New Jobs for Older Workers : Jenni Proctor

New Jobs for Older Workers (2012) is the result of years of dedicated application by Jenni Proctor. It is a great targeted little book for those who wish to settle for a more rewarding career as they approach that wonderful empowering age of 55 or older.
Why do I say 55? Simply because this is the time when people start restructuring to transition into retirement. As this stage of life no one wants to be bullied or experience dull, listless boredom.
Jenni would probably say that you should be thinking about this at about 40!
Renegotiating Life’s Goals
55 years is a time when values are renegotiated and a different type of goal setting emerges. For example if the goal is now travel this genre might become a means of bringing in a little income from retirement activities. As Jenni says looking at a range of income streams that can spin off career changes is a worthwhile thing to do.
I have known Jenni for a very long time.  We have worked together and subsequently transitioned in separate employment spheres. I am a writer and educator who is absorbed by managing conversations with philosophers and writers in the context of Rapid eLearning.  The channel is a space where we interact, inform and be informed by the artists who struggle to understand the educational philosophy of these connected times.  For those of that vare artists we delve into the intricacies of the pedagogy and the andragogy of the times in which these art genres were are are rapidly evolving.

Writing as a Suport for Embarking on a New Career

So although Jenni and I now travel different roads we often find ways to catch on the campuses of places such as Australian Catholic University. You will see from our LinkedIn profiles that Jenni acted as a Career Counsellor and I was and still am a sessional lecturer. It has been an amazing journey and rather intriguing to see how our paths have crossed while we explore options and draw on our inner emotional reserves.  It has taken tenacaty and resilience and network support to find ways to move about the fluid world of opportunity blended from online and offline activities in a steady stream of contract work and self-engendered Internet opportunity.

Valuing Oneself in a World of Rapid Change

Jenni is an empowering counsellor.  She always taught me to value myself and my time. I was a little disappointed to see that the Kindle edition of her book was only $1.99! My own book is soon to be released and it will sit at $15 and $160 in an eTwist. I have studied Internet marketing and I know that the first text one releases is usually free or based at 99c as a way of haring with others until such time as the author has a following. I find this strategy a hard one to watch as I have learned so much from Jenni over the years and respect her tenacity and the knowledge she shares with others so highly.

Social Media and Transitioning in the Workforc

I read Jenni’s articles on LinkedIn, which Jenni says “is the largest social networking program existing solely to bring together people in on a business or professional level.
On March 22 2011 they reached 100 million members around the world. Members invite people to become a trusted contact via LinkedIn. Members also join groups, formed around a common interest. Through these groups you can easily connect with others who are interested in the same professional or business interests, you can communicate with them and engage in conversation.”
Quite frankly I am amazed by the value of this networking tool. It is a very tangible way of staying in contact with professionals and means that the connections  (such as mine and Jenni’s) can be fostered even we see each other very rarely. It was on Linked In that I just happened to notice that Jenni and written a book.

The Art of Book Marketing

I actually study book marketing as a topic.  Here is a book review that has been useful to me Marketing Your Book on Amazon by Shelley Hitz.

I hope that it is all right to make a few suggestions about the book itself before closing. Could there be a Guide on the Side workbook downloadable from the Career Clarity Website? (Or is it there already?)

And next time Jenni could you spread the word directly to those of us who love you and would have written a book review immediately so as to be there to support and to cheer?

Proctor, Jenni (2012-10-11). New Jobs for Older Workers: A Practical Guide to Rewarding Career Change (Help Me Find A Job) (Kindle Locations 1027-1030). Clarity Connections Pty Ltd. Kindle Edition.

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Philosophical Linguistics : Join the Never Ending Argument!

Where Is the Audience? - Jo Murphy

Janet Cameron is a retired university lecturer who now manages a channel called Philosophical Linguistics.  To explain what the channel is about Janet writes that Ferdinand de Saussure (1857-1913) has been celebrated as “The Father of Linguistics” for his work in the field of structural analysis or “the science of signs.”  She goes on to explain that Saussure’s findings followed the related work of anthropologist Claude Lévi-Strauss who applied structural analysis to mythology.

How this Channel Relates to Creativity Talks

When the pending middle years creative arts text called Global Citizen is released readers will see that much of the work has been stimulated by the debates about freedom and the possibility of world peace that emerged through the art world of the 1960s amd ’70s.

The work of these great men was not the only thing being “hotly discussed during the 1960s.”  You will see that in Global Citizen the work of John Lennon and Yoko Ono’s installation and performance pieces are predominantly featured.   Articles below show the ideas as they take form…….

  • Performing the Other : Art historian Jieun Rhee looks at the series of performances by Yoko Ono, within the context created by social, cultural, national and ethnic audience response.
  • Communication Art of Yoko Ono In the mid -1950s Ono started writing scores, or instructions, in simple words for viewers as performers and as imagination exercises.

Making Links and Connections Being Part of a Channel Online

Within the context of Rapid eLearning conversations with philosophers and writers such as Janet, Michael, Doug, myself  and others who interact can inform and be informed by the artists who struggle to understand the philosophy of the times in which these art genres were evolving.

Cameron says she set the channel Philosophical Linguistics as a creative conversation which would frame the explorations this way …..

Jacques Derrida (1930-2004) took a sceptical approach, denying that there could be stability or coherent meaning in language. He claimed that Western Philosophy was mistaken in trying to establish truth, certainty and stability in language and he described the way it attempted this as a “set of violent hierarchies.”
Derrida’s theories are notoriously difficult to grasp even as they continue to fascinate. The first time I produced an assignment on Derrida, my tutor threw it back at me in disgust.  “That’s not it,” he snapped. Yet, there is something beguiling about this man and his theories, and the need to explore further persisted and continues to this day.
Long after his death, Saussure still has a steady fan-base while Derrida’s ideas exploring the play of language reach well into the realms of linguistic philosophy, ensuring the argument is not going to end anytime soon.

Join the never-ending argument!

Janet Cameron’s Biographical Details

MA, Cert.Ed is a retired university lecturer and author of twelve books, women’s short fiction and a magazine column. Her first published work was a novel, followed by a business book, eight history books and two walking books. Her current publisher is Amberley Publishing. and for her walking books, Countryside Books

  • Janet writes a regular monthly column for Writers Forum and has contributed articles to Writing in Education, Mslexia, The Woman Writer, Paranormal Magazine, Bygone Kent, People’s Friend, The Observer and The Sunday Telegraph.
  • Her short stories have appeared in Woman, My Weekly, Bella, The Sunday Post, People’s Friend and several literary journals and her poems have appeared in Acumen, Equinox, The Open University Poetry Anthology and Logos.

Non-Fiction Books:

  • Paranormal Eastbourne, Amberley Publishing, 2010.
  • LGBT Brighton and Hove, Amberley Publishing, 2009.
  • Paranormal Brighton and Hove, Amberley Publishing, 2009.
  • Brighton and Hove – Murders and Misdemeanours, Amberley Publishing, 2009.
  • Medway – Murder and Crime, Tempus Publishing, 2008.
  • Kiddiwalks in Kent, Countryside Books, 2007.
  • Kent – Fifteen Pocket Pub Walks, Countryside Books, 2006.
  • Dover – Murder & Crime, Tempus Publishing, 2006.
  • Haunted Kent, Tempus Publishing, 2005.
  • Canterbury Streets, Tempus Publishing, 2005.
  • The Competitive Couple, Mercury Business Books, 1990. (Sequel to undermentioned, commissioned and dropped when publisher went into liquidation. First serial rights purchased by the Daily Express.
  • The Competitive Woman, W.H. Allen, Mercury Business Books, 1988. Translated into Polish, Serbo-Croat, Mandarin Chinese.


  • Surrogate Lover, W.H. Allen, 1988. Translated into German.

Decoded Science Articles:


  • Suite Newcomer of the Month Award, January 2011
  • Editor’s Choice on Suite for “Art Criticism: Originality, Forgery and Aesthetics,” December 20, 2010
  • John Walter Salver, (Humorous short story) 2007, 3rd prize
  • Clemence Dane (Monologue) October, 2007, 1st prize
  • John Walter Salver (Article, Sense of Place) December, 2006, 3rd prize
  • The Elizabeth Longford Trophy (Poem) May, 2006, commended
  • John Walter Salver, (Short Story) December, 2005, highly commended
  • The Elizabeth Longford Trophy (Poem) May, 2005, highly commended:


  • 2003 M.A. in Modern Poetry, University of Kent at Canterbury.
  • 1996: B.A. (Hons), Literature and Philosophy, The Open University.
  • 1993: Cert.Ed (fe), Croydon College with Oxbridge University.


  • 2000-2006: Lectured in Creative Writing and Literature for the University of Kent.
  • 1989-1998: Taught Creative Writing, G.C.S.E. English and Special Needs for Sutton College of Liberal Arts and Croydon Continuing Education and Training.
  • Privately: Tutored in English and Maths, 4-11 year-olds.


  • Janet founded and ran her own office supplies business.

Most Special Moment:

In 2007 Janet Cameron won the Clemence Dane competition, She received her award in London from Simon Brett in the presence of Princess Michael of Kent, who, to her amazement, later asked her if she had any ‘writing tips’ for her.

Connect to Janet

Find Janet Cameron on Pinterest:

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Creative Artists Dealing With Self Sabotage


Someone being pushed back into their box

This is the feeling of being squashed down

This image is from a new article called How to Recognise and Deal with Self Sabotage in the Creative Arts. The article begins…Chamine describes factors that contribute to success in Positive Intelligence.(2012)  In the context of an art based practice, the artist’s potential is determined by a synergy of factors, including cognitive intelligence (IQ), emotional intelligence (EQ) combined with the attributes we would normally think of as talent, such as mastery of a combination of skills, knowledge and experience.  For an artist to be successful he or she must have the confidence to put their art out to the world and develop the nurturing and supportive sets of relationships that come to be called an artist’s social network.

If you would like to comment please do so on the discussion boards.



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Strengthening Personal Resilience

Pressifield says; “The enemy of the artist is the small-time Ego, which begets Resistance, which is the dragon that guards the gold.” [The War of Art 2012]


The Victim

In the The War of Art] (2012) Pressfield labels the enemy of artistic practice creative resistance.  Some people call this state of resistance procrastination.   Resistance can simply be defined as a destructive force inside human nature that rises whenever we consider a tough, long-term course of action.  Think of the amount of hours, dedication and practice it would take to become an internationally acclaimed world-class pianist.

Why Developing Artists Need to Build Resilience

The creative arts require what are called mastery experiences.   Not just one but many of them and unfortunately, usually they are required to be experienced on a daily basis.   Fortunately mastery experiences can be facilitated for students and teachers in small chunks.  These chunks are often described as elements of creative knowledge and they are combined by a kind of lubricant called principles. It takes quite a long time and a lot of effort to combine all of these elements and principles in just such a way as to bring forth a powerfully liberated creative artist.

Be a Part of the Lifestyle of Creativity Explosion Worldwide

There is a creativity explosion occurring worldwide because artists can find ample support in creative communities of practice to sustain their need for emotional and educational encouragement online.  These online communities of practice are often called CLIPs: Communities of Learning Inquiry and Practice.  As more and more online communities come together, they provide evidence that there is a creative genius hidden in each and every one of us if we are willing to take the time and accept the support needed to foster and nurture this capacity. 

Treasuring the Opportunity to Design a Creative Lifestyle

There is no such thing as treasure won without effort.  Any gift that has come too easily will dissipate just as easily.  This is because it has not been valued or fought for.  But this level of ability entwined with mass- potential for creativity has its enemies and Pressfield (2012) provides for us a rogue’s gallery of the many manifestations of this condition of closed mindedness. As you read the book you will recognize each and every one of the lil’ devils described, for this force lives within us all

—   self-sabotage

—   self-deception

—   self-corruption

Writers know it as “block,” a creativity paralysis whose symptoms can bring on all manner of excuses for indecision and inability to perform at all let alone act and think creatively.

Artists Must Develop Positive Intelligence in a Proactive Way

In the book Positive Intelligence: Why Only 20% of Teams and Individuals Achieve Their True Potential AND HOW YOU CAN ACHIEVE YOURS (Chamine, 2012) talks about Positive Intelligence and he also says that Creativity Saboteurs are a universal phenomenon – they are the characterisation of feelings of insecurity that all people have when they face a daunting task.   Have you ever watched someone play the piano or work on a sculpture and thought?  “Oh! I could never do that!”

This is because to be able to design a creative lifestyle people need to be taught the basic building blocks and structure and steps of any creative process.   Pressfield claims that the question is not – whether you have creativity saboteurs – but which ones affect you and how strong they are.  Saboteurs that act as blocks to creativity are universal—spanning cultures, genders, and age groups—because they are connected to the functions of the brain that are focused on survival.   All people from all cultures develop saboteurs early in childhood.    People do this in order to survive the perceived threats of life, both physical and emotional.

Unfortunately later in life these saboteurs become redundant and are no longer needed.   By taking an inner journey creative individuals risk taking a long, hard sustained look at their invisible foe and provide themselves with a perfect opportunity to “slay the dragon”. 

To be able to develop this creative attitude to resilience each individual has to look at his or her own fears – or the discouraging things their saboteurs say – and face up to the challenge that these annoying little whispers provide.  By acknowledging fear for just what it is FEAR (Usually of failure) artists can dismiss the negative thoughts that hold them back and take up so much time and energy. 

We can turn this thing called fear into a resolute belief that “I can face everything and respond.”


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Marketing Your Book on Amazon by Shelley Hitz

Unlike other reviewers I don’t yet have a book on Amazon. As you all know I am about to publish a Middle Years Creative Arts textbook soon. Global Citizens will be packaged in an eReader and will become an example of Rapid eLearning. Now I have the writing bug! I have gathered enough ideas to start publishing adult books about developing resilience and confidence in your creative arts practice.

Thanks to Shelly I have already started to work on the “21 things” she outlines in the book. She explains how to unpack in the authors area and how to set information out on the Amazon sellers site so that the book gains maxiumum exposure.  The book is almost like a guided tour.

Marketing Your Book On Amazon: 21 Things You Can Easily Do For Free To Get More Exposure and Sales (Book Marketing on a Shoestring Budget) has been an enlighhtening read. The clear instructions will get any book publishing venture off to a good start. It is good to have such a logically formatted guide that explains clearly how to set up as an author on Amazon.

I have already signed up for GoodReads and have downloaded a template sent by Shelley as a gift for writing this review. The template is easy to use and practical – this I love.
It is great to know there is a self publishing coach at hand who really knows her stuff! As soon as I have a chance I am going to sign up for her Publishing Course
Thanks Shelly – I know that I received copy of the book from you – but it is well worth buying and you have tempted me to see what else you have in store.


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Twitter Used as an Educational Tool within the Context of Rapid eLearning

Image representing Twitter as depicted in Crun...

Twitter is an online social networking and microblogging service that enables users to send and read text-based messages of up to 140 characters.   Users can tweet via the Twitter website, as well as androids, smartphones, and SMS from a mobile. (Wikipedia 2012)

Although Steven Johnson described the basic mechanics of Twitter as “remarkably simple” (2009 Time), the power of twitter is enhanced when it is used collaboratively with other online resources such as YouTube and Pintrest and

Why Is Twittering an Appropriate Technology for a Modern Classroom?

Twitter is now being used in the classrooms as a tool of collaboration with increasing enthusiasm.    Its advantages stem from the idea of a phenomenon called following and that the group can choose to remain a private by invitation only space.  This ability to contain educational activity within an evolving Noosphere renders the learning situation as manageable as it is creatively fertile and productive. Twitter it is essentially a messaging mechanism that facilitates rapid pertinent, relevant and useful information delivery.  The key concept is: just in time delivery accompanied by an advantage that the sharing mechanism can safely and incrementally be built into a targeted body of knowledge.    

When class members sign up to be active users of Twitter, the collection of tweets appear in reverse chronological order on a main growing Twitter page.  The power of Twitter can be harnessed for a traditional class room of 20 students or even collect the thoughts of thousands of likeminded people have become members of a Community of Learning Inquiry and Practice (CLIP); readers who sign up and follow the didactic trail of messaging will see a mix of tweets scrolling down the page in reverse chronological order. Latest messages will be at the top of the page.

How Twitter in the Classroom Could Function

For the most part, the use of twitter would simply mirror or augment the curriculum.  Students can group posts together by topic or subject matter by use of hash tags, these are words or phrases prefixed with a"#" sign. Teachers or students can research and tweet about topics either randomly or in a consigned manner.

The "@" sign followed by a username is by students to mention or reply to other users.       If students or teachers wish to repost a message from another Twitter user, and share it with class followers, the retweet function is symbolized by “RT” in the message.  In this way educational conversations can be managed, while “Twitter Lists” make it possible for students to follow other coworkers and topics (as well as mention and reply to) ad-hoc lists of authors.

Because the messages are set to a 140-character limit they are compatible with SMS messaging, and often consist of shorthand notation and slang commonly used in SMS messages. The 140-character limit has also increased the usage of URL shortening services.

The educational power of Twitter is further increased when combined with content-hosting services, such as Twitpic, or Deviant Art, YouTube and TeacherTube.  Schools may have a preference for certain content hosting sites; however Twitipic could be used independently of Twitter, in a way similar to Flickr.

The compatibility of Twitipic to Twitter renders it an ideal companion site for the classroom or online learning community:

  • TwitPic usernames and passwords mirror login procedures for Twitter;
  • Comments to photographs are conveniently sent as a reply tweet; and
  • TwitPic URLs are already short, making it unnecessary to use URL shortening.

Decomplicating the process is seen as desirable for students from lower grades that need to be presented with a process that is as simple as possible.  Classes where professional artists are collaborating will have a need to think about and take action on issues of copyright and theft protection and choose content hosting sites appropriate to professional requirements.  All sites have copyright issues and the choice of content hosting must always be guided by the level of privacy and copyright protection required. for example is an excellent content hosting site but one where work is not copyright protected.   

Rapid eLearning Strategies Using Twitter Messaging

Whether teachers and students choose to use YouTube and/or or to sign up for regular educational tweets – Twitter is rapidly becoming one of the many powerful mechanisms that pulse through the quickly evolving field of Rapid eLearning.   Rapid eLearning is an emergent phenomenon whereby information is received by students just in time for practical application and use of the information.  Use of on demand information that is delivered in response to a request for help in the context of project based learning encourages immediate use of,  understating and consolidation of that understanding and retention of that data.  It may take time to set up this style of learning environment because it does require students are focused with goals aims and objectives rather than just floating about the web.

Structuring Structures Structure

Pierre Bourdieu talks of structuring structures structure (Hage 2010) and the idea of allowing a comprehensive learning structure to emerge as a consequence of sequenced collaborative project based learning episodes. This idea of bigger picture stragetizing may seem at first quite daunting. Wikipedia is an inspiring example of practical emergence growing as a consequence of online collaboration – it is amazing to watch as the phenomenon of collective intelligence becomes a way of thinking and working within the context of educational community.

This article is one of a series of articles outlining how Rapid Elearning can support project based learning in a context of a CLIP.  This discussion takes place within the context of a soapstone carving workshop.


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