How to Find Adult Education and Earn Your GED in Ohio

How to Find Adult Education and Earn Your GED in Ohio GED (General Educational Development) testing in the state of Ohio is handled by the Ohio Department of Education. The state is continuing its partnership with GED Testing Service and, as of January 1, 2014, offers the new 2014 computer-based GED test. The Ohio GED site is very easy to use and offers lots of helpful information, including the dates of when the information is updated, so you know what you are reading is current. Clicking on the navigation links on the left side of the page will give you information about GED practice centers around the state, practice tests, directions for setting up an account at the GED Testing Service, necessary forms, and a long list of frequently asked questions. Also on the left navigation bar, youll find information about Ohios Adult Diploma Program, a job training program that helps adult students prepare for in-demand jobs in Ohio. Rather than focusing on hours and grades, the program is based on competency in a self-paced format. Once you have learned a set of competencies and can demonstrate mastery of each required skill, you are assigned a provider who helps you create a customized student success plan. There are five pilot schools involved with this program: Stark State Community CollegePickaway-Ross Joint Vocational SchoolMiami Valley Career TechnicalCenter, Cuyahoga Community CollegePenta Career Center Students can choose to learn the following careers: automotive service technicians and mechanics, bus drivers, computer and information systems managers, dental assistants, electricians, emergency medical technicians and paramedics, financial managers, general and operations managers, healthcare social workers, industrial truck and tractor operators, information security analysts, light truck or delivery drivers, nurse practitioners, occupational therapy assistants, office clerks, paralegals and legal assistants, sales managers, social workers, installers, and tellers. Lots of great choices! Ohio also offers an additional program for adult students called 22 Adult High School Diploma Program. This program is designed for adults 22 years old, or older, who want to pursue a career in a field not included in the Adult Diploma Program listed above. Counselors work with students to help them identify the jobs they want, the courses they need, and the assessments theyll need to take. This program is available at: Ashland County Community AcademyCleveland Academy for Scholarship Technology and LeadershipColumbus State Community CollegeDohn Community High SchoolLife Skills Center of DaytonLondon AcademyPolly Fox Academy Community SchoolQuaker Digital Academy (online)Townsend North Community School Contact information for each location is available on the programs page. Click on the gray box in the upper right corner for a PDF with complete information about this program, including how to watch a webinar with additional information about applying. Ohio Means Jobs From the Ohios Options for Adult Diploma and GED page, you have access to everything you need to know for the option you choose. Of special interest is the link under the Adult Diploma heading that reads: Ohio Means Jobs. Clicking on that link takes you to a new page where, if you select Individual, you can then specify if you are a veteran, unemployment compensation claimant, job and family services customer, an individual with a disability, or a college student, and you can search for jobs that fit your category. Links on that page also lead to more career help, including information about online learning and a budget calculator. Good luck! Return to the list of states.

Talking Writing, Music and Editing with Tom Flood

Talking Writing, Music and Editing with Tom Flood Talking Writing, Music and Editing with Tom Flood Tom Flood helped us refine Reedsy from our earliest days. Now we want to share his amazing story. From songwriting to novels and finally manuscript editing, Tom has honed his knowledge of the writing craft over the years, and contributes today to our (aspirationally) literary blog.In one of our most in-depth interviews so far, what started as a conversation about Tom’s agency Flood Manuscripts moved on to cover his work as an editor, a writer, and an independent musician.Tom analyses the oft-invoked parallel between book and music publishing and what the future holds for both these industries. He also shares his own experience as a writer - he made this great observation about identifying oneself as a writer:â€Å"When people ask, ‘What do you do?’ and I answer, ‘Writer, editor, musician,’ the next question is invariably ‘Oh, what do you play?’ Writing is both less and more mysterious. Nearly everyone writes, so it engenders the second q uestion ‘What do you write?’ way less often. The more revealing ‘How do you write like that?’ comes rarely. People think skill in musicianship comes with practice and dexterity, but skill in creative writing? Like art, they believe it’s a gift. The reality is they’re the same.†His tripartite career gives Tom a unique lens through which to see what’s happening right now in the new world of publishing. His advice to writers is both practical / motivating - persevere, keep going - and informed by years of experience editing self-published authors.Hi Tom, you have an impressive portfolio and experience in writing, editing and proofreading. Which one came first in your career? In other words, what made you become an editor?Thanks, Ricardo. I came to editing via writing. I have always been a songwriter but in the 80s, buoyed by a boom of new Australian fiction engendered by the infrastructure built by the short-lived, ground-breaking Le ft government of the 70s, I began to try my pen at short stories, got one published in a short-lived journal, and finding that slow going, switched to the big picture of the novel. The success of that move (three national awards) led to connections in the world of publishing and I began occasional award judging, assessment through our major residential writers’ centre, and some editing for publishers throughout the 90s, also being commissioned to write a theatre piece and a feature film. That all petered out as I moved back towards music performance and had a stab at academia.In 2003, with a string of part-time jobs, and looking to find new income streams, I began working through the net for a few large assessment/appraisal services in other states, a relatively new industry, reading and advising across a wide range of prose writing. A year later my artist partner suggested I start my own to fund living through a PhD, and a writing client created the first Flood Manuscripts w ebsite. Within a year it was full-time assessment and clients began to ask if I would mentor them, act as agent, ghostwriter and all manner of services I had no intention of taking up. Dumping the doctorate to ride the growing self-pub wave with Flood Manuscripts, the next step was mentoring, structural editing and copy editing, and finally proofreading, as Aussie writers began to become impatient with the trade publishers and adept at dealing with the digital, their needs evolving. I keep the service personal, despite many suggestions to expand into an agency, because I like to be at the coalface.You have also both won and been a judge to major writing awards in Australia, how did that start, and what do these awards represent for you as an author? (Is that just a nice acknowledgement of your craft or something you’re genuinely proud of?)Awards! Without them Flood Manuscripts wouldn’t exist. Despite both parents writing pretty successfully (my mother, Dorothy Hewett, was a well-known poet and playwright), neither had published with a mainstream press. I made my name in fiction by winning our premier manuscript award, the prize including publication by Allen Unwin, and that novel then took out more awards, including our oldest and best known fiction prize, the Miles Franklin Award. Everything else I have been lucky enough to be involved with has stemmed from those awards. Flood Manuscripts’ clients have since taken out even more awards, mostly international, and yes, I’m very proud to be a small part of that.We are in London, and most of our audience is in the US. But you live in Australia, so can you tell us how the publishing landscape looks like over there? How â€Å"big† are ebooks and self-publishing?I think we’re trailing a decade behind USA in some aspects, particularly genre, as we are a small market and still retain a certain English literariness in our publishing landscape, largely fed by our tertiary educat ion system. That said, we were and still are ahead in acceptance of manuscript assessment /appraisal as an essential part of that landscape. Once convinced, Australians do have a fast technology take-up and self-pub is really developing into a snowball.Has the â€Å"digital revolution† truly changed your career, or do you feel you continue working with authors more or less like you did before?Flood Manuscripts is a child of the digital ‘revolution’. 98% of my work is sourced, contracted, paid and completed via the net. That has grown from about 70% over a decade. I’m receiving around one paper manuscript a year. I prefer to read and edit digitally for work, although I still like to read paper for pleasure. I like the ancient craft of bookbinding. It will be a shame if we lose that art form to the economics of the trade.Songwriting, though, has not changed for me. The pen is still mighty, the pencil mightier, and scraps of waste paper litter the study on ev ery surface. With the novel, I began handwriting it in ‘85, moved to a borrowed typewriter, then a borrowed word processor, and finally finished the last drafts on a redundant computer with bootlegged software (WordStar) from my partner’s work place. I was over 30, on the dole, and on the rebound from an art pop band in Sydney. I don’t think I actually got on the net until 2003.This is a traditional question in our interviews: does working directly with an author (indie or hybrid) make it easier or harder for you? Does the absence of a traditional publishing structure change the way you communicate with the author?Except in the early days before Flood Manuscripts, I’ve almost always worked directly with authors. I don’t court the trade publishers because there are so few here and they don’t outsource much anyway. How it continues to change is in the speed, volume and creativity of new digital ventures and what they offer to litworkers. As an assessor, keeping up with even a small part of that change is a challenge.You are also a musician, singer and songwriter in the acoustic trio Blues Angels. The music industry and the publishing one are often compared, many people proclaiming that what happened in music will happen to books. What’s your opinion on that?Conventional wisdom has had the popular music evolution in four phases: 1) sign with a big label; 2) music publishers make big money from big musicians and use some of those profits to develop new talent; 3) big musicians realise they’re leaving money on the table and set up their own labels (self-publishing), resulting in music publishers dwindling and new musicians having no corporate sponsorship; 4) digi-platforms like iTunes do the same as Amazon/KDP/Kindle and new musicians go direct to consumers (less 30%), but there is new pressure to discount or give away material for free; and we can now add phase 5) big musicians realise how much money they are leaving on the distributors’ table and abandon digital platforms (Taylor Swift/Spotify, Radiohead /iTunes). New musicians have no sponsor, make no money from Spotify and can’t sell on iTunes without a massive marketing spend.The book trade significantly differs to music in that it doesn’t have a regular large performance aspect, although writers are often performers at festivals, schools, readings, etc., and libraries aren’t really a power in the same way in the music trade, although ideas like Self-E and the digital library may significantly endanger lending rights payments in the pursuit of ‘going viral’. It’s not a matter of ‘will happen’; it already has, at least to level 4. Writing, like music, has gone digital and that digital product is being given away in the millions to create traction towards a fame of sorts and is being streamed, not quite like Spotify et al, through Kindle Owners Lending Library, but podcasting and YouTube are pushing text more into performance re audiobooks, book trailers, and even as the music industry has been digitally driven back towards the single as its principal product, so Kindle Shorts, blogging, social media publishing and other developments continue to drive fiction back towards the heyday of shorter forms. Will this be a boon to poetry? It should be, but I haven’t seen a Shorts- or YouTube-based boom in verse, though it’s early days yet. I do see bundling going on in either form by both indies and trade, both live and product-based, and I expect we’ll see even more specific-subject social media appearing, like mootis, a Twitter for legals, and new models for crowdfunding, like Patreon.This is the big picture, but as with BluesAngels, who don’t operate in the world of popular music, we do our gigs and small festivals, make our recordings and sell our music at those live gigs, then rinse and repeat. Sure, we’ve put it up digit ally on iTunes and Spotify, but we don’t expect to compete with the pop forms; we don’t have that kind of money. So far we’ve made eight cents from streaming. Indie authors can and do still exist at this same level. I have a long term client with Flood Manuscripts who self-pubbed a hardback verse novel, offset printed, and took it on the road to sell – door to door! He’s sold 15,000 over a number of years, making him a best seller in Australian poetry, and funded an audio CD, but he doesn’t register on Bookscan, nor have the poetry awards or Amazon ever heard of him.A hard question now: do you prefer being an author, and editor or a musician? Where do you feel you have more creative freedom?The last one was hard. Creative freedom might just be a curse to some. Many artists prefer a given structure within which to work, although I’m not one of them. Some like to push the boundaries of form, others to innovate within those boundaries, a nd others prefer to capitalise on proven market structures. Creative freedom is not a term I think about or relate to, perhaps because I have it? Perhaps not: like writers’ block, I don’t think you can pin down what it is. As to author, editor, musician, all three can be personally satisfying.Some say that certain media are better than others to express a particular message. Do you think music allows you to express some things that you cannot in writing, and vice-versa?As an aural form based on sound, not words, and not limited by language, only taste, music is probably capable of appealing more indefinably to the emotions, but I’m a songster, so for me it’s a vehicle to carry fewer words more urgently to the audience, kinda like poetry, but it can and does operate differently. Unlike writing, there are also visible tools, and people do appreciate visible, live craft. When people ask, ‘What do you do?’ and I answer, ‘Writer, editor, mus ician,’ the next question is invariably ‘Oh, what do you play?’ Writing is both less and more mysterious. Nearly everyone writes, so it engenders the second question ‘What do you write?’ way less often. The more revealing ‘How do you write like that?’ comes rarely. People think skill in musicianship comes with practice and dexterity, but skill in creative writing? Like art, they believe it’s a gift. The reality is they’re the same.Finally, if you had one word of advice for authors (mainstream, indie, hybrid) in 2015, what would it be?I’m a novelist! Even tweets give us more than one word, but when it comes to publishing, I shuffle between ‘Persevere’ and ‘Quit’, but ‘Time Management’ may be two words worth contemplating. Things are both worse and better for authors than at any time in the history of printing, but the history of authors is millennia older. What we’re seein g today is the very rapid furthering of the democratisation of publishing. Making money is a relatively new notion in that history. What is an author? A writer: or a writer who is published? With the rise of self-pub, ‘is published’ is changing to ‘has published’, from passive to active, but an author is simply an originator. So my advice to authors, as always, is mundane; if you enjoy writing, keep learning by reading and doing, and you will be constantly challenged to go further. It is principally a vocation. If you want to become a publisher, you’re back to square one – an ingà ©nue - set out to learn your new set of jobs thoroughly, and keep learning and doing.Thanks a lot for your time, Tom, and for sharing these fantastic insights with us.Thanks, Ricardo, for this opportunity, and thanks to the Reedsy crew for authoring this quality new service.Follow Flood Manuscripts and Reedsy on Facebook!What do you think about Tom’s story? A re we right in drawing parallels between the book and music industries? What fundamental differences do you see, and what’s the future going to look like? Leave us your thoughts, along with any question for Tom, in the comments below.

ART RESEARCH PAPER Example | Topics and Well Written Essays - 750 words

ART - Research Paper Example The Institute bought the painting, and it is displayed till today. As a result of the competition, the painting started receiving its fair share of publicity by being featured in Chicago dailies. Its fame spread to Boston, Indianapolis, Kansas city and New York. The painting was received well in these cities and states as they saw it as a perfect representation of the state of Iowa (Hoving & Wood 14). Iowa residents, however, did not share the same sentiments as the other Americans. Iowans saw the American Gothic as a caricature depicting the wrong impression of life in their state. The painting depicted the as â€Å"grim-faced puritanical Bible-thumpers† due to their conservative nature. In his defence, Grant Wood stated that the painting was a mere appreciation of the Iowan lifestyle (Evans 31). The painting was inspired by the lifestyle of the residents of Iowa and their simplistic view of life. The background of the painting was inspired by his travels of the Iowa landscape. Iowan residents found fault in the painting due to the house having unusual windows and being inspired by Gothic architecture. Gothic architecture, contrary to the picture, does not originate from America it is of European origin. The painting portrays a woman and a man standing side by side while the man holds a pitchfork. A house, constructed with Gothic architecture, stands behind the two. The man in the picture was Byron McKeeby, who was his dentist while the woman in the picture was his sister Nan (Hoving & Wood 7). The composition of the painting was new as the Gothic form of architecture was new in the Iowan landscape. The cast displayed in the picture was familiar to the American audience. The arched window believed to be from Sears, flourished the painting. The dentist looks directly at the audience while the woman stares at the other side of the painting. The woman deliberately fails to make eye contact

Customer Relationship Management in Youi Company Essay

Customer Relationship Management in Youi Company - Essay Example This strategy involves division of the market base using diverse variables, which include age, education, culture, occupation, location and socio-economic status among others. Youi insurance stormed the Australian market and launched its products with the aim of reaching every segment of the customer base. The company personalized insurance and defined the risks more accurately. This strategy allowed Youi insurance company to reach the new but low risk customer segments, which were not previously targeted by other insurers (Carr, 14). These segments included the white-collar commuters who commuted by public service transport to the city for work. Customized media approach was used to reach diverse groups accordingly. For instance, the company targeted the bus and train stations and quenched the traveler’s thirst during the summer mornings with customized bottles of water. Similarly, weekday and daytime TV media advertisements reached the customer segment in homes. This strateg y reached and attracted numerous customers (Carr, 14). A vigorously integrated information and technology system has reached the customer market. This has eased provision of insurance products and communicating with the customers more easily. This study establishes that, Youi uses its integrated information and technology system to transact. This implies that most of the customer requests are done online.According to this study, provision of personalized and cheap insurance retained the customer segments acquired.... Similarly, weekday and daytime TV media advertisements reached the customer segment in homes. This strategy reached and attracted numerous customers (Carr, 14). A vigorously integrated information and technology system has reached the customer market. This has eased provision of insurance products and communicating with the customers more easily. This study establishes that, Youi uses its integrated information and technology system to transact. This implies that most of the customer requests are done online. Retention of the Acquired customer base According to this study, provision of personalized and cheap insurance retained the customer segments acquired through the campaigns and media advertisement (Carr, 14). The Youi Company ensured that the customers understand the finer details of the insurance products provided. Correspondingly, the prices offered remained affordable. Notably, the Youi insurance has gone a notch higher in market orientation. This implies that, the company is focused upon the desires of the customers (Insurance in Australia, 6). The needs of the clients are addressed in a three-level of a product, which include the tangible product, core product and associated benefits and the augmented product (customer service). This trend retained and expanded the customer market. The National Model Railroad Association (NMRA) NMRA is one of the oldest insurance companies in Australia with over 150 branches across the globe. NMRA enjoys a hearty customer relationship management (CRM) system. NMRA uses the aspect of information technology in reaching and retaining its customer base. The database interconnects all the branches across

The components of financial management Coursework

The components of financial management - Coursework Example Year Cash flow Discount factor Present value 0 (? 2m) 1 (? 2m) 1 (? 1.5m) 0.909 (? 1.3635m) 2 ? 1.0m 0.826 ? 0.826m 3 ? 1.3m 0.751 ? 0.9763m 4 ? 1.8m 0.683 ? 1.2294m 5 ? 1.3m 0.621 ? 0.8073m 6 ? 0.6m 0.564 ? 0.3384m ? 0.8139m The NPV of the project is ? 0.8139m. This is a positive amount and therefore is an indicator that the project can be carried on. Section II Associated risks of the project The risk associated with a project may be defined as the variability that is likely to occur in the future returns from the project. Risk arises in investment evaluation because we cannot anticipate the occurrence of the possible future events with certainty and consequently, cannot make any correct prediction about the cash flow sequence. In the context of capital budgeting projects, risk results almost entirely from the uncertainty about future cash inflows, because the initial cash outflow is generally known. These risks result from a variety of factors including uncertainty about future re venues, expenditures and taxes. Therefore, to assess the risk of a potential project, the analyst needs to evaluate the riskiness of the cash inflows. There are three possible attitudes towards risk that can be identified. These are: (a) Risk aversion (b) Desire for risk (c) Indifference to risk A risk averter is an individual who prefers less risky investment. The basic assumption in financial theory is that most investors and managers are risk averse. Risk seekers on the other hand are individuals who prefer risk. Given a choice between more and less risky investments with identical expected monetary returns, they would prefer the riskier investment. The person who is indifferent to risk would not care which investment he or she received. There are various risks involved in the project that have different degrees of consequences. Such risks may be categorized into technical risks, environmental risks, economic risks, political risks and project completion risks. (Horngren, Foster, & Datar, 2001) The risks that any project is predisposed can be avoidable or unavoidable and therefore a firm has to minimize the risks that face the projects it undertakes as much as possible. The project that is intended to be carried out can face the risk of errors in estimation. Such errors could disrupt the schedule of the whole project as a whole if the business and development teams do not work closely to curb such cases of errors. There is also the possibility that there can be a requirements overload whereby the requirements for the project are not well established and are therefore constantly being added later on during the development phases of the project. This disrupts the laid down schedule and delays the events of each step of the project. Lack of proper documentation of the project at the same time as the project progresses is also a risk that most projects face since critical information related to the project may be lost. PART B Section I Beck Bag Year Expected ca sh flows Accumulated cash flows 1 60,000 60,000 2 70,000 130,000 3 70,000 200,000 4 40,000 240,000 5 20,000 260,000 The project costs 200,000 and the amount is recouped in the third year, therefore the payback period is 3 years. Roo Bag Year Expected cash flows Accumulated cash flows 1 70,000 70,000 2 70,000 140,000 3 60,000 200,000 4 60,000 260,000 5 60,000 320,000 The project costs 260,000 and it takes 4 years to recoup this amount. Therefore the payba

Business in china and korea Essay Example | Topics and Well Written Essays - 1000 words

Business in china and korea - Essay Example The conflicts with North Korea prevented South Korea from concentrating more in economic sector. In short, doing business in a country depend on many internal and external parameters. This paper briefly analyses the business prospects in Chin and Korea. Mao Zedong was succeeded in implementing a cultural revolution in China through the October revolution. But it is difficult to recognize Mao as the architect of modern China. Deng the visionary leader followed by Mao was the architect of modern China. Mao was more adamant in the implementation of the tight communist principles whereas Deng has given the communist principles more liberal look and a human face. Mao was more focussed on ideological warfare and class struggle whereas Deng shifted his attention towards the practicability of communist principle in economic progress. Lieberthal (2003) has mentioned that the political considerations in Beijing dictated the pace and thrust of the reform process throughout the 1980’s (Lieberthal, 2003, p.123). Mao failed to recognize that the biggest population of China need more practical solutions than the one mentioned in the communist manifesto. On the other hand, Deng realized that for China like a heavily populated country, princ iples on papers may not help and practical solutions were required. Gittings, (2005) has mentioned that political reformation process undertaken by Deng was the result of his realization that the economic reforms would be ineffective unless the party could also be reformed (Gittings, 2005, p.173). Politics were dictating the Chinese administration before Deng and it was difficult for the business people to start a private business in China before the Deng administration. Deng has realized that the government alone may not be able to tackle China’s problems and the cooperation of the private capital is essential for the

Ollapse of the CTV building Assignment Example | Topics and Well Written Essays - 3000 words

Ollapse of the CTV building - Assignment Example Along with this, it also includes a short analysis of the facts which are duly responsible for such a mishap. In addition, a small conclusion and summary are also included along with recommendations for future actions. One of the important areas of this study is to find out the key stakeholders and role players who were directly or indirectly associated with the collapse of the CTV building. Name and details of these role players and stakeholders have been discussed in Chapter 2. Decision making process of the organizational factors and key management associated with the incident before, during and after the actual massacre of CTV building. From the detailed analysis in this chapter, it has been found that there were high extend of inefficiency of the top management in terms of their key responsibilities and ethical work practice and their ineffectiveness decision making process. Negative impact of many external organizational factors have been discussed which were not forecast prior to the collapse. Major defaults that were the root cause behind the collapse of CTV building were also analysed in Chapter 3. Few of major defaults that have been found out are lack of proper monitoring of top management and higher authorities, construction of an irregular structure and use of poor quality raw materials and old equipment during the constructions of the building. Finally, it can be said that this study has open up a real picture of the insight of the collapse of CTV building. Table of Contents 1. Introduction 5 2. The key-role players and stakeholders that might be associated with the collapse of CTV building 5 3. Analysis of the Defaults, Resulting In CTV Building Collapse 6 3.1 Lack of Proper Monitoring Of the Higher Authorities 7 3.2 Use of Improper Materials 7 3.3 Construction of Irregular structures 9 4. Analyse and Evaluate the Decision-making process of Key Management and the Organisational Factors Associated before, during and after the Incident of CTV build ing collapse 9 4.1 The processes of the key management responsible before the occurrence of such an incident of CTV building: 10 4.2 The processes of the key management responsible during the occurrence of such an incident of CTV building 10 4.3 The processes of the key management responsible after the occurrence of such an incident of CTV building 11 4.4 The processes of the organizational factors responsible prior the occurrence of such an incident of CTV building 11 4.5 The processes of the organizational factors responsible during the occurrence of such an incident of CTV building 12 4.6 The processes of the organizational factors responsible after the occurrence of such an incident of CTV building 13 5. Summary and Conclusions 14 6. Recommendations 14 References 15 1. Introduction The Canterbury Television (CTV) Building that was located in Christchurch suddenly collapsed on 22nd February in the year 2011 due to massive earthquake. The earthquake was such a destructive one that it killed about 115 individuals present inside the building. The prime cause of such a disaster was the faulty construction designs prepared by the structural engineers. Due to it, the high intensity of force and after-shakes of earthquake would not be controlled by the beams and slabs of the building. Apart from this, the floor slabs, rectangular columns and stairwells are not at all developed in a detailed way as presented in the constructional blue-print design. The amount of thickness shown in the design was not seen in actual picture at the time of investigation of the shattered pieces of the CTV building (Preskil & Jones, 2009). 2. The key-role players and stakeholders that might be associated with the collapse of CTV building Preparation of any building is a very tough job as it includes