COMPASSION IN RESPECTING OUR DIFFERENCES

Creator channelled me this wonderful paragraph….

“There is no separation between heaven and earth.  Have compassion.  We are all different.  We are not all the same.  The key to compassion lies in respecting our differences.  Compassion is not condescencion.”

What beautiful words these are!!!!!!!

There would be no war, disparity or derision of another if we were all able to hold the resonance of compassion instead of condescencion.  Those that feel superior often have the biggest egos but the smallest minds.

When you have an opportunity to flourish, you should be supported, congratulated and applauded for taking that opportunity.

Exploring an opportunity is a presentation of abundance and it can take enormous courage to do this and follow on with the greater good for yourself and for humanity as a whole.  

Whatever your forum for growth, remember you are a being in an enormous and ever-expanding universe.  You owe it to the greater whole to be as enormous and wonderful in your silent contemplations as you can be.  I think that is forward-thinking, growing abundance.  I think that is taking a chance on understanding and comprehending the whole of existence as a breathing mechanism of inter-connectedness.  

To be compassionate you have to breathe with the whole organism, not segment it into restricted compartments of viewpoint, religion or politics etc etc.  

As a being of light you owe it to the light to be the full potential of your wonderful love. If you are the rainbow then the whole will benefit.

So just for today please allow yourself this day of no separation between heaven and earth I implore you.  See what this can manifest for you in the whole thinking and changing, breathing universe to which you belong.  You are an important part of the thinking, existing organism of humanity.  Let your consciousness expand the group consciousness into wonderful possibilities as we learn how to be in our today and our tomorrow.

Then tomorrow, see if you can make your today just as wondrous and expanding in its potential.  Do it again and again every tomorrow when they are your today. Things are easier when you take them one day at a time!

Namaste dear friend.

If you would like to read more of my channelled letters from Creator, please obtain this book and enjoy the present of it in your own life.
http://katherinebrightaustralia.com/books-2/

 See the homepage of my website for more information  http://www.katherinebrightaustralia.com

Till next week, love and light
Katherine Bright ND

http://www.katherinebrightaustralia.com
 

Copyright © 2016 Katherine Bright  Lightworkers International, All rights reserved.

HOW NOT TO GET SCAMMED AS AN AUTHOR

So you have written a book, or are thinking about it and you want to get published.  I have been through this process a few different ways and it can be a frustrating mine-field or a pleasure depending on your experience.

My experience has been multi-faceted shall we say.  I am going to include a great link to help you recognise scammers in the industry which I wish I had read before I published my books as it would have shown me some big red flags to avoid as a novice.  

I have successful books which I have marketed myself and which people love and that is great, but the process of publishing is a choice and can be a heart-break.  One of the pitfalls can be if you choose to self-publish, and who to choose. 

I cannot personally recommend the one I first chose which was Balboa Press due the cost, stressful experiences and lack of service and follow-up I experienced in the time I dealt with them.  There were so many instances where they made errors that I would need pages to document them.  These were financial errors, clerical errors, messages not passed on etc etc.   They charged me hefty fees for packages which I found later were really a lot better looking on paper than for what I felt I received in actuality.  There were many add on costs for further services offered, inefficient and error-prolific services and these would add up to  thousands of American Dollars routinely if you chose to take them up.

There were difficulties being in Australia and having a timezone issue to the USA plus staff who appeared to not be as knowledgeable in practice as stated in the spiel.  Not I believe the team of experts you thought you would be linked to shall we say.  Also there were often only two staff available on their overnight shift which made communication a nightmare sometimes.

Balboa Press are in fact linked to Author Solutions and they suggest to you in their marketing material that they are Hay House, but in fact are a subsidiary and not the same. Hay House will not take on new author manuscripts, and use Balboa Press as a sourcing house which is where they make the connection.  However there will never be more than one or two of the thousands of authors self published works with Balboa Press per year that they will look at via this pathway.  Balboa Press also use Lightning Source Printers in Australia to print their books to whom you can go directly if you choose and self-publish, had I realised.  I found that out along the way by default not by communication.  Balboa Press also take a pre-determined percentage of any sales you make before you receive anything, and this is on top of your pre-payment already given to them for their publishing package services.  It is easy to be behind and find your book costs you money and it isn’t the dream income stream you had hoped for.  Again, it is all in your own effort for marketing which determines sales, not their help unless you wish to invest hundreds or thousands more to use that avenue within their organisation.  I was offered one package which would have cost me well over $20,000 which included advertising in the Skymall Magazine on airplanes.  Mmmmm ….  Would you read those when you are on a plane?  That is a personal choice but many don’t really look at them so you have to take a chance on that prospect being successful.  The price was for a tiny ad that was very unappealing with basically your book cover on it which is located amongst a selection of other authors’ books, but it would stay there for a period of months?  To recoup that investment back it would take you a very long time at about $2 or so sales income to you per book sold.  So when you see a book price you have to realise how much the publisher takes in the cut before the author receives any income.  It can be more cost effective to bulk-print your books and sell them yourself, or to do an ebook yourself.  

 It is wise to consider and to not fall into the publicity trap of glossy offers is my personal opinion, although they may be reputable and have the marketing machine to boot, they are not all they promise in practicality in my opinion. This is only my review of my experience however and all people will have their own experience. You can always google them and see other reviews present there also. Some of those are similar to my own experience.

I can only speak of my own opinions and wish you well if you choose to go this way.  I can recommend publishing yourself on Createspace and Kindle on Amazon as this is a free, self-publishing service which you can use publish your own manuscript and to market yourself.  

The key to all processes of book sales etc is the work you put in to a good manuscript, cover and reviews,  book manufacturing quality, marketing.  Lets face it if you are going to publish why pay up front first and then realise you have thousands of potential dollars outlay still tacked on at the end, including the fact you are going to be expected to actively market yourself anyway?  Know your target audience and write something you are proud of, then publish it reputably, be prepared for hard work and market it.  Get it out there!

Today I found a great article blog post by Dave Bricker. so I am going to provide it to you here.  It gives you very constructive advice about recognising pathways to publish so you don’t get scammed.  I hope it helps you if you are writing some great material and you wish to get it out there.

Publishing Scams and How they Work

April 15, 2015  Dave Bricker Copyright

Rarely do I re­pub­lish a blog post, but I just got an­other email from a writer who didn’t do his home­work.

pubscamsMany self-pub­lish­ers start their book pro­jects with un­re­al­is­tic ex­pec­ta­tions and mis­un­der­stand­ings about how pub­lish­ing works. A huge in­dus­try has arisen to prey on writ­ers who are un­sure of the path. This ar­ti­cle ex­plains the ba­sics of how pub­lish­ing scams work and how writ­ers can avoid them.

Pub­lish­ers must learn the risks in­her­ent to their busi­ness. If you fan­ta­size you’ll earn your in­vest­ment back as soon as you get on Oprah’s show, it’s not the sup­ply chain’s job to pres­sure-test your as­sump­tions.

“If I’m painter and you want pur­ple zebra stripes on your pink house, some­one’s going to take your money; it might as well be me.”

Though that kind of busi­ness prac­tice isn’t strictly un­eth­i­cal, it over­looks the fact that the most im­por­tant thing pub­lish­ing ser­vice providers can sell is guid­ance. Too many au­thor ser­vice com­pa­nies take ad­van­tage of the fact that it re­ally is your re­spon­si­bil­ity to know what you’re get­ting into.

To un­der­stand where the bait-and-switch usu­ally hap­pens in pub­lish­ing scams, it’s es­sen­tial to un­der­stand how the book­seller’s eco­nomic pie gets sliced.

Pub­lish­ing: Ed­i­to­r­ial and Pro­duc­tion Costs

Pro­duc­tion costs are an es­sen­tial as­pect of bring­ing a well-made book to mar­ket. Every writer pays for qual­ity in the short run or for short­cuts in the long run. Every pub­lisher must pay for ink and paper, and (I hope) for edit­ing and de­sign. Ed­i­tors and de­sign­ers are part of the es­sen­tial sup­ply chain that re­sults in ready-to-re­tail books. The pro­fes­sion­als who make their liv­ing pro­vid­ing print­ing, cover de­sign, edit­ing, type­set­ting, and bind­ing can quite rea­son­ably be ex­pected to earn a profit.

If these costs aren’t clearly stated, don’t pre­tend your “pub­lisher” has some mag­i­cal abil­ity to “make them go away.” Any­one claim­ing to be your pub­lisher—even a le­git­i­mate op­er­a­tor—ex­pects to pay these bills. Know­ing where that money comes from is im­por­tant.

Pub­lish­ing: Dis­tri­b­u­tion and Sales Costs

Ad­di­tional costs in­clude ship­ping, dis­tri­b­u­tion, and seller com­mis­sions (which usu­ally run half of cover price). These costs occur after your book is made avail­able to the pub­lic and an order is placed.

Do you know what it costs to sell one copy of your book? Do the math. Sub­tract your ed­i­to­r­ial and pro­duc­tion costs from what you have left after the seller’s com­mis­sion is paid. If you don’t know what it costs to print, ship, and sell a book, you are not in con­trol of your pub­lish­ing busi­ness.

The Pub­lisher’s Cut

If you re­ceived an ad­vance pay­ment against roy­al­ties on your book, you most likely have a tra­di­tional pub­lisher back­ing you. Pub­lish­ers are in­vestors who buy and sell in­tel­lec­tual prop­erty for profit. Your pub­lisher thinks your book will sell and has paid for edit­ing, de­sign, mar­ket­ing, print­ing, and dis­tri­b­u­tion on top of your ad­vance. Con­sider what an enor­mous risk that is if you’re an un­known au­thor. Your pub­lisher is gam­bling on mak­ing enough profit on book sales to cover your pro­duc­tion costs and your ad­vance—be­fore they see a dime. It’s no won­der pub­lish­ing con­tracts are so dif­fi­cult to come by. Pub­lish­ers cer­tainly care that your book is good, but they mostly care whether your book will sell.

Many a tra­di­tion­ally pub­lished au­thor has won­dered why noth­ing came in after the ini­tial ad­vance. “I thought I was going to make $2 per book. I know you’ve sold books; where’s my money?” Very often, the book has sold but it hasn’t sold enough copies to cover the pub­lisher’s in­vest­ment.Your pub­lisher is in busi­ness, too. After in­vest­ing in you, they ex­pect to re­cover their out­lay be­fore they skip mer­rily down the profit shar­ing road with you.

Other Risks

If you’re sell­ing books in tra­di­tional book­stores, re­turned books can bury you. If you dis­trib­ute 3000 books and sell 1000, you can still lose money when you have to pay for 2000 un­sold books to be  re­turned or de­stroyed (tragic but cheaper than ship­ping them back and fig­ur­ing out what to do with them). Read more about re­turns here.

How Pub­lish­ing Scams Work

Van­ity pub­lish­ing scams usu­ally tar­get first-time pub­lish­ers. Most have a rough draft man­u­script ready and have begun to ask ques­tions about how to pub­lish. They need edit­ing, type­set­ting, de­sign, and dis­tri­b­u­tion. A web search soon brings them to xU­ni­verse­House who of­fers one-stop shop­ping for all the needed ser­vices and a dis­tri­b­u­tion pack­age. They offer a plat­inum plan, a gold plan, a sil­ver plan, and a tin plan with ser­vices that fit any bud­get. You get to keep your copy­right so the deal is “risk free.” When Pen­guin calls of­fer­ing a big con­tract, you won’t be locked in to your deal with xU­ni­verse­House.

Most au­thors have heard all the bad doo doo about self-pub­lish­ing. They want a “real” pub­lisher and xU­ni­verse­House of­fers to as­sume that role. xU­ni­verse­House in­flates the re­tail price and skims the cream back off  every sale as a “pub­lisher’s” roy­alty. Here’s where the red bull­shit in­di­ca­tor light on your dash­board should be flash­ing. XU­ni­verse­House hasn’t in­vested a dime in your book. Why should it earn a roy­alty from it? If any­thing, xU­ni­verse­House has put you at a dis­ad­van­tage by in­creas­ing your re­tail price (and by putting their kiss-of-death logo on your book’s spine). This is why “self-pub­lish­ing com­pa­nies” are oxy­moronic: you’re ei­ther self-pub­lish­ing or some­one is pub­lish­ing you. Pay­ing some­one to be your pub­lisher is like hir­ing some­one to take a va­ca­tion for you so you can stay home and work.

Here we find a use­ful de­f­i­n­i­tion for the term, “pub­lisher.” A pub­lisher is an en­tity that in­vests in and as­sumes the risks for pro­duc­ing and dis­trib­ut­ing a piece of media.

Es­cap­ing the Trap

So maybe you “pub­lished” with xU­ni­verse­House be­fore you read this ar­ti­cle or had some­one point out the typos in your book. Maybe you got an in­formed cri­tique of the cover art and found out it’s for­mu­laic or cliché. Prob­a­bly, the work done by xU­ni­verse­House isn’t hor­ri­ble; it just never got past “pretty good.” Maybe your book’s just too ex­pen­sive?

No big deal. The con­tract says you can get out at any time. But the small print says the cover art and the type­set­ting and other dig­i­tal as­sets be­long to xU­ni­verse­House. As the pub­lisher of record, xU­ni­verse­House also owns the ISBN num­ber on your book. You can end your con­tract but you’ll have to start over with a Word doc­u­ment and find your own sources for de­sign and dis­tri­b­u­tion. After spend­ing a lot of money, you’re back at square one.

You can re­pub­lish but you’ll also have to com­pete with cheap, “used” copies of your orig­i­nal xU­ni­verse­House edi­tion on Ama­zon.

And if you agreed to dis­trib­ute 100 books to xU­ni­verse­House’s list of “qual­i­fied re­view­ers,” you can count on see­ing dozens of fifty-cent “like new” copies of your book on eBay

Co-Pub­lish­ing

If a pub­lisher wants to ne­go­ti­ate a deal where it splits the pro­duc­tion costs with the au­thor and then splits the roy­al­ties, co-pub­lish­ing might qual­ify as one of the non-tra­di­tional pub­lish­ing mod­els that isn’t  a scam, but I found a tiny hand­ful of op­er­a­tors who ap­peared to be play­ing that game straight.

When en­ter­ing into such a “part­ner­ship,” make sure that all the costs—pro­duc­tion, dis­tri­b­u­tion, and sell­ing—are fully dis­closed. Your pub­lish­ing part­ner may be able to in­vest sweat eq­uity or ac­cess out­sourced ser­vices at a re­duced cost, but you should un­der­stand the value of those ser­vices.

In­stall some qual­ity con­trol mea­sures. What re­course do you have if you find typos in your book that your pub­lisher’s ed­i­tor missed? Do you re­tain the right to ap­prove the cover de­sign?

Tak­ing Con­trol

Don’t fly your pub­lish­ing plane with the visor down. Writ­ing is an art but pub­lish­ing is a busi­ness. If you in­tend to share your work, run some num­bers and take con­trol.

Start with a hy­po­thet­i­cal cover price. Price is dri­ven by the mar­ket, not by your costs. If other books in your genre sell for $20, you need to find a way to prof­itably bring your book to mar­ket for $20.

Sub­tract 50% for the seller com­mis­sion (Light­ning Source al­lows you to set seller com­mis­sions as low as 20% but don’t ex­pect brick-and-mor­tar book­stores or non-tra­di­tional re­tail­ers to play along).

Do you know the cost to print, ship, and dis­trib­ute a book? Rep­utable pub­lish­ing ser­vices pro­vide a cost cal­cu­la­tor or at least a solid es­ti­mate.

Some­one spent money on edit­ing, cover de­sign, and type­set­ting. If that some­one is you, add up those costs and then amor­tize them over 100 books, 1000 books, 5000 books, etc. How many books do you have to sell be­fore the pro­duc­tion costs are paid and you can start tak­ing a profit? You can’t know how many books you’ll sell but fig­ure out where the break-even point is. If you have a tra­di­tional pub­lisher, find out how many books the pub­lisher needs to sell be­fore the “pro­duc­tion debt” is paid. This debt in­cludes any ad­vances against roy­al­ties paid to you when the deal was signed.

And though you may have thor­oughly en­joyed re­search­ing and writ­ing your book, if you’re se­ri­ously in the pub­lish­ing busi­ness, you’ll want to see your writ­ing hours paid for. You put 1000 hours or more into writ­ing your man­u­script but you’re the last link in the in­come chain. Know how many books you need to sell to start tak­ing roy­al­ties and then know how many books you need to re­ceive roy­al­ties for to com­pen­sate your pub­lish­ing com­pany’s “in-house writ­ing staff.”

It’s easy to see why so many writ­ers don’t pay at­ten­tion to these de­tails. Pub­lish­ing cost analy­sis can be dis­cour­ag­ing. Every­one down­stream of the pub­lisher gen­er­ally risks noth­ing yet makes a big­ger cut. Look­ing at books from a num­bers per­spec­tive, could you find a worse re­tail prod­uct?

All the same, peo­ple like you are out there writ­ing and mar­ket­ing good books for profit. Though the odds are against them, some find re­cep­tive au­di­ences. A few find fame and for­tune, ei­ther through care­ful plan­ning or dumb luck (or a bit of both).

Pub­lish­ing: Doing it Right

I’ve said it many times on this blog and I’ll say it again: Do your home­work! If you have pub­lished a book but don’t know the pub­lish­ing food chain ba­sics de­scribed in this ar­ti­cle, you’re swim­ming in shark-in­fested wa­ters. This ain’t rocket surgery. Read up on the biz for a few hours.

Phony pub­lish­ing com­pa­nies aren’t risk-tak­ers. They pro­vide bud­get ed­i­to­r­ial and de­sign ser­vices and then mark them up for a profit. You get less and pay the same prices you would pay a pro­fes­sional. Van­ity pub­lish­ers don’t get you book­store dis­tri­b­u­tion. Usu­ally, the smoke­screen is that they’ll get listed with Ama­zon.com and all the major book­stores. And after you’ve paid them to bro­ker pro­duc­tion ser­vices, you get to pay them a “pub­lisher’s roy­alty” on every book you sell.

True self-pub­lish­ers un­der­stand the risks and ad­just their ex­pec­ta­tions ac­cord­ingly. They in­vest in pro­fes­sional ed­i­tors, type­set­ters, and de­sign­ers and hold their con­trac­tors to the high­est stan­dards. They work with print­ers and dis­trib­u­tors who offer straight talk about costs and prof­its, and they make their own de­ci­sions about prices, seller com­mis­sions, and re­turn poli­cies. Some make peanuts on book sales but are able to use the fact that they “wrote the book on the sub­ject” to bring in con­sult­ing or con­tract work.

Make ob­jec­tive, fact-based de­ci­sions. Smart pub­lish­ers aren’t con­cerned about what the rumor mill has to say about self-pub­lish­ing or tra­di­tional pub­lish­ing on today’s forum dis­cus­sions. Self-pub­lish­ing is ideal for cer­tain au­thors in cer­tain cir­cum­stances and tra­di­tional pub­lish­ing is ideal for oth­ers. Prej­u­dice, gos­sip, and ig­no­rance con­tribute noth­ing to sound busi­ness choices. Choose your route care­fully.

Above all, re­mem­ber that you, your ideas, your time, and your work are valu­able. As­sume full con­trol over all these as­sets be­fore hand­ing them over to any third party. Any­one shar­ing your pub­lish­ing pie must ab­sorb cost or mit­i­gate risk if they are to be of any value to you.

Thou­sands of writ­ers are snook­ered by pub­lish­ing scams every year, mostly be­cause they’re afraid and they want an “ex­pert” to han­dle every­thing. If you use a tra­di­tional pub­lisher, hire a lawyer to re­view your con­tract; it’s a small price to pay for pro­tec­tion when deal­ing with a big com­pany. Oth­er­wise, heed the old adage: if you want a job done right…

I hope you enjoyed todays newsletter and that you feel more empowered in your author journey.

Here is a link to my books:  http://katherinebrightaustralia.com/books-2/

For some of the tools I offer to help you on your life journey click the link below.

http://katherinebrightaustralia.com/hypnosis-and-meditation/

NB  All my books, music and hypnosis mp3s are now available on itunes also.  See the homepage of my website for more information  http://www.katherinebrightaustralia.com

Till next week, love and light
Katherine Bright ND

http://www.katherinebrightaustralia.com

Copyright © 2016 Katherine Bright  Lightworkers International, All rights reserved.

11:11 AND THE LIGHTWORKER

Throughout my life I have often found myself looking at the clock and noticing the time is 11.11  and wondering, why?  “Well here it goes again”  I would think to myself.

11.11 is a commonly noticed number for many people, and over thirty years in alternative medical practice I have spoken with hundreds of people who also notice the number 11.11 all over the place.

A common theme I see with those that notice this number is that they have a soul connection to healing or spirit in a higher frequency than some other numbers which people notice.  All groups of numbers will have a numerical frequency theme which will differ in purpose.

An 11.11 soul is usually one who is very intuitive, fine-frequencied on the soul level, prone to self-sacrifice for the greater good and capable of great insights and spiritual mastery.  They will often be very keen to do good in this world and may be shy to express it and will often just be found doing something beneficial in their world.  This may be public or not, it doesn’t matter for in all things there is purpose and intention. 

“Lightworker” is a term I would certainly attribute to an 11.11 soul.  A lightworker by definition is someone who works with the light.  To understand frequency and light more fully we have to note certain things.  Light vibrates at a frequency and that frequency has a common tone and colour.  Therefore you vibrate, your thoughts vibrate and all matter vibrates at a frequency which also has a colour and tone.  Comfort with certain colours and tones shows you what frequency you are vibrating at when you feel balanced and well.  It shows you your emotions also when you feel out of balance.

Colour has various emotional/spiritual reference points of meaning and no colour can be seen unless there is light.  

Light is made up of wavelengths of light, and each frequency wavelength is a particular colour. The colour we see is a result of which wavelengths are reflected back to our eyes.

Visible light is the small part within the electro magnetic spectrum that human eyes are sensitive to and can detect.  The visible light waves you see consist of different wavelengths. The colour of which depends on its wavelength. These wavelengths range from 700 nm at the red end of the spectrum to 400 nm at the violet end.  What we are seeing is meaning.

White light is really made up of all of the colours of the rainbow because it contains all the wavelengths, and it is described as polychromatic light. Light from a torch or the Sun for example is polychromatic.

An 11.11 soul will have differing colour attachment tendencies due to the genetic body. Therefore you cannot say a person who is attracted to the soul pathway of an 11.11 will also be attracted to the same light working frequency to operate their healing though as their genetic bodies will vibrate at an individual frequency of density, and hence this will change the purpose and learning of each body and individual soul on the life incarnated journey.  

The theme of the soul group will be consistent but the modus operandi of that individual and will also be an individual pathway to achieve the common spiritual, blueprinted purpose or goal.  This is why you see so many different walks of life and life experiences in people who in essence come here to achieve a common outcome of healing for the planet.

To understand what it is you are here to do if you are noticing 11.11 often, please meditate and connect to your inner heartspace and you will be guided to understand more about yourself to enable you to identify your soul’s true purpose more fully.  

If you are interested in finding out very specifically and easily please, feel free to contact either Kim or I for a personal consultation session as we are experts in identifying and communicating with you and the higher councils on the soul level in order to facilitate knowledge and forward purpose for your life journey on this planet and beyond.

You can contact us on http://www.katherinebrightaustralia.com orhttp://www.kimbrightaustralia.com for a consultation time.  

For some of the tools I offer to help you on your life journey click the link below.

http://katherinebrightaustralia.com/hypnosis-and-meditation/

NB  All my books, music and hypnosis mp3s are now available on itunes also.  See the homepage of my website for more information  http://www.katherinebrightaustralia.com

Till next week, love and light
Katherine Bright ND

http://www.katherinebrightaustralia.com
 

Copyright © 2016 Katherine Bright  Lightworkers International, All rights reserved.
 

 

FEELING INADEQUATE

There is a common denominator for those who feel inadequate.  It is lack of self-esteem or worth.  This might seem pretty obvious for some of us to identify, but for some people their baggage is multi-layered and the obvious just isn’t for them.  People who judge themselves harshly don’t always register that they are their own worst enemy and that their self-critiquing is in fact debilitating them further into an unrealistic reality of self-image.

Feeling inadequate can come from years of being conditioned to feel lesser than you actually are.  Perhaps you have not been given a voice to be heard and recognised by your family growing up?  Perhaps you were not the cleverest at school and were made to feel ashamed of your performance in class by peer pressure or a demanding teacher?  Repeating the conditioning can become a habit which is hard to recognise.  We tend to loop into the well-known territories of self perception.  

The reasons one might feel inadequate are many and come from different positions of reality and acceptance.  If you are conditioned to accept that you are lesser than, that you don’t measure up or that you under achieve, then you are likely to believe anything which verifies or indicates the same in your own reality.  It will be your interpretation from common potentials in situations which steer your towards reinforcing those ideas repetitively.

Once you believe you are not worth as much as someone else, you tend to also attract the opinions of others and the style of dominant personalities into your life which will also reflect and mirror those personal opinions back to you.  Abuse attracts abuse, confidence attracts praise and inadequacy attracts criticism and debilitating situations, and people.

There are some days where even the most confident person has to confront something which upsets and disables them.  Different scenarios to the normal confident reality may throw even the most stoic and confident person from their usual reality of strength into a dismal reflection of failure.  Hormones, family fights, logistical traffic nightmares,  job demands, lack of sleep and even vitamin deficiencies can all contribute to having a bad day and feeling under par.  

Commonly, it is when you feel low that you become more susceptible to feelings of inadequacy, especially if you put too much store on coping in all situations.  Sometimes you just have to allow yourself to feel vulnerable in order to learn how to grow and detach from rituals and routines which you may be used to.  These are known to retain your status quo and comfort zone.  However consider whether familiarity can stop you from experiences which might make you stronger.

The most vulnerable in society are often the quietest.  Children, the elderly and those who feel they have no obvious opinion in society can be passed over, unrecognised in their pain and need.  Of course if you are bullied at school or in an aged care home,  by an abusive partner in a domestic violence situation, you will feel inadequate, helpless and alone.  This is why it is so important for us all to keep our eyes open to opportunities to speak with, assist and be present for those who find themselves in these situations.  

As a counsellor and healer I hear so many stories and see so many people who are fundamentally feeling vulnerable, inadequate and lost.  Many are not confident of themselves and will assume that everyone, including me, is more confident and able than themselves.  This is the nature of inadequacy.  You give your power away to someone who appears to have what you do not.   It is an illusion often because everyone can feel inadequate at times about aspects of themselves or their lives, but perhaps you just don’t know what goes on for them in their private moments.

My advice for you all at this time is to be open to accepting the good things about yourself that may not have been recognised by others at this moment.  You can recognise for yourself that you have talents and gifts which you may not project to others openly.  You are allowed to tell people about them, and you are allowed to feel empowered about them also.  Remember what Creator said to me “Where there is empowerment there is not fear”  Inadequacy is a state of mind like anxiety which is full of fear.  So if you are feeling inadequate take some time to meditate on your good points and access the deep inner fears which are stopping you from acknowledging your good points and very adequate characteristics.

If you feel you don’t know how or where to start, I have some guided tools for you which will certainly help you to make a start in the right direction to freedom and happiness.

Please click on this link to find out more.

http://katherinebrightaustralia.com/product/self-esteem-hypnosis/

or perhaps this link for deep relaxation and stress relief.

http://katherinebrightaustralia.com/product/relaxation-relief-from-stress-hypnosis/

and for many more titles

http://katherinebrightaustralia.com/hypnosis-and-meditation/

Till next week, love and light
Katherine Bright ND

http://www.katherinebrightaustralia.com
 

Copyright © 2016 Katherine Bright  Lightworkers International, All rights reserved.