Hello! I am a dedicated, diligent writer with expertise in mental health. Other areas I am passionate about include: creative writing, video game/narrative design, LGBTQ+ issues, technology, and arts & culture.
These are two examples of video game character bark charts for original characters. I wrote these as an example of my ability to create characterization through short circumstantial dialogue.
Character profile 1: Player character in an Overwatch-style game. A snarky agender android who is passionate about protecting their teammates.
Character profile 2: Player character in an Overwatch-style game. An unhinged woman who used to be a butcher.
Jilly the Jelly is a 2D swimming platformer made with 100% hand-painted watercolor assets and backgrounds. This was a personal solo project. Created with Unity and C#.
Jilly is just a simple jellyfish trying to make her way in the dangerous underwater world. Will she be eaten? Will she find her girlfriend Crabantha? It's up to you to explore!
Music: Forgottenland by airtone
Download and play Jilly the Jelly:
Jilly is just a simple jellyfish trying to make her way in a dangerous underwater world.
This is a playable D&D module I designed for an ongoing campaign that I am the Dungeon Master for.
This is an example of game design using pre-existing game mechanics. Included in this module are detailed environment and action descriptions, opportunities for cooperative play, environmental hazards/puzzles, a cipher puzzle, and battle encounters.
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Character Level: 4-6. Adjust number of enemies in each encounter to adjust for higher/lower levels and number of players.
Context: The party must venture to the peak of a volcano in order to obtain a magical stone of fire.
Approaching the Volcano
Description: “As you approach the foot of the volcano, the cool mountain air turns sulfuric, and the rocks become jagged and rough. The air is thick with smoke and fumes. Before you stands a grand staircase leading up to a magnificently carved entryway.”
A history check (DC 14) will reveal that the stonework looks to be of ancient dwarven make.
Cave
Description: “You pass into the open entryway and enter the mouth of a cave. Immediately the heat hits you. Lava flows in streams down the walls of the cavern, forming pools at the base of the walls. The air is thick and choking.”
All players make a Constitution save (DC 12). Fail: 1d4 fire damage.
Rock boulder trap – Triggers if a player walks over a pressure plate. “Up above you hear a scraping, like a stone doorway opening, and a rumble shakes the room. You look behind and see a massive round boulder rolling towards you.” (Everyone in the path of the boulder: Dexterity save (DC 15) Fail: 1d6 bludgeoning damage)
The boulder rolls along a path and gets lodged in the only exit the players can see. Investigation (DC 15): There is a small space at the top that someone might be able to squeeze. Squeeze through gap: Acrobatics (DC 12-17 depending on character size). Move boulder: Combined Athletics (DC 30). Hidden tunnel: Investigation (DC 18) reveals a hidden tunnel past a rock formation.
Near the end of the cave there are 3 imps, lying in wait. They will attack on sight.
Continue through the exit to the caldera...
Caldera
Description: “You exit the tunnel and find yourself in the caldera of the volcano. The sky above is thick with smoke. The center of the caldera is filled by a lake of lava. Rivers of lava flow all around you, and in the distance you see a structure – a grand stone spire seemingly carved out of the volcanic rock.”
The lake is 50ft in diameter. The area surrounding the lake is rough terrain.
Entrance
Description: “It takes you about a half hour to navigate around the lava lake, volcanic rock, and the twisting rivers of lava. You arrive at the stone spire. It towers above you, and at its base is a grand double stone door, firmly shut. Between the two doors is a large keyhole.”
No matter what the players try, this door will not open.
Perception (DC 12): “A ways down the lake of lava, you see a small building and structure.” – The Forge.
The Forge.
Description: “You approach the structure. Molten metal bubbles up from a central well that sits before a great anvil, and flows in channels to four triangular shaped pools. There is a hut nearby with a closed door. In the middle of the pools there is a massive anvil with five places to pour metal, which feed into a basin where you expect something should rest.”
History check (DC 15): This is a forge and appears dwarven in make.
Hut: Investigation (DC 12): “The door of this hut has beautifully intricate carvings upon it. There are figures of dwarves leaning over smelting tools. There appears to be a map of the forge, highlighting the four triangular pools. Next to the four pools there are four different runes carved.”
Forge map carving:
Search in the hut: Investigation (DC 13): find supplies for smithing (gloves, leather aprons, smelting cups, tongs, etc.) There also are molds for various objects, each with a different phrase written in ancient dwarvish carved into them. Players may also find a Scroll of Protection from Energy if Investigation (DC 15). There is also an old and crumbling paper with a cipher on it. These runes are the same as the ones on the hut’s door.
Cipher:
The ancient dwarven phrases on the molds correspond with the runes on the cipher. The players must decipher each phrase, pour metal from the appropriate pools into the anvil in the appropriate order, and fill the mold.
If the metal is input into the forge wrong, the mechanism malfunctions and the molten metal bursts out of the mold. Player closest to anvil: Dexterity save (DC 13) to dodge it. Fail: 1d6 fire damage.
Molds: (Adjust weapon types for players)
1: Ancient key – Zaram’azan Sigin Baruk Sigin Kibilun
2: +1 Ancient Longbow – Kibilul Kibil Baruk’inbar Sigin Baruk
3: +1 Ancient Greatsword – Zaram’uzn Sigin Zaram Kibil Kibilo
4: +1 Ancient Greataxe – Baruk’azan Zaram Sigin Sigin’inbar Zaram
History (DC 15) or ability to speak Dwarvish reveals “Narg” means “Focus.” Players must an insert arcane focus into the mold, as part of the recipe. This arcane focus becomes enhanced and gets +1.
Return to the Entrance & Magma Chamber
Description: “You turn the ancient key and you hear a deep rumble and the clanking pull of a chain. Slowly, the door swings inwards, and another wave of heat hits you. Within the magma chamber is a massive pool of molten earth, which glows a deep red orange, the light undulating with an ebb and flow. There are several islands within this magma, connected by low stone bridges. In the center of this lake is a taller island. The stone bridge leading to the first island is broken before you, and there is a five foot gap to the other side.”
As the players cross the bridges, there are sections that have fallen into the magma. They are easily jumped across, but the magma bubbles up. Each player must make a Dexterity save (DC 13) to dodge the spray. Fail: 1d4 fire damage.
Central Island
Description: “The central island stands before you, a dais on the top. You can see a bright red light emanating from the dais, but it is enveloped in flame. Two wargs stand sentinel at the base of the dais.”
When the party approaches, the wargs attack. A manticore joins the fight on the second round of combat. When the manticore is at half health, it roars and calls 3 magma mephits, who immediately take initiative after the manticore and join the fight. The monsters are fighting to protect the dais and will prioritize attacking the players closest to it.
Once the monsters are taken care of, the players may approach the dais.
The Dais
Description: “The dais is a platform of carved stone with three stairs leading up to it. It is enveloped in a circle of magic fire, and you cannot see what is within the fire.”
The fire can only be put out by magical means. If walked through, player takes 3d6 fire damage.
The stone of fire rests on an ornately carved pedestal of obsidian. When the players take it, a swarm of magical energy is released, though does not harm the players. Insight or arcane (DC 15) reveals a strange sense of emptiness.
Beyond the dais the players see another bridge leading out of the magma chamber and to a small room.
Treasure room
Description: “There is a small hole in the ceiling lights this room. Sunlight glints off of gold and gems scattered on the floor. A dragon skull rests in one corner beside an open chest. In the adjacent room there is a closed treasure chest on a platform below a carving of a dragon head.”
Collect gold from floor: 50 gold.
Collect gems: 10 precious gems.
Collect gold from chest: 150 gold.
There is a trap on the closed treasure chest, triggered if it is opened. Can be unlocked (DC 16). Triggered: a 15 foot cone of fire blazes out of the carved dragon head. All players in range make a dexterity save (DC 14) to dodge the fire. Fail: 2d6 fire damage. Save: half damage.
In chest: Set of jewelers tools, an obsidian dragonchess set, and a lyre.
Exit the Volcano
Description: “As you walk out of the grand stone doorway, a deep rumble comes from all around you. Rocks clatter from the sheer rock wall above you. The lava in the lake before you begins to bubble and boil. From the center of the lake of lava, you see something rise, and bursting out from it you see a massive form. Horns and wings, a whip made of fire and a longsword made of lightning.”
Ability to speak Abyssal/History (DC 14)/Other knowledge of demons: “You recognize this is a Balor, a demon from the deepest Layers of the Abyss, a grand and ancient general of the demon armies. You know this is a creature that can turn even the strongest warrior into ash with a sneeze.”
Continued Description: “It rises, lava dripping, and flicks its wings. A cascade of drops of lava rain down on you.”
All players take an automatic 1d6 fire damage from the lava.
The Valor lets out a roar in Abyssal: “The power that had contained me is broken! I claim this mountain as my own, and all who set foot or claw in it shall burn!”
Players must escape or meet certain doom.
In initiative, the Balor remains in the middle of the lava lake (50ft diameter) and uses its whip (reach 30ft, hit +5, 1d8 + 5 slashing damage*) to lash out at the closest player.
* Damage scaled down so players do not immediately die. Adjust if needed.
If there is no player within reach, the Balor uses its lightning longsword and emits a wave of lightning that hits the wall of the caldera and rocks rain down in a 20ft AOE centered on the targeted player. All players within range must make a Dexterity save (DC 13) to dodge the rocks. Fail: 2d4 bludgeoning damage.
Exit the Volcano
Description: "You exit the scorching volcano and you hear the Balor's wild roars behind you. You have retrieved the stone, but what new horror have you unleashed upon the world?"
This is a short creative writing sample, written during a writing workshop that I organized and led.
It is an example of worldbuilding, dialogue, and character illustration.
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The brighter the sun, the darker the shadow. No one has to worry about them at night. They are innocuous, timid and tender beside a child’s nightlight. For some of us, however, this is not so. Our shadows speak to us, whispering in a language not understood with words but by emotions. Shades of gray flickering without aid from the sun. We have been around for millennia, called by different names. Demons some called us long ago, or witches. Those who commune with dark powers. Now we are called the Noir.
We were persecuted, as are many who are misunderstood. Our shadows are not evil, but nor are they good. They are companions. A nuisance at times.
I named mine in my youth, for the emotion it gave off the most. Somber. Somber the Shadow. As I grew, so did it. Through my schooling, through heartbreaks, through laughter.
Now Somber sat in my office, a dark stain on the worn wooden floor slatted with light from the closed blinds. Smoke hung thick in the air and in my lungs as I pulled another drag from my cigarette. The thick file lay before me, the faded picture of my case paper clipped to the corner. It was the one case I could not solve, which got an interesting development in that morning’s paper. The case of Mary. Five years she’d sat before my desk, staring up at me with those doe eyes and those perfect black curls framing her heart-shaped face. She’d been scared, gave me a case, and disappeared.
I stubbed out my cigarette in the tray next to a dozen others similarly marked with my crimson lipstick.
“What do you say, Somber? Care for a coffee?”
It flickered with indifference. I stood, my heels thudding on the carpet that had seen better years. I pulled on my overcoat, a smart cut that hugged my hips around my pencil skirt. I pulled on my cap over the severe twist of hair atop my head, lit another cigarette, and stepped through my office door.
The hand-painted name on the frosted glass of the door was beginning to chip at the edges. Abigail Adams, Private Detective. I turned up my collar against the chill wind and clipped down the street. I passed by an alleyway and a small scruffy dog glanced in my direction. Somber skipped over a stray leaf, stretched, and grew. The dog’s scruffy hair rose and it growled, tail tucked between its legs.
“Be nice,” I chided. Somber settled below my heels as I approached the café.
The bell sounded above the door as I pressed it open. I strode past the chalked sign boasting the daily specials that had not changed in ten years.
“Miss Adams,” Charles greeted me from behind the counter. He set a stained white mug before me as I sat on a high stool, and he filled it to the brim with dark coffee. “Stuck on a case?” Always the same question.
“How do you always know that, Charles?” The same reply.
“You got that look in your eye.” The same answer.
I sipped the coffee, red lipstick staining the rim.
“The usual, please.”
“Tuna melt, coming right up, miss.”
I felt my shadow flicker in annoyance.
I rolled my eyes. “I know you don’t like fish, but I do. You don’t even eat.”
Somber puffed indignantly.
I took my notepad from my jacket pocket, uncapped the pen that was the same color as my lipstick, and flipped to the most current page. I flipped aside the newspaper clipping from that morning. An obituary. Underneath, my notes were scrawled in my usual neat and tidy lettering, so small that even I sometimes had to squint to read it.
Mary. Status: deceased (?) Tuesday the 2nd
That was five days ago. Only thing was, she’d been in my office yesterday afternoon.
This is a short creative writing example, written during a writing workshop that I organized and led.
It is an example of epistolary writing, worldbuilding, and humor.
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To Whom It May Concern,
There are some things about being an instructor at the Magical Academy of Dandinishtor that are super exciting. For one, the students are usually pretty interesting. I mean, you don’t attend a magical university if you are dull. The pizzazz is all in the name. My favorites are the ones who do exciting experiments on their own, in the dorms, in the wee hours of the morning. The demon alarms going off at 4AM is always fun to respond to. And that one time I had to perform an exorcism on a student after I finished a lecture on the properties of tardigrades. Like I said: exciting.
There was one current student who comes to mind who has exceeded my expectations in this regard. Seymour always has a knack for getting into magical pickles. Exorcisms and banishing demons, those things I can handle. Transfiguring an entire city block into a portal that led to a black hole somewhere out in the Andromeda galaxy, that I could not handle. That was major magical disaster number one, thanks to my good student Seymour.
Oh, you might say, when you signed up for this job, you should have been prepared to deal with stuff like that. Yeah, sure. I was. That was 23 years ago. Before Seymour. No amount of preparation can help you with him. The second disaster occurred just three weeks into his first term. I can’t reveal too many details of it because it was a case of worldwide security. Let’s just say that Seymour made a few friends of the paranormal variety who happened to be quite adept at hacking top secret government servers.
The third disaster was where I finally drew the line. At the beginning of this spring term, the frost on campus was just starting to melt. Unfortunately that wasn’t the only thing that melted. I don’t know what gave Seymour the bright idea of hurrying the frost along, but he did a good job of it. Melted some of the buildings too, including my office where I had been carefully experimenting with the various magical properties of microscopic photosensitive plankton. Five years of research. Destroyed.
So this is my letter requesting to take a sabbatical to study my stupid plankton on a faraway island where the continued disasters of my student will not affect my work. I’ll have cell service, so call if you need a consultation about Seymour’s latest disaster. Just don’t expect to see me in person, unless he manages to finally make a portal that connects within the same reality and that portal somehow opens to my specific tiny isolated island.
This is a short creative writing example, written during a writing workshop that I organized and led.
It is an example of humor and storytelling through subtext.
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Advisory for all Employees of Space Works Inc.
This material is mandatory to review and sign prior to setting foot on the Space Works Inc. spaceport campus.
Item 1. Gravity shoes must be worn at all times while on campus. Due to reported shoe discomfort and subsequent removal of said footwear, individuals have been known to float into the stratosphere. This course of action is not at all advised. If you should ever come across an emergency where you must remove your shoes (circumstances including but not limited to contact with incinerators, damage from acid, and leakage of radioactive material from the footwear), the following protocol must be followed:
Step 1. Put your shoes back on. If unable, proceed to Step 2.
Step 2. Use your Space Works Inc. issued radio. Advise of an object entering the stratosphere. Indicate that it is a human individual and provide your twenty seven-digit employee number, place and time of birth, and the last four digits of your social security number. If able, proceed to Step 4. If unable, proceed to Step 3.
Step 3. Scream. Our special sensors for detecting emotional distress will lock onto your location. If able, proceed to Step 4. If unable, please accept our sincere apologies and your next of kin will be compensated for their loss.
Step 4. Remain still. Do not flail as you float up to the stratosphere. This may cause exhaustion and our sensors for detecting objects in the stratosphere may mistake you for a galactic pigeon and ignore you. If able, proceed to Step 5. If unable, refer to failure of Step 3.
Step 5. Wait to be rescued.
Item 2. Food should be consumed only in designated areas of the spaceport. The spaceport runs on circulated air. Food shelters and eateries have been put on their own air system to reduce the spread of odors throughout the campus. These have been known to leak. Due to this, the following foods have been banned from consumption:
All fish including but not limited to sardine, tuna, salmon, and sticks.
Pickles (with the exception of relish if it is accompanied by another condiment).
Garlic that exceeds the ratio of 1 part garlic per 50 parts food. Must be chopped and distributed. Whole cloves are not permitted.
Fresh baked goods (Refer to Incident 245.39 in the Distraction and Unwanted Attention Protocol Manual).
Item 3. Personal effects will be stored in each worker’s designated locker. These are only to be opened during the worker’s breaks or in an emergency evacuation scenario. Note that valuables and living creatures are not to be stored in the lockers, as the contents may be used as ammunition should the spaceport come under attack and weapons go offline. Ensure that all valuables are kept on your person at all times, though they may not exceed 2 pounds or the calibrations of your gravity shoes may be affected, sending you into the stratosphere (refer to Item 1).
I wrote this researched informative blog post for my personal blog. I adapted it from a research paper I wrote while in graduate school.
It is an example of my ability to research, analyze, and report on a given complex topic. It includes in-text and postscript links to further reading.
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Utilizing Virtual Reality in the Treatment of PTSD
In recent years, more widespread availability of visual technology has opened the way for widespread applications. It is currently being adapted for and used in various therapies, notably in the treatment of Post Traumatic Stress Disorder (PTSD).
Symptoms of PTSD
The awareness of PTSD has grown in popularity in the media and in public interest. The DSM 5, published by the American Psychiatric Association, defines the diagnostic criteria for the diagnosis of PTSD. The criteria include exposure to a traumatic event, intrusion symptoms (e.g. flashbacks, nightmares), avoidance thoughts/behavior, changes in mood and perception of the self, and reactivity symptoms (e.g. hypervigilance, irritability). These symptoms must be present for longer than one month and cause clinically significant distress.
The history of the PTSD diagnosis is rooted in the experiences of military veterans, who were previously diagnosed with “shell shock.” The definition of trauma has since expanded to include experiences outside of military activity. It also includes not only first-hand experience, but also secondhand exposure such as learning about a family member experiencing a traumatic event. This, however, does not include exposure via the media.
Basis of Treatment
There are many ways to approach treatment of PTSD, many of which are empirically supported. In general, the treatments focus on processing the trauma, developing a healthy expression of emotion, enhancing the ability to cope with and have control over the symptoms of PTSD, reducing cognitive distortions, restoring the individual’s self-concept, and helping to return the individual to their previous level of functioning. The treatment method that is the most supported by empirical data is exposure therapy and usually this also includes aspects of Cognitive Behavioral Therapy (CBT).
Due to the progress and technological advances in video rendering and interaction technology as well as the widespread use of these technologies, their use has expanded to apply to the treatment of PTSD and other stressor and trauma-related disorders.
Virtual Reality
Virtual reality provides a unique immersive experience. In virtual reality, the patient is set up with a 3D play system that puts them into a virtual environment which they can freely move in. In these treatments, the virtual reality is typically used as exposure therapy. In exposure therapy, the patient is increasingly exposed to a stimulus that causes an adverse reaction, to desensitize them. There are multiple benefits to using virtual reality in the treatment of PTSD: the feared stimuli in the treatment of stressor and trauma-related disorders can be controlled in a hierarchy of difficulty, the individual is given control of the virtual environment, the program can be personalized to the individual’s needs, motivation factors can be utilized such as in-game rewards, and there is real-time feedback given from both the technology and from the patient experiencing the program.
Virtual reality also assists the therapist in tailoring the therapy to the patient's specific needs, such as the patient's hierarchy of fears and the nature of the trauma they experienced.
Virtual reality exposure therapy is being used and studied in the treatment of PTSD and other disorders with various populations. These include individuals who experienced violent crime, veterans returned from active combat, arachnophobia, and many others.
Violence and Video Games
It is important to note the pros and cons of utilizing video games in therapy, especially when the games employ violent themes. There has been heated debate among both researchers and the public about violence in video games influencing aggressive behavior in youths and young adults. In a number of studies, the results have varied widely from a strong correlation between video games and violent behavior, to moderate correlation, to essentially a null or even reverse correlation.
One such study, conducted by Ferguson, looked into the correlation of violence in video games and adolescent behavior. In the results of this study, no statistically significant evidence was found to suggest that playing violent video games could predict subsequent violent or aggressive behaviors. With participants who have antisocial personalities and history of aggressiveness, again there was little evidence of correlation or predictive factors between aggressive behaviors and video game use. Current mood states, familial and social relationships, and environmental factors were more predictive of violent and aggressive behaviors than video game use.
Conclusions
The rapid advances of technology offer a wide variety of ways to utilize the tools they offer. In virtual reality exposure therapy, the individual is placed into an environment that is customizable to the nature of his or her trauma and can be adjusted to the hierarchy of fears. Violence in video gaming should be taken into context with the individual’s social, familial and environmental factors.
With more widespread availability of virtual reality consoles, more resources may become available for use in therapy.
Further Reading
“A game a day keeps the doctor away: A short review of computer games in mental healthcare” - Gamberini.
“Can playing the computer game “Tetris” reduce the build-up of flashbacks for trauma? A proposal from cognitive science.” Holmes, James, Coode-Bate, & Deeprose.
This is an informative flier that was printed out and distributed to colleagues and clients in a mental health clinic. I developed this flier during a previous employment to describe services, at the request of my employer.
It demonstrates my ability to research and explain complex topics in a way that is easily understandable.
This is an informative mental health blog post I wrote for my personal blog.
It demonstrates my academic and professional knowledge of mental health, and my ability to describe and analyze complex topics in a digestible manner.
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Mind and Body: Reconciling the Split
In modern western medicine, it is generally considered that the mind and body are disconnected; that the mental experience is separate from the mechanical functioning of the body. This is a recent distinction, however, and not necessarily in the best interest of the general health and wellbeing of the general population.
Culture is passed on through physical means, with language formed by the body through words, dance, music, and the creation of art. These physical actions are inextricably connected with the mind. Yet when modern medicine addresses illnesses of the body, it is seen as a machine to be fine-tuned, not a whole network of complexity involving memory, community, emotion, and any other experience of the mind.
In my academic and professional experience, I have noticed a general distain for what is seen as the “fantastical” mind-body connection. I have experience in both the medical and mental health fields. In my medical training, the lessons focused on how the body functions, the nomenclature of anatomy, how neurotransmitters cause the body to move and react. It was only when I shifted my professional focus to psychology that I studied the mind: how people think and react and communicate, how personalities are developed, and the multitude of mental disorders. I began by learning the body and then moved on to the mind, and I came to understand the rift between the two areas of study.
In the modern westernized concept of health, the mind and body are separated. The concept of Dualism was one of the arguments defended by Descartes. His philosophy of the mind-body split was that each is distinct, can be understood separately, and one can function without the other. According to Descartes, the body could be explained as a mechanism in the physical world while the mind was connected to the spirit.
With this westernized view of treating the mind and body as separate entities, it is no wonder that people feel cut off from their emotional and physical selves. It is engrained into our western culture that if you have an illness of the body you seek medical attention, and if you have an illness of the mind you seek mental health services. In my years of working directly with clients as a mental health counselor, I have come to understand that you cannot treat one without the other. One particular example I have seen is in clients is somatization: physical illness, such as stomach aches, caused by emotional reactions. Another example I have seen entirely too often is a client’s mental health declining due to not having their basic physical needs met, such as steady and safe housing. The mind and body are naturally intricately intertwined. How do we go about reconnecting them?
Mindfulness
One standard practice to help reconnect the mind and body is called mindfulness. When I conceptualize mindfulness, I think of it as having your mind full of focus on the present moment. Mindfulness is the process of setting intention, focusing, and continually refocusing. You can practice this by intentionally focusing on a very mundane task, such as making coffee. Focus on the body sensations, such as the increasing weight of water as you fill the carafe, the smell of the beans, the sound of the coffee percolating. As your mind starts to naturally wander, recognize the thought, and refocus on your task. By focusing on sensations and intentionality, we naturally gravitate towards a more concentrated state of mind.
Connecting with Others
In Western society, there is not only a split between mind and body, there is also a split between individuals and community. In such an individualized society, we do not learn the value and importance of trusting others, so we rarely turn to relying on that support. In my understanding of mindfulness, it is important to become in-tune with our own bodies so that we can feel comfortable with ourselves and our own needs. But humans are naturally social creatures. Part of that is a biological need to connect and associate with other people. In my practice as a mental health counselor, I teach and empower people to build upon their strengths by creating self-understanding. This can be aided by others in the community by either direct support or by example.
Conclusions
The mind-body split is an unfortunate consequence of hundreds of years of trying to understand human nature and behavior in scientific parts. Through much engagement, connection with others, mindfulness, and intentionality, this split can begin to be repaired in the individual. By utilizing various insightful and experiential practices, our understanding and connection can begin to be made once again.
Further Reading
Centered and Connected: A Therapeutic Approach to Mind-Body Awareness – by Thea Rytz.
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