Book Announcement

A Writers’ Retreat: Starting from Scratch to Success!

www.WritersRetreatBizBook.com

A Step-by-Step Guide to Set Up and Operate a Writers’ Retreat

The Writers’ Retreat is pleased to announce that the recently published book A Writers’ Retreat: Starting from Scratch to Success!  by Canadian author Micheline Côté, is now available in print, e-book, and audio formats at www.WritersRetreatBizBook.com, in CreateSpace.com and Amazon.com.

The book A Writers’ Retreat: Starting from Scratch to Success! Was specifically written to assist readers/current and future residential retreat operators in starting, operating, and shaping their retreat business.

 In this book, you have at your disposal the means for starting and operating a writers’ retreat. Based on the author’s extensive experience in marketing, administration, and managing writers’ retreats, A Writers’ Retreat: Starting from Scratch to Success! provides the tools and structure that lead to consistent value to residents. This formula, tools + structure = value, works every time and has proven successful.

 This is the first time that steps to establishing a writers’ retreat have been explained in clear, practical terms. Micheline Côté draws on her years of experience as a retreat operator, a communication specialist, and a realtor to demystify what can seem like a huge undertaking into a methodical approach to defining, framing, planning, and most importantly, welcoming guests in your home and residential retreat.

 Through this book, you will discover that creating a successful retreat business is a calculated formula anyone can follow. More than a guide, A Writers’ Retreat: Starting from Scratch to Success! is an inspiration. Follow its guidance to a vibrant residential retreat you will be proud of.

Visit http://www.writersretreatbizbook.com/ to peek inside this guidebook and place an order for yourself, a friend, or a colleague.

You may forward this announcement to anyone interested in this book.

ABOUT THE AUTHOR

Micheline Côté is the co-founder and owner of The Writers’ Retreat, a network of writing retreats around the world. The membership organization specializes in helping writing mentors and retreat operators implement, promote, and support residential retreats for writers.

 A former cultural attaché, communications specialist, and retreat operator, the consulting services she has provided potential retreat operators for nearly a decade, are enhanced by Micheline’s expertise in marketing and organization. Micheline currently lives in Québec, Canada.

Overview: 

With this book, you will simply rediscover your standards and realize that a successful retreat business is a calculated formula that anyone can follow.

 Reading and following A Writers’ Retreat: Starting from Scratch to Success! you will:

-    Lay the foundation for a solid writer’s retreat by developing a vision

-    Understand your value and strengths by self-evaluating your knowledge, experience, and interests

-    Confidently frame the business you have dreamed of by analyzing your needs, choosing a location, and a property

-    Successfully market your retreat business following Micheline Côté’s expert instruction for defining your territory, and designing a viable program of literary services

-    Develop a long-term clientele by adapting and using successful structure tools and system templates.

 

"The Writer's Well is now taking applications for resident artist, visit our web blog link application...

To the Pen!"

LA Women's Theatre Festival: the Personal to the Universal |

http://www.lastagetimes.com/2011/03/la-women%E2%80%99s-theatre-festival-the-personal-to-the-universal/

LA ...
By Cindy Marie Jenkins
Eighteen years ago, Barnes and Reed saw a great need for female solo performers to have a hub, and today managing producer Shyla La'Sha believes the need is even greater. “Unfortunately,” she says, “although there have been major gains ...
LA STAGE TIMES - http://www.lastagetimes.com/

"The Writer's Well is now taking applications for resident artist, visit our web blog link application...

To the Pen!"

Tips on Working with an Editor

by Helen Corner, Director, Cornerstones

You've finished the first draft of your book, and it's now time for feedback. Does it read well? Are there areas that require self-editing to make it even better? And once that's been done, and you're going down the mainstream route, could it attract an agent or publisher? This is an exciting moment; a rite-of-passage and often nerve-wracking. But getting an outside opinion - one that you can trust - and learning how to self-edit is a process that is as much a part of being a writer as writing the book in the first place. 

Are you ready for feedback?
Receiving feedback before you're ready, and perhaps still at the creative writing stage, can have a negative impact on your writing confidence, so ask yourself if you are ready to hear what's working and what's not. If you feel that you can make no further improvements to your manuscript - or that you can no longer be objective and are going over and over the same sentences - and are excited by the prospect of a second opinion, then you're at self-editing stage.

Preparing your manuscript for feedback
In terms of formatting, your manuscript you should have a title page (title of book, your name, word count, genre, phone, address and email details); the narrative should be in, Times New Roman, font size 12, double-spaced, page numbered, and with a header or footer of your name and the book title. The first paragraph of each new chapter should be left justified and each subsequent paragraph indented with a tab. Dialogue should be on a new line, indented and without a hard-return.
Before you send it out to an editor, it’s a good idea to print off your manuscript and to read it from a hard copy for one last check (reading it aloud also helps for rhythm and flow of the narrative). This is how editors work, with pencil in hand, and you’ll find that it reads differently from on-screen.

At this stage, you’ll be doing a structural edit (different to a copy-edit, which I touch on further down) and, on a simplistic and instinctive level, you’re looking for anything that stops the flow of reading. Mark in the margin what made you stop reading and question why you think that occurred. It may be that you sensed repetition, too much backstory, character inconsistency, clunky sounding dialogue or exposition, a slowing of pace, a scene that could be more exciting and so on. If you can think of a way to fix these issues then go ahead and revise, but only once you’ve finished reading the whole MS (I’m talking mainly here about fiction and narrative non-fiction but even for business books and academic non-fiction you can check for consistency, structure, repetition and pace etc.).
By doing a final check, this will also give you an opportunity to correct typographical errors and basic grammar. Don’t worry too much if this is a weak area for you as your publisher will copy-edit and proofread your manuscript  – the final stages of editing - just before your book gets published. However, it’s important to try and get the narrative as polished as you can (if you can’t do this yourself you can hire an independent copy-editor or proofreader, but there’s no point doing this when you know you’re likely to be making further structural changes).
Once you’re satisfied that you can revise no further it’s time to send it out.

How to source the right editor
I’d recommend not showing your manuscript to friends or family if you wish to remain on speaking terms!
Look for a professional who knows how to deliver constructive feedback, has industry experience - be it an editor, consultant, or writer - and who is aware of market trends.
Author online chat forums such as YouWriteOn, WriteWords, Iwritereadrate, Authonomy, and many others, where writers chat about their experiences and recommend individuals or literary consultancies can be a good indicator.
Writing magazines such as Writing Magazine, Writers’ Forum and Mslexia, feature articles and advertisements for editors and consultants.
Writers’ & Artists’ Yearbook and industry trade books often have a section on editors.
Once you’ve identified an editor or a literary consultancy, check out their website, biography, testimonials, what books they’ve worked on, how long they’ve been operating, what services they offer and at what cost, which authors they’ve launched and who’s published them. You’re looking for a hands-on, personal interest in you and your book and an initial phone call or email will usually suffice. It’s a good idea to test the waters with a first chapter and synopsis – this should be at no charge as you’re just shopping around at the moment - to see what feedback they may give. After all, they need to know if they can be of real help to you and that you’re at self-editing stage before taking on your book. And you need to know that you can trust their feedback and that you’re in good hands.

The importance of understanding editor gobbledygook and getting in touch with your inner editor
You can't assume that the publisher/editor/agent will have the time to take you through these self-editing stages so it's up to you to teach yourself; and by receiving professional feedback you’re already on the road to arming yourself with self-editing jargon and techniques. For instance, if an editor says: 'the mid-section falls flat and the structure is unbalanced’, would you know what that means and how to fix it?
Self-editing can be taught, unlike talent, and a good independent editor will explain the technical issues at hand and brainstorm some solutions on how to fix them; what may sound confusing at first will soon become familiar.
Then it’s a question of applying this advice and revising your manuscript. It may need one draft or several redrafts – and while you’re learning how to self-edit this can feel like a frustrating process. With experience, though, you’ll begin to self-edit on your own and may not even need an independent editor’s opinion as you’ll instinctively know what’s working and what’s not, and how to fix it (although a second opinion is always helpful; even Stephen King has six editors who give him feedback before he makes final revisions).
Once you’re more familiar with self-editing you’ll be able to speak the same language as your in-house publisher or editor and they’ll love you for it.
The different stages of editing your book:
1)    Structural editing: ironing out structural issues to ensure that your story reads in the best way.
2)    Copy-editing: checking for grammar, syntax and consistency of facts.
3)    Proofreading: crossing the ‘t’s and dotting the ‘i’s.
I hope this offers an insight into the craft of self-editing and how to find the right editor to help you along the way. Good luck and enjoy the process.

Cornerstones, established in 1998, is the UK's leading literary consultancy. They’re passionate about writing, editing and launching new authors, and they scout for literary agents. All their (60) editors have been chosen for their agenting, publishing or writing experience; specialising in a range of fiction, non-fiction and children’s writing. They use their working knowledge of the UK market to show you what is and isn't working in your manuscript and how to fix it, with an eye on what agents and publishers are looking for. Write a Blockbuster and Get it Published by Lee Weatherly and Helen Corner, Hodder, is based on their workshop teaching techniques. For more information about Cornerstones and their workshop, visit: http://www.cornerstones.co.uk/

If you’re interested in discussing your project, please contact Corinne Liccketto, corinne@smithpublicity.com, http://www.smithpublicity.com/ or 856-489-8654 x309.

Contact information:

Corinne@smithpublicity.com
Smith Publicity, Inc.
856.489.8654 ext 309
http://www.smithpublicity.com/

Books Are Judged By Their Cover…4 reasons why your cover is crucial

 by John Chandler, Chandler Book Design UK

Like it or not books are initially judged by what they look like. Most readers will not experience the wonders to be found in even the most brilliant of books if the cover does not invite them in. And really, this is how it has to be if you think about it. Imagine if all books had the same plain cover – how would you ever know which book to pick up from the thousands in your local bookshop?

Every author needs to think seriously about what their book looks like.  And here are four reasons why:

1)    Covers are packaging: On your weekly trip to the supermarket you know what to expect of the well-known household brands, but you are also enticed to try a new product by its packaging. In a bookshop a customer looking for a new read will look out for books by authors they know or have been recommended, but they may also have their attention grabbed by a well-designed cover. A cover has a purpose and that purpose is to generate sales.

2)    Covers create expectations: In a single glance a shopper expects to learn what a book is about. A romance novel will have an illustration of two people in a passionate embrace, a book on golf will have a photo of a person playing golf on it.  If you want to defy expectations, go right ahead, but understand why you are doing it, what you hope to achieve and that there is a real risk to doing so. Often even a small variation from the usual can make a big difference – for better or for worse.

3)    Audience matters - templates and bespoke covers: Book covers can be created by using template layouts, which are relatively easy to do, or they can be professionally created from scratch by a designer. If your book has been written for a small number of family and friends, say a family history, a standard template cover will be fine. It does not need to sell the book at all. If your book is a local history book that will be sold in a limited area with limited competition a little extra effort will suffice. However, if your book is aimed at a wide audience and is intended to be seen on the same bookshop shelves as those produced by the large publishers, you need to invest in a bespoke professional design.

4)    A cover is an opportunity, not an afterthought: Your book costs money to produce - either yours or a publisher’s. Failing to give your cover proper consideration could well undermine all of the effort and resources that have gone into it. But more positively, the inverse is also true - a cover is an opportunity, a great leveller, something that can make your book sing. Your cover can potentially be better than the competition from the large publishing houses. Put effort into your cover, think about it, spend a bit of money if it needs it and consider it an investment rather than a burden.

Chandler Book Design will create a book for you that is totally unique. They are experienced graphic designers so their designs are totally bespoke. They offer cover design and page layout for paperback novels to full colour illustrated coffee table books.  Chandler Book Design can guarantee that your final book will look and feel as professional as any published book on the shelf.  For more information about their services, please visit: www.chandlerbookdesign.co.uk.

--------------------------------------------------------------------------------

If you’re interested in discussing your project, please contact Corinne Liccketto, corinne@smithpublicity.com, www.smithpublicity.com or 856-489-8654 x309.

Contact information:

Corinne@smithpublicity.com

Smith Publicity, Inc.

856.489.8654 ext 309

www.smithpublicity.com

Joanna Davidson (Department of Anthropology, Emory University)

Thank you for visiting the Writer's Well, Joanna, can you tell us about your project?


Joanna Davidson, Guest of The Writer's Well March 07-11-2011



I am in the process of writing a book manuscript entitled Sacred Rice: Identity, Environment, and Development in Rural West Africa.  Based on over ten years of ethnographic and historical research among Diola rice cultivators in Guinea-Bissau, the book explores how rural residents in this region are responding to a range of environmental and economic changes that challenge their capacity to continue the rice cultivation methods that have long defined them as a people.  The story of how Diola are responding to their dramatically changed circumstances resonates with a larger story, in which we all participate, about acknowledging a disappearing resource base, whether in a rice economy, an oil-based economy, a postindustrial town, or a megalopolis reaching its limits. 

Sacred Rice tackles the broad problem of systemic change by zooming in on the intricate details of individual life stories, and zooming out to elucidate the wider context, constraints, and opportunities that shape—and are shaped by—such individuals.  These few days at the Writer’s Well have been enormously productive, as I have been able to “zoom in” and draft a chapter on one of the book’s central characters: AmpaBadji.  Born in 1960 in a rural Diola village, AmpaBadji has lived through the most significant milestones of the past half century: the waning era of Portuguese colonialism, the 11-year independence war, the arrival of many missionaries, the still-shaky transition to independence, the ongoing turbulence of an economically weak and often violent state, the introduction of schooling, and a fluctuating set of environmental conditions and unpredictable pattern of rainfall throughout.  His life story tell a compact history of the last century in Guinea-Bissau, as he reflects upon his parents and grandparents, provides candid accounts of his own biography, and hazards predictions about what is to come for his children and grandchildren.

AmpaBadji is also a member of one of the first cohorts of Diola boys who were brought into the Italian Catholic mission that established itself in his village just prior to his birth.  Against his parent’s will, he stayed in the mission school and completed fourth grade, after which he was eligible to become a teacher himself.  Although he was an early adopter of schooling, he has nonetheless spent his life in the rice paddies, trying to sustain his family with ever-dwindling harvests.  He considers this his true work, despite his long-term position as a teacher in a nearby village school.  AmpaBadji’s story speaks to the various pushes and pulls in contemporary Diola society, in which Diola farmers acknowledge the decline in rice that makes it unfeasible as the centerpiece of their society, and yet are compelled (and often compel each other) to continue rice cultivation as their primary occupation.

It’s been a pleasure – although also a challenge – to re-immerse myself in AmpaBadji’s words through the countless interviews and interactions I’ve had with him over many years.  As I piece together his life history, I have been trying to articulate what it has to tell us about changing cultural economies in rural West Africa.  In a larger sense this has forced me to reflect on how any individual account can illuminate broad processes of social reproduction and improvisation.

"Joanna Davidson joined the faculty of the Department of Anthropology as a specialist in African Anthropology. She earned a Ph.D. at Emory University and currently holds a postdoctoral fellowship there. Her specialties include, among other things, political ecology, rurality and agrarian societies, cultural conceptions of knowledge, and critical international studies. She has long experience working with NGOs on projects relating to social entrepreneurship and rural development in Africa, Latin America, and other regions."

http://www.bu.edu/anthrop/people/faculty/j-davidson/

http://www.bu.edu/anthrop/news-events/events/

http://www.bu.edu/cas/about/faculty/new-faculty/2009/

Book Expo America and London Book Fair.

--Thank you all for the overwhelming response to our Combined Book Exhibit service, showcasing titles at book industry trade shows, including Book Expo America and London Book Fair.

There is still time to register your book for display at Book Expo America (deadline 4/18/2011).

If you have any questions, please email Kathy Weick at cbe@smithpublicity.com or call her at 856-489-8654 x306

--“9 Novel Ways to Promote Fiction,” the teleseminar in which president Sandy Diaz participated, received wonderful participant response - thank you to all of those who joined! If you were unable to attend the teleseminar in January and are interested in finding out what you missed, you can purchase the audio recording and receive three bonus fiction promotion handouts.

To learn more, go to http://www.buildbookbuzz.com/teleseminar/fiction

Upcoming Events:

--Dan Smith is attending and exhibiting at the Colorado Independent Publishers Association (CIPA) Book Expo March 18 – 19, 2011 at the Red Lion Hotel Denver Central. Please let us know if you’d like to schedule a meeting. For more information about the event, visit:

http://www.cipacatalog.com/pages/CIPA-BOOK-EXPO.html

--Dan Smith and Sandy Diaz are exhibiting at The London Book Fair April 11 – 13, 2011 (Stand R405). If you’re attending and are interested in scheduling a meeting, please let us know. For more information regarding The London Book Fair, please visit:

http://www.londonbookfair.co.uk/

--Corinne Liccketto will be participating in the upcoming seminar “How to Write, Publish, & Market Your Book” presented by Open Door Publications on April 16, 2011 at the Princeton Marriott at Forrestal in Princeton, NJ. To register for the event, please visit:

http://www.opendoorpublications.com/

--Dan Smith, Corinne Liccketto, and Marissa Eigenbrood will be exhibiting at the Los Angeles Times Festival of Books April 30 – May 1, 2011 (Booth #227) at the University of Southern California. If you’re attending and are interested in scheduling a meeting, please let us know. For more information regarding the book fair, please visit:

http://events.latimes.com/festivalofbooks/

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Questions? Contact a representative of the Smith Publicity sales team:

Sandy Diaz, sandy@smithpublicity.com, 856.489.8654 x301

Dan Smith, dan@smithpublicity.com, 856.489.8654 x101

Marissa Eigenbrood, marissa@smithpublicity.com, 856.489.8654 x314

Dina Barsky, dina@smithpublicity.com, 856.489.8654 x319

 

From the desk of Corinne Liccketto

JOIN THE LOS ANGELES WOMEN' THEATRE FESTIVAL 2011

AT THE ACTOR'S GANG IN CULVER CITY ON MARCH 30TH!

 The Los Angeles Women's Theatre Festival has received a 2011 grant from the City of Culver City to present Los Angeles Women's Theatre Festival At The Actor's Gang, an evening presenting past Festival performers for Culver City residents.

"This powerful evening will take place on March 30, 2011 at The Actor's Gang which is housed at the Ivy Substation located at 9070 Venice Boulevard, Culver City, CA 90232. "

This will be the first time the Festival has offered programming for  Culver City residents and is delighted to have this opportunity to widen our net to embrace another part of the city.

Our exciting line-up for the evening include Stacie Chaiken (The Dig:Death, Genesis and the Double Helix) Barbara Cole (Surviving Chrysalis) Ingrid Graham (Artemis) and Lydia Nicole (Calling Up Papi.)

For tickets or more information, please visit http://www.lawtf.com/.

Not to be missed!!!

Shamanic Retreat: The Kogi & Daniel Pinchbeck

http://www.realitysandwich.com/RS_Kogi_retreat

You're invited to join the Reality Sandwich retreat, Message from the Heart of the Earth, a unique seven-day shamanic encounter with two powerful Colombian medicine traditions: the spiritual masters of the Sierra Nevada Mountains in Northern Colombia, and the plant medicine ceremonies of the deepest Amazon.

Discover the indigenous wisdom and healing traditions of the Kogi, one of the last surviving pre-Columbian civilizations in South America. Set in the stunning wilderness of Santa Marta, Colombia, participants will have a rare opportunity to explore the sacred Kogi way of life through spiritual teachings and ancient rituals. The Kogis will share their traditions and offer instruction to help us strengthen our healing path while we contribute to the healing of the planet.

This extraordinary Reality Sandwich Retreat takes place March 26 - April 2, 2011.

REGISTRATION

Space for this Reality Sandwich Retreat is limited to 35 participants.

To participate, please download an application below, and email your completed application to rs.retreats (at) gmail (dot) com. If you have questions regarding the retreat, accommodations or travel, please email us at the same address.

50% of the retreat cost is due by March 13 to reserve your space. Full payment is due by March 20.

"To the Pen"

Installation "Creating a Sacred Space”- Writers

I installed the found object installation on the 25th of February, creating the first scared space in the woods at the Writer's Well. I kept looking at the wire tomato cage, looking like a crown, adorned with red nylon fabric and couldn’t adorn it with anything else, so it was time. I also felt the rain coming, and wanted to install it before it got wet in the woods.

I took a rake out with me to help hold down those thorny vines in the brier- patch, making a path.  I was clearing the Georgia pine needles off the machine, and could tell someone years ago had covered it with a nylon tarp which had deterated over time. I cut that away, and then raked around the area. There was this blue and white barrel that I rolled away clearing the area for a small flower bed in front of the sculpture.


I found a fireplace grate under all those pine needles and fit it between the legs of the washing machine, perfect fit for the foundation. I tied the tomato cage to the fireplace grate, and then secured it to the legs of the washing machine, using bio-degradable twine instead of wire or plastic. Now that the crown was secured I went to look for something I could make into a flowering pot.

I found this plastic white bucket with holes in the bottom that would work perfect for a planter, having drain holes already, was perfect for the recycled planting soil, I got from discarded plant containers I found under the back porch deck. I filled the bucket with the potting soil, tilted it with the mouth facing north, because the bucket wouldn’t fit into the opening to stand straight up. I guess could have started over to make it fit upright but that was not going to happen. I planted the seeds of the morning glories sent from my sister Diana Bruton’s garden, in Fresno California, in the center of the container, the heart so to say.



The sculpture looks like a crown sitting on top of the upside down vintage washing machine, it might look like junk thrown out there to some, but when the morning glories take seed, it is going to be a beautiful sight, also if it ever snows again in Georgia the red will stand out, like those two red head woodpeckers I watched scale the side of a tree one afternoon. In the spring and summer you won’t be able to see it from the house, because of all the foliage.


The sculpture stands about 8ft high, I made a little garden plot about 2’ x 2’ and scattered the "Hummingbird -butterflies" from Calumet City, Illinois and the “Bay-bay-kids” marigolds from Fresno California. This soil is really rich from the decades of over growth and undistributed ground cover. The woods has so many years of leaves as ground cover when you walk on them it is like walking on a foam cushion that goes crunch, crunch. I did this installation just in time because last night there was a rain storm. The seeds are being watered, as they will be for years to come.

I made a pathway to the scared space by tying red satin ribbons that I had made from a Victorian secret pajama top that Adilah Barnes, North Hollywood California, and founder of the Writer’s Well Sharpsburg Georgia donated, to trees and branches about 4-5 ft. a part to mark the way to the garden installation, this path was freed from those brier patch thorny-vines, I tied the limbs to each other so the trees as they grow will grow into a natural arch way.

I added Anne Tomlanovich’s, (Mosula Montana) metal plates to the installation, trays on top of the wood poles, that can be bird baths, or bird feeders. I don’t know what this machine is covering up, don’t want to know but it sits on top of two 4’ x 4’ studs up off the ground. I may throw some more flowering seeds underneath, just so there is more than enough to start the garden growing. Once the morning glories take off , they will be beautiful ground cover for years, decades to come.

The first words scribbed on the installation:

Collection of the Writer's Well

:

"I am sister of True Descent
Symbols of out beginnings-
I am the face of your daughters future
Vivid and Strong


I am Akata IaKeya the mother of all
the first wonder of the world


Love ME as you would love self
Knowledgeable - artist Jen Horton

Finding Agnes: Seven Generations of my Family lineage documented...

Finding Agnes: Seven Generations of my Family lineage documented...: "Continuing my ancestral journey on display at the National Archives in Atlanta. On Saturday, February 26, 2011, I..."

"To the Pen"

CHARACTER DEVELOPMENT WORKSHOP ACTING OUT!



AdiahBarnesProductions.com



Early Bird Tuition registration by
April 15, 2011 is $200 or $250 after that date.

"This demanding 12-week acting class allows students the opportunity to develop concrete, in-depth scenes and monologues.  This workshop also utilizes improvisation to develop in-the-moment acting skills and touches upon the nuts and bolts of the business.  It culminates in a dynamic Industry Night Showcase."

For more information on workshops, please visit http://www.adilahbarnes.com/ or call

(818) 752-2225     (818) 752-2225     

Quick Links 

www.adilahbarnes.com

www.OnMyOwnTerms.net

www.writersretreat.com

THINGS - TO- Do- at the Writer's Well, Senoia "ART OF GREEN"

‘Art of Green’, coming  to Senoia March 26-
The City of Senoia will celebrated “Art of Green” on Saturday March 26, with a sidewalk art show. The third annual “Art of Green” is sponsored by the Cultural Arts Committee of the Senoia Downtown Development Authority.

The show features artwork made with recycled and natural materials, items locally grown and produced, work by student artists, and a recycle for life exhibit. Children and adults alike are sure to enjoy the appearance of “Todd Key, the “Treeman” at noon.

Spaces 10 feet by 10 feet are available for individual artists and local vendors at $30 per space.  Deadline for all exhibitor applications is Monday March 21, at 5pm. Please reserve your space by downloading an application at http://www.enjoysenoia.com

Submit completed applications to:

Senoia “Art of Green”

PO Box 529, Senoia GA  30276

Senoia Welcome Center located at 9 Main Street, Senoia GA