Tag Archives: Stirling University

Working full – or part-time while studying – doable exhaustion?

Penguin

A discussion on Reddit sparked a wander down a memory lane. Contributor j_icicle enquired  How do people bring themselves to be in full-time work and part-time education at the same time? For this contributor the mere idea seemed inconceivable;

I just can’t see my self sticking with it, I can’t drop full-time work because of rent and life ect but I’ve been doing shit jobs for 8 years with very little increase in pay. My GF would never let me just up and take out huge loans to get my through university and it would be unfair to her if I did.
Taking 4 years out of my life, by the time I get anywhere I’ll be 28. I also get paid to play music a few times a week so I’d have to drop my social life as well as that extra income would be gone.

Child, please – I was lucky to go through big chunk of my studies without having to work but once that option was gone, I worked and I worked hard – there was no question. While studying full time, I had two part time jobs as well as being involved in student advisory body at my undergraduate institution

So many other contributors have lived through it, and they know the reality of it –

I work a full-time job and go to school full-time as well. Is it difficult? Yes. But that doesn’t mean it’s impossible. You’re just going to have to make some sacrifices along the way. That might be not grabbing a beer with your buddies every weekend due to studying. As long as you remain focused, you’ll be fine. (OhPraiseHim)
In 4 years you are going to be 28. Do you want to be 28 with a degree or 28 without a degree?
Eye on the prize, mate. Little pain now for greater gain later. (Pun_In_Ten_Did)
I am currently working full time and attending school full time. I had the same issue you seem to be having, what’s the point of going back to school if I’m going to be 28 by the time I graduate? If you let that thinking take over, next year you’ll be 29 by the time you graduate instead of one year closer to your goal.
Can it be stressful? Totally. But I keep telling myself that I’m going to bust my butt now so I can have an easier life in the future.
My suggestion is to try going to school while maintaining your full time position. If it gets to be too much, there’s no shame in cutting work back to part time while taking out some loans. Loans can be a great resource if used properly. (DC_lurker)

 

Once I decided to do my postgraduate and move to a new country (best choice ever – by the way!) I knew I would have to work. I ended up being unemployed for several months but eventually through volunteering I met some good people, got my first job in a new city and never stopped working since. At the busiest time I had 3 part time jobs while studying part time in a university that was in a different city than where I lived. And I was making enough to make ends meet, not to save much or have that “out all night, sleep all day” student life. I had weeks when I would together with the commute work anything between 60-72 hours a week, plus studying time. My friends and family were asking me when do I find time to sleep? August 2014 was my reply – that would be when I have handed in my thesis and I wouldn’t commute, I wouldn’t write, I wouldn’t research, I would just work. Just one job. I would have a regular 9-5 life like so many people and I would love it.

As I put on my penguin gown and listened to the speeches, as I walked in a line, got “capped” and my hand shaken and patted on the back by friend and families, I swore never again – never again would I study as it had drained me dry and it was hard and I had achieved what I was out to get education wise. It was time for a change. I was exhausted.

And now I work. Yet I haven’t really found the haven I was looking for. It’s not the job; I enjoy my work (or aspects of it…).

My jobs have exhausted me more than my studies did; I commute, I work on shift-pattern, I come home, I eat sleep and repeat. I haven’t got much time or energy to socialise, and I seem to recluse myself without realising, making bad excuses for not going out or avoid making plans all together as I know I might have to work. And I have started to consider options. My work has made me see how much I enjoyed studying, how much I enjoyed the reading and researching, the constructive arguing and the writing, the testing my own abilities intellectually. I have realised I long to be back in an University setting; I am a fish out of water without it.  Although there are so many questions to answer before a decision can be made. Questions like; “will someone supervise my idea?”, “is my idea good enough?”, “am I good enough?”, “will I have the energy?”, “will I get bored?”, and so many more, but most importantly – “how will I afford it?”

Is going back to university, working throughout full or part-time really worth it? Would I do it again? The answer is simply yes. I’ve done it, and it burned me out very quickly. But damn did it not also kick my but in gear. I am older now, I’d like to believe I have more discipline and determination and I definitely have learned to skimp and not have the kind of social life most students dream of.

Now I just have to make words into actions. Easy, eh?

 

onlyWay

 

 

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Martins the Printers

April 24th, 2014 | Posted in Blog by Aija Oksman
Tags: , , , , , , , , , , , ,

How are books made? If you ask a publishing student, you are in for an earful on the wading through a pile of slush in the hopes of discovering the next Hunger Games-trilogy or the next Booker Prize winner – something that stirs either financially or inspirationally. After that you will get an in-depth description of the editing and the decision-making processes all the way from typesetting, cover design to the final version. You might hear about the printing but the emphasis definitely is in the processes pre- and post-printing. That is what we know. That is what we can do. A publisher would not explain the whole printing process not as much for the lack of knowledge than for the fact of it being very mechanical and very distant form the publisher’s actual job. Therefore, the class of 2014 was in for a treat when we got to visit Martins the Printers at Berwick-upon-Tweed and get that rare glimpse to the inner workings of the printers.

David Martin, the sales director at Martins the Printers, kindly welcomed our group and gave us some history to the printers (printing since 1892 with newspapers and since 1950s they have focused on books) before unleashing us in two smaller groups to the belly of printers. Our guide Paul Waugh took us through each of the specific processes required in making a book, showing us the function of each machine and explaining in detail the time frames, the order in which each step is made and the differences between litho and digital publishing. As David and Paul both emphasised that is good for us young publishing hopefuls to know: the biggest differences that have come up through developments in printing is the effective cuts in costs; no more warehousing and the whole process is becoming faster and cheaper, enabling publishers to keep up with times and move their stock much easier – and this is definitely where the future of publishing is steadily moving towards.

The best way to show the process of printing is to visualise it through the snapshots taken through our tour.

Paul showing a printing plate

Printingplate2

 

First of all we went to see the creation of the printing plates, and how the printing plate is then entered into the machine that in the offset printing (economic way of producing large quanitites in one go) prints on the large sheets of paper before those sheets are taken to the next step.

Folding1

Printingplate3

 

The next step is the folding. The machine actually folds the large print sheets into correct combinations of pages and spreads. The man standing there then stags the fold onto a gurney, ready to be wheeled to the next step.

 

SownAfter the folding the pages are then sown together, the binding and glueing ready to be made. After sewing the covers get glued on and a version of the paperback is done.

 

The boys at the glueing machine were over-zealous in their testing, ripping Gluedcovers2covers and pages apart, destroying perfectly well-made ready books for the sake of testing. Heartwrenching. As seen in the above picture of tossed pages and covers of Tim Burton’s book. Never thought I could make such girly shrieks.

 

 

FinalisingThere is one more machine to be mentioned, besides the amazing hand-made Warmbookwork that follows each procedure to ensure perfection – and that is the “finaliser”. It is a machine that rounds the corners and compacts a hardback, to give it that book-look. There is nothing better than having that fresh-from-the-oven book in your hand, warm like a roll on  Sunday morning.

 

Definitely a tour every publisher needs to make regularly to keep up with the changes happening in the developemnts, and to understand the actual process of printing. It is a process to be appreciated and respected. It takes knowledge and skill and is an integral part of book making. Insightful.

 

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Christmas in the Oksman House

DSCN4612It is Christmas. This is one of those gushing, love of the written word and love the print book writings that I could not help but to write, after having been stuffed with food and warm drinks, after having opened the sweet presents, and as the tradition follows, having come home to myDSCN4644 mother’s house, where books are everywhere – by the last count 1750 counted for books cover the walls of mother’s Belgian home’s and Finland‘s summerhouse walls, books that I have admired and some that I have read, books that have been read to me and books I hope to one day add to my own slowly growing collection. Books everywhere.

Christmas is all about books for us as well; traditionally Santa brings us both bundles of books – this year I got to add Charlotte Brontë’s Villette in my collection, together with Shakespeare Unbound and a book on coffee and pasta! My mother found from her stocking a Booker price shortlister, another one for her Anne Donovan collection, the first of Simon’s Cat series as well a trip to memory lane with the orginal of an old favourite, one she had only ever read in translation before.

On top of adding to my collection I have a new “hobby” – I’m lucky to get to read slush for a publishing house, which keeps me busy on quiet moments (I do not fare well with nothing to do – keeping busy keeps happy). Having just finished one manuscript that I DSCN4592was happily surprised with, I have moved on to read a proof of another publishing house‘s upcoming book, and find myself immersed to the rich language and story. Reading for work at a holiday – mad some say. But I don’t find my work that worky, to be honest. I enjoy every bit of the reading, planning, imagining and then the tasks that will follow afterwards. My internships are a treat for me, a proof for me that I am in the right field. I love to read, I love the feel of a book in my hand, I love having grown up with the smell of books and having been read to aloud since I was a few weeks old. A tradition that still follows in our family, with my brother reading to his gorgeous girls.

Although, each of Stirling University‘s guests this semester and previously, as well as the professors, have all emphasised how love of books is not enough but publishing is a business, and should be treated as such. Sure. After Christmas. Now where’s my book…

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“If it comes down to it, then eat the baby food” – Society of Young Publisher’s Internship Panel

January 14th, 2013 | Posted in Blog | Aija
Tags: baby food, careers, Internships, postgraduate, publishing in Scotland, publishing studies, SYP

At the annual intern event of the Society of Young Publishers  junior staff members from various Scottish publishing houses gave, in a rare opportunity for us fledgling publishing students, insight and information on how to get one’s foot in in the publishing business. Sobering realities were spoken, albeit in warm tones.

The panel of eight, chaired by Dr. Padmini Ray Murray of Stirling University’s publishing studies, shared their labour intensive attempts of cracking into publishing – starting from advice on how to write a thorough research dissertation that can be used to one’s benefit when applying for a job, to some of the bittersweet intern experiences (such as having to promote a baby food cook book and actually having demonstrate the excellence of the cook book by eating some of the gourmet choices, and thus securing a rave recommendation) and with the comforting notion that a lot of luck is in question, and it might take months (or as in one case) about a year before a young publisher would land on their first job within an actual publishing house.

The key is to do as many internships as possible, to be social, hardworking and foremost, to be proactive. Nothing will be gained from sitting on one’s bum, waiting for that pot of gold at the end of the rainbow to just drop in your lap in the form of a job advert or offered internship through the (hopefully) varied connections. The general consensus between the panel was to be bold enough to contact publishers and publishing houses, big and small, and tell them you are available to work for a week or two weeks and to emphasize on top your already existing skills the fact that you are out to learn. Naturally this should go with a thorough knowledge of the publisher’s goals and previous titles, just so you can dazzle them with a proper explanation as to why you think they would be the best to provide you with invaluable experience.

Interestingly enough, many in the panel mentioned how applying for smaller companies is in many ways a better opportunity, as big publishing houses have enough to deal with as it is and often do not need interns in the way smaller companies are able and willing to take a youngling in with open arms — especially if they are willing to work, FOR FREE.

Armed with new motivation and more hands-on information (it is always good to know others have struggled as well) on how to secure an internship and further on, a career in publishing the students filed out to the Edinburgh dusk, ready to try out their own publishing wings as soon as possible – secured with the conviction of actually being ready to eat that baby food, if it comes down to it.

 

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Visiting speaker: Peggy Hughes, City of Literature

November 17th, 2012 | Posted in Blog | Aija
Tags: City of Literature, Edinburgh, events, literature, Peggy Hughes, publishing, UNESCO, visiting speaker

The delightful Peggy Hughes amused the Publishing studies 2012/2013 class  with her lively presentation on the UNESCO badge of City of Literature  – a designation, which was bestowed upon Edinburgh back in 2004. The City of Literature Trust  is head by Peggy herself and her boss Alison Bowden.

Why Edinburgh should be designated as a City of Literature by UNESCO, you might ask. Well, when a group of prominent figures in the literary scene having a post-prandial discussion they came to the surprising conclusion that as Edinburgh was “brilliant at books,” something should be done to make sure this would become general knowledge. Simply because Edinburgh has a huge literary heritage, and has a vibrant contemporary scene – already hosting some of the world’s most well-known and largest poetry and literature festivals and events.

Organisations from grassroots up to government level Edinburgh worked together to create The Bid, an audit of all Scottish literary accomplishments in two volumes – talking about putting things in a nutshell – We Cultivate Literature on a Little Oatmeal. It took a bundle of Scottish treats (whiskey, haggis, bagpiper among others) to convince the UNESCO headquarters in Paris.

Among her lively and very fast paced presentation, the class was entertained with best bits of past events that had aimed to hold Edinburgh to its badge of honour as well as a selected few spoilers over the upcoming events. Working together with other Edinburgh literary events and organisations, the City of Literature has proven to be worth every bit of the designation, more than holding its own among the others with its goals of establishing partnerships, promoting participation, learning as well as advocating awareness towards Edinburgh and keeping the focus on creativity, bringing people together in literature.

Thank you to Peggy for the grand insight into the Scottish literature scene and its uniqueness, and I’m sure the class cannot wait to see the ‘Stache-mob or join the Literary Salon.

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Bloody Scotland Masterclass – Agents’ and Publishers’ Panel

October 7th, 2013 | In Stirling University Publishing Studies Blog |

One of the perks of this year’s Bloody Scotland International Crime Writing Festival in Stirling was the opportunity to hear the best of the field offer advice to hopeful writers on the process of writing, publishing and whatever comes in between.

The Agents’ and Publishers’ panel was lead by Claire Squires, director of Stirling Centre for International Publishing and Communication on September 13th. The panel discussed what happens after the next hopeful front list bestseller has been written and when the author seeks to have the manuscript accepted either by an agent or a publisher.Image

Taking part in the panel were Jenny Brown, of Jenny Brown Associates, and David Shelley, of Little Brown. Jenny is equally inspiring and intimidating for an aspiring literary agent such as myself, having opened her agency in 2002 after years of formidable experience, not forgetting being the founder of the Edinburgh International Book Festival. If that’s not enough, she and her associates have become the biggest literary agent in Scotland and one of the leading agencies in UK, with international reputation.

David on the other hand represents the other hurdle in the writer’s way towards bestselling stardom – the publisher. David, who has worn many a different hat under the general title publisher has not settled for one particular job title – he also guests as an editor for a few selected authors within Little Brown, including Val McDermid and Mitch Albom (and yes, JK Rowling too, but let’s focus on other exciting aspects of David’s career, shall we?).

Jenny launched right into the session by emphasising how crime writing is still the fastest growing genre in the UK (and one of the leading internationally), with approximately 30% of the book market. David agreed – crime writing is definitely the most commercially growing genre that is remarkably consistent despite other market or trend fluctuations – fluctuations we know all too well that publishing is harshly dependent on. As the trend moves on, so will the publisher. Be confident, know your trade, know your next steps and especially – know whom you are talking to when making a pitch. You might think you have the voice that gives the very angels orgasms, but your agent might disagree. Let your story do the talking. All fine tips from the literary agents’ mouth.

Both Jenny and David agreed that trends are nearly impossible to keep up with; what is “hot” right now could very well be over by the time you have the manuscript of a bestseller that nicely fits into that pigeonhole all finished and ready to be pitched. Trends move on faster than anyone can write, and rather than focusing on fitting into that niche, both Jenny and David emphasised, an aspiring writer would do well to focus on being passionate and finding your own voice, your niche, rather than doing lavish imitations of others’ work. Jenny also – to my great pleasure – emphasised how translated crime writing is breaking the barriers and entering the UK market. David remarked upon the cold realism of marketing; it is nearly impossible to bring out a title that is based on the same basic idea as one published before. There is no space in the market for two great Fife based detectives, but there might be space for one great detective from Fife, and the other from – why not – Stirling. How you present your setting is what makes you, as a writer, unique.

Classic crime is being brought back as well as being retranslated. Foreign authors are intriguing, whereas deceased writers are proving to be some of the toughest competition to the wave of new writers. One particularly interesting piece of advice that David provided for budding writers was to imagine further than one novel. He has found himself attracted to authors who can envision at least a couple volumes of a series, can explain character traits and subplots beyond that one particular event in the novel they are currently pitching. A good series of novels with an ever-evolving character can very well be the key to cracking your way into the crime-writing scene.

Claire led the discussion to the actual publishing process; what channels are there for new writers? How can one get their manuscript read, represented and subsequently published? As expected, both David and Jenny agreed on this point strongly; get an agent. It is nearly impossible to break into publishing without being professionally represented. Most publishing houses do not accept unsolicited manuscripts so agents act as a quality control filter for publishers. Jenny emphasised having manuscripts edited by a professional freelancer – never submit anything you are not absolutely sure is the best it can be. And this is doubly important for self-publishing authors.

Be confident, know your trade, know your next few steps and especially – know whom you are talking to when making a pitch. Let your story do the talking. It is even more advisable to target your agent and publisher. Do your homework – know whom you are pitching to and make sure they know why you have chosen them. Or perhaps if you’re desperate and unsure of your manuscript, a box of chocolates never hurts – doesn’t necessarily help either, but definitely never hurts.

Claire opened a topic that is much debated in publishing circles – self-publishing. Jenny explained how self-publishing allows more control and can lead to enticing a wide readership, which in turn encourages word-of-mouth and reviews before landing under the ears or eyes of an publisher. Self-publishing allows the writer to test the waters and to cater for the readership before attempting to break into the market. Although, writers would do well to note, that if you have already published something on the internet, the good bet is that a hopeful publisher would prefer to publish something completely new from you – or perhaps offer you a series deal. David did mention how even editors browse through self-publishing platforms – such as Authonomy – as you never know what you might find.

The panel concluded with questions from the master class participants; one particularly memorable was one lady from the master class, who has a number of novels (18 to be exact) published online but no one had yet approached her nor returned her numerous attempts to contact agents and publishers. Jenny’s initial reaction was to enquire what does she believe an agent could do for her that she cannot do herself? What indeed. To leave on a hopeful note, Claire asked both David and Jenny to give the master class some final words of inspiration. David encouraged the budding writers never to give up, as the first book published is rarely the first book written, and to especially venture into other avenues than traditional forms of publishing – digital, self-publishing and the like can prove to be a writer’s saviour, enabling an initial point of contact, enticing on its own merit. Jenny emphasised the necessity of wide reading, because all that we read will feed into what we write, how we write and how we present ourselves. There is hope for everyone.

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