Wednesday, May 21, 2014

The Wisdom of Sound and Number: Phonetic Chaldean Numerology—Reclaiming an Ancient Oracle

Title: The Wisdom of Sound and Number: Phonetic Chaldean Numerology—Reclaiming an Ancient Oracle
Author: Leeya Brooke Thompson, M.A.
Classification: Nonfiction
Genre: Spirityality/Numerology
ISBN: 0-595-41682-9
Year Published: 2006
Pages: 202
Edition: First
Publisher: iUniverse, Inc.



This is by no means your typical, light book about numerology, an ancient system that addresses the questions: Who am I, Why am I here, What is my mission in life. The author, Leeya Brooke Thompson, was assisted in her research by Dr. Loren Fisher, a scholar and former professor of ancient Semitic languages, to rigorously compare the sounds of the letters to numbers in ancient alphabets to match phonetic sounds in the modern English language. Their belief was that “. . . the Ancients had information about vibration which we are in the process of rediscovering.” The author stated, “I believed the Ancients knew something that we haven’t yet discovered—or we know it in our scientific studies, but not in the application of those studies of vibration to human consciousness and character which is concerned about the spiritual aspects of men and women.” The author has a point: the contemporary English alphabet wasn’t in use when the original system of numerology (gematria) was created and in use, so how could the simplistic Western form commonly used today be completely accurate?

The author, who has been involved with numerology for around half a century, starts by explaining that she did numerology readings for a specific client over a twenty-five-year period, the first time using the Western (Pythagorean) system then the Chaldean system, and finally using her “new” phonetic system described in this book. She says this about her client’s experience with the phonetic system: “This time she began to weep, then sob, for the number patterns absolutely described the core of pain she had been feeling all of her adult life.” That’s a powerful experience and result, to say the least.

There is a brief introduction giving concise information about Pythagoras and his involvement with numerology, as well as more about the effect of vibration as it relates to Cymatics (vibration creating form in matter) and Emoto’s work on how sound influences water crystals (e.g., negative words create ugly crystal formations, while positive or loving words create beautiful crystal formations). “The name is our ‘tool box’ at birth, indicating the strengths, aptitudes and predisposition we brought with us into this lifetime. The birth date, on the other hand, indicates what we have come to master and to accomplish. The interaction of these two forces—who we are and who we are being challenged to become—result in what our life looks like and whether we are working harmoniously with our life or rejecting the opportunities that come our way…. Numerology is a map of consciousness.”

The first part is a brief and interesting explanation about the history of numerology and its use and possible influence in our daily lives and decisions, whether for individual use or for those who wish to do charts for others. What follows this is an understanding of the number patterns (including master and karmic numbers), how to set up your chart, the positions in your name, the positions in your birth date, the shadow and projection, your destiny and journey through time, how to integrate your chart, companions and mates, deciding to change your name or any changes to your name as a result of life experiences (misspelled names on birth certificates or immigration forms or marriage), plus additional information about the phonetics and roots of numerology. Thompson’s remarks about the Universal years are impressive in their revelations and scope.

If you’ve previously used the Western system of assigning numbers one through nine to the English alphabet or are unfamiliar with phonetics, you may find this system a challenge to get used to. Fortunately, the author provides a sample chart, with additional information in the appendices, and demonstrates how to do each section through the use of an example name and birth date then offers descriptions of what the numbers mean so you can identify your patterns. Because of the type of book it is, there are segments you’ll read and some you may not feel you need to read, but you’ll get more out of it if you read the entire book before you create your chart, so you familiarize yourself with the phonetic numerology process, including what to do about letters that are silent.

Know that this is not the usual light or more esoteric approach of other numerology books you may have read. This one includes some history, but it geared toward practical application for a person’s life experience and guidance. I have to be candid and say that the author initially asked me to contribute some of the content about the numbers, which I did, but the research that led to this revised system and the content are 98% hers. I didn’t see what she’d done with the material until the book was published—but this does not alter the fact that she did a stunning job with the topic and what supports it. Not having read it since it was published in 2006 has led me to revisit what Leeya truly accomplished through her commitment to accuracy for individuals.

Wednesday, May 7, 2014

Make Your Indie Novel the Best It Can Be

Guest Blogger: indie author Kia Heavey
See a review of her book on this site.


Do you have a completed draft of your novel? Congratulations! Writing a full manuscript is certainly something to be proud of. Take a breather and pat yourself on the back, but then it’s time to hone and refine your project into a truly praise-worthy literary work for your readers.

I recently completed this process for the second time. It’s amazing how much I’ve learned since the first time around and using this perspective, I put together this list of best practices to help indie authors get their projects into tip-top shape for publishing and marketing. Of course, what works for me may not work for everyone, but hopefully you’ll find something useful in this post. Here’s what I’ve learned so far…

Your book isn’t finished.

Just accept this. You may think you’ve written a complete novel and maybe you have, but it’s probably not a very good one – yet.  Remember the old adage about success being 5% inspiration and 95% perspiration, and read on…

You need feedback readers.

You may think your book is complete, but that is often because in your head, you know what you meant to say. Unfortunately, your readers aren’t in your head. It’s not apparent to you, but there are places in your manuscript where something doesn’t work. Trust me, there just are. You’ve been so engrossed in this project for so long, you don’t have the perspective to see the issues.

But feedback readers do! And their input is the difference between a quirky, promising, but not-quite-there manuscript and a compelling, polished page-turner.

Choose appropriate feedback readers.

I belong to a local writers’ group, but I do not rely on them for critiques of my work. This is because they are not representative of my target audience. For example, the last novel I wrote was for teen girls and their mothers who enjoy YA fiction. The average age in my writers’ group is north of 60.  So when I needed feedback, I sought out readers among personal acquaintances as well as Goodreads connections. I pre-screened them according to their reading habits and sought input only from people with a track record of reading YA who also possessed the psycho-demographics I wanted to serve.

Choose what feedback to use.

You’re an Indie author. Maybe you don’t have an agent or a six-figure contract, but you do have something wonderful: autonomy. You aren’t bound to make every change some egghead editor tells you to make. This is your project, and you make the calls.

In fact, it’s not uncommon to get conflicting comments from different feedback readers. It’s literally impossible to implement all the advice you’ll get. Once you have read through all the comments, you ultimately decide what fits the story you’re telling and the philosophy you’re conveying. Accept that you will never please all the people all the time, but you can learn to balance your own creative integrity with marketability and audience appeal.

You need an editor.

No, I’m not just saying this because I’m guest-posting on Joyce’s site and she’s my friend. You really do need one. Even if you got straight A’s in English class. Even if you yourself are a professional editor.

There are two main points at which you might invite an editor into your project. The first is when you are ready to show your manuscript to beta readers. At this point, consider getting a comprehensive critique from a professional. (If this is your first book and you can afford it, a comprehensive critique is almost a must. It is worth every penny because of all the things you’ll learn.) The second point is when you have a final, tight manuscript that you think is ready to publish. This is a great time to run it past an editor to clean up grammatical errors, typos, etc.

If you publish a book rife with editing errors, it will not be taken seriously. Please don’t do that to yourself after you’ve worked so hard.

Find friendly reviewers.

Got your book published? Now it’s time to send out review copies and start building up Internet buzz. Many prolific readers have book review blogs, and many more post reviews on important sites like Amazon and Goodreads. Make a list of potential reviewers, order up some review copies of the paperback, get the ebook file ready to email, and start sending out review requests. As with feedback readers, look for reviewers who represent the correct psycho-demographic to appreciate your work. Do this part well and not only will reviews pile up, there will be plenty of four– and five–star reviews among them.

Don’t quit your day job.

The good thing about being an Indie author – no agents or publishers telling you what to do – is also the bad thing – no agents or publishers sending you royalty checks. The odds against you becoming wealthy from a single indie title are astronomically high. They get a little lower with each additional book you publish and with competent marketing, but no one knows for sure how to make the lightning strike. In fact, the only indie authors I know of who make a living off their writing treat it like, well, a job. They put in many hours and re-invest royalties in their business.

Decide what purpose your writing will serve for you – creative outlet or moneymaking business – and treat it accordingly. May you find it as rewarding a pastime as I do!

Kia Heavey is the author of Night Machines (2011) and Underlake (2014). You can read about her books on her website: kiaheavey.com.