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A - Abbey Theatre to avant-garde - English Literature Dictionary
Abbey Theatre: Is the National Theatre of Ireland and is located in Dublin. It was the world's first state-subsidised theatre (since 1925) and played an important role in the development of Irish drama and dramatists in the 20th century.
abolitionist literature: Texts such as Literature, poetry, pamphlets, or propagandawhich had been written with the purpose of criticising those who owned slaves and encouraged slave owners to give freedom to their slaves. The main aim of this type of writing was to canvas support for the abolition of slavery. The writing may be in the form of autobiographical writings (in the case of many slave narratives) or fictional accounts such as Stowe's Uncle Tom's Cabin. These texts often rely heavily on pathos for rhetorica ltechnique.
abridged: A shortened version of an original text, created by removing passages or sections of the text.
abstract: A piece of writing summarized, sometimes at the beginning of an essay. Alternatively the word can refer to language that describes unusual imagery. Seeabstract diction and abstract language.
abstract diction: Language that describes qualities that cannot be perceived with the five senses.
abstract imagery: Imagery that describes qualities that cannot be perceived with the five senses.
abstract language: Words that represent concepts rather than physical things.
abstract poem: A poem which contains stanzas that make little sensegrammatically. The poem relies on the effect of the abstract imagery or diction.
absurd (Theatre and Literature): The notion that human existence is basically absurd and meaningless. Absurd theatre became particularly significant in the 1950s, where it combined both existentialism with farce. Noteworthy absurddramas include Waiting for Godot by Samuel Beckett and Rosencrantz and Guildenstern are dead by Tom Stoppard.
acatalectic: A poetic term used to refer to a verse having the expected number of syllables in the final foot.
accent: Another word for stress, particularly in a line of verse, or a recognizable way of pronouncing words, often relating to class, caste, ethnic group, or geographic region.
Achebe, Chinua: The Nigerian novelist, poet and professor was born on 16 November 1930. He was raised by Christian parents in an Igbo town, and is renowned for his first novel Things Fall Apart (1958).
acronym: A word formed from the initial letters in a phrase. For instance AIDS stands for Acquired Immune Deficiency Syndrome.
acronymy: The act of using or creating acronyms.
act: A section or a major division within a play. Frequently, individual acts are separated into smaller units called scenes.
action: 1. the unfolding of a sequence of events in a narrative or play. Or 2. theplot as a whole.
actor: A person who plays the role of a character in a performance.
adaptation: The reworking of one medium into another. For example the translation of the novel Bridget Jones's Diary into a film.
adjective: A word that is used to modify a noun or pronoun, usually to give a descriptive meaning. For example 'shiny' and 'scary'.
Admiral's Men, The: A company of Elizabethan actors directed by Henslowe, who were rivals to The Lord Chamberlain 's Men (later The King's Men). Shakespearewrote for both parties.
adverb: Words that modify verbs, clauses, sentences and adjectives. For example, "quickly" and "fortunately".
aestheticism: Stemming from France, this European movement countered materialism and utilitarianism during the late 19th century.
aesthetic distance: See distance.
aesthetics: The appreciation and analysis of beauty. See aestheticism.
affectation: A pretentious style of writing which is deemed unsuited to the form orsubject matter.
African-American English: Sometimes also known as African-American Vernacular or Black English. It is a dialect of American English, containing items of grammar, pronunciation and vocabulary particular to that language community.
Age of Reason: See enlightenment.
Age of Sensibility (or Age of Johnson): Considered to cover literature produced in England between 1745 and 1780.
Agrarians: An early 20th century movement of American writers who privileged the idea of 'back to nature' or 'back to grass roots'.
alba: A poem from the troubadour tradition in France, usually about lovers parting at dawn.
aleatory writing: Where words and punctuation have seemingly been constructed arbitrarily. There is, however, almost always some method behind such apparent randomness. In art Jackson Pollock (1912-56) is considered as having used aleatory techniques.
alexandrine: Another name for iambic hexameter.
allegory: The word originates from the Greek allegoria, which means "speaking otherwise". An allegory is something which can be read with double or twomeanings: with an obvious literal meaning, as well as a figurative, 'below the surface' meaning. Frequently there is a point-by-point parallel between the two meanings. Allegories are often a way of conveying comment upon people, moral or religious ideas, historical and/or political events and/ or theories.
alliteration: The use of repeated consonants in neighbouring words. It appears most often at the beginning of those words, e.g. wonderful wilderness. It can create a strong effect by introducing pattern into the language. See assonance.
allusion: A casual reference to any aspect of another piece of literature, art, music, person or life in general. Authors suppose that the reader will identify the original source and relate the meaning to the new context. An example of allusion is TS. Eliot's The Waste Land. See intertextuality.
alternate rhyme: See rhyming couplets.
alternate rhyming couplets: The rhyming of alternate lines, also identified as 'abab' rhyme scheme. See rhyme, rhyming couplets.
alternative literature: Literatures that, during their time, seem to be outside the conventional. Such writing, if it has value, often becomes a part of the mainstream. An example of this is elements from the Beat movement. See subversion.
ambience: Broadly an alternative word for atmosphere. See mood,tone.Specifically the word ambiance relates to the atmosphere or mood of a specific setting or location
ambiguity: When words, sentences and texts have more than one meaning. This can be deliberate or unintentional. The idea of ambiguity has been considered by Empson in his SEVEN TYPES OF AMBIGUITY. Generally, ambiguity is a negative expression applied to a vague or equivocal expression when accuracy would be more practical. Occasionally, however, deliberate ambiguity in literature can be a commanding method. See pun.
ambivalence: When the reader has mixed feelings or opposing views towards anevent, character or object.
American dream: An idea in American literature, film, and art that articulates positive imaginings for self-improvement, freedom, and self-sufficiency available in America. It has been suggested that the term can have no fixed meaning because the ideas desired are individual to each person according to that time. Generally, it has implications of "life, liberty, and the pursuit of happiness". Examples of these would be Miller's De ath of A Salesman and Steinbeck's The Grapes of Wrath.
American English: The English language as it has developed in North America. Differences from British English occur in terms of diction, spelling and grammaticaluse and accent.
Americanism: A phrase or word which is considered to typify English as used in the USA.
American renaissance: The period which covers American literature written between 1828-65.
amphibrach: A poetic term referring to a foot with three syllables - short, long, short.
amphimacer: Apoetic term referring to a foot with three syllables - long, short, long.
amphitheatre: A performance arena consisting of a stage and seats rising in tiers, usually in a circular shape.
amplification: A rhetorical device where language is used to emphasise or extend. For example Charles Dickens used the technique in his opening passages to BLEAK HOUSE, creating an atmosphere of fog, literal and metaphorical. Seerepetition.
anachorism: An action, event, character or scene which is out of time sequence. Sometimes this device is a deliberate part of the structure. See flashback, in media res, prolepsis.
anachronism: Something which is too early or too late for the given time, ie Placing an event, person, item, or verbal expression in the wrong historical period. It may be a mistake, but more frequently it is an intentional device in literature or dramatic productions to stress the timelessness of the universe. For example the setting of HENRY V within the context of the Falklands War, by the English Shakespeare Company in 1987, gives a sense of the play having a contemporary meaning.
anacrusis: An unstressed syllable, before the regular rhythm begins, at the beginning of a line of verse.
anadiplosis: From the Greek for 'doubling'. Repetition used in rhetoric where a phrase or word from the proceeding sentence is used at the beginning of the next.
anagnorisis: Translates to' recognition'. It is the instant when one or more characters, often the protagonist, recognises the truth. See Aristotle
anagram: When the letters or syllables in a name, word or phrase are jumbled to form a new word.
analepsis: Another term for flashback. See in media res, prolepsis.
analogues: Narratives which have equivalents in other cultures, languages and/or literatures.
analyse: Often used in exam or essay questions, the term means to closelyexamine various parts of something or a whole text.
analysis: The process of examining something meticulously. This often involves the separation of elements (structure, form, literary devices) into different parts, to facilitate understanding of a whole text.
anapaest: A metrical foot composed of two short syllables followed by one long one, as in the word seventeen.
anapaestic: see meter, anapaest .
anaphora: A rhetorical device where a word, or group of words, is repeated in consecutive clauses. See repetition.
anastrophe: See syntax.
ancillary characters: From the Latin ancilla, which means "helper" or "maid", the phrase refers to less significant characters who are not the primary protagonist or antagonist. They nevertheless interact with the more important characters in such a way as to offer insight into the narrative action.
androcentric: Literally meaning 'man-centred'. Androcentric literature is primarily concerned with man. This is an alternative term for phallocentric.
anecdote: A short narrative relating to a single incident told for amusement, gossip, or moral guidance.
Anglo-Saxon period: see Old English Period.
Angry young men: A term referring to a group of English writers, musicians and artists in the 1950s. Included in this group are Kingsley Amis, Braine, Sillitoe and, notably, Osborne. Osbourne's play Look Back in Anger portrays the anti-heroJimmy Porter, who is the prototypical Angry Young Man. This group resented the upper-class and the establishment. Their works articulate contempt for the pretense of society in post-war Britain where, despite promises, working or middle-class educated people were unable to break into powerful areas. Their writing was often powerful, bitter and angry, often humorous, and much of it received critical acclaim.
anisometric: A stanza containing lines of unequal length
antagonist: The character in a drama or novel, who is the main opponent of theprotagonist.
antanaclasis: A figurative device where a word is repeated in two or more of its senses, e.g. when in Shakespeare's play Othello says: Put out the light, and then put out the light (Act V, Scene 2) The first ' light' refers to the candle, the second is a metaphor for Desdemona's life.
anthology: A selection of work by different writers. Sometimes the volume will be of a particular genre, e.g. post-colonial literature, or dedicated to a particular period, e.g. metaphysical poetry. See also collection.
anthropomorphism: When non-humans are given human abilities to think and speak.
anti-climax: Any incident of let-down when an anticipated climax is not realized.
anti-hero: A protagonist who exhibits unheroic characteristics.
anti-novel: An experimental type of fiction, which intentionally challenges the conventions of the traditional novel. Some possible aspects include alternative beginnings and endings.
anti-Semitic literature: Literature that disparages Jewish people or encourages racist attitudes toward them. A great deal of the religious literature produced in medieval and Renaissance Europe engaged in anti-Semitism.
antiphonal: A poem or hymn which is divided into two parts. Each part responds to or echoes the other
antithesis: An argument set up in opposition to a thesis. See oxymoron, paradox
aphorism: a short, condensed, sometimes witty saying, close in meaning tomaxim or proverb
aporia: A key term in deconstruction theory. Aporia defines the point where contradictory meanings in a text cause 'deconstruction' or the breakdown of a/the idea(s)
aposiopesis: Deliberate break in a speech leaving it incomplete. This can have a powerful and intimidating effect
apostrophe: A figure of speech where an object or abstract entity is addressed
appreciation: This examination term suggests that more than just a line by line mechanical analysis of a piece of text is required, and that the candidate must show a more in-depth understanding of the effects of various techniques.
archaism: Old or outdated words or syntax which are intentionally used for effect.
argument: A line of reasoning, or a summary of a plot.
Aristotle: A Greek philosopher who lived from 384 BC to 322 BC. Aristotle wrote on numerous subjects including poetry, physics, music, politics and biology. He was the student of Plato. Alongside Plato and Socrates, Aristotle is considered an important figure to the founding of Western knowledge.
Arthurian legend: Semi-historical narratives of a King named Arthur and theKnights of the Round Table.
aside: A theatrical convention, often leading to dramatic irony, whereby acharacter in a play speaks so that the audience may hear (sometimes directly addressing the audience) but, it is supposed, the other characters on stage do not hear. See soliloquy.
assonance: The rhyming or repetition of vowels within words. It is used to create a melodious effect, often in poetry), e.g. 'wide' and 'time'. The device only occasionally results in the rhyming of words.
atmosphere: The emotion or mood induced by a part or whole of a work of art. See ambience, mood, tone.
Atwood, Margaret: Canadian novelist and poet. She has been nominated for the Booker prize five times, winning it once.
audience: The person(s) watching a play or performance.
auditory imagery: Descriptive language that refers to noise, music, or other sounds. See imagery.
Augustan Period (or The Age of Pope): This period is considered to includeliterature written in England between about 1700 and 1745. This period saw the rapid development of the novel as a popular form of literature. Satire was often utilised.
Austen, Jane: Born on 16 December 1775, Austen died on 18 July 1817. She was a renowned English novelist, who sharply commented on contemporary society. Her works include Mansfield Park and Emma.
author: The composer or writer of any literary work, be it a novel, essay or poem. It is more appropriate, however, to identify a poem's author as a poet.
author's craft: Similar to writer's craft, this term refers to the style and devicesused by an author. See poetic techniques and literary devices
authorial attitude: see authorial intention.
authorial intention: The phrase indicates what the author meant when s/ he wrote a text. Many modern critics suppose that what the author may or may not have intended is immaterial, that there is no fixed meaning in a text, and that an individual reader's interpretation is all-important.
autobiographical memoir: a book concerned with events in the author's life, but not a comprehensive autobiography.
autobiographical novel: In contrast with the autobiography , an autobiographical novel is a semi-fictional account established in part on the author's life experience, but these experiences are often transposed onto a fictional character or intermixed with fictional events.
autobiography: a narrative of a person 's life written by her or himself.
auto-da-fé: From the Portuguese, meaning "act of faith", the term refers to the late medieval church's ceremonial execution en masse of accused witches, Jews, heretics, or Muslims. The execution was frequently achieved by burning at the stake.
avant-garde: This phrase is used to describe modern work that is at the cutting edge or 'ahead of its time'. Avant-garde literature deliberately sets out to be innovative, and even to shock. Writers often experiment with form and technique in this type of writing.
Terms Beginning With A
abolitionist literature
abstract diction
abstract imagery
abstract language
abstract poem
acatalectic
Achebe, Chinua
acronymy
Admiral's Men, The
aestheticism
aesthetic distance
Agrarians
aleatory writing
alternate rhyme
alternate rhyming couplets
alternative literature
amphibrach
amphimacer
anachorism
anacrusis
anadiplosis
analepsis
anapaest
anapaestic
anastrophe
ancillary characters
androcentric
Anglo-Saxon period
Angry young men
anisometric
antanaclasis
anti-climax
anti-hero
anti-novel
anti-Semitic literature
antiphonal
aporia
archaism
Arthurian legend
auditory imagery
Augustan Period
author's craft
authorial attitude
authorial intention
autobiographical memoir
autobiographical novel
auto-da-fé


When I picked this up maybe a month or two ago at my local Goodwill, I remembered that there had been a movie of the same name a while back and that my dad had really liked it. We tend to have similar-ish taste in movies and books, so though I hadn't seen the movie and I'm sure he hasn't read the book, I thought I would try it. For 50 cents, why not?
What I didn't realize was that when the cover said "A True Story," it really means a true story. Not based on a true story. As I was reading the introduction (something I rarely do, actually, but I'm glad I read this one) and the author started going on about how he wanted this to be a good "piece of journalism," my non-fiction-disliking brain said "uh oh."
I'm not finished with it yet, but I don't think that "uh oh" was totally justified. Maybe partially, since I was expecting something of a swashbuckling tale of "men against the sea," not speculation about what actually happened that night (since nobody can actually know what happened to the men on the Andrea Gail who, SPOILER ALERT, perished in that storm).
The Perfect Storm is actually a combination of very intensive research into sword fishing, boating/fishing culture, safety, and the like, and other fishermans' recollections of what happened during that storm. It makes for an interesting read, but it should definitely be noted that the author assumes SOME knowledge of boating, and that is not true at all for me. My eyes glaze over a bit during the parts where he's talking about all the different things that can happen to a boat during storms because, as exciting and intriguing as that is, I don't know what the large majority of the words mean, so it's a bit hard to follow.
I can't knock this book since I picked it up with mistaken expectations, but had I known that it was actually straight up non-fiction and not a "based on a true story" type of novel, I probably would have given this one a pass. Maybe that's not the same for you, though! If you like non-fiction and you're interested in sword fishing/fishing in general/meteorology/maritime stuff, check this out.
Non fiction can definitely be very hit or miss...and especially miss if you are not expecting it!
I watched the movie. I enjoyed it until I discovered that it is supposed to be nonfiction but everyone involved in the story died before they could tell their story. I was not a happy camper. I am glad to know that the author did do a lot of research; maybe some of his guesses are true.
I watched the movie and liked the desperate and dire atmosphere of it. Even when they're on land, their respective lives were as tumultuous as that sea.


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One of my most frequently asked questions (right after "Do you really need all that ice cream?") is how far I will read through a query letter before I decide if it will be a rejection. The truth is, I will almost always read through the entire query, but I usually have a good idea if I'm going to be leaning towards seeing more or passing on a project.
I know how hard it can be to write a query or pitch (it's not my favorite thing to do either!), and I'm not necessarily looking to be blown away by just the query alone. In all my years of working in publishing, I can think of exactly one author that wrote such a perfect query letter that we were ready to offer representation on the spot. For everyone else, I'm just looking to get to know more about you, your work, and where it might fit in the market. Here's some common missteps that will pull me out of your query, and make me wonder if we're going to be the best match, before I even get to your manuscript.
The use of clichéd statements or overly familiar phrases – If you're using any language that I've seen or heard before, it's going to make me question if your story is that original, and if your narrative voice is strong enough to stand out.
Rhetorical questions – It's a common query technique, but I find it can be ineffective for a couple of reasons. The first is that most agents are, by nature, argumentative, and my initial instinct is usually to poke holes in whatever theory is being advanced by the author. The second is that rhetorical questions often feel like a shortcut to inject drama into a query (e.g. "Will Mr. X be able to survive on Planet Y?"), but they don't really have any substance behind them. The answer tends to be the most obvious (Yes, Mr. X will survive, or else it would be a really short book), and I'd much rather you tell me what happens in your book than making me guess.
Using students/children as a test audience – This shows up most frequently with picture book queries, and it's supposed to demonstrate the wide appeal of the project ("These kids loved it, so every kid in America will love it too!"). The issue is that kids are really attuned to knowing when adults want them to respond in a certain way, and while I'm sure they did love your book, that doesn't mean that it's going to be a universal reaction (unless you're planning on personally reading your book out loud to everyone that buys it).
Saying "There's nothing like this in the market" – While I'm always looking for something that I haven't seen before, this particular phrase can pull me out of a query. It makes me think of my former boss, Shelly Fogelman, who would counter with "perhaps there's a good reason for that." You can be original and fresh without overselling your work.
Addressing the query to anyone but me – I will admit that this is a little egotistical (and I won't hold it too much against you if you use an alternate spelling of my first name, even if the others are clearly second-rate), but using generic titles (e.g. Sir, To Whom It May Concern, Editor) show that you're taking a shotgun approach to querying, and that you may not be ready yet for the trade market.
Quoting generic rejection comments or feedback from paid critiques – From my 10 years in publishing, I've sent out and received countless rejections, so I have a pretty good sense of when critical feedback is legit, and when it's window dressing. I'm also wary of putting too much stock in comments from a paid critique, as it's not quite the same thing as an unvarnished appraisal of your work. It can also be a little unsettling to hear why other people have already passed on a project (even if they had some good things to say about it!), so I would avoid these altogether.
Using broad comp titles – If you really do write the next Harry Potter meets Twilight, I'd love to see it. Otherwise, using the biggest books that you know in a query won't give me too much of a sense as to where your work will fit, or how you see yourself as an author.
Using dated comp titles – Especially for children's books, I'm looking to see a recently published title (e.g. within the last 5 years) as one of your comps, to demonstrate that you know the current market (and not just the books that you liked when you were a child many years ago).
Complaining about the state of children's publishing – This will often come up in YA, with authors wanting to be appear to be friendly (e.g. "Aren't you glad I'm not sending you another vampire/wizard/Dystopian book?) or expressing dismay that there's too much commercial junk being published, and not enough "good books." This can be oft-putting because I may know some of the editors or agents that worked on the books being disparaged (children's publishing is a small sandbox, compared to the adult world), and it also makes me wonder how our relationship will go (if you're already angry and upset before we're working together).
Great article! Thanks to Sean and Heather!
What about dystopian vampire wizards? Are you open to that?
Yes, but only if the main character is named Katniss Potterswan.
It's always nice to hear an agent's perspective on ways our work can stand out, and these tips are easy to incorporate into our queries. Thank you!
Thanks for posting this article, I really enjoyed reading it and found it gave extremely helpful insights.
Hi Sean. I've heard the advice not to use rhetorical questions in a query, but no one really explained why. Thanks for giving us the agent-eye view.
Thanks for taking the time to post these tips! Hearing from an agent perspective is helpful. And thanks for reading to the end of the query. Many of us agonize over those devils.
I have heard that same question about the ice cream…when I have the the container and a spoon!
From literary agent Sean McCarthy. What might be off-putting in a query letter to an agent?
Thank you, Sean, for sharing your query tips. I appreciate your POV.
Thanks, Donna! I was just singing the praises of the NJ SCBWI chapter this weekend at a writing retreat – hope you're having an excellent summer so far!
Great points, Sean! I also enjoyed your recent 12 x 12 webinar. Thank you for stopping by!


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DESIGN PARTNER IN VENICE
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INFORMATION ABOUT VENICE
ON THE TRAIL OF TIEPOLO: 4 PLACES TO ADMIRE HIS ROCOCO MASTERPIECES
Bust of Giambattista Tiepolo
Installation view of the Virgin in Glory at the Scuola Grande dei Carmini
Today we're celebrating Giambattista Tiepolo, the most important fresco painter in Venice in the 18th century, who died on this day in 1770. His theatrical decorative style, luminous palette and mastery of complex perspective earned him many commissions from the Venetian aristocracy and the Church. Examples of Tipeolo's work can be still found in numerous palaces, churches and scuole around the city. We've picked four of the top spots in Venice to admire his ravishing Rococo masterpieces:
Gallerie dell'Accademia:
The Discovery of the True Cross is one of the key highlights of the Accademia galleries, depicting the moment Saint Helen (the mother of Constantine the Great) discovered the True Cross on a pilgrimage to Jerusalem. This grandiose tondo was originally the centerpiece of the ceiling of the Capuchin church in Castello; it's a brilliant example of Tiepolo's remarkable handling of illusionistic perspective.
Chiesa dei Santi Apostoli:
The church of Santi Apostoli contains The Last Communion of Saint Lucy – the patron saint of blindness, whose eyes were cut out before her martyrdom. In this intensely moving altarpiece, Tiepolo depicts Lucy kneeling before a priest to receive her last communion; in the foreground, a bloody knife and platter bearing a pair of gouged-out eyeballs foreshadow her impending martyrdom, while the heads of angels hover above her to announce her entry into the Kingdom of Heaven.
The Last Communion of Saint Lucy at the Chiesa dei Santi Apostoli
Ca' Rezzonico:
This monumental palace, which now houses the Museum of 18th Century Venice, boasts some of Tiepolo's finest paintings. Highlights on the piano nobile include a splendid ceiling fresco allegorizing the marriage of Ludovico Rezzonico to Faustina Savorgnan. Upstairs on the second floor, don't miss the series of charming frescoes painted by Tiepolo's son Gian Domenico, which once adorned the walls of the Tiepolo family villa in Zianigo.
Scuola Grande dei Carmini:
This beautiful scuola (confraternity) was the first to be formed by women in the 13th century, and it continued to extend hospitality to destitute travelers right through to the time of Napoleon's occupation of Venice. Ascend the sumptuous stuccoed staircase designed by Baldassare Longhena, and you'll find a luminous first floor salone, crowned by nine superb ceiling paintings by Tiepolo. The central work, depicting the Virgin in Glory with scenes from the legend of the English hermit Simon, is widely regarded as one of his greatest accomplishments.
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redpajama_set_name: RedPajamaCommonCrawl


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Home News Translator Extraordinaire!
Translator Extraordinaire!
31 March 2017 3 April 2017 News
Congratulations to Joanne McNulty who has won a special mention award at the EU Young Translators Competition. Only one winner per country could be chosen, even though candidates from the UK submitted translations from the 23 different languages.
For Joanne to receive a special mention in the competition is, therefore, a major achievement.
A highly talented student, Joanne has also received an offer from Wadham College, Oxford to read History and Italian.Joanne's Certificate
Visit to No 10
Former Urmston pupil wants to bring the 'pride of lions' home for centenary celebrations


Working in collaboration with providers, community partners and stakeholders, the Coordinated Care Initiative has allowed Santa Clara Family Health Plan (SCFHP) to make great strides in improving delivery of care to seniors and people with disabilities—vulnerable members of our community. The Coordinated Care Initiative (CCI) integrates long-term services and supports into a coordinated health system and streamlines care for people with both Medicare and Medi-Cal through the Cal MediConnect program. SCFHP Cal MediConnect now has 8,700 members enrolled and benefiting from coordinated medical and behavioral health care and long-term services and supports, all aided by the support of an SCFHP case manager.
Despite its successes, the fate of the Coordinated Care Initiative is uncertain. As a stakeholder, you can help ensure the viability of the Coordinated Care Initiative that has made a difference in the lives of people like Alice and many others. Below are ways to reach out to elected officials, providers, and dual eligible beneficiaries.
What it would mean to these patients/clients if the State were to end funding for the program (another confusing and disruptive transition, patients remaining in SNFs instead of being able to move back into a community setting, little or no coordination between medical and mental health care, etc.).
Give examples of how CMC helps providers by lessening the administrative burden of coordinating medical and behavioral health care with home- and community-based services and supports, letting providers focus on their areas of expertise.
Refer them to Health Care Options to enroll – 1-844-580-7272 – all they need to do is call and ask to be enrolled in Cal MediConnect.