submission of your electronic application material to Grants.gov, this confirmation will display on your screen.) Be sure that this is the first item in your mailed material.
Items detailed in Attachments 10, 11, or 12 above if not submitted electronically through Grants.gov.
You must send nine copies of each item. All copies must be legible, labeled, clearly reproduced, and properly collated.
For your own manuscript material (Attachment 10 above), your sample must be in typescript (i.e., produced by a typewriter or "letter quality" printer). Clear photocopies of typescript material are acceptable, but do not send onionskin copies. Photocopies from books or magazines (and handwritten material) will not be accepted. All paper should be 8 ½" x 11"; do not use legal-sized paper. Use a 12 point or larger font. Write your name and the page number in the upper right corner of each page; staple each copy. Do not submit manuscripts in folders or binders. Do not crowd pages. Do not submit more than the maximum number of pages that are allowed; excess pages will be removed.
For portions of the original work that your sample translation renders (Attachment 11 above) and an existing published translation (Attachment 12 above for retranslations), you may submit clearly reproduced and labeled copies of the original publication.
Application material cannot be returned. Be sure to keep a copy of what you send.
Label your package as noted below. All mailed material must be postmarked (or show other proof of mailing) no later than January 8, 2008. Send your package to:
Literature Fellowships: Translation Projects
Room 722
GRANTS.GOV TRACKING NUMBER: ____________________ (Enter number assigned upon submission of your application to Grants.gov)
National Endowment for the Arts
1100 Pennsylvania Avenue, NW
Washington, DC 20506-0001
Be sure to include a complete return address on your package. If the delivery service that you use requires a telephone number for the recipient on the label, use 202/682-5760.
The National Endowment for the Arts continues to experience lengthy delays in the delivery of First-Class mail. In addition, some or all of the First-Class and Priority mail we receive may be put through an irradiation process. Support material put through this process has been severely damaged. Until normal mail service resumes, please consider using a commercial delivery service, particularly if you are sending time-sensitive material.
Privacy Policy Important Notices Contact Us USA.gov
National Endowment for the Arts · an independent federal agency
1100 Pennsylvania Avenue NW
Washington, DC 20506
If you would like to receive notifications of changes to the grant opportunity click send me change notification emails . The only thing you need to provide for this service is your email address. No other information is requested.
Any inconsistency between the original printed document and the disk or electronic document shall be resolved by giving precedence to the printed document.
Document Type: Grants Notice
Funding Opportunity Number: 2008NEA03LFTP
Opportunity Category: Discretionary
Posted Date: Oct 31, 2007
Creation Date: Oct 31, 2007
Original Closing Date for Applications: Jan 07, 2008 Applicants must submit their applications electronically through Grants.gov, the federal government’s online application system. The Grants.gov system must receive your application no later than 11:59 p.m., Eastern Time, on January 7, 2008. The Arts Endowment will not accept late applications.
Current Closing Date for Applications: Jan 07, 2008 Applicants must submit their applications electronically through Grants.gov, the federal government’s online application system. The Grants.gov system must receive your application no later than 11:59 p.m., Eastern Time, on January 7, 2008. The Arts Endowment will not accept late applications.
Archive Date: Feb 06, 2008
Funding Instrument Type: Grant
Category of Funding Activity: Arts (see "Cultural Affairs" in CFDA)
Category Explanation:
Expected Number of Awards:
Estimated Total Program Funding:
Award Ceiling: $20,000
Award Floor: $10,000
CFDA Number: 45.024 -- Promotion of the Arts_Grants to Organizations and Individuals
Cost Sharing or Matching Requirement: No
Eligible Applicants
Individuals
Additional Information on Eligibility:
Individual translators who meet the publication requirements that are listed below are eligible to apply. Applicants must be citizens or permanent residents of the United States. You are eligible to apply if you, alone or in collaboration, have: •Published a total of at least 20 pages of translations of creative literature into English in literary magazines, anthologies, or books; or •Published a translation into English of a novel or a volume of at least 20 pages of fiction, poetry, or belles-lettres (creative nonfiction, criticism, and essays); or •Translated into English at least one full-length play that has been produced by a professional theater company. This publication or production must have taken place between January 1, 1993, and January 7, 2008.
Agency Name
National Endowment for the Arts
Description
Through fellowships to exceptionally talented, published translators, the Arts Endowment supports projects for the translation of specific works of prose, poetry, or drama from other languages into English. We encourage translations of writers and of work which are not well represented in English translation. All proposed projects must be for creative translations of published literary material into English. The work to be translated should be of interest for its literary excellence and value. Priority will be given to projects that involve work that has not yet been translated into English.
Link to Full Announcement
Web Site Announcement
If you have difficulty accessing the full announcement electronically, please contact:
Web Manager
National Endowment for the Arts NEA Web Manager's E-mail Address
Home page for active links
How to Prepare and Submit an Application
These application guidelines provide all of the information that you need to submit an application.
Individuals must submit their applications electronically through Grants.gov, the federal government’s online application system. Applications will not be accepted in paper format.
Before you apply through Grants.gov for the first time, you must be registered. Registration with Grants.gov:
Is a multi-step process.
Takes time; allow a few days.
Must be completed before you can submit your application.
Is detailed in Step 1 below.
The Grants.gov system must receive your application no later than 11:59 p.m., Eastern Time, on January 7, 2008. The Arts Endowment will not accept late applications. We encourage you to apply well in advance of the deadline.
Please be aware that the Grants.Gov Customer Service hours are 7:00 a.m. to 9:00 p.m., Eastern Time, Monday to Friday. Should you encounter any difficulty submitting your application right before the deadline, the Arts Endowment will not accept your inability to contact Grants.gov after hours as a valid excuse for a late application.
We recommend strongly that you REGISTER WELL IN ADVANCE OF THE JANUARY 7 DEADLINE (Step 1 below). We also encourage you to COMPLETE AND SUBMIT YOUR APPLICATION EARLY (Steps 2 and 3 below); do not wait until the last minute. Grants.gov can slow down during periods of high usage, which most often occur between 12 noon and 5:00 p.m., Eastern Time. You will have a better experience if you submit your application outside of these hours and in advance of the deadline. In addition, we urge you to read these instructions in their entirety before you begin the application process.
If you are unable to submit your application electronically, you may request a waiver from this requirement. A waiver will be granted for the following reasons only:
Internet access is not available within a 30-mile radius of your address.
Disability prevents you from submitting your application electronically.
Your waiver request must be in writing and must explain which of the two grounds for an exception prevents you from submitting your application electronically. Include accurate contact information (including phone number) so that we may notify you of the status of your request.
All waiver requests must be received (not postmarked) at the Arts Endowment at least three weeks before the application deadline, or no later than 5:30 p.m., Eastern Time, on December 17, 2007. You may fax your request to 202/682-5660 or send it to:
Deputy Chairman for Grants and Awards
Grants.gov Waiver Request
Room 710
National Endowment for the Arts
1100 Pennsylvania Avenue, NW
Washington, DC 20506-0001
The National Endowment for the Arts continues to experience lengthy delays in the delivery of First-Class mail. Please consider faxing your waiver request or using a commercial delivery service, particularly if you are sending your request close to the December 17 receipt deadline.
In the event a waiver is granted, your complete paper application package must be postmarked (or show other proof of mailing) no later than January 7, 2008.
APPLY THROUGH GRANTS.GOV
Applicants should access Grants.gov by following the instructions below. You will find customized instructions and links to everything that you need right here on the Arts Endowment's Web site. If you go to Grants.gov, you will merely be directed back to these instructions. We urge you to read these instructions in their entirety before you begin the application process.
Step 1: Register with Grants.gov
All applicants who have not yet done so must register with Grants.gov prior to submitting their application. Registration is a multi-step, one-time process, which can take a day or more to complete. DO NOT WAIT UNTIL THE DAY OF THE APPLICATION DEADLINE TO REGISTER.
Step-by-step instructions for registering are available at Individual Registration. As part of the registration process, you will be asked to provide the Funding Opportunity Number of the grant that you intend to apply for on Grants.gov. Enter 2008NEA03LFTP for Literature Fellowships: Translation Projects.
If you have problems registering, call the Grants.gov help desk at 1-800-518-4726, e-mail support@grants.gov, or consult the information posted on the Grants.gov Web site at Applicant Help. The Grants.gov Customer Service hours are 7:00 a.m. to 9:00 p.m., Eastern Time, Monday to Friday.
You do not need to complete the registration process to download the application package and begin to prepare your material (see below). However, you will need your Grants.gov Username and Password that you obtain in the final step of the registration process to submit your application.
Step 2: Prepare your application material
To access the application package:
Access the application package on Grants.gov by clicking on the link below:
Funding Opportunity Number 2008NEA03LFTP
This will bring you to the "Selected Grant Applications for Download" screen.
Download the application package and follow the instructions below. It is not necessary to download the instructions from Grants.gov as you will merely be directed back to the instructions in this document. You may find it helpful to print out these instructions so that you will have them available for easy reference as you complete the forms. You also may want to keep these instructions open in a window in your computer as they contain helpful links to information that you will need as you complete your application.
You must have Adobe Reader version 8.1.1, a small, free software program, installed on your computer in order to access, complete, and submit applications. Other versions of Adobe Reader may lead to errors and prevent you from submitting your application to Grants.gov.
To determine which version of Adobe Reader you have, when in Reader, select Help > About Adobe Reader.
If you do not already have Adobe Reader version 8.1.1 installed on your computer, please download and follow these installation instructions.
When you download the application package, the Grants.gov "Grant Application Package" screen will open. Click on the "Save" button at the top of the form and save the application package to a location on your computer or network where you can find it readily. Close the saved application package before you start to work on it for the first time. Always open and work on your application from this location. Save your changes each time you work on your application. You do not need to be connected to Grants.gov or the Internet until you are ready to submit your completed application.
To work on your application:
Open the application package that you have saved to your computer and the Grants.gov "Grant Application Package" screen will appear. In the "Application Filing Name" field, enter your legal name.
Move all of the forms in the "Mandatory Documents" box to the “Mandatory Documents for Submission” box. You must move the forms before you can open them. Once moved, the two forms merge into a single document. You can access each form by clicking on it to highlight it and then clicking on the "Open Form" box OR you can scroll down your screen and you will come to each form in succession.
Within a given form, you can move around either by scrolling or by clicking on the "Next" or "Previous" button at the top of the form itself. You can move throughout the full multi-form document either by scrolling or by using the small arrows at the bottom of your screen. Do not use the Back Button arrow at the top of your screen as this will take you out of the Grants Application Package altogether.
Clicking on the "Close Form" button at the top of a screen will capture your information and return you to the "Grant Application Package" screen. Before closing the "Grant Application Package" screen, click on the "Save" button to make sure that your most recent information is saved.
When you click the “Save” button you will get the message "The File already exists. Replace existing file?" Click “Yes” to ensure the most recent version of your application is saved to the same location on your computer.
There are two mandatory forms that you must fill out before you can submit your application. On each form, you will find instructions by positioning the cursor over each item or, where relevant, over the radio button (the box to the left of the text) for an item. Please do not type in all capital letters when completing these forms.
The forms are:
Application for Federal Assistance SF 424 - Individual Form: This form asks for basic information. See instructions for completing this form below.
Attachments Form: This is not a form in the conventional sense, but rather a place to attach additional items as PDF (portable document format) files. These additional items (e.g., your resume and the Literature Fellowships Application Supplemental Information form) must be included for your Grants.gov application package to be considered complete. See instructions for completing this form below.
Step 3. Submit your application
In the top left corner of the Grants.gov menu screen you will see buttons for Save & Submit, Save, Print, Cancel, and Check Package for Errors.
When you have completed your application (i.e., the two Mandatory Documents have been completed and saved), click the Check Package for Errors button to double check that you have provided all required information. This will alert you if you have left any required fields on the forms incomplete. This will not check the accuracy of your information or whether you have attached all required documents. Correct any errors and click Save to save your application package again. When your required fields are complete, you will receive the message, "Validation Passed."
If you want a hard copy of your completed application for your files, clicking the Print button will print out the two forms in the Mandatory Completed Documents for Submission box. For a hard copy of the items that you are attaching to the Attachments Form, you will have to print each of these out separately from your computer.
Click the Save & Submit button. [This button will not become active (and turn from dark to light gray) until you have saved your application with all required fields completed. Clicking this button will prompt you to save your application package one last time. When asked if you want to replace the existing file, click “Yes.” You will then be reconnected to Grants.gov and the Internet.] You will be prompted to provide your Grants.gov Username and Password that you obtained during registration. (REMINDER: You must have successfully completed the registration process in order to receive your Grants.gov Username and Password.)
Click the "Login" button. This will bring you to the "Application Submission Verification and Signature" screen, which provides a summary of the Funding Opportunity for which you are applying. If everything looks accurate, click the "Sign and Submit Application" button to complete the process. Be certain that you are satisfied with your application before you click this button. No revisions to your application are possible through Grants.gov once it is submitted.
If you do not want to submit the application at this time, click the "Exit Application" button. You will be returned to the previous page where you can make changes in your material or exit the process.
Grants.gov will put a date/time stamp on your application when you click the "Sign and Submit Application" button. Your application must be stamped no later than 11:59 p.m., Eastern Time, on January 7, 2008; the Arts Endowment will not accept late applications. Remember that Grants.gov’s Customer Service hours end for the day at 9 p.m., Eastern Time. Should you encounter any difficulty submitting your application right before the deadline, the Arts Endowment will not accept your inability to contact Grants.gov after hours as a valid excuse for a late application.
After you hit the "Sign and Submit Application" button, you will receive two notifications from Grants.gov:
First, you will receive confirmation that your application was received by the Grants.gov system. This confirmation will include the Grants.gov Tracking Number assigned to your application. Print a copy of this notification to include with any material that you might mail to the Arts Endowment and keep a copy for your records. The Tracking Number also will be e-mailed to you.
Soon thereafter (generally within 24-48 hours), you will receive notification as to whether your application was successfully validated by Grants.gov. If there are any errors in your application (e.g., you attach a file with a virus), it will be rejected by Grants.gov and not delivered to the NEA.
If Grants.gov rejects your application and the deadline has not yet passed, you can correct the error(s) in your application and resubmit. If the deadline has passed, you will not have this opportunity.
You also can track the progress of your application by using your Username and Password to log in to the Grants.gov system and clicking on "Application Status."
After the deadline for this category, Grants.gov will notify you via e-mail when the Arts Endowment retrieves your application from Grants.gov, and again soon thereafter, when your application has been assigned an Agency Tracking Number (this will be the Arts Endowment-assigned application number). This process will serve to acknowledge the receipt of your application by the Arts Endowment.
Additional Help
For additional help on how to use Grants.gov, please see the help material on the Grants.gov website at Applicant Help. You also can send e-mail to the Grants.gov helpdesk at support@grants.gov or call them at 1-800-518-4726 from 7 a.m. until 9 p.m., Eastern Time, Monday to Friday.
If you contact Grants.gov for assistance, your question will be assigned a case number. This number only documents your inquiry to the help desk. It is: 1) not, in itself, an indication of a Grants.gov system problem that would excuse a late application; and 2) not related to the tracking number that Grants.gov will assign your application once it has been successfully submitted.
For specific help on how to complete your application, please review the instructions in these guidelines or contact the Literature staff at 202/682-5034 or davisg@arts.gov.
Detailed Instructions for Each Form in Your Grants.gov Application
Do not type in all capital letters when completing the forms.
You will find instructions by positioning the cursor over each item. More detailed instructions are provided below.
How to fill out the Application for Federal Assistance
SF 424 - Individual
NOTE: All asterisked (*) items and yellow fields on this form are required and must be completed before you will be able to submit the form.
1. Name of Federal Agency: Pre-populated.
2. Catalog of Federal Domestic Assistance Number: Pre-populated.
3. Date Received: This will be filled automatically with the date that you submit your application; leave blank.
4. Funding Opportunity Number: Pre-populated.
5. Applicant Information:
a. Name and Contact Information:
Applicants using pen names must list their legal name here. All transactions with the Arts Endowment must be made using the legal name. Contact information must be valid through November 2008. You must notify us of any changes.
b. Address:
Enter information for your permanent address. Information must be valid through November 2008.
Use Street 1 for your street address or post office box number, whichever is used for your U.S. Postal Service mailing address. Street 2 is not a required field and should be used only when a Suite or Room Number or other similar information is part of your address. Do not use Street 2 to provide a second address.
In the Zip/Postal Code box, enter the full 9-digit zip code that was assigned by the U.S. Postal Service. If you do not know your full zip code, you may look it up at www.usps.com/zip4/ .
c. Citizenship Status:
If you are a permanent resident of the United States, provide your Alien Registration Number.
d. Social Security Number (SSN): Leave blank.
e. Congressional District of Applicant: Enter the Congressional District that corresponds to your permanent address. Use the following format: 2 character State Abbreviation-3 character District Number. For example, if you live in the 5th Congressional District of California, enter "CA-005." For the 12th district of North Carolina, enter "NC-012". If you do not have a Congressional District (e.g., you are located in a U.S. territory that doesn’t have districts), enter 00-000. If you need help determining your district, please visit the House of Representatives Web site at www.house.gov and use the "Find Your Representative" tool.
6. Project Information:
a. Project Title: Indicate the title, author, and language of the work that you propose to translate.
b. Project Description: In two or three sentences, briefly describe your specific project. Include the genre and the approximate number of total pages to be translated.
c. Proposed Project Start Date/End Date: Enter the beginning and ending dates for your requested period of support. The Arts Endowment’s support of a project must start between November 1, 2008, and November 1, 2009, and may extend up to two years.
7. Signature Block:
By clicking the "I Agree" box, you are certifying that your application is true and correct to the best of your knowledge and that you are in compliance with relevant federal requirements that can be found in the Assurance of Compliance section of these guidelines. The "Signature" and "Date Signed" boxes will be populated by Grants.gov upon submission of the application.
How to use the Attachments Form
This "form" is not a form in the conventional sense. Rather, it is a place to attach documents that you have completed, converted to PDF (portable document format) files, and saved elsewhere on your computer. One of these documents is itself a fillable Arts Endowment form; the others are narratives or lists that you must create in accordance with the instructions below.
Several important points:
When submitting through Grants.gov, attach only one copy of each item.
Attach PDF (portable document format) files. Using PDFs allows you to preserve the formatting of your documents so they can be presented to panelists exactly as you intend.
Attachment 1 (Literature Fellowships Application Supplemental Information) is a fillable form; you will find a link to it. This form can be filled in, saved to your computer, and attached without the need for special software.
Attachments 2 - 12 are documents (e.g., resumes, descriptions of work) that you will develop in accordance with the instructions provided. These non-form documents can be created using any word processing software. When you have completed the document, save it to your computer and convert it to PDF before attaching. If you don't already have software to convert files to PDF, there are many low-cost and free software packages that can do this. To learn more, go to PDF Conversion Programs. NOTE: Next year, applications with attachments that are not in PDF format may not be accepted.
Do not embed non-printable media files (video and/or sound) in your PDF documents. Static images (e.g., pictures) are acceptable. Please do not enable any document security settings or password protect any PDF file you submit to us.
For documents such as resumes and descriptions of work, label pages clearly with the name of the item (e.g., Justification for New Translation) and your legal name. Leave a margin of at least one inch at the top, bottom, and sides of all pages. Do not reduce type below 12 point font size. Do not type in all capital letters. Number pages sequentially.
Name your files as indicated below and attach them in the proper order. Please note that you cannot change the name of a file on the Attachments Form. Therefore make certain that each file is named correctly before you attach it. See below for details.
When you open the Grants.gov Attachments Form, you will find 15 attachment buttons, labeled "Attachment 1" through "Attachment 15." By clicking on a button, you will be able to choose the file from your computer that you wish to attach. Please attach the proper file to the proper button as listed below.
ATTACHMENT 1:
To this button, attach the Literature Fellowships Application Supplemental Information form [ Download Form ]. The file name should be your last name followed by "SuppInfo.pdf" (e.g., JonesSuppInfo.pdf).
Under Category Under Which Support is Requested, check "Translation Projects." Then choose prose, poetry, or drama. Note if this is a collaborative project or a retranslation. Specify the language of the work to be translated.
ATTACHMENT 2:
To this button, attach a Summary of Publications/Productions to establish your eligibility (two-page maximum). The file name should be your last name followed by "SummaryPubsProds.pdf."
List the specific published translations into English that establish your eligibility (see Eligibility for details). Use the bullets below as column headings for your list. For each publication note:
Title, author.
Language, genre.
Publisher (including name of magazine or press with address and phone number).
Publication date (month and year).
ISBN number.
Number of pages that you translated.
If your eligibility is based on the production of your translation of at least one full-length play, note the title, author, producing company, location, and dates of each performance.
Example:
Title/Author
Language/Genre
Publisher
Publication Date/
ISBN # / # of pages
A Walk in the City/
John Doe
Spanish/poem
University Press
1234 Main St.
Springfield, IL
123-456-7891
12/2004, ISBN 0000000000, 200 pages
The Arts Endowment may contact you to verify the accuracy of the information that you provide. Therefore, you must maintain on file, and be able to provide to the Arts Endowment upon request, proof of your eligibility. For each publication listed in Attachment 2, maintain on file one clearly reproduced copy of each of the following:
The title page or cover with your name and the title of the work.
The copyright page with the publisher's information, publication date, and ISBN number.
If you are using the production of a play to establish your eligibility, proof that your translation of the play was produced by a professional theater company [e.g., playbill with date(s), promotional material].
Where applicable, highlight your name as it appears on any of the above.
NOTE: When you check the Certification box on the SF 424-Individual form, you are certifying that all parts of your application, including your summary of the publications/productions that establish your eligibility, are true and correct to the best of your knowledge.
ATTACHMENT 3:
To this button attach a single file that includes all of the items below that are relevant to your application. The file name should be your last name followed by "Resume.pdf." Label each item clearly.
For all applicants: Your resume or a narrative account of your education and experience (three-page maximum). Indicate any time that you spent in the country of origin and any previous cooperation (or commitment for future cooperation) with the author(s) of the original work, or other relevant information. Optional: Graduate students may add a one-page letter of recommendation from a current or former professor.
For collaborations: A resume or narrative account of the credentials of your collaborator (three-page maximum).
ATTACHMENT 4:
To this button, attach a brief resume or biographical information for the author(s) of the work that you wish to translate (two-page maximum). The file name should be your last name followed by "AuthorResume.pdf."
ATTACHMENT 5:
To this button, attach a brief description of the work that you wish to translate (two-page maximum). The file name should be your last name followed by "DescriptionofWork.pdf."
Describe the work's scope, importance, and place in the author’s works; and explain why you selected this author and this work. List the existing English translations of the author’s work and indicate whether the author has been translated into any languages other than English. Whenever possible, cite reviews of the original work.
ATTACHMENT 6:
If the proposed project is a retranslation, to this button attach a statement justifying the need for a new translation including specific examples from the proposed project (two-page maximum). The file name should be your last name followed by "JustificationforRetranslation.pdf."
ATTACHMENT 7:
To this button, attach a statement on the clearance of rights necessary for your project. The file name should be your last name followed by "Rights.pdf."
This statement must attest that you have 1) secured consent for your translation from the holder of the copyright (identify the copyright holder and date of consent), or 2) verified that the material to be translated is in the public domain. You must have secured any rights necessary by the time of application. The Arts Endowment may contact you for documentation of rights clearance at any time.
ATTACHMENT 8:
If your project is for a collaboration, to this button attach a statement of agreement that specifies the collaborator’s role and the recognition that he or she will receive for the project. The file name should be your last name followed by "Collab.pdf."
ATTACHMENT 9:
If your Manuscript Material is an excerpt from a novel, play, or other long work, to this button attach a one-page précis that places the manuscript sample in context. The file name should be your last name followed by "Precis.pdf."
We encourage you to submit items 10, 11, and 12 below electronically through Grants.gov wherever feasible. However, you have the option of submitting any or all of these items in hard copy directly to the Arts Endowment. If you submit hard copies, send nine copies of each item and see the instructions under "Application Material to be Submitted by Mail."
If you submit items 11 and 12 as scanned documents, please observe the following guidelines:
Scan images at a resolution between 150 dpi and 300 dpi. Resolutions over 300 dpi will result in unnecessarily large files, and those below 150 dpi may result in hard-to-read printouts.
Save the images as black-and-white JPEGs. Please be sure you are not saving them in color, as this significantly increases the file size.
Experiment with the JPEG quality settings. Saving the document as a "medium quality" or "low quality" JPEG will reduce the file size, and is not likely to reduce readability.
When you have scanned the images, concatenate them into a single PDF file. Submit a single file; do not submit a separate file for each scanned page.
When you have created the document you are going to submit, print out a few pages to make sure it is easily readable.
ATTACHMENT 10:
To this button, attach one copy of a 10-15 typescript page sample of your translation. The file name should be your last name followed by "Manuscript.pdf." Put your name and the page number in the upper right corner of each page. Do not crowd pages. Do not submit more than the maximum number of pages that are allowed; excess pages will be removed.
Your sample must be drawn from the same body of work that you propose to translate during the grant period.
For collaborative projects, your sample must be prepared by the collaborative team. All other samples must be independent work of the translator.
ATTACHMENT 11:
To this button, attach one copy of those portions of the original work which your sample translation renders. The file name should be your last name followed by "OriginalWork.pdf." Put your name and the page number on the upper right corner of each page. Label the sample with the English translation of the foreign language title and author.
ATTACHMENT 12:
If your project is for a retranslation, to this button attach one clearly reproduced and labeled copy of at least one existing published translation of the approximate sample submitted. The file name should be your last name followed by "ExistingTranslation.pdf." Put your name and the page number on the upper right corner of each page. Label the sample with the English translation of the foreign language title and author.
You do not have to fill the remaining Attachment buttons.
If you try to view an attachment by clicking the "View Attachment" button on the Attachments Form but are unsuccessful, check the bottom of the screen for the message: "Pop-ups were blocked on this page." If you see this message, press "Ctrl" and "View Attachment" to see the attachment.
Reminder: Be sure to submit all attachments as PDF files. If you work in Word initially, convert each item to PDF before submission.
Application Material To Be Submitted by Mail
If you are able to submit all items detailed in Attachments 1-12 above electronically, no additional submission of material to the Arts Endowment is required. However, if you choose to submit Attachments 10, 11, or 12 in hard copy, you must mail the following items to the Arts Endowment. Mailed material should not be sent before December 1, 2007; it must be postmarked (or show other proof of mailing) no later than January 8, 2008.
Mailed material:
A copy of the Submission Confirmation from Grants.gov that includes your Grants.gov Tracking Number. (Upon submission of your electronic application material to Grants.gov, this confirmation will display on your screen.) Be sure that this is the first item in your mailed material.
Items detailed in Attachments 10, 11, or 12 above if not submitted electronically through Grants.gov.
You must send nine copies of each item. All copies must be legible, labeled, clearly reproduced, and properly collated.
For your own manuscript material (Attachment 10 above), your sample must be in typescript (i.e., produced by a typewriter or "letter quality" printer). Clear photocopies of typescript material are acceptable, but do not send onionskin copies. Photocopies from books or magazines (and handwritten material) will not be accepted. All paper should be 8 ½" x 11"; do not use legal-sized paper. Use a 12 point or larger font. Write your name and the page number in the upper right corner of each page; staple each copy. Do not submit manuscripts in folders or binders. Do not crowd pages. Do not submit more than the maximum number of pages that are allowed; excess pages will be removed.
For portions of the original work that your sample translation renders (Attachment 11 above) and an existing published translation (Attachment 12 above for retranslations), you may submit clearly reproduced and labeled copies of the original publication.
Application material cannot be returned. Be sure to keep a copy of what you send.
Label your package as noted below. All mailed material must be postmarked (or show other proof of mailing) no later than January 8, 2008. Send your package to:
Literature Fellowships: Translation Projects
Room 722
GRANTS.GOV TRACKING NUMBER: ____________________ (Enter number assigned upon submission of your application to Grants.gov)
National Endowment for the Arts
1100 Pennsylvania Avenue, NW
Washington, DC 20506-0001
Be sure to include a complete return address on your package. If the delivery service that you use requires a telephone number for the recipient on the label, use 202/682-5760.
The National Endowment for the Arts continues to experience lengthy delays in the delivery of First-Class mail. In addition, some or all of the First-Class and Priority mail we receive may be put through an irradiation process. Support material put through this process has been severely damaged. Until normal mail service resumes, please consider using a commercial delivery service, particularly if you are sending time-sensitive material.
Privacy Policy Important Notices Contact Us USA.gov
National Endowment for the Arts · an independent federal agency
1100 Pennsylvania Avenue NW
Washington, DC 20506
National Disability Arts Forum.
National Disablitiy Arts Forum Main page
Established in 1991 and based in Newcastle's Ouseburn Valley, the National Disability Arts Forum aims to create equality of opportunity for disabled people in all aspects of the arts. It does this by:
Supporting the development of Disability Arts Agencies, both regional and local throughout the UK
Maintaining and developing a network through which these Agencies can support and assist each others development
Establishing favourable conditions within which disabled people can explore and express the condition of disability through the arts
Promoting the value of art by disabled people.
We are also involved in:
Promoting and supporting examples of good and or innovative practice that encourages the participation of disabled people in the arts
Assisting organisations in developing good and or innovative practice that encourages the participation of disabled people in the arts.
If you are new to Disability Arts, you might be interested to learn what the Disability Arts movement is all about.
You can find out who this site is aimed at and what services we can offer, or alternatively read more about our work in this pdf. Alternatively, please feel very welcome to contact us.
The National Disability Arts Forum is a registered charity (charity number 1089377) and a company limited by guarantee.
Established in 1991 and based in Newcastle's Ouseburn Valley, the National Disability Arts Forum aims to create equality of opportunity for disabled people in all aspects of the arts. It does this by:
Supporting the development of Disability Arts Agencies, both regional and local throughout the UK
Maintaining and developing a network through which these Agencies can support and assist each others development
Establishing favourable conditions within which disabled people can explore and express the condition of disability through the arts
Promoting the value of art by disabled people.
We are also involved in:
Promoting and supporting examples of good and or innovative practice that encourages the participation of disabled people in the arts
Assisting organisations in developing good and or innovative practice that encourages the participation of disabled people in the arts.
If you are new to Disability Arts, you might be interested to learn what the Disability Arts movement is all about.
You can find out who this site is aimed at and what services we can offer, or alternatively read more about our work in this pdf. Alternatively, please feel very welcome to contact us.
The National Disability Arts Forum is a registered charity (charity number 1089377) and a company limited by guarantee.
Access to Health Insurance / Resources for Care
Acccess to Health Insurance Resource Center home
Artists
Actors' Fund of America, Chicago
(312) 372-0989
The Actors' Fund of America, a nonprofit organization founded in 1882, provides for the social welfare of all entertainment professionals-designers, writers, sound technicians, musicians, dancers, administrators, directors, film editors, stagehands - as well as actors. The Actors' Fund Human Services Department offers a wide range of social services to working professionals, persons with AIDS, seniors and the disabled and others in need of help. In addition, emergency financial grants may be provided for essentials such as food, rent and medical care.
Adolph and Esther Gottlieb Foundation, Inc.
212-226-0581
Offer grants to individual visual artists through two programs: an annual Individual Support Grant and a separate program to assist visual artists in cases of catastrophic events through an Emergency Grant program.
AFM: Lester Petrillo Memorial Fund
800-762-3444 x 1275
The Lester Petrillo Memorial Fund for Disabled Musicians provides a modest grant, usually from $100 to $400, to disabled musicians who are members of the AFM. To qualify for financial assistance from this Fund, a member must be disabled (temporarily or permanently). Applications are available online.
AFTRA: The Frank Nelson Sick & Benefit Fund
323-634-8104
The Fund assists qualified AFTRA members in locals west of Omaha with basic living expenses and emergency medical costs.
AGMA: American Guild of Musical Artists
212-221-7300
Assistance fund for members in good standing who meet eligibility criteria. Administered by the Actors' Fund of America. For assistance call 212-221-7300.
AGVA: American Guild of Variety Artists Sick and Relief Fund
(212) 675-1003
AGVA does not have a presence on the Internet. It offers emergency financial assistance for members in good standing. The contact number in New York is listed above; the contact number in California is 818-508-9984.
Artists' Fellowship, Inc.
646-230-9833
Artists' Fellowship, Inc. is a private, charitable foundation that assists professional fine artists (painters, graphic artists, sculptors) and their families in times of emergency, disability, or bereavement. Applications from performance artists, commercial artists, commercial photographers, filmmakers, crafts persons, and hobbyists are not accepted. Although the need is real and often urgent, Artists' Fellowship is not authorized to respond to such requests. Application available on-line.
Broadcasters' Foundation
203-862-8577
The mission of the Broadcasters Foundation of America is to provide an anonymous safely net to men and women in the radio and television broadcast profession who find themselves in cases of critical illness, advanced age, death of a spouse, accident and other serious misfortune.
Cable Positive!
212-459-1502
Offers programs and services to those in the cable and telecommunications industry whose lives have been affected by HIV/AIDs. Also offers grants to local HIV/AIDS organizations around the country. NOTE: Administered by The Actors' Fund of America. For assistance call 212-221-7300.
Career Transition for Dancers
(212) 764-0172
Career Transition for Dancers offers eligible current and former professional dancers the following programs and services designed to help each individual realize their vision for life after dance: financial aid for tuition, career counseling and workshops, retraining and seed money for new businesses. CTFD helps dancers nationwide, with offices in NY (212-764-0172) and LA (323-549-6660).
Carnegie Fund for Authors
516-877-2141
Carnegie Fund for Authors offers aid to authors who have had at least one book published commercially. Grants are given to writers and family members of writers experiencing a health- or injury-related crisis.
Artist Trust
Change, Inc.
212-473-3742
One-time grants of up to $1000 to artists of any discipline for financial emergencies including medical bill payment. For grant application guidelines, call the number above.
Craft Emergency Relief Fund (CERF)
802-229-2306
The mission of Craft Emergency Relief Fund is to strengthen and sustain the careers of craft artists across the United States through direct financial and educational assistance, including emergency relief assistance, business development support, and resources and referrals on topics such as health, safety, and insurance. CERF also advocates, engages in research, and backs policy that supports craft artists’ careers.
DGA: Directors Guild of America
(877) 866-2200
Information on health plans with downloadable forms. If you are a DGA member or a family member and require emergency assistance related to Hurricane Katrina, please call the DGA Foundation at 310 289-2037, or the toll-free number 800 421-4173 ext. 2037, or email laraine@dga.org and leave detailed contact information. A foundation representative will get in touch with you with information.
Grand Ole Opry Trust Fund
615-316-6174
Opry Trust Fund’s mission is to help those in the country music industry by offering financial assistance during times of need. Any individual who has been employed full time in some facet of the country music industry (i.e. performer, songwriter, publisher, radio, session musician, etc.) may be eligible to benefit from the Opry Trust Fund.
Jazz Musicians Emergency Fund
212-213-3866
The JMEF is committed to helping jazz professionals, especially older musicians, overcome their hard times and to help them get back on their feet. As "freelancers," most jazz musicians do not have full-time jobs with one organization. Therefore, they don't qualify for health insurance, pensions, or other benefits, making it next to impossible for them to receive the proper health care they need.
The JMEF makes emergency funds available for immediate needs. The Jazz Foundation provides jazz artists in need with someone who can assess their problems and find solutions. Through valued partnerships with Englewood Hospital and Medical Center, they provide much needed, free medical care.
In addition, the Jazz Foundation of America established a volunteer network of caring jazz enthusiasts to provide free legal, dental, and psychological services when needed.
Jonathan Larson Performing Arts Foundation
The mission of the Foundation is to provide financial support and encouragement to a new generation of musical theatre composers, lyricists and bookwriters. Applications are judged first on artistic merit; financial need is a secondary consideration.
Music Maker Relief Foundation, Inc.
919-643-2456
Music Maker Relief Foundation, Inc. is a nonprofit organization dedicated to helping the true pioneers and forgotten heroes of Southern musical traditions gain recognition and meet their day to day needs.
Their criterion for recipients is they be rooted in a Southern musical tradition, be 55 years or older and have an annual income less than $18,000.
Life Maintenance - Grants for necessities such as food, medical needs, housing.
Emergency Relief - Substantial one-time grants to recipients in crisis (medical, fire, theft, etc.).
MusiCares
Social services and financial assistance for basic needs, medical and substance abuse treatment.
West Coast Region 3402 Pico Boulevard Santa Monica, CA 90405 Ph: 310.392.3777 Fx: 310.392.2187 Toll-free Help Line: 1.800.687.4227
Central Region 1904 Wedgewood Avenue Nashville, TN 37212 Ph: 615.327.0050 Fx: 615.327.0876 Toll-free Help Line: 1.877.626.2748
Northeast Region 156 West 56th Street, Ste. 1701 New York, NY 10019 Ph: 212.245.7840 Fx: 212.245.8130 Toll-free Help Line: 1.877.303.6962
Musicians Foundation, Inc.
212-239-9137
Helps professional musicians by providing emergency financial assistance in meeting current living, medical and allied expenses.
Requests are handled by application which is available on the Internet and by mail from the Musicians Foundation, 875 Sixth Avenue, Room 2303, New York, NY 10001.
You can also request one by telephone at 212.239.9137 or by E-mail from info@musiciansfoundation.org.
PEN Writers' Fund
The PEN Writers’ Fund is an emergency fund for professional—published or produced—writers in acute, emergency financial crisis. Depending on the situation, the Fund gives grants of up to $2,000. The maximum amount is given only under especially dire circumstances and when monies are available. An application is available to download.
PEN American Center
Pollock-Krasner Foundation, Inc.
The Pollock-Krasner Foundation‘s dual criteria for grants are recognizable artistic merit and demonstrable financial need, whether professional, personal or both. The Foundation‘s mission is to aid, internationally, those individuals who have worked as professional artists over a significant period of time.
Artists are required to submit a cover letter, an application, and slides of current work. All applications will be promptly acknowledged and considered.
Artists interested in obtaining application forms and information on the application procedure can download the forms from our Web site or must write, fax or e-mail their complete mailing address to:
The Pollock-Krasner Foundation, Inc.
863 Park Avenue
New York, New York 10021
Attn: Request for Application
Fax: (212) 288-2836
E-mail: grants@pkf.org The Pollock-Krasner Foundation is also currently accepting emergency requests for grants to professional visual artists, which will be expedited under the foundation's guidelines.
Professional Dancers' Society Social Services
212-221-7300
Human services and financial assistance for dancers and choreographers who meet eligibility criteria. NOTE: Administered by The Actors' Fund of America. For assistance call 212-221-7300.
Rhythm & Blues Foundation
215-568-1080
Provides financial support, medical assistance and educational outreach through various grants and programs to support R&B and Motown artists of the 40s, 50s, 60s, and 70s.
SAG: Screen Actors Guild
(212) 221-7300
Assistance to SAG members in good standing for a minimum of six (6) dues periods. Administered by The Actors' Fund of America. For assistance call 212-221-7300.
Society of Singers
866-767-7671
The Society helps singers who have financial needs resulting from personal, medical or family crises. Charitable grants may be provided for basic needs including rent, utilities, medical/dental expenses, substance abuse rehab, psychotherapy and HIV/AIDS treatment.
ELIGIBILITY: Any individual who has derived his or her primary income as a professional singer for five years or more may qualify for services.
Sweet Relief Musicians Fund
(888) 955-7880
Sweet Relief provides financial assistance to all types of career musicians who are facing illness, disability, or age-related problems.
The applicant must be a musician who has regular public performances, or performed on at least three widely released recordings (audio or audiovisual), or written music that has been performed on three widely released recordings, or published on three occasions. The term “Musician” includes vocalists, songwriters, composers, arrangers, and instrumentalists.
The applicant must show financial need by submitting, upon Sweet Relief’s request, tax returns, bank statements, and/or any other information deemed necessary to verify such need.
For financial assistance for medically related costs, the applicant must have a serious medical condition. A diagnosis by a medical doctor, or hospital or medical bills indicating such condition, must be provided.
The Authors League Fund
212-268-1208
The Authors League Fund helps professional writers and dramatists who find themselves in financial need because of medical or health-related problems, temporary loss of income or other misfortune. The Fund gives open-ended, interest-free, no-strings-attached loans. Download an application on this site.
The Dramatists Guild Fund
212-391-8384
The Dramatists Guild Fund provides grants to professional dramatists experiencing personal hardships such as health-related problems or the temporary loss of income. They are also involved in helping older playwrights, composers, and lyricists who are ill, uninsured, or whose royalties have dried up. Recipients need not be Dramatists Guild members. All information is held in strict confidence. Grants are also given to not-for-profit theatrical organizations that produce works by American writers.
The Mayer Foundation
The core mission of the Mayer Foundation is to make economic relief grants to needy individuals who are distressed or suffering as a result of poverty, low income or lack of financial resources. They also award grants to non-profit organizations, and award scholarship benefits and student aid to high school, college or graduate school students. Applications can be downloaded at this site.
The PEN Fund for Writers and Editors with HIV/AIDS
Administered under the PEN Writers’ Fund, grants of up to $2,000 are given to professional writers and editors who face serious financial difficulties because of HIV or AIDS-related illness.
Will Rogers Memorial Fund
(877) 957-7575
The Will Rogers Memorial fund will subsidize for therapeutic medical care, including prescriptions, equipment, physical therapy, occupational therapy and more.
To quality for assistance, the applicant is required to have worked 30 months, out of the past 60 months, as a full-time employee in the entertainment industry. Each person who requests assistance must fill out an application to explain financial hardship.
Will Rogers Motion Picture Pioneers Fund
The Motion Picture Pioneers Assistance Fund serves veterans of the theatrical community (exhibition, distribution and production) who are encountering an illness, injury or life-changing event.
Saturday, November 24, 2007
Stacy Peterson
May this information be directed to whoever can make the best use of it to achieve justice, while protecting me from harm. Stacy Peterson is dead; she was killed because she finally found the information she needed to free herself and her children. It was in a small metal box tucked away in an attic or crawl space. It contained the documentation his third wife was saving to protect her children and the trophies he took from two other women. Anna or Abigail with the last name that starts with a B--the name is short. The second woman was named Margaret or Margretta. Her last name was a Latino or Spanish. They were also murdered because they rejected him. Both were affairs during his first marriage. Anna lived in a down northeast approximately 15-20 miles. Margaret was closer and from southeast. All three bodies are buried on a friend/brother's land. His name is Mark, Marc, or Marcus. They are twins in every way but blood. They started together, but Marc left and started his own company. I see heavy equipment. It looks like it could be use for construction, but instead it deconstruction --it is used to tear down and remove. It is a rural setting on the other side of the cemetery. Vine road or Drive. The house is a white ranch with dark shutter and attached garage on 20-22 acres of land that backs up to National forest or land otherwise set aside for public use. The numbers 284 are involved. The bodies are located 3/4 mile straight back from the garage, just after a line of trees.
A female family member from each of the third and fourth wives came accidentally together near the third wife's gave. Stacy's "sister" came to ask for her help in finding Stacy. The other woman visits often. They comforted each other and shared information. But more importantly, they prayed to the Virgin Mary together. One prayed for the truth to be revealed. The other prayed for Stacy to be found. Both vowed to light a candle to her for the rest of their lives if their prayers would be answered. She heard and are senting them both white roses as a sign.
She says:
I was the white rose born without thorns
when my petals drop they will awaken the storm.
The truth you hid deep in the night
now shall be revealed with truth's own light.
When they go to the place, they need to carry a white rose. They will find who they seek when the petals fall.
The "chief" doesn't have as much control as he thinks. Most don't want to know. But there are two who are actively hiding the truth. The woman is in the lab. She was to be wife number five. She is the source of the contamination. Her name is androgynous--Jan or Jamie. Short brown hair, hazel to blue eyes, young, pretty in her own right, but not beautiful. The other is higher up and remains in the shadows. He is younger but has more authority; his ego bullies and controls others with threats and promises. He does what he does not out of friendship but to protect his political ambition.
A female family member from each of the third and fourth wives came accidentally together near the third wife's gave. Stacy's "sister" came to ask for her help in finding Stacy. The other woman visits often. They comforted each other and shared information. But more importantly, they prayed to the Virgin Mary together. One prayed for the truth to be revealed. The other prayed for Stacy to be found. Both vowed to light a candle to her for the rest of their lives if their prayers would be answered. She heard and are senting them both white roses as a sign.
She says:
I was the white rose born without thorns
when my petals drop they will awaken the storm.
The truth you hid deep in the night
now shall be revealed with truth's own light.
When they go to the place, they need to carry a white rose. They will find who they seek when the petals fall.
The "chief" doesn't have as much control as he thinks. Most don't want to know. But there are two who are actively hiding the truth. The woman is in the lab. She was to be wife number five. She is the source of the contamination. Her name is androgynous--Jan or Jamie. Short brown hair, hazel to blue eyes, young, pretty in her own right, but not beautiful. The other is higher up and remains in the shadows. He is younger but has more authority; his ego bullies and controls others with threats and promises. He does what he does not out of friendship but to protect his political ambition.
Amazon Connect Blog--An Efficent Way For Authors to Promote Their Work
Authors, who have their books listed on Amazon, have a free promotional opportunity that is frequently over looked. Amazon offers a writer's page that includes a blog, and biography. Both are excellent ways to not only keep your current readership up to date with your work, but to post promotional information, articles, and personal interests.
The biography lists any information the author would like to share; in addition, the writer has an opportunity to share interests, personal views, and reviews. Your readers are able to follow your footsteps on Amazon by reading the reviews you have posted and the products you tagged.
By adding an RSS feed from your primary blog, your postings automatically list on your Amazon page. It is a simple way to share information about your work or anything else you are passionate about. Articles and graphic that are posted on the primary blog are also posted on the Amazon. Readers are able to leave comments or questions about the posts. In addition, your readers are able to create an alert for themselves when the blog is updated or set up an RSS feed to their site.
The address for Theresa Chaze's page is http://www.amazon.com/gp/pdp/profile/A2CRCFGUBNEJ6B. It is an example of what an author can do to promote their work as well as help readers know them a little better.
The biography lists any information the author would like to share; in addition, the writer has an opportunity to share interests, personal views, and reviews. Your readers are able to follow your footsteps on Amazon by reading the reviews you have posted and the products you tagged.
By adding an RSS feed from your primary blog, your postings automatically list on your Amazon page. It is a simple way to share information about your work or anything else you are passionate about. Articles and graphic that are posted on the primary blog are also posted on the Amazon. Readers are able to leave comments or questions about the posts. In addition, your readers are able to create an alert for themselves when the blog is updated or set up an RSS feed to their site.
The address for Theresa Chaze's page is http://www.amazon.com/gp/pdp/profile/A2CRCFGUBNEJ6B. It is an example of what an author can do to promote their work as well as help readers know them a little better.
Friday, November 23, 2007
Virtual Book Tours: A New Promotional Tool For Authors
Virtual Book Tours: A New Promotional Tool For Authors
By
Theresa Chaze
Virtual Book Tours are the newest marketing opportunity for authors. With traditionally book tours, authors travel from town to town doing book signings and doing interviews to publicize their books. Although the process is very effective, it also involves great expense, travel and time. Virtual book tours essentially do the same; however, instead of the authors physically traveling to bookstores, the interviews and book readings are conducted electronically through posting on blogs and IM conversations.
Although a Virtual Book Tour doesn't have the same personal touch at the traditional tour, it can be more informative and effective. From the comfort of their homes, readers can learn more about new writers and their work. By reading the interviews on the blogs, the readers not only learn more about the author’s work, but about her or his private lives. Interviews are conducted by many bloggers, each of which will give a fresh perspective on the author as a person and on the work. By following the tour, the reader will be able to get to know the author on a more personal level as well as be able to read excerpts of the book.
The internet also allows the readers to meet the authors electronically through IM messaging, conferencing and chat rooms. Many of the IM services have both audio and video features, which personalized the experience more. No longer just words on the screen, the authors can become three dimensional people who can answer questions about themselves and their work in real time. Chat rooms and conference room have the advantage over the one to one IM messaging by allowing the readers to share in on both the questions and answers. By coming together in a room, the author's answers are shared with all in the room instead of just the individual. For the readers, it gives them the opportunity to receive answers to questions they may not have thought of or were afraid to ask.
For the authors, it has the advantages of being able to reach a more diverse audience quicker and more conveniently. No longer do authors have to pack up and travel from town to town to gain the attention of their target audience. The internet has also made reaching new audiences and reconnecting with existing ones, easier and quicker. No longer bound by time and space, authors can not only make direct contact with their target market, but also expand their readership into the general audience. The proper use of key words in the blog will make the interviews more accessible by search engines. The diversification of the type of blogs involved in the tour will help the author reach a varied audience that might not have be otherwise open to the author’s work.
Virtual book tours also benefit the bloggers involved by bringing more traffic to their site. As part of the promotional process, the coordinator also promotes the hosting blog thereby temporarily giving the blog additional attention. By hosting a stop on a tour, the blogger also promotes their own message, while helping another. It is a win-win situation for all involved.
Dorothy Thompson is one to the premier Virtual Book Tour co-coordinators. Her promotional website Pump Up Your Book Promotion and her book promotion blog at Pump Up Your Online Book Promotion has helped many authors successful promote their books. In January, she will be hosting a Virtual Book Tour for Kathleen Willey's book Target: Caught In The Crosshairs Of Bill And Hillary Clinton. Currently it is ranked 79# at Amazon. She has also hosted many other authors both in the US and in Canada. Her success rate has surpassed most of the other tour coordinators. In addition, she is the author of the self-promoting e-book, The Complete Guide to Promoting & Selling Your Self-Published eBook. Her success rate has made her tours a valuable promotional asset to the authors she has represented.
By
Theresa Chaze
Virtual Book Tours are the newest marketing opportunity for authors. With traditionally book tours, authors travel from town to town doing book signings and doing interviews to publicize their books. Although the process is very effective, it also involves great expense, travel and time. Virtual book tours essentially do the same; however, instead of the authors physically traveling to bookstores, the interviews and book readings are conducted electronically through posting on blogs and IM conversations.
Although a Virtual Book Tour doesn't have the same personal touch at the traditional tour, it can be more informative and effective. From the comfort of their homes, readers can learn more about new writers and their work. By reading the interviews on the blogs, the readers not only learn more about the author’s work, but about her or his private lives. Interviews are conducted by many bloggers, each of which will give a fresh perspective on the author as a person and on the work. By following the tour, the reader will be able to get to know the author on a more personal level as well as be able to read excerpts of the book.
The internet also allows the readers to meet the authors electronically through IM messaging, conferencing and chat rooms. Many of the IM services have both audio and video features, which personalized the experience more. No longer just words on the screen, the authors can become three dimensional people who can answer questions about themselves and their work in real time. Chat rooms and conference room have the advantage over the one to one IM messaging by allowing the readers to share in on both the questions and answers. By coming together in a room, the author's answers are shared with all in the room instead of just the individual. For the readers, it gives them the opportunity to receive answers to questions they may not have thought of or were afraid to ask.
For the authors, it has the advantages of being able to reach a more diverse audience quicker and more conveniently. No longer do authors have to pack up and travel from town to town to gain the attention of their target audience. The internet has also made reaching new audiences and reconnecting with existing ones, easier and quicker. No longer bound by time and space, authors can not only make direct contact with their target market, but also expand their readership into the general audience. The proper use of key words in the blog will make the interviews more accessible by search engines. The diversification of the type of blogs involved in the tour will help the author reach a varied audience that might not have be otherwise open to the author’s work.
Virtual book tours also benefit the bloggers involved by bringing more traffic to their site. As part of the promotional process, the coordinator also promotes the hosting blog thereby temporarily giving the blog additional attention. By hosting a stop on a tour, the blogger also promotes their own message, while helping another. It is a win-win situation for all involved.
Dorothy Thompson is one to the premier Virtual Book Tour co-coordinators. Her promotional website Pump Up Your Book Promotion and her book promotion blog at Pump Up Your Online Book Promotion has helped many authors successful promote their books. In January, she will be hosting a Virtual Book Tour for Kathleen Willey's book Target: Caught In The Crosshairs Of Bill And Hillary Clinton. Currently it is ranked 79# at Amazon. She has also hosted many other authors both in the US and in Canada. Her success rate has surpassed most of the other tour coordinators. In addition, she is the author of the self-promoting e-book, The Complete Guide to Promoting & Selling Your Self-Published eBook. Her success rate has made her tours a valuable promotional asset to the authors she has represented.
Wednesday, November 21, 2007
Magical Fantasy Novel Synopsis: Would You Read This Book?
Cheyenne and Celeste came to Coyote Springs to save a child; instead, Cheyenne found a home. With the help of their new friend, Jane, they created a spiritual sanctuary. But when Celeste stopped running, her past caught up with her. Dominic arrived with promises of love and passion. Instead of love, he reawakened Celeste’s dark side, turning her against those she loved. With the aid of the dragons, Cheyenne was barely able to ward off their first attack. With each soul they bound to them, Celeste and Dominic’s hatred grew until they would not settle for less than totally destroying Cheyenne and all she loves. How do you protect yourself from someone who knows how to steal your soul?
New book cover for Magical Fantasy novel--
The new cover for Dragon Domain--Book One of the Dragon Clan Trilogy
Tuesday, November 20, 2007
Direct Marketing to Independent Bookstores
Direct Marketing to Independent Bookstores
By
Theresa Chaze
Active book promotion and marketing is important to every book's success, especially when it comes to the beginning writer. Contacting independent bookstores is a direct marketing method that is not only cost effective but a successful way for the authors to bring their work to the attention of buyers. With the technological advancements of email, fax and unlimited long distance, it is easier and cheaper than ever before for authors to promote their work to brick and mortar stores.
In the past, authors used direct mailings and industry advertisements to gain the attention of independent bookstore owners. It was a costly and slow process. Not only was it expensive to print full color flyers, but the increasing postage rates made snail mail direct marketing cost prohibitive. Placing ad in trade magazines is effective only if the ad is well placed and designed. Yet even then, the message would only reach those stores that subscribed to the magazine or service.
The internet has opened the door to direct marketing to bookstores by making it cheaper, easier and quicker. Most stores have websites, which contain their contact information as well as accurate descriptions of the books they sell. It is an easy way for the author to reach their target audience by approaching only the stores who carry their genre. By searching the net, an author can find stores by state or specialty. However, compiling list of bookstores can be very time consuming and frustrating. There is no master site that lists bookstores. Instead, the search must be done by location or genre.
If an author is wise, she or he will create a list of the bookstores as they are contacted, not only to check back with them but for future use. However, there are short cuts that an author can take. There are sites that do sell lists of bookstores; however, they are very expensive and have been assembled by non writers. Valkyrie Publishing is offering the list it uses to promote their books. This list has contact information for over 2000 independent bookstores. Most of them have not only the contact information, but also details about the store itself. Below are examples of what the list contains.
Auburn University Bookstore
1360 Haley Center, Auburn, AL 36849
Phone: (334)844-1365
Fax: (334)844-1697
Type of Books Sold: Primarily New
Description: Auburn University Bookstore
Alabama Booksmith
2626 19th Place South, Birmingham, AL 35209
Phone: (205)870-4242
Fax: (205)870-4302
Type of Books Sold: Primarily New
Malcolm's Reading Room
404 17th Street, Birmingham, AL 35203
Phone: (205)563-4846
Fax: (205)802-2240
Page & Palette Inc.
32 South Section Street, Fairhope, AL 36532
Phone: (251)928-5295
Fax: (251)928-2550
Type of Books Sold: Primarily New
Description: For over 30 years we have been dedicated to enhancing the quality of life on the Eastern Shore.
Little Professor Book Center
2717 18th Street South, Homewood, AL 35209
Phone: (205)870-7461
Fax: (205)879-7563
Type of Books Sold: Primarily New
Accepts Book Sense Gift Cards
Description: Besides having an impressive assortment of books, we also have a wonderfully delicious cafe and one of the largest selections of magazines in Birmingham!
The stores are organized by state with additional listings for new age and fantasy stores. The list costs $20.00 payable through paypal only. It is found at www.theresachaze.com.
By
Theresa Chaze
Active book promotion and marketing is important to every book's success, especially when it comes to the beginning writer. Contacting independent bookstores is a direct marketing method that is not only cost effective but a successful way for the authors to bring their work to the attention of buyers. With the technological advancements of email, fax and unlimited long distance, it is easier and cheaper than ever before for authors to promote their work to brick and mortar stores.
In the past, authors used direct mailings and industry advertisements to gain the attention of independent bookstore owners. It was a costly and slow process. Not only was it expensive to print full color flyers, but the increasing postage rates made snail mail direct marketing cost prohibitive. Placing ad in trade magazines is effective only if the ad is well placed and designed. Yet even then, the message would only reach those stores that subscribed to the magazine or service.
The internet has opened the door to direct marketing to bookstores by making it cheaper, easier and quicker. Most stores have websites, which contain their contact information as well as accurate descriptions of the books they sell. It is an easy way for the author to reach their target audience by approaching only the stores who carry their genre. By searching the net, an author can find stores by state or specialty. However, compiling list of bookstores can be very time consuming and frustrating. There is no master site that lists bookstores. Instead, the search must be done by location or genre.
If an author is wise, she or he will create a list of the bookstores as they are contacted, not only to check back with them but for future use. However, there are short cuts that an author can take. There are sites that do sell lists of bookstores; however, they are very expensive and have been assembled by non writers. Valkyrie Publishing is offering the list it uses to promote their books. This list has contact information for over 2000 independent bookstores. Most of them have not only the contact information, but also details about the store itself. Below are examples of what the list contains.
Auburn University Bookstore
1360 Haley Center, Auburn, AL 36849
Phone: (334)844-1365
Fax: (334)844-1697
Type of Books Sold: Primarily New
Description: Auburn University Bookstore
Alabama Booksmith
2626 19th Place South, Birmingham, AL 35209
Phone: (205)870-4242
Fax: (205)870-4302
Type of Books Sold: Primarily New
Malcolm's Reading Room
404 17th Street, Birmingham, AL 35203
Phone: (205)563-4846
Fax: (205)802-2240
Page & Palette Inc.
32 South Section Street, Fairhope, AL 36532
Phone: (251)928-5295
Fax: (251)928-2550
Type of Books Sold: Primarily New
Description: For over 30 years we have been dedicated to enhancing the quality of life on the Eastern Shore.
Little Professor Book Center
2717 18th Street South, Homewood, AL 35209
Phone: (205)870-7461
Fax: (205)879-7563
Type of Books Sold: Primarily New
Accepts Book Sense Gift Cards
Description: Besides having an impressive assortment of books, we also have a wonderfully delicious cafe and one of the largest selections of magazines in Birmingham!
The stores are organized by state with additional listings for new age and fantasy stores. The list costs $20.00 payable through paypal only. It is found at www.theresachaze.com.
Friday, November 16, 2007
Wiccan Fantasy Sequel--Dragon Domain-Book Two of the Dragon Clan Trilogy
Dragon Domain (978-0-9798406-1-6) picks up the story several months and several miles down the road. Cheyenne and Celeste came to Coyote Springs to use their psychic gifts to find a missing child. They find the girl and made a new friend, Jane. Tired of rootless life, Cheyenne prays for a safe, stable home. With Jane's help, she find abandoned farm and decides to stay. Reluctantly, Celeste also remains. The threesome create a spiritual retreat that grows out of their shared wisdom, respect and sense of family. Cheyenne is happy for the first time since she awoke broken and bloody beneath the blinding desert son. Celeste had saved her then, but soon after Dominic appears on their doorstep, Celeste once again turns to the dark arts. Instead of a savior, she becomes vicious enemy with knowledge of all her strengths and weaknesses. With the dragons' aid, she was barely able to ward off their initial attack. But with each dark soul Celeste and Dominic bind to them, their malevolence grows until they will not settle for less that destroying Cheyenne and all she loves. How do you protect yourself from someone knows exactly how to steal your soul? (Available November 30, 2007)
CHAPTER FIFTEEN
Jane stood in front of the window, watching the rain being blown nearly horizontally. The wind howled around the house, shaking the windowpanes. Lightning flashed. Seconds later thunder cracked. It was the middle of the afternoon, yet it was as dark as night. The sensor turned on the streetlights and they bobbed like a lonely beacons on the street a washed with rain.
Lady Bridget and her daughter, Shelly, were in the kitchen, making ice tea by candlelight. Lady Bridget wasn’t exactly what she expected. But then again she didn’t know what to expect. But when the tall, full figured brunette answered the door, she was still surprised. Her long hair hung in a single braid down her back, disguising its true length. Her deep brown eyes shone brightly with the love of life and spirit. Shelly quickly joined her at the door. She was slightly younger version of Bridget. There was no mistaking their common gene pool. Originally, Jane had thought they were sisters. It wasn’t until later during conversation, did she learn Bridget was twenty years senior. The two of them had tittered about Jane’s mistake, implying that it was a common error. They had greeted her openly with trust and love. During dinner, she learned more about April. Some of her past, made Jane apprehensive, but the changes she had made in her path took great courage and strength; they were both qualities Jane admired. By the end of dinner, Jane was reassured.
That had been almost two days ago. Lady Bridget had insisted she stay until she was stronger. Gratefully she had agreed. Being pampered and mothered, she had slept and ate peacefully for the first time in months. The farm and all its problems were so far away, they no longer mattered. She was safe and protected. The urgency she had felt no longer prodded her to move on; something had changed, but she didn’t have a clue to what or how.
The power had been knocked out an hour or so ago. But she wasn’t really sure how long it had been. Her sense of time had gone weird since she arrived in Toledo. They had been talking on the back porch watching the storm blow in. The wind picked up. Together they had gathered the lawn furniture and safely tucked it in the garage. Before they could reach the house, the rain came down without warning. It was a hot summer rain that made it necessary to close the windows but made the inside unbearably hot. They left a few windows open on the sheltered side of the house. It didn’t help much. She felt her way to the chair and sat down. It was a comfy old chair that had already been softened by many other butts. Leaning back, she shifted her position so she’d still be able to look out the window.
Thunder rumbled. Lightning struck. The house shook. The room was ablaze like daylight. Suddenly Jane became uneasy. An electrical current surrounded her, making the air around her cold and rank. Its fingers reached for her heart. She screamed.
Lady Bridget and Shelly raced into the room, each carrying a candle. Bridget stopped short and shoved Shelly back out of the room. Quickly circling her left hand above the candle flame, she drew up an intense white ball of light. It grew to the size of a basketball. Angrily she shouted. “Dark One, who invades my domain, return whence you came.” She threw the ball at Jane. It hit in front of her, exposing the dark shadow of a figure looming over her. It crackled and hissed.
For an instant, Jane saw Celeste’s face. Horrified by the naked evil she saw in her eyes, she shrieked and covered her face.
The shadow folded into itself and disappeared through the window, cracking the pane. Another window cracked, echoing off the walls.
“Mother?” The younger woman’s voice questioned, but revealed no fear.
“Protect Jane.” Lady Bridget ordered.
Shelly nodded. Crossing the room, she stood behind Jane’s chair. Using the candlestick, she drew a double pentacle in the air. “I surround Jane and myself in the protection of the Goddess.” Stepping closer to the chair, she made a circle, which encompassed them both. “With this candle, I set up a barrier of light from each direction.” She raised the candle. “And from above.” She lowered the candle. “And below. This barrier is created from the will of the Goddess; it is seamless and impenetrable, unending as the Goddess’s love. It reflects back to the sender all negativity both the seen and the unseen the direct and the indirect. So mote it be.”
The air around them warmed. Jane felt like a child next to the younger woman. She looked up at her. Shelly was no longer a woman in her early twenties; she was a Priestess, knowledgeable in her craft and strong with the energy of the Goddess. “What about your mother?”
Shelly leaned around the chair, carefully keeping with in the glow of the candle. “Mother is safe. She has battled worse before and sent him squealing with his tail between his legs. No matter what. Stay in the circle of light. She needs to concentrate on him. Not worry about us.”
It made sense to Jane.
The younger woman sat on the arm of the chair, taking Jane’s hand in her own. “We’ll be ok. Mom called the others when we heard you scream. Her working partners are just minutes away. Besides,” she proudly shook back her long wavy hair, “my mother can take care of it herself.”
“Shush!” Lady Bridget hissed. The candle held high, she scanned the room. Her brown eyes darted from corner to corner. She walked toward the center of the room. The floor beneath her creaked. Lightning flashed, illuminating the room. For an instant, a dark form was revealed hovering within the folds of the drapes.
Jane’s scream as cut short by Shelly’s hand, becoming more of a muffled squeak.
“Shussh.” Shelly whispered. “You’re safe. Mom knows it’s there.”
“I know who it is.” Jane whispered back.
“Later.” The younger woman brought a single finger to her lips.”
Nodding, Jane involuntary pulled her feet onto the cushions of the chair. Her stomach churned. She was out of her league, out of possibilities, and nearly out of courage. She was an intuitive who studied Wicca. But nothing she had learned had prepared her for this kind of experience.
Lady Bridget stood alone in the darkness of the room. Her attention totally focused.
Lightning flashed in sequence, giving the room a strobbing effect. It was enough to give the shadow dimension and form. It was the size of a serving platter. Patches were nearly transparent. Other parts were too dense to see through. It pulsed in the rhythm of a heart beating. The general shape changing with each beat.
Streams of pure white light came up from the floor and down from the ceiling, engulfing Lady Bridget. It folded around her as the streams met and combined. Holding the candle with both hands before her, she released it. Instead of falling, it was held suspended. Spreading her arm out palms up, she slowly pivoted her hands. Highly focused beams of silver shot out of her palms, combining in the flame of the candle, and shot across the room, hitting the shadow.
It squealed. Shrinking back, it tried to hide deeper in the folds of the curtains. The light followed, spreading out to cover the shadow in violet flames. The squeal increased in pitch until it went beyond what the human ear could register, yet the sound vibration could be felt on their skin like an itch scratching wouldn’t cure. The windowpane rattled, threatening to break. Lightning flashed. Thunder cracked. Another flash revealed the presence of a second shadow. It joined with the first. The itch stopped. Together they disburse the flame, eating their way up the light to Lady Bridget.
Jane saw her weaken. She tugged on Shelly’s sleeve. “Go help her.” She whispered. “Never mind me.”
“I can’t” Shelly cried.
The front door burst open. Footsteps raced across the entranceway. Two men followed by a woman appeared in the archway. The younger man continued into the room; stepping behind Lady Bridget, he placed his open hands behind hers. Gold streams of light joined the silver, intertwining and reinforcing.
The shadows were forced back. Pushed, but not injured, both shadows escaped out the window. The storm continued. For a moment, the house was silent. The candle flickered out and fell to the floor with a clatter. The streams ceased. Only Shelly’s candle remained; its light was the only illumination in the room.
“It’s over.” Lady Bridget collapsed against the man behind her.
“What the hell brought him back?” The elderly man demanded from the darkness.
“Is she ok?” The unknown woman beside him asked. “We need light.” She continued. “Shelly drop your shield. It’s over and start lighting the candles.”
“Yes Grandmother.” Shelly licked her lips. “All is well. All is clear. Time for the shield to disappear.” The candle flickered but did not go out. She quickly stood and circled the room, lighting every candle she could find. With in minutes the room was a maze of flickering candle shadows and intertwining circles of candlelight.
The younger man had carried Lady Bridget to the sofa and was kneeling on the floor beside her. His build and general appearance was that of the elderly man, only his hair was longer and age hadn’t weighed down on his back. “You called Hon. I’ll be the first to admit you were right. He did come back.”
Taking one of the candles, the elderly woman quietly slipped from the room.
“Sometimes it would be good to be wrong.” She dryly answered. “Shelly, are you and Jane ok?”
“Yes, Mom. Are you?”
Lady Bridget nodded. “He has found a companion and followers.” She looked directly at the elderly man. “He’s stronger than before.” Her voice held the angry edge of an accusation.
“Is she one of them?” The elderly man demanded.
“No.” Lady Bridge countered. “One of his intended victims. One of many that didn’t need to be.”
CHAPTER FIFTEEN
Jane stood in front of the window, watching the rain being blown nearly horizontally. The wind howled around the house, shaking the windowpanes. Lightning flashed. Seconds later thunder cracked. It was the middle of the afternoon, yet it was as dark as night. The sensor turned on the streetlights and they bobbed like a lonely beacons on the street a washed with rain.
Lady Bridget and her daughter, Shelly, were in the kitchen, making ice tea by candlelight. Lady Bridget wasn’t exactly what she expected. But then again she didn’t know what to expect. But when the tall, full figured brunette answered the door, she was still surprised. Her long hair hung in a single braid down her back, disguising its true length. Her deep brown eyes shone brightly with the love of life and spirit. Shelly quickly joined her at the door. She was slightly younger version of Bridget. There was no mistaking their common gene pool. Originally, Jane had thought they were sisters. It wasn’t until later during conversation, did she learn Bridget was twenty years senior. The two of them had tittered about Jane’s mistake, implying that it was a common error. They had greeted her openly with trust and love. During dinner, she learned more about April. Some of her past, made Jane apprehensive, but the changes she had made in her path took great courage and strength; they were both qualities Jane admired. By the end of dinner, Jane was reassured.
That had been almost two days ago. Lady Bridget had insisted she stay until she was stronger. Gratefully she had agreed. Being pampered and mothered, she had slept and ate peacefully for the first time in months. The farm and all its problems were so far away, they no longer mattered. She was safe and protected. The urgency she had felt no longer prodded her to move on; something had changed, but she didn’t have a clue to what or how.
The power had been knocked out an hour or so ago. But she wasn’t really sure how long it had been. Her sense of time had gone weird since she arrived in Toledo. They had been talking on the back porch watching the storm blow in. The wind picked up. Together they had gathered the lawn furniture and safely tucked it in the garage. Before they could reach the house, the rain came down without warning. It was a hot summer rain that made it necessary to close the windows but made the inside unbearably hot. They left a few windows open on the sheltered side of the house. It didn’t help much. She felt her way to the chair and sat down. It was a comfy old chair that had already been softened by many other butts. Leaning back, she shifted her position so she’d still be able to look out the window.
Thunder rumbled. Lightning struck. The house shook. The room was ablaze like daylight. Suddenly Jane became uneasy. An electrical current surrounded her, making the air around her cold and rank. Its fingers reached for her heart. She screamed.
Lady Bridget and Shelly raced into the room, each carrying a candle. Bridget stopped short and shoved Shelly back out of the room. Quickly circling her left hand above the candle flame, she drew up an intense white ball of light. It grew to the size of a basketball. Angrily she shouted. “Dark One, who invades my domain, return whence you came.” She threw the ball at Jane. It hit in front of her, exposing the dark shadow of a figure looming over her. It crackled and hissed.
For an instant, Jane saw Celeste’s face. Horrified by the naked evil she saw in her eyes, she shrieked and covered her face.
The shadow folded into itself and disappeared through the window, cracking the pane. Another window cracked, echoing off the walls.
“Mother?” The younger woman’s voice questioned, but revealed no fear.
“Protect Jane.” Lady Bridget ordered.
Shelly nodded. Crossing the room, she stood behind Jane’s chair. Using the candlestick, she drew a double pentacle in the air. “I surround Jane and myself in the protection of the Goddess.” Stepping closer to the chair, she made a circle, which encompassed them both. “With this candle, I set up a barrier of light from each direction.” She raised the candle. “And from above.” She lowered the candle. “And below. This barrier is created from the will of the Goddess; it is seamless and impenetrable, unending as the Goddess’s love. It reflects back to the sender all negativity both the seen and the unseen the direct and the indirect. So mote it be.”
The air around them warmed. Jane felt like a child next to the younger woman. She looked up at her. Shelly was no longer a woman in her early twenties; she was a Priestess, knowledgeable in her craft and strong with the energy of the Goddess. “What about your mother?”
Shelly leaned around the chair, carefully keeping with in the glow of the candle. “Mother is safe. She has battled worse before and sent him squealing with his tail between his legs. No matter what. Stay in the circle of light. She needs to concentrate on him. Not worry about us.”
It made sense to Jane.
The younger woman sat on the arm of the chair, taking Jane’s hand in her own. “We’ll be ok. Mom called the others when we heard you scream. Her working partners are just minutes away. Besides,” she proudly shook back her long wavy hair, “my mother can take care of it herself.”
“Shush!” Lady Bridget hissed. The candle held high, she scanned the room. Her brown eyes darted from corner to corner. She walked toward the center of the room. The floor beneath her creaked. Lightning flashed, illuminating the room. For an instant, a dark form was revealed hovering within the folds of the drapes.
Jane’s scream as cut short by Shelly’s hand, becoming more of a muffled squeak.
“Shussh.” Shelly whispered. “You’re safe. Mom knows it’s there.”
“I know who it is.” Jane whispered back.
“Later.” The younger woman brought a single finger to her lips.”
Nodding, Jane involuntary pulled her feet onto the cushions of the chair. Her stomach churned. She was out of her league, out of possibilities, and nearly out of courage. She was an intuitive who studied Wicca. But nothing she had learned had prepared her for this kind of experience.
Lady Bridget stood alone in the darkness of the room. Her attention totally focused.
Lightning flashed in sequence, giving the room a strobbing effect. It was enough to give the shadow dimension and form. It was the size of a serving platter. Patches were nearly transparent. Other parts were too dense to see through. It pulsed in the rhythm of a heart beating. The general shape changing with each beat.
Streams of pure white light came up from the floor and down from the ceiling, engulfing Lady Bridget. It folded around her as the streams met and combined. Holding the candle with both hands before her, she released it. Instead of falling, it was held suspended. Spreading her arm out palms up, she slowly pivoted her hands. Highly focused beams of silver shot out of her palms, combining in the flame of the candle, and shot across the room, hitting the shadow.
It squealed. Shrinking back, it tried to hide deeper in the folds of the curtains. The light followed, spreading out to cover the shadow in violet flames. The squeal increased in pitch until it went beyond what the human ear could register, yet the sound vibration could be felt on their skin like an itch scratching wouldn’t cure. The windowpane rattled, threatening to break. Lightning flashed. Thunder cracked. Another flash revealed the presence of a second shadow. It joined with the first. The itch stopped. Together they disburse the flame, eating their way up the light to Lady Bridget.
Jane saw her weaken. She tugged on Shelly’s sleeve. “Go help her.” She whispered. “Never mind me.”
“I can’t” Shelly cried.
The front door burst open. Footsteps raced across the entranceway. Two men followed by a woman appeared in the archway. The younger man continued into the room; stepping behind Lady Bridget, he placed his open hands behind hers. Gold streams of light joined the silver, intertwining and reinforcing.
The shadows were forced back. Pushed, but not injured, both shadows escaped out the window. The storm continued. For a moment, the house was silent. The candle flickered out and fell to the floor with a clatter. The streams ceased. Only Shelly’s candle remained; its light was the only illumination in the room.
“It’s over.” Lady Bridget collapsed against the man behind her.
“What the hell brought him back?” The elderly man demanded from the darkness.
“Is she ok?” The unknown woman beside him asked. “We need light.” She continued. “Shelly drop your shield. It’s over and start lighting the candles.”
“Yes Grandmother.” Shelly licked her lips. “All is well. All is clear. Time for the shield to disappear.” The candle flickered but did not go out. She quickly stood and circled the room, lighting every candle she could find. With in minutes the room was a maze of flickering candle shadows and intertwining circles of candlelight.
The younger man had carried Lady Bridget to the sofa and was kneeling on the floor beside her. His build and general appearance was that of the elderly man, only his hair was longer and age hadn’t weighed down on his back. “You called Hon. I’ll be the first to admit you were right. He did come back.”
Taking one of the candles, the elderly woman quietly slipped from the room.
“Sometimes it would be good to be wrong.” She dryly answered. “Shelly, are you and Jane ok?”
“Yes, Mom. Are you?”
Lady Bridget nodded. “He has found a companion and followers.” She looked directly at the elderly man. “He’s stronger than before.” Her voice held the angry edge of an accusation.
“Is she one of them?” The elderly man demanded.
“No.” Lady Bridge countered. “One of his intended victims. One of many that didn’t need to be.”
Affirmations--The Power of Positive Thinking
Affirmations--The Power of Positive Thinking
By
Theresa Chaze
Affirmations are more than just new age mumbo jumbo. They are declarations or assertions of truth that a person wishes to create. They can be either positive or negative depending on how a person focuses their attention. Affirmations are the repetitive focusing of the mind, will and spiritual energy on a specific outcome.
However, not all affirmations are formal or conscious. Sometimes the most powerful are the ones that are created when a person is daydreaming. Repetition is what energized the statements and clarifies the desire in the person’s mind. Whatever a person repeatedly thinks, feels or fantasizes about becomes a personal affirmation.
Frequently used for healing or manifestation, affirmations focus the person's energy on the results they would like to achieve. The simpler and more direct the statement is, the more effective it will be. A popular one for prosperity is "Money comes to me quickly, easily and frequently." It is short, sweet and to the point. By focusing on what you want instead of what you are trying to eliminate, you open the door for financial prosperity to enter your life. Many people put their energy in the form of worry into their bills; they don’t realize they are asking for more of the same. The universe is more than willing to provide anything we ask for, we just have to know how to ask. In the case of illness, instead of asking for the disease to disappear, you should put your energy into being healthy and strong. As an example: “In every way and every day, I become healthier and stronger.”
However, negative thoughts and feelings can just as easily diminish the positive outcome if the person chooses to put energy into their fears and doubts. By focusing on a negative outcome, you can delay or even prevent yourself from receiving the blessing you are asking for. It takes practice and control to be able to release past negative behaviors and open the doors to the miracles life has to offer.
By
Theresa Chaze
Affirmations are more than just new age mumbo jumbo. They are declarations or assertions of truth that a person wishes to create. They can be either positive or negative depending on how a person focuses their attention. Affirmations are the repetitive focusing of the mind, will and spiritual energy on a specific outcome.
However, not all affirmations are formal or conscious. Sometimes the most powerful are the ones that are created when a person is daydreaming. Repetition is what energized the statements and clarifies the desire in the person’s mind. Whatever a person repeatedly thinks, feels or fantasizes about becomes a personal affirmation.
Frequently used for healing or manifestation, affirmations focus the person's energy on the results they would like to achieve. The simpler and more direct the statement is, the more effective it will be. A popular one for prosperity is "Money comes to me quickly, easily and frequently." It is short, sweet and to the point. By focusing on what you want instead of what you are trying to eliminate, you open the door for financial prosperity to enter your life. Many people put their energy in the form of worry into their bills; they don’t realize they are asking for more of the same. The universe is more than willing to provide anything we ask for, we just have to know how to ask. In the case of illness, instead of asking for the disease to disappear, you should put your energy into being healthy and strong. As an example: “In every way and every day, I become healthier and stronger.”
However, negative thoughts and feelings can just as easily diminish the positive outcome if the person chooses to put energy into their fears and doubts. By focusing on a negative outcome, you can delay or even prevent yourself from receiving the blessing you are asking for. It takes practice and control to be able to release past negative behaviors and open the doors to the miracles life has to offer.
Thursday, November 15, 2007
Random Acts of Kindness
Random Acts of Kindness
By
Theresa Chaze
There is a new aged saying--Commit random acts of kindness. When we reach out to another, we create more than a momentary miracle in one person live; we create a positive energy ripple that touches every living being. We not only help an individual, but also open the door for others return the blessing to us and ignite the same flame of generosity in others. Every time we help another without expecting anything in return, we become a bright light in the world.
Several years ago, there was a worldwide event. On a certain day at a specific time, people who wanted to support peace turned on their porch light. Pictures were then taken from a satellite as the world turned on its axis. The porch lights blended together to create beacons, which radiated out into the universe. So do our acts of kindness turn us into pillars of light radiating love and hope out to others.
We don’t have do grandiose acts of courage or daring to be a life changing influence. Even the smallest acts kindness and generosity brings light into the world. Just like a birthday candle creates a ring of light so does the smallest act become a blessing. It is opening a door for another or smiling at a stranger. It is giving hope to someone who is standing in emotional shadows. It is sharing spare change with another at the check out. If you put enough birthday candles together you can light a room and the world beyond.
We don’t have to throw ourselves in front a speeding car or to jump in front of a bullet to make a difference in another’s life; more often than not, it is the small things that mean the most. By reaching out to another, we set the karmic stage for another to come to our aid.
By
Theresa Chaze
There is a new aged saying--Commit random acts of kindness. When we reach out to another, we create more than a momentary miracle in one person live; we create a positive energy ripple that touches every living being. We not only help an individual, but also open the door for others return the blessing to us and ignite the same flame of generosity in others. Every time we help another without expecting anything in return, we become a bright light in the world.
Several years ago, there was a worldwide event. On a certain day at a specific time, people who wanted to support peace turned on their porch light. Pictures were then taken from a satellite as the world turned on its axis. The porch lights blended together to create beacons, which radiated out into the universe. So do our acts of kindness turn us into pillars of light radiating love and hope out to others.
We don’t have do grandiose acts of courage or daring to be a life changing influence. Even the smallest acts kindness and generosity brings light into the world. Just like a birthday candle creates a ring of light so does the smallest act become a blessing. It is opening a door for another or smiling at a stranger. It is giving hope to someone who is standing in emotional shadows. It is sharing spare change with another at the check out. If you put enough birthday candles together you can light a room and the world beyond.
We don’t have to throw ourselves in front a speeding car or to jump in front of a bullet to make a difference in another’s life; more often than not, it is the small things that mean the most. By reaching out to another, we set the karmic stage for another to come to our aid.
Sunday, November 11, 2007
Shirley Jones A Miracle in Action
Miracles can happen in unexpected ways through unexpected sources. Sometimes they come in the form of singers named, Shirley Jones. When we are open to sharing blessings, we cannot only make miracles happen for ourselves but others as well. To say the Divine works in mysterious ways is a major understatement. Sometimes when we lease expect it she/he/it will intervene, allowing you to be a conduit for helping another. It will send messages and comfort through and to you. We don't always understand the reasons behind our actions, nor can we take the credit for being more than the messenger for the healing another receives.
This past summer I was part of such a blessing. A long time neighbor and recent good friend was going though life challenges that was making her heart weep. Issues from the past were being brought forth not for healing, but to manipulate and excuse personal bad behavior. There was nothing Lynne could do to change the situation but react and ride out the storm. She loved this person dearly, but realized that there was nothing she could do to change their behavior or to save her from herself. She was forced to step back and allow the events to unfold. This doesn’t mean she didn’t shed many tears, but that she loved enough to let go.
I had been planning to call and check on Lynne when I received a phone call from the director of Traverse City Opera House. I was going to work the Shirley Jones show. The director apologized about a mistake that had been made. It seems that a member of the board of directors had given away the position she reserved for me to another. It was okay. It would have been fun and a good resume entry. But I understood. Sometime things just happen. When they do, it is usually a for a good reason. In compensation, the director offered me a free ticket. I thought it was amazing and accepted.
A short while later, I called Lynne to see how she was doing. She was putting up a good front, but her heart was crying. I mentioned how I was going to the Shirley Jones show. Her reaction helped me understand why the director called when she did. Shirley Jones was someone special to Lynne and her now deceased father. During his life, they had loved her music and her movies. It was their special time together. Since his death, whenever Lynne needed comfort Shirley Jones would suddenly appeared either on the radio or on TV; it was her father’s way of telling her that he loved her and to reassure that her that he hadn’t gone far. I asked her to go with me. She politely refused, saying she really couldn’t afford the tickets. The Divine had blessed me with a little more income that month. So I lied to her and told her that it was a comp ticket--it wasn’t much of a lie. I did have one comp ticket; I just gave it to her and bought mine.
The show was magnificent. Shirley Jones must have a portrait doing her aging because she doesn’t look much older than 50, even though she claims to be much older. I think we should check her license. During the show, Lynne was reduced to tears more than once. When she sang “Memories” from Cats, I joined her. Shirley talked not only about her career but her life and loves as well. The weird thing was that after she started talking about her late husband, I kept smelling French Toast and seeing a bouquet of white roses along with one right--such a magnificent lady deserves white rose and one red for passion. But as wonderful as the show was, Shirley was even more so afterwards. She came out to sign autographs and talk to the audience. She took a few moments with anyone who came up to the table whether or not they bought anything. She was beyond gracious-even to rude people like me who to flash pictures without asking. I nudged Lynne to the front of the line. I went first. She was very nice and autographed my program--it’s in my brag book next to Katherine Hepburn’s. Lynne was next. Shirley took the time to not only listen but to pose for picture. These were authorized. Lynne was over the moon. Just meeting Shirley gave Lynne renewed strength and went a long way to heal her heart. Shirley Jones may never know what a major miracle she was in one woman’s life, but she was.
This isn’t to make myself look good, but a way of saying that when we have the courage to have faith and believe in miracles that they are created around and through us. However, the Divine doesn’t have to part the Red Sea, make the sun dance, or make summer flowers grow through the snow in the dead of winter be a miracle. Sometimes an evening listing to a delightful singer is more spectacular. My part was no bigger or lesser than the theatre’s director or the website that bought one of my articles. We all played our part to create a miracle at the Traverse City Opera House--we became the means through which Lynne’s father to reassure her. When we love unconditionally with courage, we help create the blessings of healing and new beginnings not only for ourselves but also others.
" Instant Karma is going to get you."
John Lennon
Have you ever met someone and suddenly felt love or hate? Yet for the life of you couldn't remember them. Would you want to remember? Would you want to know if it could save your life?
Never Can Say Good-bye is a paranormal thriller feature film with the logline love and hate survives death
http://cproduction5.wix.com/cosmos-productions-
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