Why is Oil rig employment is difficult to gain? Lots of people out there would love to start a new and financially rewarding career in the oil industry but find it difficult to know where to start.
Eddie Johnson has been working in the oil industry for over 30 Years and did 15 Years straight working on oil rigs offshore to the coast of Scotland, during that time he worked on many of the main rigs and gained experience in all aspects of oil rig employment.
In the old days it was generally word of mouth which got you a start on the rigs, many of the old school charge hands and foreman would look to recruit the same men as before which limited the chances of new recruits into the offshore business.
After taking early retirement from the rigs Eddie decided to put a helpful website together which lends a helping hand to possible new recruits to the oil and gas industry who would like a new and rewarding career working on rigs around the world.
Eddie suggests that little has changed with regards to gaining offshore employment and offers some sound advice in order to speed up the chances of getting a start.
What you have to understand is that to get a start on a rig you have to persevere and not give up if at first you don't succeed. Gaining oil rig employment can take time and effort and simply not as easy as trying once or twice.
There are ways and means to help increase your chances of getting a start offshore you simply have to dedicate yourself to finding that first start offshore.
There are qualifications necessary to gain the right to board a rig. You need survival training and medical examinations in order to even qualify for rig entry.
Even if you pass medical examinations and gain an up to date survival certificate you then have to find an rig that is willing to take you on. You can increase your chances if you know the right people or systems that could leap frog you to the front of the cue.
Oil Rig Employment is achievable if you try hard enough it really is, you need determination as nothing will come to you, you have to go to it as it were.
There are some reviewers, literary critics, and traditional publishers who believe that self-publishing (SP), in all its varieties, is for the unprofessional and untalented author. Self-published authors have not faced any critical review of their work, and the companies that do self-publishing are motivated by money rather than the quality of the work!
me
There is definitely some truth to this but it applies equally to some of the traditional publishing houses. These houses have, over the last 10 years or so, maintained an unhealthy fixation on "Best Sellers" and on the "bottom line"--none of them have said they are not interested in making money. Many in the publishing industry are concerned about this trend and about the trend that the bigger houses have become too removed from the general writing population.
Clearly there are differences between self-publishers and the major publishing houses. The major houses have editors who edit the books. The major houses pay for the production costs, start to finish, for their authors. The major houses have good distribution systems and will heavily advertise books they feel will break through and beco "Best Sellers."
It is naive to think that authors taken on by the major houses are not paying for their books to be published. These authors do pay to get their work published--and pay and pay and pay. They receive royalties (as low as 10%) on actual book sales. The author also loses a great amount of control re copyright, editorial, graphic, and marketing decisions. The accounting practices of some major houses have left some authors waiting for months to be paid or to have recalculations and holdbacks on their advances. It is not until you become an important and saleable author that you can negotiate to make the traditional publishing houses deals more equitable.
After sorting through all the debate, there are some valid criticisms that can be directed at self-publishing authors and firms. Those valid points are: Unprofessional editing, formatting, and printing.
Who Should Self-Publish?
Authors who want to receive a higher financial reward and maintain control over their material; i.e., not signing away copyright to a publisher. Traditional publishers, as mentioned above, are notorious for paying low royalty fees and for slow payment.
An author who has written a book that will appeal to a very small but important audience. Traditional publishers have no interest in esoteric and overly specific books--the economics of their distribution and pricing system make them a non-sector from the start.
People who have specific expertise and offer consultations and/or seminars to their clients. Usually the volume of sales, in this case, would be too low for traditional publishers. It is an excellent way to reinforce your "expertise" and make additional money after the seminar.
Authors of books that deal with subjects or material considered too controversial for traditional publishers. Traditional publishers are litigation-shy and have a big stable of titles to defend. They don't want to jeopardize their stable for a book that is too close to the edge.
Authors who have talent and a good product but haven't been able to match up with a traditional publisher interested in new talent. Most publishers are mega-corporations and, like such beasts elsewhere, adopt formulas of success; i.e., "best-seller syndrome" and are very reluctant to try out an untested author.
Authors who want to avoid the bureaucratic and slow machinations of the large publishers.
Who Should Not Self-Publish?
Authors who firmly believe they have a book of wide appeal and great saleability. The backing of a large publishing house partnered with extensive distribution makes this a virtual no-brainer for the confident. The economics of self-publishing favors small production runs, reducing the availability and eventual profitability of a successful book.
Authors who are unable or unwilling to champion their own work. Believe it or not there are writers out there who would be afraid to ask their own friends, relatives, and colleagues to buy their books..
Authors with limited financial assets. The cost of self-publishing does not have to be high; it can be less than $500 if properly set up by the author. (The usual cost will be around $1500.) Some struggling authors would not have this cash:JK Rowling, who was on social assistance when she wrote the first Harry Potter book, is a good example.
A.G. Landels web site is at www.edit-pros.com [http://www.edit-pros.com]
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where can i read free books online?the book like rich dad,finance,economics,stock?
go to esnips.com
and there the users upload books
you can search for any book you want
and allso in any language that is if there has been a book uploaded by a user
i have an email giving direct links to some o f the books
if you want then just send me a message
You assume the biggest role ever! No longer will you represent mere interplanetary dictators. In Master of Orion III, you become the controlling force behind an entire galactic civilization.
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As English teachers, we’re almost always on the lookout for new and interesting ways to stimulate our language learners. It was ELT author and researcher Stephen D. Krashen who gave us his Affective Filter hypothesis of Second or Foreign language acquisition. (Krashen – Terrell, 1983) His hypothesis states, that conditions which promote low anxiety levels in class allow improved learning on the part of students. When learners enjoy class activities their Affective Filter is low and they learn more. New and different activities “out of the norm” also lower learner affective filters.
Here are some not-so-commonly-used techniques for adding that “new twist” to your English or foreign language classes. Giving learners something new does wonders in relieving boredom, spiking interest and lowering the Affective Filter of learners on whom you may have “tried everything”.
1. Using an iPod
Do you learners carry iPods or cellular phones? Don’t curse and swear at them for using technology in their lives. Turn it to your advantage! A number of good websites now exist that can get you and your learners up and running using this latest new technology for language learning and practice. Here are useful website for more podcasting information:
You all know him and love his humorous twists on daily living. So don’t just sit there nodding, grab a CD or VHS full of episodes and try a few out on your learners. Let them do the talking. They can offer suggestions, write to Mr. Bean and his other characters, express opinions and do comparisons of his world vs. their own. By the way, is he REALLY an alien? Follow his antics, get video clips, program guides and more at:
Although I’m old enough to remember his presence and passing, Walt Disney can still make us laugh, smile, cry and cheer with the antics of scores of his characters and their families. Take some short “clips” from his animated stories. Change the situation. Alter the characters. Modify an ending or a beginning to cause a whole different outlook on age-old themes. Are your stories and characters better? As long as they’re different, stimulating and generate interest or discussion, that’s all that matters. Everyone, even you, will have a great time coming up with new twists on these classic themes. Try it!
Turnabout is fair play, or so they say. Take a day to switch roles. Have you ever let your learners write an exam? How about planning a fun class? Having a “hot” conversation on a topic that THEY want to talk about – music, movies, cute guys / gals, techno-babble? Nothing is taboo – well almost nothing, anyway! What do you think they’ll talk about? You’d be surprised!
5. Join the Club
Let’s all go to the Conversation Club. What you don’t have one? Okay then, start one – every Thursday from 2:00 pm to 2:30 pm or whatever time, day and duration may suit you and your learners. The key is to give THEM the majority of control, or at least as much as possible. Use props, use realia, use pictures, music or whatever you and your learners may have on hand to start, stop and sustain the activities. Other “clubs” you could join include:
• Pronunciation clubs
• Reading clubs
• Movie clubs
• Acting Clubs
Use your and your learners’ imaginations. The sky’s the limit – or maybe the Administration’s sky is the limit. But no matter, just try something new for starters.
Try out some of these not-so-commonly-used techniques for adding that “new twist” to your English or foreign language classes. Give your learners something new to relieve any boredom and spike their interest. Can’t you just hear those Affective Filters falling now?
Prof. Larry M. Lynch is an English language teaching and learning expert author and university professor in Cali, Colombia. Now YOU too can live your dreams in paradise, find romance, high adventure and get paid while travelling for free.
For more information on entering or advancing in the fascinating field of teaching English as a Foreign or Second Language send for his no-cost PDF Ebook, "If You Want to Teach English Abroad, Here's What You Need to Know", immediate delivery details and no-obligation information are available online now at: http://bettereflteacher.blogspot.com/
Need professional, original content or articles for your blog, newsletter or website? Have a question, request, or want to receive more information or to be added to his articles and teaching materials mailing list? Then contact the author at this website for a prompt response.
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Is Gaelic a common language in Scotland?
Do people speak it in everyday life, or is it just a few phrases that are still in use? I see where there are some guides, but they just have a few phrases. Is there somewhere to learn it online, and is it taught in Scottish schools?
I wouldnt say Gaelic is spoken in everyday life ,(certainly not in the larger cities anyway)maybe in smaller communities in the north.As a child we were given small phrases to learn at school ,but not able to take it as a language like French or German.There is a Gaelic speaking school in Edinburgh which is popular but i,d say on the whole the language is dying out which is a shame.
Connected Magazine, issue 17: Stephen Heppel interview
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Density is the distance between individual stitches in a satin column or rows of stitches in a fill. The closer the rows are to each other, the more dense an area of stitches is.
How is Density Measured?
There are two primary ways that embroidery and digitizing systems measure density. One measures the actual space between rows (technically, between alternating rows, not each row) and the second is by counting the stitches per inch (SPI), which I won't spend any more time discussing. Most embroidery software uses one of these systems, although there is one popular home software that uses an arbitrary scale that is relative, making it hard to be precise.
The first system may measure in metric or inches. Due to the small distances, metric is much easier to work with and may offer increments in millimeters or points, which are a tenth of a millimeter.
Why Density Can Be Confusing
Because we are measuring space between stitches, the smaller the number the more dense the stitching. A reasonably average value for density is .4 to .45. If the density is .8, it is half as dense as .4; the stitching is more open because there is twice as much space between the rows. This is a nice value for shading layers or lighter backgrounds like skies. A density of .2 is twice as dense as .4 and should probably never be used (with the possible exception of 3D foam) because it is simply cramming too many stitches into a small space.
Where is Density Used?
Density only applies to satin and fill stitch objects and underlay. With satin stitches, the narrower column have less density than wider ones. Sample densities for underlay may be between 2 and 4 mm. Running stitches do not have density.
How Density Affects Your Embroidery
In a well-digitized artful design, you will often find that density varies for two main reasons: interest and purpose. Light fills make great backgrounds, skies, and water allowing the eye to focus on the main subject, creating depth and perspective, and permitting the design to more gradually transition into the fabric, thus avoiding the "patch" look.
Light densities provide less coverage. This can be a good thing when creating shadows, shading, building up layers of texture, or tone-on-tone embroidery. Lower density designs sew faster and stress the fabric less. The result is a softer, more flexible embroidery.
High densities, especially when combined with short stitches, contribute to stiff, thick-feeling designs. When densities are excessive, you can experience increased thread breaks, broken needles, fabric damage, design distortion, and longer sewing times. Too much density combined with overly short stitches is one of most common mistakes made by novice digitizers and can be found in many of the free designs shared by them.
Note: Increasing density provides better coverage up to a point. For more better fabric coverage, lengthen the stitch, increase the underlay, or use a color-block topping.
The perfect combination of density and stitch length covers the fabric adequately without creating a "bullet-proof patch." Unfortunately, "perfect density" is relative and depends on the fabric, the color of the fabric relative to the design, and the embroiderer's personal preference. Always keep in mind that embroidery is an embellishment and absolute total solid coverage is not the goal and seldom results in a good embroidery.
How To Control Density
As an embroiderer, you will probably most likely be faced with density choices when using a lettering program. Avoid the temptation of dramatically increasing density on letters, especially when working with very small letters. The rule of thumb here is that the narrower the column (thinner the letter stroke) the less density you should apply.
If you are using stock designs, you probably have little, if any, control over initial density settings. There are some utility programs-I recommend Density Works from Designer Gallery-that can detect and correct areas of high density. Density Works is very easy to use and should be part of every embroiderer's tool box.
Summary
While you may not have fine control over stock designs, recognizing the impact of density can help you understand why some designs work better than others under different fabric/design/thread/stabilizer combinations. Keep in mind high density is not the only cause of a thick design; thread and stabilizer choices also affect the softness of an embroidery.
Lindee Goodall is the founder and former owner of Cactus Punch, the first independent company to design embroidery specifically for the home market. Combining a degree in art, a life long love of sewing and crafts, and a background in programming, Lindee melds the art with the science of creating a smooth running and creative design. With 15 years of digitizing experience, she now owns and operates Lindee G Embroidery, providing quality embroidery designs and educational products. Visit Lindee G Embroidery: http://lindeegembroidery.com.
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