• Why I Quit My 14-Year Teaching Career To Become A Wedding Photographer, and How - Petrina Ng Singapore Merry Moment White Space wedding photographer videographer photography videography venue rental

    Why I Quit My 14-Year Teaching Career To Become A Wedding Photographer, and How

    Brought to you by:

    Crossworks

    At age 18, Petrina Ng embarked on a career as a primary school teacher and over the years, rose through the ranks to become head of an English department. After 14 years of teaching, however, at the age of 34, she decided to leave all that behind to focus on a career as a wedding photographer instead. We asked the now 37-year-old how she did it and how her choice played out in the three years that followed.

    “I did not think about succeeding, but I was determined not to fail.”

    Q: Hi Petrina! Nice to have you with us! To start, can you tell us a little bit about yourself as a teacher? Why did you want to become one and what subjects and CCAs [Co-Curricular Activities] did you teach when you were one?

    A: I was inspired by my own teacher from Primary 6 to want to be one and to have the opportunity to change someone else’s life like she did mine. I loved interacting with children and loved sharing life stories with them. Watching them grow in so many ways, big and small, brought joy every working day. As a Primary School teacher, I had to teach most subjects, except Mother Tongue. Over the years, I’ve been in charge of many CCAs as well, from Art Club to Tennis.

    Petrina (left) when still a teacher, at a Ministry of Education promotion ceremony.
    Petrina (left) when still a teacher, at a Ministry of Education promotion ceremony.

    Why then did you suddenly decide to change the trajectory of your career to become a wedding photographer instead? Was there something or someone that inspired you to do so?

    There were many push and pull factors. I had always loved photography and my boyfriend had been shooting weddings for a while (will explain more in the next point). But a major push factor was the lack of time. It was getting way too busy in school and I was doing everything but teaching. I spent less time in the classroom than I was doing other things, while getting 4 hours of sleep a day. I hung on for a long time but one single incident made the decision for me…

    One day, my mother came into my room and showed me something on her hand and she wanted to borrow my hand cream. I held her hand and it suddenly struck me how wrinkled her hand was and how old she had become. During the time I had been so busy, time had passed so quickly and I had not spent enough time with her. There and then, I decided I would quit and make time to take her overseas whenever I could.


    So how did you get started as a wedding photographer? From where did you learn the skills needed for professional photography and what other things did you have to do to get yourself set up as a wedding photographer?

    A good friend was getting married and asked me to snap some photos for her (as a second photographer) and create a montage for her dinner banquet. I went and enjoyed myself completely! Everyone was so happy during the wedding and the day went by so quickly. I was on a high. I decided to try going for more weddings just for fun. I borrowed my boyfriend’s camera and lenses, made him teach me how to use them, and went out to look for weddings to shoot. I approached friends and colleagues. I even went online to look for brides-to-be to offer my services as a second photographer for free. I did not really think of it as a career at that point but I was really enjoying myself. After every shoot, my boyfriend would look through my photos and critique them so I learnt as I went along. Those, of course, formed my portfolio when I was ready to go full-time.

    Did you think you would succeed as a wedding photographer or did you have no idea what to expect?

    I did not think about succeeding, but I was determined not to fail. A lot of people think that I took the leap because I didn’t have bills to pay since I wasn’t married and didn’t have kids. But I am singly responsible for the 5-room HDB flat my family lives in and making payments and paying bills isn’t a walk in the park. But I’m lucky to have my boyfriend and I quickly made many friends in the industry who were happy to share with me tips on what I could do. All that helped better prepare me.

    How long did it take you to get your first ten customers? Did you learn anything important along the way? If so, what?

    It took a few months to get the first ten. But we were really happy that we got our first 2-3 in the first month alone. We’re really blessed. I definitely learnt how to read couples faster and present relevant information to them properly as I went along. One very important thing I had learnt was how to say no nicely.

    One of Petrina's favourite shots.
    One of Petrina’s favourite shots.

    Did having been a teacher before help in any way when you were trying to get customers and build your business?

    Definitely! In the years I’d been a teacher, I learnt to be really patient, good at explaining things, staying calm in emergencies and dealing with more challenging people. All those really helped me deal with clients and guests during actual day weddings. I also multi-task pretty well, replying most emails within 24 hours. Many clients give feedback about how they like our speedy replies and how much it makes them feel like they can trust us for their day.

    Have you gotten to the point where you’re earning, annually, the same as what you used to as a teacher or more? If so, how long did it take to get to that point? If not, have you at any point in time felt the teeniest tinge of regret?

    I do currently earn what I used to and it didn’t really take me long. I don’t regret anything but I do miss my colleagues and students a lot.

    What about satisfaction levels? Which job gives you more satisfaction? Why?

    It’s a different sense of satisfaction and I feel good in both. When I was teaching, when the children surprised me with their little acts, or even how they remembered something I’d taught previously, made me really happy. Now, when I know that couples are happy with my service and work, when they thank me at the end of the day, when they use one of the photos I took as their profile picture, that makes my day.

    What was your routine like when you were a teacher?

    Wake up at 4.30am—mark and eat—get to school—prepare—rush around like mad—dismiss the kids—rush around like mad—get home—eat—mark—sleep after midnight—repeat.

    Yes, there were times when I only ate a proper meal once a day.

    Petrina (middle) with her teaching colleagues during Racial Harmony Day celebrations.
    Petrina (middle) with her teaching colleagues during Racial Harmony Day celebrations.

    What is your routine like now that you’re a wedding photographer?

    On non-working days, I would wake at about 8am, answer all enquiries, messages and tend to all the social media platforms. I try to spend lunchtime with my parents, after which I will begin editing. On some weekday evenings, I’ll head out to meet clients. Now that we have a studio, I’m sometimes there during the day as well.

    How have your weekends changed from before?

    Drastically! I used to sleep 18 hours each on weekends but now weekends are work days for me.

    What advice do you have for people hoping to switch to entirely different careers in their 30s?

    Do your homework and know what you’re in for. Make sure you have enough to last you for a year or two at least if things don’t turn out so well at the beginning. There’s no point switching if you intend to go back after the first few challenging months. If you’re able to spare a little time working at your new job during the weekends before you quit your full-time job, that’s the best.

    What key things/people/situations enabled you to switch careers in your 30s, in your opinion?

    I simply couldn’t have done this without family support. Even though I’m paying for the flat, my parents and siblings didn’t even flinch when I told them my plans. My siblings also offered to help if I needed it and that gave me the courage to switch.

    Having a reliable and trusted mentor (my boyfriend) helped a lot as well. As someone who was somewhat in the industry, I learnt faster and I felt more sure of myself because of what he shares with me and the support. Him being my business partner helps as well because I did not have to make all the difficult decisions alone.

    Another one of Petrina's favourite shots.
    Another one of Petrina’s favourite shots.

    How did becoming a wedding photographer and having your own business change you as a person? Or did it not change you? Did you learn anything through becoming so that you didn’t know before? 

    I don’t think it has changed me much actually but I’ve learnt that I can be very shrewd and passive-aggressive when I want to be.

    If you could go back and replay your entire career all over again, what would you do differently?

    I’m not sure I would have done anything differently. My boyfriend and friends have commented that I should have always run businesses and I should have started out earlier. But I felt that if I had not taught, I wouldn’t have the wealth of skills that allow me to handle the pressure of running a business. I think every step we have taken in the past leads us to where we are today and I’m grateful for the person I am today.

    What were you like as a child? What about as a teenager and young adult? How did you change at every decade? Or did you not change?

    I was an independent child and teenager. I made a lot of decisions on my own with little consultation with my parents. I think I’m still a lot like that now but I’ve learnt to consult my loved ones out of respect. I’ve learnt to be more humble and accept constructive criticism better.

    Which 3 objects/people in your life can you presently not live without and why?

    My mother—she’s an inspiration to all 3 of us kids. We learnt how to be resilient and to work smart AND hard. My siblings—they are my pillar of support, all the way. My boyfriend and my best friend—as above. (I know that’s more than 3.)

    Of all the objects you bought in the past year, which has been most useful? Why?

    My Nikon Z6 which I recently acquired is a boon to have. My previous DSLRs were getting really slow and I was looking for an upgrade and the Nikon Z6 launched at the right time. I hope to get another one to replace my other camera soon.

    Petrina (left) with one of her clients at a wedding she was working at.
    Petrina (left) with one of her clients at a wedding she was working at.

    Lastly, what’s the worst career advice you’ve been given, or have heard people giving? And what’s the best?

    ‘Just do it.’ is probably one of the worse ones. I think for younger people who are just starting out, that’s fine. It’s a time for them to explore and make switches to find what really suits them. But for someone like myself, I think it’s only responsible to plan ahead and reduce the chances of failing (if any at all) in order to still meet monthly commitments.

    Petrina is presently busy with weddings, weddings and more weddings. You will be able to see her progress on her websites www.amerrymoment.com and www.thewhitespace.sg or chat with her using the comment box below.

    The above interview is sponsored by:

    Crossworks

    Photographs courtesy and copyright of Petrina Ng. Interviewer: Sy
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  • Why I've Been Cosplaying For 24 Years, and How I Get Paid To Do It - Elizabeth Seah, Elizabethheartz, Singapore, Cosplayer, Cosplay, Cosplaying, Job

    Why I’ve Been Cosplaying For 24 Years, and How I Get Paid To Do It

    Elizabethheartz first began cosplaying at age 15 for Speech Day at her secondary school. At 26, she began getting paid to do it. Now that she has 24 years of cosplaying under her belt and is the organiser of many cosplay events in Singapore, we decided to find out what keeps her at it.

    “Cosplay is a form of art—it should be respected as well. However, there tend to be some who try to underpay or, sadly, don’t pay cosplayers for their work. This should not be encouraged.”

    Q: Hi Elizabeth! Nice to have you with us today! Tell us a little about yourself—who are you when not cosplaying and who are you when you cosplay?

    A: I tend to be more image-cautious when I’m cosplaying, as a form of respect to the character I’m cosplaying. Especially when the public eye tends to fall on you more, I’ll take extra note of my actions, etc.

    How did you start cosplaying? When was the very first time you ever cosplayed and what about it made you want to do it again… and again? 

    I first started cosplaying during 1996? Then, as I started a store, catering to the needs of local cosplayers, I felt it important to get into the action to bond with my customers too. From there, I learned to understand them better and how to operate the business smoother. Slowly, I started enjoying it as [the extent to which I could] transform myself into character seemed quite fun.


    The first time Elizabethheartz cosplayed, it was for a play at school in 1996. “Back then, Cosplay wasn’t exactly popular. I had to be in character, then danced and sang LIVE.”
    The first time Elizabethheartz cosplayed, it was for a play at school in 1996. “Back then, Cosplay wasn’t exactly popular. I had to be in character, then danced and sang LIVE.”


    When you first became an active cosplayer, how did you figure out where to get your costumes and accessories from and how did you know where there would be events you could go to dressed in cosplay get-up?

    Back in 1996, there weren’t any stores catering to such. It was for a musical play with my teacher’s help. After I started the store, I slowly created more events to cater to the needs of more cosplayers joining the community. 

    How did you choose which character you wanted to be? Did you have to watch the anime of that particular character over and over like an actor to learn how to behave as her?

    Usually it’s from an anime that I enjoyed, which makes me want to cosplay the character. Having a store has its pressures—people expect much from you especially [when you’re] being a judge for cosplay competitions in Singapore and regional countries. It is the basic [requirement] for each cosplayer to do homework on their character inside and out, to check the suitability and weigh the possibilities.

    How did your family and friends react when they first saw you dressed that way, behaving like an anime character?

    As it wasn’t common back then, people tended to be so curious, but perhaps it also depends on what character you started off as, etc. Thus for me, it was a pleasant experience. 

    I know you’re also a professional cosplay artist and rather well-known in the cosplay scene in Singapore, so please share—when and how did you start getting paid to cosplay and what did your very first paid gig require you to do? 

    Honestly, most clients have a budget allocated for marketing. When I am engaged for work, it is natural for the client to pay. If it’s for a local gig, transportation and meal allowances are to be considered as well. If it’s an overseas gig, transportation, accommodation, meal allowances, helpers/translators should be provided too.

    Cosplay is a form of art—it should be respected as well. However, there tend to be some who try to underpay or, sadly, don’t pay cosplayers for their work. This should not be encouraged. I’ve always [told] the community that, since we also put so much effort into outfits, makeup, time, effort, etc, for any form of engaged work. In fact, we should be paid higher because we usually come with our costume/makeup/styling done before starting any form of work. 

    Elizabethheartz in 2018, at AFA, a Jakarta-based event.
    Elizabethheartz in 2018, at AFA, a Jakarta-based event.

    Is being a professional cosplay artist a sustainable career, in your opinion? Or do you have to do anything else to supplement your income when trying to be one?

    From time to time, yes I do get offers to make appearances for events, etc. However the market demand in Singapore isn’t that big compared to overseas [markets]. Unless you have connections and know your rights, it is quite hard to sustain [yourself with cosplay as a career]. However, if you have your own merchandise, depending on your popularity, it is also possible to bring in extra income.

    Also, to be respected on a professional level, you should know how to do your own costumes/wigs/props. Others will tend to respect you for your talent more [if you can do so].

    What is the routine of a professional cosplayer like? How often do you get gigs and what do you have to do on a regular basis to promote yourself as a cosplayer for hire?

    Every professional cosplayer should have their list of rate cards and profiles available when approached. Our costumes/wigs/props/etc are usually kept in mint condition, with slight repairs/touch up [done to them] after every use. So they will be either busy at gigs, with costume/prop-making, photoshoots, interviews, meet & greets, appearances online/offline or handling collaborations, etc.

    [Gigs come] about a few times a month (it is up to the individual whether to accept or not) and can come in many different forms. I will usually share my work proofs on my social media platforms.

    Cos-tume in the making—a hair piece made by Elizabethheartz herself.
    Cos-tume in the making—a hair piece made by Elizabethheartz herself.

    Do you still cosplay simply for the fun of it? When and how often do you do so if so?

    Yes I still do but not as often as before as I’m usually tied up with other events. It has been quite busy for me in the recent years especially now that I’m more active in my collaborations.

    What are weekends like for a cosplayer?

    For most cosplayers, it could be a private photoshoot indoor (with studio booking) or outdoor. Other than that, they still hang out together but on a budget basis, to save up for materials/costumes.

    Elizabethheartz (middle, in blue), with guests of Jakarta-based event, CLAS:H in 2013.
    Elizabethheartz (middle, in blue), with guests of Jakarta-based event, CLAS:H in 2013.

    What advice do you have for people hoping to become cosplayers too?

    Be humble and be hardworking. Check out Haru House’s monthly gathering for rookies/seniors where we chill and hang out, and are more than willing to share tips and information about cosplay! Do research, lots of it before jumping into the community. Last but not least, have fun, lots of it while at it!

    Can you map out a suggested path for people who want to make a living from cosplaying to follow?

    Always be humble and polite. Strive to be better each time and observe/ask the seniors how they do it. It is never the same path for everyone.

    What key things/people/situations enabled you to cosplay throughout your adult life, in your opinion?

    Effort and determination. Having a supportive family also helps a lot. 

    How did cosplay change you as a person? Or did it not change you? Why?

    Having been the one many new cosplayers come to [when needing to] share their concerns or even family issues, I’ve become like a sisterly character to hundreds or even thousands. Somehow a lot of them look up to me, thus it pushes me to stay strong even during down times, just to be around for them! 

    Elizabethheartz (right), with fellow judges at Jakarta-based event, ITGCC in 2015.
    Elizabethheartz (right), with fellow judges at Jakarta-based event, ITGCC in 2015.

    If you could go back and replay all the occasions you’ve cosplayed at all over again, what would you do differently?

    To date, I’m satisfied with all my cosplay plans so far, and have enjoyed the growing process too!

    What were you like as a child? What about as a teenager and young adult? How did you change at every decade? Or did you not change?

     I’ve become more experienced with life for sure! Seeing a lot of different types of people & situations has helped me grow to who I am today!

    Elizabeth in 2018, doing a cosplay makeup demo at GameFest in Singapore.
    Elizabeth in 2018, doing a cosplay makeup demo at GameFest in Singapore.

    Which major event in your life has made you who you are, in your opinion? Why do you think so?

    I would like to thank [those who] invited [me] overseas as a cosplay guest and judge back then in Jakarta because it allowed me to make friends with so many awesome guests as well! It also kick-started my blogging career!

    Which 3 objects/people in your life can you presently not live without and why?

    1.My phone. Due to my job nature, it is hard for me to be away offline for long, so I definitely need it! I can connect me to my love ones, take pics (for memories/work) and connect to my work online!

    2.My parents. I am grateful for them always letting me be who I want to be, and often checking on me [to see] if I’ve eaten, etc. I really appreciate them and want to bring smiles on their faces whenever I can.

    3.My daughter. As a single parent, I want nothing more than to be supportive and provide as much as I can so she can spread her wings as much as she wants as she blooms.

    Of all the objects you bought/received for cosplay purposes, which was most useful? Why?

    Cos Cos Face Glue! It sticks the wig to my face so I don’t get those fly-ends and it helps to frame my face smaller!

    What’s the worst advice you’ve been given, or have heard people giving? And what’s the best?

    People who just jump into cosplay just for the fun/fame of it. It takes more than that sweetie~

    And finally, at what age do you think you will finally stop cosplaying?

    I will still do it, for as long as I want! 

    “Me when I'm not in my Harajuku fashion outfits.”
    “Me when I’m not in my Harajuku fashion outfits.”

    Elizabethheartz is presently a content creator busy with managing her social media platforms and running Haru House online at this page (“Left segment for all my blogging content, right segment for Haru House!”). She does appearances and filming and modelling gigs as and when they arise and will be more than happy to answer any questions you may have if you drop them into the comment box below.

    She is also presently running a Haru Pop Up Store at Scape #02-17D from now till 14 Sep 2019 so you may hop on down to catch her there or get yourself some cosplay merchandise!

    Other interviews with Elizabethheartz:
    COVID-19 Diaries: The Coronavirus Situation In Singapore, 73 Days In

    Interviewer Note:
    I first met Elizabethheartz almost a decade ago when I went to interview her for an NHK documentary on cosplay in Singapore. She had Haru House as a physical store at Scape then and there were always these youths and students in there, sitting at the tables deep within her shop, working on their own cosplay props or simply having a take-out or hanging out. It was like their ‘place to be’; their community; where they went after school and hung at till late. Because of them, I came to understand the appeal of cosplay and the full magic of what Elizabethheartz had created for the youth of Singapore. Because of her shop, they had some place to go to where they could feel welcome and like they belonged. Because of her big sisterly presence and community-building efforts, they found a tribe which accepted and supported their desires to move beyond their circumstances and set free their inherent personalities. Because of that, I have always thought Elizabethheartz an awesome person. 🙂

    You can watch the documentary we filmed at Haru House all those years ago on Haru House’s YouTube page:

    I do wonder if those in it are still cosplaying/making costumes a decade on.
    If you are in it, please wave in the comment box below and share what you’ve been up to!

    Photographs courtesy and copyright of Elizabethheartz. Interviewer: Sy
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  • How I Became A Relief Teacher At My Alma Mater - Bryan Yong, Singapore

    How I Became A Relief Teacher At My Alma Mater

    Ten years after graduating from Saint Andrew’s Secondary School, Bryan Yong went back and attended classes again—this time as a relief teacher. He told LUCK-IT how he got the gig and shares what the jobscope and schedule of a relief teacher entails.

    “I was recommended by an ex-teacher.”

    Q: Hi Bryan! How did you end up as a relief teacher at your alma mater? How did you know they were hiring and why did you want to do the job?

    A: I had some spare time after graduating from university and before starting my first full-time job and was looking for something to do in between. I had taken up other part-time jobs before (e.g. car valeting) but was looking for something more fulfilling and better paying.

    What does the job of a relief teacher entail? What are your main responsibilities and side responsibilities?

    Relief teaching requires you to take charge of a class when the teacher isn’t present due to certain circumstances (sick leave/on course), mainly to ensure all students are present and to keep order. If work is assigned to the class, the relief teacher will carry out the instructions given, usually in the form of readings or worksheets. Basic knowledge of most subjects would be a bonus as you will meet inquisitive students who will need help with their work.


    Bryan (front row, middle) in his Sec 3 yearbook photo.
    Bryan (front row, middle) in his Sec 3 yearbook photo.

    How did you apply for the job? Did you have to do anything special in the process of applying for it?

    Application is through a MOE [Ministry of Education, Singapore] portal, where you have to first create an account and thereafter furnish your details for registration. In short, the documents you need at hand are your past education result slips and personal information. Upon registering, MOE will review the documents submitted and decide whether you have the qualifications to become a relief teacher. If approved, the next thing is to make a trip down in person to your desired school to register with the school. (Proximity to the school plays a considerable part in whether the school will accept you or not.)

    Applications can be made throughout the year but will only be reviewed in 2 windows, 1 January to 28 February and 1 July to 31 August.

    To be eligible as a Relief Teacher, you have to possess either:
    1) an on-campus Degree or be an undergraduate pursuing an on-campus degree;
    2) have a diploma from a local polytechnic/IB Diploma;
    3) with at least 2 GCE ‘A’ Level/H2 and 2 GCE ‘AO’ Level/H1 passes (including General Paper); or
    4) 5 GCE ‘O’ level passes (including English and Mathematics) with L1B4 of ≤ 26 points.

    More details on application and eligibility can be found in this link.
    [LUCK-IT disclaimer: This post is not sponsored by MOE. All MOE links are provided purely because of Bryan’s enthusiasm.]

    How long did it take for you to go from applying for the job to getting hired for it?

    Approval can take roughly 3 weeks to 1.5 months from submission of documents. After which, registering with the desired school can take an hour or 2 depending on the availability of the Head of Departments (HODs) or Principal/Vice-Principals who will interview you to determine your suitability for the school.

    Why do you think they hired you for the job?

    I met the minimum requirements meted out by MOE, and I was recommended by an ex-teacher from my alma mater (St. Andrew’s Secondary School).

    What is the work routine for a relief teacher like?

    The school(s) that you’ve registered with successfully will call you in the morning (on the day itself) if they require your assistance. The school that I was registered to would call between 6:45am and 7am if they required me to come in that day. This may differ from school to school. Relief teachers are required to come in by 7:30am to collect the relief schedule for the day. The first period starts at 8am and the last period typically ends at 2pm or 2:30pm. There is no dictated lunch period–teachers normally take the chance to grab a bite or drink during their free periods, whenever that may be.

    How do relief teachers spend their weekends?

    Unlike full-time teachers, relief teachers do not have to prepare materials for class or bring worksheets/exam papers back to mark. Hence during the weekends we are free to enjoy the time at our own pleasure.

    Bryan (middle, with hands on side) in Sec 4.
    Bryan (middle, with hands on side) in Sec 4.

    What advice do you have for someone hoping to become a relief teacher at their alma mater?

    If you have teachers who have taught you in the past and are still teaching at the same school, you can reach out to them for advice on how you can go about applying to the school. If you have left a good impression on your teachers upon graduating, they may put in a good word for you with the school’s upper management.

    Can you map out a recommended path for people who want to be relief teachers at their alma maters to follow?

    As mentioned, apply through MOE and get yourself approved to relief teach first. Then proceed down to your alma mater’s General Office to apply as a relief teacher. Knowing an ex-teacher that you have built a good rapport with in the past is beneficial as they can put a good word in for you with the HODs/Principals who are going to interview you.

    What has the experience of being a relief teacher been like for you?

    The first few days/weeks will be a bit of a challenge as you have to first discover ways to teach or discipline students. But as time passes, you will pick up skills from your fellow teachers and colleagues on how to deal with more difficult students. As an ‘old boy’, students tend to look up to you as they know that you’ve once been sitting in the very seat they are in now.

    Have you changed as a person since becoming a relief teacher? Or learned some things you didn’t know before?

    Relief teaching has taught me patience when it comes to educating the younger generation. I have had the chance to see how both the students and the education system has changed since my days as a secondary school student 10 years ago. There are now other schemes for Normal Academic students to through-train into polytechnics without having to take their ‘O’ levels, as well as a major change in the education system to look forward to in the next few years.

    The school which educated Bryan and later became his source of temporary income.
    The school which educated Bryan and later became his source of temporary income.

    If you could go back and replay your time as a relief teacher all over again, what would you do differently?

    Wouldn’t change a thing, the students and teachers I’ve met really do bring back memories of those carefree days as a student.

    How have you changed since secondary school? Or have you not changed?

    My thoughts have definitely matured since. In secondary school you’re kept in this protected environment and things that happen around the world don’t really affect to you. I’m glad to know that the education system has opened up to give students a more worldly perspective.

    Do you think your secondary school has had an influence on your personality today? If so, how? If no, why not?

    Yes! Saint Andrew’s is an Anglican mission school teaching Christian values, which has definitely made an impression on me even through my young adult years.

    Which 3 objects/people in your life can you presently not live without and why?

    Friends, good ones. They stick with you through good and bad times and provide valuable perspective on matters to help you better see a situation you’re in.

    Of all the objects you bought in the past year, which has most positively impacted your life? Why?

    In this technological age it would be my new phone [the iPhone XS]. Eons faster than my previous one and with a better camera, it has made me more productive as I use my phone a lot for work/keeping up with friends.

    Which person do you wish LUCK-IT would interview for you to learn from? Why?

    Anyone who can give young working adults good advice on saving for the future.

    [UPDATE: We have found some answers on saving for the future for Bryan. Click here to read them.]

    Bryan now (middle), on the job as a relief teacher.
    Bryan now (middle), on the job as a relief teacher.

    Bryan starts working at Singapore Airlines as a Cadet Pilot this month but will try his best to answer questions on relief teaching when he has the time if you leave them in the comment box below. Aspiring pilots can also reach out to him via his Facebook page should they need help preparing for airline job interviews (at his discretion).

    Photographs courtesy and copyright of Bryan Yong. Interviewer: Sy
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  • How I Became an Acting Instructor at the Lee Strasberg Institute and Started My Own Acting School in Singapore - Kamil Haque

    How I Became an Acting Instructor at the Lee Strasberg Institute and Started My Own Acting School in Singapore

    Kamil Haque was just 24 when he got himself employed as an acting instructor at the Lee Strasberg Theatre and Film Institute in Los Angeles—the school which trained actors like Paul Newman, James Dean, Marilyn Monroe, Lady Gaga, Al Pacino, Claire Danes and Robert De Niro—and 30 when he started Haque Centre of Acting & Creativity (HCAC) in Singapore—the self-funded, diverse acting school which coached Henry Golding before he got the role in ‘Crazy Rich Asians’. Six years on, Kamil tells LUCK-IT all about getting employed in Hollywood right out of school and everything a person needs to do to become an acting instructor anywhere.

    “If I told you I got employed by refusing to leave the administrative office until they promised to hire me, would you believe me? Well, that’s exactly how I got the job.”

    Q: First off, can you tell us about the Lee Strasberg Theatre and Film Institute? What is it, where is it and how prestigious is it, really?

    A: It was and is a school started by Lee Strasberg in 1969 to teach what Lee had become famous/notorious for which is the heavily misunderstood concept of method acting. Lee’s method had been shaped through over 30+ years of refinement in various capacities and for the first time in a major way, his work was made available to the masses in a consistent way via his two schools, one in L.A. and one in N.Y.C.

    What makes a school ‘prestigious’? Is it the facilities? The location? The staff? The process to gain admission? The alumni? I’d say for the first four criteria there is hardly anything that would make it stand out to the casual observer. Where the Institute has really cemented its name is in the strength and sustained success of its alumni and the association Lee Strasberg had directly or indirectly in training some of the world’s greatest actors which in no particular order include Paul Newman, James Dean, Christoph Waltz, Marilyn Monroe, Lady Gaga, Al Pacino, Claire Danes, Steve Buscemi, Robert De Niro, and the list goes on.

    What about your acting school? What is it all about, where is it and why did you start it?

    My acting school, Haque Centre of Acting & Creativity (HCAC) was founded in 2013 as the culmination of a 20+ year childhood dream to have my own school that is in many ways modelled after the Strasberg Institute and also other acting schools and private acting associations I have been a part of over the years. HCAC is the first professional acting studio in Singapore. The school doesn’t subscribe to only one method of acting and has workshops that span across various modalities of performing arts. The school caters not just to actors but also to a significant group in Singapore I called Creative Double-Lifers—people who are in some sort of parent-approved profession from 9-6 but are in need of an outlet or who want to maintain a second parallel path in the creative arts that their personal or professional life does not provide them. Perhaps they even have no ambition at all to perform but they believe there are essential skills from the arts that might benefit their personal or professional lives. My studio is located in a shophouse in the heart of Little India at 89A Desker Road. I started the school as a place for artists to refine their craft in a professional environment, a place for people to figure out what stories they want to tell and to have my teachers provide them with the tools and skills on how to tell them better and lastly as a place where self-expression has a safe space to flourish in a country that perhaps doesn’t value it as much as it could.


    Kamil (left) with one of his students at the Strasberg Institute in Los Angeles.
    Kamil (left) with one of his students at the Strasberg Institute in Los Angeles.


    How did you even get employed as an acting instructor by the Lee Strasberg Institute anyway? How does one qualify to be an acting instructor anywhere?

    If I told you I got employed by refusing to leave the administrative office until they promised to hire me, would you believe me? Well, that’s exactly how I got the job. I remember, the very first day I arrived in L.A. to register for classes at the theatre school as a student, I told the administrative head I wanted to teach there instead. She laughed and said I couldn’t simply because I didn’t know what they taught. I was really stubborn and I insisted we come to compromise. We agreed that if I could finish the 2-year programme (and many people don’t for various reasons) then I could possibly teach. Challenge accepted. Within the first 9 months, I identified my mentor and made my intentions known to her and she was generous enough to teach me acting as well as how to teach acting. With each lesson she would slowly let me teach parts of it in increasing increments eventually working my way towards being a substitute for her when she was unwell. Literally, the day after I graduated, I told them “I’m done with the program, I want to teach.” They saw that throughout the two years, I was willing to work hard, to grow, to learn and I was also helping people who were new to Los Angeles, the school and to the work. Because I had also established myself as a capable teacher and substitute, the transition to full-fledged teacher was easy. They saw the passion so they fulfilled my wish.

    To be an acting instructor anywhere I think you first have to have a love for teaching. To be a teacher you have to be an activist and love to serve. Beyond that, as an acting instructor specifically, you have to have a keen eye for the human condition and be equal parts intellectual and instinctive in elevating your students and giving them ample opportunities to have lightbulb moments. Beyond that, of course as with any profession, having the appropriate credentials certainly helps.

    I’m very sorry if this comes across as rude, but… why not just be an actor? Why be an acting instructor?

    It’s not that I don’t love acting. Acting will always be my first love. Over time, I have realised while I love acting, it is something that feeds my ego. Teaching on the other hand is something that feeds my soul. I can’t imagine doing one without the other. After all, what is an ego without a soul and vice versa?

    What do you presently teach at your acting school and how did you come up with the syllabus?

    “Since the bulk of acting pedagogy comes from Lee Strasberg and I’m the only teacher in Asia who has credible experience teaching his work, I specialise in teaching all aspects of Strasberg’s work.”

    Since the bulk of acting pedagogy comes from Lee Strasberg and I’m the only teacher in Asia who has credible experience teaching his work, I specialise in teaching all aspects of Strasberg’s work and by extension workshop-productions for all students to practice what they’ve learnt to test it outside the echo chamber of a classroom.

    My syllabus and how I shape the syllabus for the other workshops not taught by me is really to ensure there is an egalitarian approach to actor training. I must stress again that HCAC doesn’t subscribe to just one methodology of acting and that all methods are welcome here and when taught, they are taught by specialists so students are exposed to the breadth and depth of acting so they can make informed and empowered decisions on how to create a method that works for them.

    Kamil (foreground) facilitating a workshop-production at the Strasberg Institute.
    Kamil (foreground) facilitating a workshop-production at the Strasberg Institute.

    Can you share what your schedule and weekly routine was like when you were an acting instructor at the Lee Strasberg Institute?

    The schedule varied depending on the semester and the demand for workshops depending on the size of the student population. At its peak, I might have taught up to 12 hours a day but never more than 2-3 days a week.

    What about now, what’s your present routine like now that you’re also a businessman on top of being an acting instructor?

    I typically start my day around 10:30am. At home, I answer emails from potential students, corporate training enquiries and even production houses that need assistance with casting actors for their projects. My arrival at the studio usually coincides with a lunch meeting for upcoming projects or rehearsals. I might bookmark that conversation for the moment to welcome private clients who need coaching. Some are prepping for a role; others need a sounding board if they have already been cast. But the majority of my students are Creative Double-Lifers who need coaching on public speaking and presentations. If I’m not in the studio, I might be found at a bank teaching improvisation at the workplace or some such form of corporate training that incorporates acting.

    When the afternoon flurry is done, there might be a lull to attend to emails for a couple of hours before it picks up again from 7pm when my teachers and I begin our acting workshops. Classes officially end about 11pm and unofficially, much later. When I’m finally done, usually around midnight or so, I stick around to answer questions from students and answer more Whatsapp messages or emails that have appeared in my Inbox That Never Empties™. I finally make it back home by about 1:20am or so and allow myself to binge on Netflix or football news (Go Manchester United!) to decompress before drifting off to sleep around 3am to start the cycle all over again. The work is taxing and I’m usually at my studio 6-7 days a week. I hardly see my own family and barely have time for a social life. I’m slowly learning to be better at that last bit with some amazing people in my life who balance me out.

    How do you presently spend your weekends?

    If I don’t have to be at work, I avoid it! Instead, I might watch a play or movie or binge on Netflix (I’m not ashamed to say I watch a lot of crap because most other times, it’s still like I’m working because I’m subconsciously analysing what I’m watching). Ideally, I’ll be with my partner and we’ll relax over good food, home-cooking, drinks with friends or decompressing from the week by relaxing at her home.

    Haque Centre of Acting & Creativity (HCAC) is located in the heart of Little India at 89A Desker Road.
    Haque Centre of Acting & Creativity (HCAC) is located in the heart of Little India at 89A Desker Road.

    What advice do you have for someone hoping to become an acting instructor? What about for someone who hopes to open their own acting school one day?

    Do it because you love it. Not because it’s a cash grab (because there isn’t much to grab!) or because you aren’t getting much work as an actor. The last thing the industry needs is a cynical ex-actor who is jaded and jealous of their students. If someone has hopes of opening their acting school one day, come talk to me. Maybe you can teach me something!

    Can you map out a recommended path for people who want to be acting instructors to follow? What about for people who want to open their own acting schools?

    Get solid training with specialists. Learn the breadth and depth of methodologies that inspire you. Find a mentor who is a said specialist. Learn how to teach from them. Learn how to create your own way of teaching. Get as many teaching hours in. Whilst doing so, get out there and act. Learn what it’s like by being an actual practitioner too so you understand what your students go through. If you approach such a hands on craft from pure academics and intellectualisation then you are not really doing justice to what you teach. If you want to open your own acting school, go work in one for several years first. Figure out what works and what doesn’t before you embark on your own initiative.

    What are the key things/people/situations that have enabled you to be an acting instructor, then to set up and run your own acting school, in your opinion? Who/What was/is indispensable?

    In my life, whether by my own doing or by mysterious forces I am not privy to, I’ve had the good fortune of always having mentors and guides to nudge me along, believe in me and call me out on my BS. To set up and run my own acting school, truthfully, six years in, I’m still learning how to do that. Come back and ask me again in 44 years time.

    How did becoming an acting instructor and owner of an acting school change you as a person? Or did it not change you? 

    It made me more responsible because for my employees, their livelihoods are in my hands. For my students, their careers are in my hands. My own future and what I want to see happen in it is in my hands.

    If you could go back and replay the whole process of becoming an acting instructor and starting your own school all over again, what would you do differently?

    Had I more insight into the world of business, perhaps I would have done more research into the business climate of the arts in Asia and I would have ascertained how I could have gotten more business managerial support and other means of funding to scale the school up faster.

    Kamil (with card on head) conducting ice-breaker games at an Improv & Think Fast Workshop with corporate clients.
    Kamil (with card on head) conducting ice-breaker games at an Improv & Think Fast Workshop with corporate clients.

    What were you like as a child? What about as a teenager and young adult? How did you change at every decade? Or did you not change?

    I was a pain in the ass. I was loud (I still am at times) but that was mainly from a constant desire to impress, or fit in or to shape shift without having a voice of my own. As I got older and certainly from my time in L.A., I discovered my own voice, my own body, my own mind and I had actual infrastructure to bring my childhood dreams to life.

    Which major event in your life has made you who you are, in your opinion? Why do you think so?

    I first got involved in acting in kindergarten in my stage debut of ‘The Bear Went Over The Mountain’ but it was in my primary one performance as the dog in ‘Old MacDonald’ that I caught the acting bug. My parents would also often take me to movies as a kid and I remember that it was after watching ‘Dead Poets Society’ that I knew acting (and eventually teaching) was what I wanted to do. I distinctly remember on the car ride home from the old Orchard Cinema (what is now Orchard Cineleisure), I was sitting in the backseat expressing my thoughts and opinions on the movie, specific events in the movie and their significance and what the movie meant to me. To that, my parents turned back to look at me and asked how I was able to have such thoughts that were apparently well beyond my years. Shortly after that, they also enrolled me into acting school with Julia Gabriel (who I remain eternally thankful to) and the rest they say is history.

    Which 3 objects/people in your life can you presently not live without and why?

    My parents (I collectively count them as one because they are divorced and I speak to them exclusively on separate matters so together they form one super human). My girlfriend who is my cheerleader, my rock and my biggest bullshit alarm. She helps me keep it real. Sambal belacan/chilli to spice up my food because I live for that pleasure from pain!

    Of all the objects you bought in the past year, which has most positively impacted your life? Why?

    A engraved bracelet I always wear around my right wrist that says ‘Know Thyself’ because it’s a constant reminder for me to be self-aware, sensitive to my own needs and boundaries and also because I’m too much of a coward to get a tattoo with the same phrase.

    Which person do you wish LUCK-IT would interview for you to learn from? Why?

    My parents because I don’t know enough about them and I doubt they would actually tell me if I sat them down to ask.

    Kamil (in blue) on a set directing camera crew and actors.
    Kamil (in blue) on a set directing camera crew and actors.

    What’s the worst advice you’ve been given, or have heard people giving, with regards to acting? And what’s the best?

    Worst Advice: Don’t waste your time with acting. Get a real job.

    Best Advice: Genius is inspiring. Smart and hard work gets results.

    Kamil is presently working on HCAC’s current set of workshops, planning for the rest of 2019, developing the Haque System of acting, setting in motion the HCAC ensemble, doing more corporate training, figuring out how scale up his business and inviting investors and business angels to take a plunge with him—more details available on his website, www.methodactingasia.com. When he has the time, he will also answer queries about acting, teaching and starting acting schools so if you have any questions on those, drop them in the comment box below.

    Photographs courtesy and copyright of Kamil Haque. Interviewer: Sy
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  • How I Make A Living As A Freelancer In The Media Industry

    How I Make A Living As A Freelancer In The Media Industry

    Brought to you by:

    J Rental Centre

    Sean Cheong, a TV director/writer/producer/lecturer/course developer, was 17 when he began freelancing in the media industry on a part-time basis and 29 when freelancing became his primary occupation. Now with seven years of full-time freelancing under his belt, he tells LUCK-IT how freelancing in the TV/advertising/radio industries of Singapore really works.

    “Always have a back-up plan, or a diversification in your industry. ”

    Q: How did you end up freelancing in the media industry? Why didn’t you get a full-time job instead?

    A: It was not really a conscious choice. I think it is the nature of the industry. Most of the work is freelance and full-time jobs are limited. So I started to freelance and then one thing led to another and it just happened naturally. So now I’m full-time freelance and have been for the last ten years.

    What were the early days of you being a freelancer like? How did you get jobs? Did you think you would succeed or fail? Or did you have no idea what to expect?

    The main thing it taught me was to treat every job that I do as if it is my last job, because sometimes it literally is. You won’t know where or when your next job will come. So this means that:

    a) I do the best I can.
    b) I service the project/client the best that I can.
    c) I have to be frugal with every cheque that I get.
    d) You have to rely only on yourself. It’s up to yourself to hustle to find the next job, etc. Don’t expect it to come to you so simply.


    Sean (with cap) directing TV drama, 2025.
    Sean (with cap) directing TV drama, 2025.

    How long did it take for you to end up with a sustainable income from freelancing? Did you have any setbacks or wins along the way?

    If by sustainable, you mean stable, then it’s still not. It never was and I wonder if it ever will be.

    What was your daily routine like in the early days?

    It’s been so long ago, but if I remember it correctly, it was a lot of getting myself out there to try to find a new gig to do if I was not already on one.

    What about now? What’s your current daily routine like?

    Sean with actress, Huang Biren, when directing a Milo TV commercial.
    Sean with actress, Huang Biren, when directing a Milo TV commercial.

    Mostly hanging out with my wife and baby. I don’t see the need to be enthusiastically getting myself out there to try to find a new gig. On that front, I think I’ve reached a point where either people know me enough to know where to find me or they don’t know me/are not interested to, and as such, that won’t change very much.

    How do you presently spend your weekends?

    Again, hanging out with my wife and baby.

    What advice do you have for someone thinking of becoming a media freelancer in Singapore?

    1) Always have a back-up plan, or a diversification in your industry. I’m glad to currently have two other diversifications while still doing media.
    2) Find a way to make your money work for you through investment or dividend revenue instruments. As it is, we work hard for our money, harder than perceived sometimes. It will be a waste not to make it work hard back for us.

    Can you map out a recommended path for people who want to be media industry freelancers in Singapore to follow?

    There is no such thing as starting out at the top from the start. Start from the bottom, do everything, do anything. If you move higher to the top, that’s good on you and that’s a bonus.

    What are the key things/people/situations that enabled you to become a media industry freelancer, in your opinion?

    I honestly don’t know because I am still finding it. But if I were to guess, I would say being reliable and positive is important. I have, at no point, let any project down (in terms of delivery schedule) or given up, no matter how tight or poor the conditions are.

    If you could go back and replay your entire career all over again, what would you do differently?

    I would have made some better decisions on some of my jobs. People have longer memories than we expect.

    What were you like as a child? What about as a teenager and young adult? How did you change at every decade? Or did you not change

    I don’t know about changes. I always wanted to work in television. I just grew up into a young adult and am doing it so, I lived the dream somewhat (and still am).

    Sean (pointing) on another one of his many projects, in 2013.
    Sean (pointing) on another one of his many projects, in 2013.

    Which major event in your life has made you who you are, in your opinion? Why do you think so?

    Getting let go from a dream job (it happens) which I was convinced I could do until I was in my sixties, for reasons that is not related to my skill and competencies in the media. Other than the shattering of a dream, it made me realise the only reliability is me, myself and I.

    Which 3 objects/people in your life can you presently not live without and why?

    Family. Family. Family.

    Of all the objects you bought in the past year, which has most positively impacted your life? Why?

    I have not bought anything in 2018, unless it’s for my daughter so…

    Sean (with cap) on the set of 2025 with cast—Nicholas Lee, Gerald Chew, Edward Choy, Melissa Yeo, Eunice Annabel Lim, Amy Cheng, Scoot Hillyard and Amesh Kumar.
    Sean (with cap) on the set of 2025 with cast—Nicholas Lee, Gerald Chew, Edward Choy, Melissa Yeo, Eunice Annabel Lim, Amy Cheng, Scoot Hillyard and Amesh Kumar.

    Which person do you wish Luck-it would interview for you to learn from? Why?

    A stock day trader. It’s something I would be interested to know more about. It’s also a skill that I am currently learning, that I wish to improve on.

    What’s the worst career advice you’ve been given, or have heard people giving? And what’s the best?

    Worst: (It was not given to me, but it is done and I have heard of people doing it.) “As long as you participated in it, just put it in your C.V., write ‘you directed/shot it’. You are not lying. You did participate in it.” As a means to make your C.V. look better. It has also been done to me when an intern on one of my productions said they directed a particular production when applying for the job. There are ways and things you may need to do to get ahead, especially in the early days when you are starting out fresh, but this is not the way. It’s actually stupid.

    Best: “You can’t control what others think, but what’s within your control is to keep your nose clean.” I do that all the time.

    Sean is presently still a full-time freelancer and TV director, busy with his 11-month-old daughter, managing his stocks portfolio on NASDAQ and the SGX and running two other businesses on the side. You may read more about him on his website or ask him questions about becoming a media freelancer by dropping them into the comment box below.

    The above interview is sponsored by:

    J Rental Centre

    And supported by:
    The Amateur Trader

    Photographs courtesy and copyright of Sean Cheong. Interviewer: Sy
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  • How I Became Young Journalist of the Year

    How I Became Young Journalist of the Year

    Brought to you by:

    J Rental Centre

    Shushan Lam was 24 when she joined Channel NewsAsia as a journalist and just 27 when she was recognised as Mediacorp’s Young Journalist of the Year—an award given to journalists under 30 for impressive or outstanding work. She tells LUCK-IT how she did it.

    “I had no idea that I was in the running for Young Journo of the year—and I didn’t care much for it either. I just wanted to do what I loved and I guess it showed in my work.”

    Q: When did you first start wanting to be a journalist, and why? What were the steps you took to move towards becoming one after you decided so?

    A: It happened by chance. I missed business school by one point so I enrolled in the school of Media and Communications at RMIT in Melbourne. It was such a creative, hands-on and collaborative course, it just got me very excited about all things media. When I came back to Singapore, I was looking for a job and the digital team at CNA [Channel NewsAsia] was expanding—this was in 2014 when digital and social media was just on the cusp of exploding. I happened to be trained specifically in digital media, so it was the perfect match. They provided me with a platform to apply everything I had learnt, and it was fun working with them to push the boundaries of digital storytelling.

    How did you get yourself a job as a journalist and what were your early days of being a journalist like? Did you think you would succeed as a journalist or did you have no idea what to expect?

    Shushan (middle), on her first major assignment as a journalist.
    Shushan (middle), on her first major assignment as a journalist.

    So I got a job as a video journalist, producing short, human-interest, digestible type of video content. The early days were very experimental. In fact there was a bit of disillusion when I got the job and realised that we were part of a small team that didn’t have much weight in the company. But I believed in the digital platform, and social media sites like Facebook, Instagram and video-streaming sites like YouTube were really taking off.

    Then the company really started pumping resources into growing their digital team. We went from a small scattered bunch of producers who shot and edited everything on our own with handheld DSLR cameras and a crappy laptop, to a full-fledged team of about 50 people within a few years. It was a wonderful experience—because everything was so experimental, no one really set frameworks to follow. We were setting our own rules and discovering new things as we went along, using all the social media tools like FB live, Insta live, we used social media to crowdsource our stories, and the engagement and response that the audience had with the stories on the digital platform were unlike anything that people have experienced in the TV realm.

    How long did it take for you to go from being a newbie journalist to becoming Young Journalist of the Year? What was the process like? Did you have any big setbacks or wins along the way?

    It was in my second year on the job that I received the award. I had no idea that I was in the running for Young Journo of the year—and I didn’t care much for it either. I just wanted to do what I loved and I guess it showed in my work.

    “What I was doing as a digital journalist was quite new and novel then.”

    Why do you think you were selected to receive the Young Journalist of the Year Award over others? Was there something you did in particular that your peers did not do?

    What I was doing as a digital journalist was quite new and novel then. There are a lot of other people who can do what I do now, so to win Young Journo of the year based solely on being able to use a DSLR and editing software to tell a story may be a bit tougher now!

    Shushan (left), on assignment at a Rohingya refugee camp in Bangladesh.
    Shushan (left), on assignment at a Rohingya refugee camp in Bangladesh.

    What did you routinely do in the years/months/weeks leading to you being selected for the Young Journalist of the Year award?

    “’Drop everything and go get the story’, and I never said ‘no’.”

    Work and work and work and seize all opportunities given to me. In my first week on the job, the QZ8501 AirAsia crash happened, and I was catapulted onto a navy ship in the middle of the stormy Java sea for ten days. Shortly after there was the Sabah earthquake, and then the 2015 Myanmar elections, and so on. On top of that we have to manage our weekly assignments. One of the stories that got me nominated was an investigative piece about the elderly poor in South Korea. I had to stake out at rubbish dumps in sub-zero weather to find people willing to talk. All this requires a certain amount of ‘drop everything and go get the story’, and I never said ‘no’. This was the point of the digital team—to have journalists that you can send out in a heartbeat with minimal equipment and to be able to come back with a good story.

    Shushan winning the Young Journalist Award in 2017.
    Shushan winning the Young Journalist Award in 2017.

    After receiving the award, did your routine change in any way? If so, how?

    No, routine didn’t change. But I guess I felt like I had a reputation to uphold, and I put a lot of pressure on myself, and that’s when the process became a little less enjoyable.

    How did you spend your weekends before you received the Young Journalist of the Year award and after?

    Before, I didn’t set such high standards for myself so my weekends were quite alright, non-work stuff. Would hang out with friends, watch a movie, recuperate and get inspired to do the next story. But after I won the award, I put a lot of pressure on myself to give more to the job. I was working weekends a lot—but most people on the team were too.

    Can you map out a recommended path for people who want to receive the Young Journalist of the Year award to follow?

    Shushan (right), on her favourite assignment of all time—filming rescued endangered gibbons in the middle of the jungle in Malaysia.
    Shushan (right), on her favourite assignment of all time—filming rescued endangered gibbons in the middle of the jungle in Malaysia.

    Don’t do it for the awards—that’s the worse advice to give. Do it because you want it, and because you love it. Before you do any story, it helps so much to have your heart in it. Don’t do it for the awards.

    What are the key things/people/situations that enabled you to win the Young Journalist of the Year award, in your opinion? Who/What do you believe you never would have succeeded without?

    Editors who recognise your work—they are the ones who will nominate you. You need to get your editors excited about your story. Your pitch is so important. That is why I say, before setting out on any story, it’s important that you know why YOU want to do the story. Not to win an award, but because it’s a great story to tell! I wouldn’t have succeeded without the guidance of my editors who managed to elevate the stories, who forced me to dig deeper, to question more. And also the editors who helped polish my skills in video-editing and filming.

    If you could go back and replay your journalism career all over again, what would you do differently?

    Would not have said ‘no’ to a Japan earthquake assignment. They wanted me to do live PTCs [pieces-to-camera—a journalism term used to refer to a person speaking directly to the audience through the camera] for TV on top of the digital work and I felt like I wasn’t able to handle that. But when I saw the reporter they sent on TV, I was full of regret for not taking up the job.

    What were you like as a child? What about as a teenager and young adult? How did you change at every decade? Or did you not change

    Friendly and curious, but actually a bit shy in crowds. Preferred having deep conversations with one person. Perhaps why journalism suits me.

    Shushan now: “Travelling, taking it easy, spending time with friends and family, getting inspiration to move on to my next stint in the media. May not want to be a journalist anymore, but won’t be putting down my camera.”
    Shushan now: “Travelling, taking it easy, spending time with friends and family, getting inspiration to move on to my next stint in the media. May not want to be a journalist anymore, but won’t be putting down my camera.”

    Which major event in your life has made you who you are, in your opinion? Why do you think so?

    My dad was a traveling businessman, so we travelled a lot when we were kids and met a lot of people from around the world. It made me realise that there are so many things out there in the world, and so many things you can do with your life. So I never wanted a desk job.

    Which 3 objects/people in your life can you presently not live without and why?

    My cat—she gives me comfort after a stressful day. Social media—depend on it for work, sometimes to get leads. My gym membership—exercise helps to balance my mood. Gives me a good appetite too.

    Of all the objects you bought in the past year, which has most positively impacted your life? Why?

    Gym membership. I’m a lot less grumpy when I get regular exercise—endorphins.

    Shushan is presently a freelance video content producer who’s also busy getting married and figuring out her next moves. You can find her on Instagram @loulapod or ask her questions about journalism by dropping them into the comment box below.

    The above interview is sponsored by:

    J Rental Centre

    Photographs courtesy and copyright of Shushan Lam. Interviewer: Sy
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