March 22, 2025February 23, 2025 FLD Editor

[Transcript] ATA Continuing Education Series Podcast – Episode 30 – Museum Translations with Multitalented Susan Pickford

Photo of a wall in an art museum. There is an assortment of framed paintings on the wall. There are three black statues under the paintings. — ATA FLD Podcast. Photo Credit: Unsplash

To make our Continuing Education Series Podcast more accessible and searchable for FLD members and the general public, we are now offering transcriptions of our episodes right here on À Propos. Many thanks to our volunteer transcriptionists, who are credited at the bottom of each transcription. If you’re interested in helping us transcribe podcast episodes, email divisionFLD [at] atanet [dot] org.

HOW TO LISTEN TO THE ORIGINAL EPISODE

SOUNDCLOUD: You can listen to or download Episode 30 and all previous episodes on Soundcloud here.

ITUNES: This episode and all previous episodes are available on iTunes here. You can subscribe or listen online. Like what you hear? Rate us and review us! It really helps get the word out.

Episode 30: Museum Translations with Multitalented Susan Pickford

Andie Ho: Today we’re joined by Susan Pickford, who is from the UK, but she’s been living in France since the late 90s after earning a degree in French and German. She worked in publishing for a short while before beginning translation in 2001—I guess she saw the light—using her publishing background as a springboard. She joined the Louvre translation team in the early aughts, when they were setting up the museum’s first big website, and the rest is history. Susan also has a PhD in Comparative Literature and taught English at various universities, before landing a tenured position in translation studies in 2007. And now she runs the English Unit at the University of Geneva, where I attended a semester. Fabulous memories there at the what is now called the Faculté de traduction et d’interprétation. Welcome, Susan.

Susan Pickford: Thank you. I’m so pleased to be here.

Andie Ho: So you have a very interesting and varied background and career, and we’re going to get to all of it. But let’s start with the beginning. So first you started working in publishing before parlaying that into a career in translation. So how exactly did you work that transition? How did you use your publishing world experience to leverage that into a second career?

Susan Pickford: Well, to start off with, I mean, I have to say I was pretty low in the food chain when I was in publishing. I was in Paris, and I only worked in publishing for a year. But it was, to be honest, it was an excellent grounding in sort of the whole publishing ecosystem, I would say, because I was pretty much the dogsbody who did, you know, did the photocopying and went to the other departments and so on. But it really gave me an overview of the whole thing, how it hung together, where translation in particular fitted into it. I was working in a department where we produced translation or translated books in house, illustrated books, coffee table books, I’d guess you call them. And so I sort of got a sense of the economy of it and how translation really slotted into that. While I was there, I did a lot of editing, sort of language editing on the translations that came in. And I also did a little bit of translation myself. And I would say that was also super helpful because it was really broad.

Susan Pickford: There were books on everything from, you know, rose varieties, model trains, lighthouses. It was a really good broad grounding in how to write for a general audience. And it also made me think about, who am I writing for? What do they need to know? So I’d say that was a really, really good place to start. And the other thing that it taught me is that I’m really not cut out for a 9-to-5 office job. So that kind of propelled me into further study, which is sort of my other strand in life, working in academia. So from there, I started, I went back and did my PhD, and I funded my PhD largely by working in translation, starting out mostly for the same publisher in Paris, but also then it snowballed from there as I built up contacts and worked a lot with a sort of informal network of people working in the same sort of sector in Paris at the time.

Andie Ho: So you said you learned where translation slots in into the publishing industry. Where does it slot in?

Susan Pickford: That’s a very good question. I mean, I think we tend to think to think of translation as sort of an isolated phenomenon, but actually it’s really much, very much a part of a chain of command where you have exactly as in business translation or in other sectors. When we’re looking at publishing translation, you have a commissioner, somebody who wants to buy the project. You have people who are going to be editing your text. You then have buyers who you have to write for, et cetera. So you’re never working in isolation, even if you’re doing literary translation, you’re always working in a chain of command. And I think we sometimes forget that and I think it’s important to bear it in mind.

Andie Ho: Now, speaking of literary translation, you were also on the French literary translators association board for 10 years. Can you tell us about that?

Susan Pickford: Sure. So, as I was saying, we do think of translators, you know, people think that we work at home in a kind of ivory tower, but that’s really not true in my experience. I mean, I’ve always worked in teams. It’s part of, I think, part of the arts sector as well. That’s one of the characteristics, that they’re big projects and you’re often working, working to short deadlines. So I do work a lot in teams, and I’ve always had that sort of ethos of advocacy and service for the profession, because I’ve always thought that if you want to be taken, if translation wants to be taken seriously as a profession, it needs to foster that kind of collective shared ethos and values, which are sort of core, a core definition of what a profession is. We don’t sign a Hippocratic oath, but we can work towards having a collective shared set of values. And that’s really what I thought about when I was joining the French translation association. It’s kind of the idea of a rising tide lifts all boats. You know, if we’re all working together for better conditions, then it works for everybody. And I have to say, doing that, I’ve also had a lot of work through it. I’ve also passed a lot of work on from it. So I think that collective sort of seeing what we do in that collective perspective is super helpful all around.

Andie Ho: Yeah, it’s so super important when the majority of our days is us and the four walls. You know, talking to ourselves to really make it a point to get out there and connect.

Susan Pickford: Absolutely. It’s so important. You know, from a mental health perspective, fitness perspective, connecting with others, the human side of it is so important.

Andie Ho: Now, you have said that the majority of your clients currently or in the past even have been museums and opera houses, various cultural institutions. So I assume that decision was influenced by your early work on the Louvre project?

Susan Pickford: Pretty much. I would say it’s, I kind of fell into it, but it really suited me as well. So I think it’s, you know, it’s a good thing that I came into this from my perspective. I have always been interested in the arts. You know, I’m a keen museum-goer. So can’t say it was a deliberate decision to make that my speciality. But yeah, having worked on the Louvre project and having built up a network of people who are also working in similar areas. Yes. It just sort of fell naturally into place. And I have to say, it’s super interesting, super varied. You know, there’s a lot of work in the sector which is really very varied and very interesting.

Andie Ho: So in addition to museums and opera houses, who are your clients and what kind of projects do you do for them?

Susan Pickford: Well, at the minute, it really has been museums. I have been heavily working in that sector. I mean, do occasional things for record labels, operas, a little bit of music on the side as well. But the vast majority of my work is for a sort of core set, I would say, of six or seven museums that I have a good long-standing working relationship with. So, you know, big museums in Paris, which have a lot of work, obviously, because, you know, these are huge international visitor attractions. Also, now since I moved down to live near Switzerland, I work a lot with Swiss museums as well. So that’s really the bulk of where my work is now is in museums and the sort of thing I do, I do wall panels for exhibitions, temporary exhibitions. I do a lot of catalogues, a lot of website content, because obviously they have , you know, exhibitions that are constantly changing. They have to bring new visitors in with new attractions, new content. So there’s kind of an ongoing rolling stock of work that needs to be done. Plus the sort of bread-and-butter work of updating websites in terms of COVID restrictions and updated accessibility statements and things like that. So I tend to work less on those. But there is some of that as well, some more of the sort of pragmatic side of visitor attraction work.

Andie Ho: So you said there was a certain chain of command in publishing. Is that the same also in museum work?

Susan Pickford: Pretty much yes. A lot of the big museums I work for have their own publishing branches or their own publishing departments. I tend not to deal with those so much these days. I would pretty much be talking to one person who is often a curator at the museum, particularly if it’s a smaller museum. A lot of the bigger ones, as I say, the Louvre will have its own publishing branch and then I’ll be dealing with them. But since I stopped working in publishing, I have much less contact with that broader chain of command. It’s really now me talking to my contact at the museum.

Andie Ho: So how do museum clients or cultural institution clients differ from more commercial clients, would you say?

Susan Pickford: Well, I’d say there’s a question of status in that they tend to be nonprofits or state- run. So I have to say, in the French context, that means there can be a lot of admin involved in terms of billing, things like that. There are some real specific aspects to museum translation. So things like space constraints when you’re working on wall panels, you know that you’ve only got so many characters that you can play with. And you also have to be aware of the fact that you’re writing for often, in a lot of cases, a very international audience. So you know that Chinese visitors, for instance, will be mediating or will be accessing the art through the English. So you have to bear that in mind in how you write and how you gloss things. And, you know, you have to explain who various historical characters are that are in paintings for an international audience, but then keeping that within the space constraint that you have on the wall panel, that sort of thing. So that can be quite a challenge. I would say that another thing that is specific about the work is it can be highly technical when you’re talking, for instance, about pottery-glazing techniques, that sort of thing. But it could also be very, very creative when, you know, I had one project a couple of years ago, for instance, where it was an imaginary index of objects that you might find in a surrealist painting, and then it needed to be, there was lots of wordplay and the whole thing needed completely rewriting.

Susan Pickford: So you have to be sort of a master of a lot of skills. The things I’ve worked on in the last couple of years, philosophy of architecture for a journal that I work with regularly, 18th-century furniture, 19th-century photography. I did an exhibition on wampum beads for a place in Paris last year. So you have to be really on top of trends in the art world. I think that’s important contemporary art in particular. But you also have to be super skilled at getting very good at things you don’t know much about very quickly. Before I did the Wampum Beads exhibition, I could hardly have told you what they were. But, you that’s one of the skill sets, is really developing expertise very quickly with that sort of background knowledge of the fundamentals of art and art vocabulary. I think that’s one of the most important things. I would say that one thing that is specific about it as well is that I never use any CAT tools. I think it’s one of the rare sectors where they’re not necessarily very, very useful because kind of by definition, the repeatability of the kind of texts I work on is very, very low. So there’s not a lot of point in investing in CAT tools at the minute for me. So I do it all old school by hand.

Andie Ho: But what about glossaries? Do you maintain glossaries?

Susan Pickford: I personally don’t because I kind of started my career before they were a thing, 20 years ago. So I’ve honestly never quite got into it. I maintain them sort of informally, but don’t have any tools that do that for me.

Andie Ho: It’s all in your head, huh?

Susan Pickford: All in my head, yeah.

Andie Ho: Impressive. Yeah, the few times, you know, in my younger days, I accepted some projects translating some artwork because I thought it would be easy, I thought it would be “soft.” I think a lot of people do. And I was shocked by how technical it is. And I find, for me, at the time at least, it was even harder to find those technical terms than it would be for a piece of machinery.

Susan Pickford: Sure. Yeah. You have to be good. I mean, now, you know, when I started out, Google was barely a thing. So you did spend a lot of time doing research. Now, you know, 20 years down the line, it’s a lot easier than it was, looking up terms. There are good bilingual dictionaries out there that you can access. But by and large, when you’ve been working in the sector for a long time, you do know a lot of the background stuff. And I also know now to refuse projects where I’m not going to be comfortable with the level of technical language. So, for example, there are some architecture-type projects that would say no to these days, because I just know that I’m going to spend a lot of time looking up terms for 12th-century church architecture and I’m quite happy to pass that kind of text on to other colleagues who are very good at it these days.

Andie Ho: No matter how long I’ve been in translation, I’m still constantly shocked by the obscurity of the texts that we can receive. That’s part of what makes it fun.

Susan Pickford: It is. Absolutely. I mean, the sheer variety of jumping from subject to subject and being an instant expert in things, I find that instant, you know, it’s constantly super gratifying for me. Yeah.

Andie Ho: So you talked about the other half of your life. You also work at the Université de Genève in Geneva. So what exactly are your responsibilities there?

Susan Pickford: Okay, so I’ve been in Geneva now, this is my third year just starting. I run the English unit, which runs the M.A. in translation from French and Spanish to English in legal and financial and economic translation. Geneva actually has one of the oldest translation schools in the world, started back in the immediate post-war period, and it’s now become a full faculty. So I am head of a team of 10 translators who teach. I’m the full-time person at the university, and then my colleagues are all people who are working at the various international institutions that we have in Geneva. So people who are working at the World Health Organization, at the Red Cross, at the International Labor Organization and so on, who will come in and teach in their special area of expertise. So that, again, is super gratifying. And because I’m an academic as well, I do some research as well alongside that and I teach as well. I teach undergraduates translation. Yeah.

Andie Ho: So what courses do you teach?

Susan Pickford: At the moment? I’m teaching Thèmes, which is French, to English translation for undergraduates. And then I also teach translation, revision, and translation criticism later in the year.

Andie Ho: And what is your area of research?

Susan Pickford: So my research focuses on translation sociology, particularly translator sociology. So I’m super interested in, because I’ve always been at the crossroads of practice and research. I’m super interested in translator careers, how people, you know, who gets to translate what, what kind of content and in what conditions and particularly what sort of economic conditions. So I’m super interested in issues of workflow, timing, how people get to choose the, do people get to choose the projects they work on? At what stage in your career can you afford to say yes or no to things you know? Can you work in literary translation particularly? Can you work in it full time? Can you describe yourself as a professional literary translator if it’s not your main source of income? So sort of theorizing around those issues is what I’m working on at the minute.

Andie Ho: That is so interesting. Do you also look at the geographical level? Because just off the bat, I mean, for instance, Europe and America, the landscapes are so different.

Susan Pickford: Absolutely. I work mostly in the European context, to be honest, because, you know, that’s where I am. But I know the landscapes are very different. I mean, even just things like, aspects that are very little discussed, but things like the tax setup, health care setup, which means that in Europe you might be able to afford to start a career in a different way than you would in the States. And that’s not even getting into other parts of the world where I really don’t have the knowledge to talk about them. But these are interesting and important questions that I think we need to spend more time talking about in the profession.

Andie Ho: Absolutely. Okay. Final question that I ask everybody. What do you want to leave the listeners with? What would you like them to know?

Susan Pickford: I do have one thing that is quite exciting, the most exciting thing that’s happened to me in my translation career so far, is that last year, I translated a novel for the first time, a full-length novel by a Belgian author called Barbara Abel. And the book is called Mother’s Instinct, and it’s coming out soon as a film, a Hollywood film starring Jessica Chastain and Anne Hathaway. It’s been a little bit delayed by the strikes, but you know, you’ve got to support that. So it’s out soon. Look out for that. And I’m super stoked that that’s happened.

Andie Ho: Oh my gosh, that’s so exciting.

Susan Pickford: I know, I hope I get invited to the premiere. I mean I’m looking out for an invitation.

Andie Ho: I forget what movie I was watching recently. Oh, it was A Man Called Otto. That’s the English, American title. A Man Called Ove is the Swedish title. And I watched the trailer, I read the English version, and then I watched the trailer, and I recognized the exact dialogue from the English translation of the book spoken by Tom Hanks. So do you know if Jessica Chastain and Anne Hathaway are speaking words that you wrote?

Susan Pickford: I suspect not. They’ve got someone else, they got someone to do the screenplay, and then they bought the rights to the French book, because it’s actually a remake of a Belgian film from a few years ago. So I have to say, my involvement in the film is kind of peripheral. So, you know, that invitation may not happen, but still it’s…

Andie Ho: They might have taken it though from your…

Susan Pickford: Yeah, yeah, I’m going to gatecrash. If not, I’m going to take the train to Paris and gatecrash.

Andie Ho: All right. Well that’s very exciting. So everybody check out that book. What’s the French title of the book?

Susan Pickford: Derrière la haine.

Andie Ho: Okay. All right.

Susan Pickford: Yeah, complete change of title.

Andie Ho: Translated by Susan Pickford. Check it out.

Susan Pickford: Absolutely. It’s out there.

Andie Ho: All right, well, thank you so much, Susan, for joining us today and telling us all about your very interesting career.

Susan Pickford: Well thank you, Andie. It’s been an absolute pleasure.

March 15, 2025February 23, 2025 FLD Editor

[Transcript] ATA Continuing Education Series Podcast – Episode 28 – Belinda Stohner on Miami Fun

Photo looking through palm trees at a blue sky with some clouds. — ATA FLD Podcast. Photo Credit: Unsplash

HOW TO LISTEN TO THE ORIGINAL EPISODE

SOUNDCLOUD: You can listen to or download Episode 28 and all previous episodes on Soundcloud here.

ITUNES: This episode and all previous episodes are available on iTunes here. You can subscribe or listen online. Like what you hear? Rate us and review us! It really helps get the word out.

Episode 28: Belinda Stohner on Miami Fun

Andie Ho: This is Andy Ho, host of the Continuing Education Series, a podcast produced for the members of the French language division of the American Translators Association. Offering educational content about the craft of French to English and English to French translation and the division.

Belinda Niling Stohner is a professional violinist based in Miami, FL. She has an unorthodox attitude towards the role of string players in the art world. Her groups Baby B Strings and Sugar & Scotch, and her innovative project Musical Fairytales blur the lines between classical music and pop culture. She has performed with Shakira at Super Bowl 54, Usher at the Victoria Secret Fashion Show, and alongside the likes of R&B artist Maxwell, and bluegrass fiddler Mark O’Connor. Also, she’s my sister. Welcome, Belinda.

Belinda Stohner: Hi!

Andie Ho: So, the reason I have asked Belinda here today is because she lives in Miami, has lived there for 20 or so years, and since the ATA64 this year will be in Miami, I wanted to pick her brain about what we should do for fun in Miami when we get there. Belinda, you originally went to Miami for college and then stuck around. We are originally from Kansas, so this was quite the change of scenery. What made you stay?

Belinda Stohner: Number one, the sun! That’s a no-brainer. I hate cold weather. And when I first came to do a college visit, I think it was like in the middle of February, and I was, like, sold! I don’t need—there’s no question I want to be here. That and also it’s a mid-sized city. You know, it’s not quite the very intimidating city like New York or LA or even Houston, but it’s very metropolitan and exciting, and a lot’s going on here. Things are changing all the time.

Andie Ho: There is a lot going on. It’s funny, though, The last time the ATA was in Miami, I heard someone say, Oh, I’m not interested in going because there’s nothing to do in Miami. It’s not much of a tourist town. Which struck me as crazy. When people think about Miami, obviously, they think about the beaches and all that stuff, but what other stuff is there to do there?

Belinda Stohner: There’s so much stuff. Something for everyone. If you’re really into the glam of things, there’s high-end shopping. You can go see celebrity houses on Star Island. But also, if you’re into art, there’s so many private collections and art galleries. The Pérez Art Museum is one of our big draws. But also, if you enjoy just being outdoors, there’s the Everglades National Park, which is amazing. There’s so many animals there. You can go kayaking, paddleboarding, snorkeling. The world is your oyster. It’s very diverse. You just have to go find it.

Andie Ho: You mentioned celebrities and Star Island. What are some of the celebrities who have homes in Miami?

Belinda Stohner: Who doesn’t have a home in Miami? Shakira is the latest one to move here. David Beckham and his wife, Victoria, moved here fairly recently and started a soccer team. If you’re into international soccer, Lionel Messi is basically the world superstar currently, and he just signed with Miami. Tom Brady, Ivanka Trump, one of the Jonas Brothers, Pharrell. A lot of people have houses and live here mostly full time.

Andie Ho: Have you ever seen a celebrity when you’re out and about in town?

Belinda Stohner: One time I was at the mall and Shaquille O’Neal walked by with a horde of people. It was just like a whole bunch of people and then this head sticking out, because he’s so big. He’s larger than life.

Andie Ho: Well, and you did play in the Super Bowl with Shakira, so.

Belinda Stohner: That, too. Jennifer López lives down here as well. So I saw her as well.

Andie Ho: So what is the weather going to be like in October? You said you like the sun. Will there be sun?

Belinda Stohner: We are the Sunshine State. You know, we don’t really have typical seasons like most other places. We say we have wet season and dry season. Late October is kind of the tail-end of the peak of hurricane season. So it could rain or it couldn’t rain. For example, today there was no rain forecasted and it poured for a few minutes. The thing that would be guaranteed, though, is bring sunscreen and that it will be warm and humid.

Andie Ho: Okay, and for those of you who are keeping score at home, the ATA is October 25th through the 28th, as a reminder. Speaking of the Sunshine State, what is this Brightline that I’ve been hearing so much about?

Belinda Stohner: Oh, man! So Florida is a peninsula, and for the most part, there’s maybe one highway, which is I-95, that goes north, and then one that goes west to Naples. It can get very congested. So in the last several years, they’ve been developing the Brightline. Currently, you can go from downtown Miami to Fort Lauderdale and Palm Beach. The Orlando stop is supposed to open later this year, and I believe they’re working on a Tampa stop. So you can kind of traverse and go to like Disney or Universal and come back down south and not really need a car, which is amazing.

Andie Ho: Okay, so it would be easy for, say, conference attendees to fly, say, into Orlando and then come down for the conference and go back up and fly out — or vice versa, fly into Miami, go up to Orlando and come back?

Belinda Stohner: Yeah, it’s fairly inexpensive. It looks very clean from the outside and it’s quite frequent. I don’t know if it’s every 15 minutes or every half hour that there’s a train. I believe there’s probably free wifi on there. And in terms of public transport downtown, kind of where the conference is going to be, there is a free trolley that runs till 11 p.m. so you can kind of get around the downtown area. There’s also tons of rideshares like Uber and Lyft. You can rent scooters or Citi Bike if you’re into that. And it’s quite walkable downtown, you can reach a lot of things. I believe there’s a Whole Foods across the street from where the hotel is. So there’s a lot of things downtown.

Andie Ho: The conference is being held at the Hyatt Regency near Brickell? Brick-ELL? How do you say that?

Belinda Stohner: BRICK-uhl.

Andie Ho: Brickell. Okay, so that’s considered downtown?

Belinda Stohner: Yeah. Yeah. Brickell specifically is usually a bunch of high-rises. There’s a lot of banks and condos and other businesses downtown. But yeah, I would say that the Hyatt Regency is on the edge of Brickell. So you could either go to Brickell and kind check out that area or like proper downtown, which is a little more industrial and less, less flashy, I should say.

Andie Ho: Brickell, Isn’t that the area with tons of restaurants? We’ve been there before.

Belinda Stohner: Yeah, but there’s tons of restaurants everywhere. If you’ve ever seen the documentary Cocaine Cowboys, you’ll see kind of like where all the money came from to build downtown and why it’s so beautiful.

Andie Ho: All right. So what is the food scene like in general across Miami? Not just Brickell.

Belinda Stohner: Okay. Well, we do pretty well food-wise. You know, we are a very diverse city. Obviously, there’s a lot of Latin food, like Cuban, Caribbean food, South American food. But if you want to eat $200 sushi, you can do that. Or you can go to a quick corner store and eat a sandwich for a couple bucks. For Cuban food, because that tends to be a draw for a lot of people, if you go to Calle Ocho in Little Havana—that means “eighth street”—Versailles is the popular destination for a sit-down restaurant. It’s a little bit more touristy. I like La Carreta, which means “the cart,” it’s like an ox cart. It’s a little more homestyle. They describe themselves as “abuela-style.” If you like ceviche or if you like seafood, because we’re obviously a coastal town, ceviche is really good. Near the hotel, there’s Ceviche 105. There’s also one on the beach. That’s really good. You can go get a Pisco sour and some Peruvian food and get some ceviche. And then the other thing that I really like, which is pretty local to Miami, is the Jamaican food. That’s not an obvious choice for people that come to Miami, but there’s really good Jamaican food here. Clive’s Cafe is really cool. It’s a small hole-in-the-wall place. There’s a little old lady named Miss Pearl. She runs the counter and you can go in and get like some Jamaican patties for a few bucks or they have oxtail and ackee and saltfish. That’s really interesting if you’re a little more adventurous food-wise.

Andie Ho: Now, just to be clear, folks. Versailles. Yes, it is spelled like the Palace of Versailles, But it is Cuban food, not French food. Correct?

Belinda Stohner: Yeah. I’m not really sure what the historical context on that is, but I know it’s featured in a lot of things, and that’s the one that people always talk about.

Andie Ho: So what about the French food scene? Because our listeners are largely French-speakers, people interested in francophone cultures. So what’s the French food scene like?

Belinda Stohner: You know what’s interesting? There is a pretty decent-sized French diaspora here, but the really good French restaurants are kind of scattered about. You know, there is a French cafe called Cafe Crème in North Miami. The owners have had several restaurants around Miami. That’s kind of our favorite. Kind of closer to the hotel is Buena Vista Deli. Again, it’s a kind of a cafe where you can get like a quiche or a soup and a salad. And they have like a really beautiful dessert showcase that is very French. If you’re in Coral Gables, there’s Frenchie’s Diner, which, again, the name doesn’t sound like it’s an amazing spot, but it’s quite fancy inside. You can get foie gras, but also you can just get roast chicken or duck confit or steak and potatoes. So those are kind of my favorite. Frenchie’s Diner, Cafe Crème and then Buena Vista Deli.

Andie Ho: All right, moving away from the food talk, reluctantly. You talked about some of the outdoorsy things like paddleboarding and whatnot. What about indoorsy things for us nerds?

Belinda Stohner: Well, it’s important to have indoor things because if you can imagine, the heat and the sun can get quite oppressive here, especially now in the summertime. We have things like the art museums, which is really cool. Like I mentioned before, Perez Art Museum, which is near the water. There’s also the Frost Science Museum, which has a really cool aquarium. You can see sharks, you can touch a starfish and manta rays, and it’s just really beautiful. And if you’re into science, there’s that part of it too. Um, yeah, those are kind of two of my favorite things to do.

Andie Ho: So on that topic, what do you and your husband do for fun? I mean, as local residents who live there every day and obviously are not going to the touristy areas, what are some of the things that you like to do? Places to go, places to eat?

Belinda Stohner: We’re also kind of pretty book nerdy. So there’s Books & Books. The flagship store is in Coral Gables downtown. It’s very quaint, has a cafe, wooden floors, beautiful. They have a whole section dedicated to just beautiful coffee table books, if you can imagine. And it’s cool just to go there and hang out. There’s a really cool alcoholic ice cream store. I shouldn’t really call it a store, but it kind of feels like a speakeasy almost, or a bar. And they only sell alcoholic ice cream, but it’s really good, well done. It’s not gimmicky. And that’s in the Design District, called Aubi & Ramsa.

Andie Ho: Cool. All right. I think that about covers it. It sounds like there’s something for everyone in Miami. Last question that I ask all of my interviewees: What would you like to say to our audience? What would you like them to know about life, the universe and everything?

Belinda Stohner: Everything everything? Uh, work hard and be a good person. Come to Miami. It’s a beautiful place!

Andie Ho: There you have it. Words of wisdom. All right. Well, thank you very much for telling us all about Miami today. And we hope to see you soon. And I’ll definitely see you at Christmas.

Belinda Stohner: All right. Thanks for having me.

Andie Ho: This concludes our episode for today. You can subscribe to the Continuing Education Series podcast on SoundCloud or iTunes by searching for Continuing Education Series. You can contact the FLD at division@atanet.org, visit our website at www.ata-divisions.org/fld, or get in touch with us on social media. This is Andie Ho signing off. Thanks for listening and à bientôt!

March 8, 2025February 23, 2025 FLD Editor

[Transcript] ATA Continuing Education Series Podcast – Episode 26 – A Chat with the SPD & KLD

Close-up of a microphone against a purple background — ATA FLD Podcast. Photo Credit: Unsplash

HOW TO LISTEN TO THE ORIGINAL EPISODE

SOUNDCLOUD: You can listen to or download Episode 26 and all previous episodes on Soundcloud here.

ITUNES: This episode and all previous episodes are available on iTunes here. You can subscribe or listen online. Like what you hear? Rate us and review us! It really helps get the word out.

Episode 26: A Chat with the SPD & KLD

Andie Ho: This is Andie Ho, host of the Continuing Education Series, a podcast produced for the members of the French Language Division of the American Translators Association, offering educational content about the craft of French-to-English and English-to-French translation and the division. Hi and welcome back to the podcast. We have a very exciting episode for you today. I have two guests, Paul Gallagher and Edna Santizo. They are here from the Korean Language Division and the Spanish Language Division, respectively, here to talk about what it’s like to run the largest and smallest language divisions of the ATA. Now, normally we here at the ATA or at the FLD podcast focus on French subjects, because obviously that is of interest to our memberships. But thought also, you know, we don’t talk to the other language divisions that often. So I wanted to reach out to them and see what their lives were like and kind of compare them to each other and to ours. So a brief bit about our guests today. Paul B. Gallagher is a Russian-to-English translator celebrating his 38th year in business in May. Congratulations, Paul. He has a master’s in linguistics from The Ohio State University and has also studied French, German, Polish, Bulgarian, Hebrew and Sanskrit at the college level.

Andie Ho: He took up Korean in 2007, soaking up Korean dramas, K-pop, Korean cuisine and working with Koreans in his local community to increase voter registration and engagement. As he’s gotten more into the Korean language and culture as his main hobby for the last 16 years, he was recruited by the to be its administrator in 2019 and is now finishing up his second term. Edna is a court-certified interpreter with the California Judicial Council, a conference and community interpreter and a translator. She was first elected administrator of the Spanish Language Division and is also on her second term and as an ATA and SPD member since 2010, Edna was invited to join the division’s Leadership Council in 2016 as a member of the Digital and Social Media Committee. And then the next year she was appointed chair of the committee, and that offered her a platform to learn about the inner workings of the ATA’s largest language division by far, as we’re going to discuss. So welcome, Edna. Welcome, Paul.

Edna Santizo: Thank you.

Paul Gallagher: Thank you.

Andie Ho: So, quick numbers for you. I pulled this from the ATA’s member directory. Edna, the Spanish Language Division has currently 2,073 members. French is a little less than half that at 931. And then Paul, the Korean Language Division has 98. So that is quite the disparity. That is a factor of 10 or 20, really. Edna, we’ll start with you. What is it like to run a language division with so many people from so many different places all over the world?

Edna Santizo: It’s fun and it’s challenging, as you can imagine. The Spanish Language Division, aside from being one of the largest divisions of the ATA, is also one of the oldest divisions. A lot of colleagues know each other because, you know, we run into each other at the conference. So we know a pretty good size of the members of the SPD, and that helps run the division. Aside from that, I’m blessed to follow on the steps of some amazing leaders that have, that did a lot of very good work in establishing the division, you know, creating committees, working on the website and what-have-you. And also, I’m very lucky to have a group of volunteers that are committed and that are always, you know, willing to lend a helping hand when we have activities or what-have-you. So overall, I would say it’s very fun and challenging.

Andie Ho: And Paul, what about you? What is it like to have a much smaller group of people to work with?

Paul Gallagher: Well, I would like to start with one small correction. We just added a member, so we’re at 99 today. Yeah, it is very interesting. Um, I enjoy working with Koreans, but there are certain cultural challenges because their mindset is often very different from the American mindset. They tend to be cliquish. If you want to deal with Korean, it’s best if you get an introduction from somebody they already know. But once you get in, they’re very tight. I really enjoy working with them. And the size has both advantages and disadvantages. The advantage, of course, is that you basically know everybody. The disadvantage is if you need if you need somebody to do a particular task, it’s harder to find someone if you have a smaller group to choose from. But we get by, we’re fine.

Andie Ho: So that was going to be one of my first questions is would you each describe your divisions as close-knit? Obviously it’s going to be much harder, Edna, for the Spanish Language Division for everybody to know each other. But are there, you know, very close groups within that as well?

Edna Santizo: I would say so. And this is something that I’ve heard over the years and, you know, I’ve been a witness of it where people have met during an conference and they become very good friends. They share, you know, work opportunities and they look forward to the next year to meet again at a conference. And they met because, you know, they attended the annual dinner of the SPD or they attended an event of the SPD or because they found out that they’re both SPD members. So I don’t think, you know, all 2,000 members know each other. That would be very hard. But yes, like you described, there are groups of people that are very close-knit that have met at a SPD activity and that they remain, I mean, they become very close friends and work colleagues over the years.

Andie Ho: Paul, you said some of the members tend to be cliquish. Would you view the world as one big clique or are there sort of some sub cliques within it?

Paul Gallagher: In any organization with more than about 10 people, there’re going to be sub-cliques. It’s just by default. I would say that. The Koreans compared to Americans. Again, the Koreans tend to be hardworking, very diligent, very committed to their duties. So once you get somebody on board for something, they will push the limits to get it done. Americans by comparison—and of course, any group has a mix—but Americans compared to Koreans, I would call myself a shirker. And I mean, I think I’m working hard and then I look at them and. Wow.

Andie Ho: So some of the advantages and disadvantages of the sizes of your divisions are obvious. But Paul, for your small division, do you have trouble finding volunteers, or do you have more volunteers stepping up because it’s so close-knit and everybody feels part of the group?

Paul Gallagher: Yes and no. It depends on how we approach them. And I didn’t know this at first, but when I first got started, I would send a broadcast to my Leadership Council, which even though we’re recommended to have about 10 people, we at the beginning had about 12 or 13. I would send a broadcast to all of them and say, if anybody is interested in doing this, if anybody can help, please contact me. And I was getting no response. And I realized, and people within the division clued me in, that I have to approach each one of them personally and say, you know, Kyung-ah, can you help? Or can you do this? And make a specific ask to a specific person. And then they will answer. And more often than not they’ll say yes, but if I just send a broadcast, they’ll each wait for someone else to step up.

Andie Ho: You know, I have found that in the French Language Division as well and also in other organizations I volunteer for. That may just be human nature. But Edna, I mean, you tell us, you have the biggest division. Is that also true for the SPD?

Edna Santizo: Yes, I know. Can you repeat the question? I’m sorry.

Andie Ho: If you send out a general call for volunteers, do you have millions of people stepping up, you know, leaping up to volunteer because you have so many people? Or do they just sort of hide behind each other because there’s so many of them?

Edna Santizo: Well, you know, actually, I think we are very lucky. We have a total of nine committees on the SPD. Each committee runs between three to seven members per committee. And like you mentioned at the beginning, this is the third year that I’ve been an SPD administrator and I haven’t had any issues in finding volunteers as to asking for a specific task because we are very well structured. Each committee has their area and they know what they need to do and they do it. I do very little work. I will say, thankfully, in guiding the everyday operation, we have special activities and special projects that we do. And that’s where we get together and we plan and we decide who’s going to be doing what. But it’s been pretty good so far, As to calling for volunteers, usually we at the conference, the administrator, the assistant administrator, we are always talking to people, to new members. And if they show interest in joining the Leadership Council, we try to take them in. We don’t say no. We take volunteers because we need them. And usually that’s the case at the ATA conference. People approach us and they ask us if they can help. And we always say yes. And we tell them we have these committees. Let us know where you think you can help us, and then we take it from there.

Andie Ho: So what are some of these subcommittees that you have, or committees?

Edna Santizo: We have the Digital and Social Media Committee. We have the Intercambios, which is the SPD bulletin. We have a website committee, student involvement, hospitality and relationships and, let me see, podcast. We also have a podcast committee.

Andie Ho: Paul. What about KLD? Do you guys have a newsletter or podcast or anything like that? Social media?

Paul Gallagher: We have a technically we do have a blog and we do have a Facebook page, but there isn’t a lot of activity there. As you know, any blog is successful if there are frequent posts so people have a reason to come and visit. Most of the stuff, most of the activity that we have goes through our listserv, where somebody posts a message and all the members of the listserv get a copy in their email box. So they don’t have to go looking for it. It comes to them.

Andie Ho: What is your relationship, Pau, the KLD’s relationship to some of the other language divisions? Do you ever partner with, say, Chinese or Japanese or any of the other divisions?

Paul Gallagher: We have explored connections with Chinese and Japanese, who are our natural partners. If if you know English, obviously half of what you know is from French because of the Norman conquest. And so if we want to say “go back,” we can also say “return,” and “return” is the French equivalent of the Anglo-Saxon “go back.” In Korean, the corresponding parent language, so to speak, is Chinese. They’re not genetically related, but Korean has borrowed thousands and thousands of Chinese words, and they pronounce them pretty close to the middle Chinese version, in about 500 AD. The Korean pronunciations sound a lot like the Cantonese pronunciations, which have not changed a lot, but Mandarin because of the Mongol influence and the conquests over there has changed a lot. And so you know, the common name Kim, which originally sounded more like “come,” is now Jin in Mandarin and doesn’t sound like Kim in Korean. Similarly, Japanese has borrowed thousands and thousands of Chinese words and they’ve also borrowed the writing system and supplemented it with their own. So you can look at a character in Japanese and understand the meaning, but maybe not be so sure about the pronunciation. So there is this natural cross-cultural — and I should also say Buddhism and Confucianism have migrated from the continent onto the peninsula and the Japanese islands. So there’s a lot of that. The mindset, the thought process has similarities. We have tried a couple of times to put together a joint presentations at ATA. So far it hasn’t worked out and it won’t work out this year. You know, everything has been set. But I do hope that someday soon that CJK will join forces and put together a joint presentation.

Andie Ho: Edna, what about you?

Edna Santizo: Yes, we have collaborated with other divisions. I know that we have collaborated with the Audiovisual Division. We are looking forward to collaborating with the Interpreters Division this year. I’m hoping that that happens and, I can’t remember right now, you know, specific collaborations. But yes, we usually reach out to other divisions because our members, you know, we’re Spanish Division, but our members are — their specializations are you know, audiovisual, medical, they’re interpreters, they work into the legal fields. So we have members in other divisions, and that’s why we try to collaborate. Also, we try to publish on the Intercambios bulletin articles related to those specializations. And usually members from other divisions are the ones who are contributing to those articles.

Andie Ho: Do either of you have special events for your divisions at the annual ATA conference besides the annual meeting for members?

Edna Santizo: Go ahead, Paul. Oh, thank you. We do. We have what we call our annual dinner. The annual dinner is called Muchas culturas un solo idioma, many cultures, one language. And it is very well known in our division, I think with other divisions too, we usually have about 100 people in our annual dinner. We have a very famous raffle that takes place at the end of the dinner and we have, you know, so many prizes. We have licenses for Trados, for Wordfast, books, webinars, workshops. What we try to, you know, celebrate our members at our annual dinner. And it’s a networking event. It’s an opportunity to be, you know, outside of the conference setting and just relax and enjoy a dinner and get to know one another. And it’s very fun. And it’s one of the traditions that we have for the annual conferences.

Andie Ho: Paul?

Paul Gallagher: Yes.

Paul Gallagher: We do also have an annual dinner and it draws a substantial, I would say typically two-thirds or more of the attendees go to or come to our dinner. Korean food is delicious. If you’ve had it, you know. If you haven’t, one of the things I especially like about it is what they call banchan, the side dishes. You don’t just serve an entree and a drink, but six, seven, eight, ten, sometimes more little side dishes. So you’ve got six, seven, eight, ten or more different flavors mixing in with your entree.

Andie Ho: I had read about banchan. I don’t know how you say it, but the first time I actually experienced it, it was overwhelming in the best possible way. It just kept coming and so much of it and they were so different. It was—I thought, why doesn’t every culture do this? This is amazing.

Edna Santizo: I used to work for Koreans before I became a translator and interpreter. And yes, I love the Korean food like I’m a witness of it.

Paul Gallagher: I’d be interested to know, Edna. Korea is a small country, well-populated, but relatively small, and pretty much everyone can understand everybody. But I understand that there are a lot of Spanishes across the world. I was especially impressed when I saw the movie Walk the Line. The Spanish title is La Locura de Johnny y June. It’s about Johnny Cash. And I discovered that it has not only Spanish subtitles but Spanish audio as well. But they were done by people from two different countries, one from Mexico and one from Peru. So if you turn them both on, you get two different sets of, two different scripts.

Edna Santizo: Right. Uh huh.

Paul Gallagher: Did you find any difficulty understanding Spanish speakers from other countries?

Edna Santizo: It varies. Yes. There’s people from Spain versus people from Argentina and from Guatemala. So it’s a very different dialect of Spanish. But Mexico, Mexico also has like many different dialects within Mexico. But we understand each other. I think there is something that not everybody agrees on, but there is something called neutral Spanish, and we’re able to understand each other. Obviously, there are nuances, especially with, you know, jokes, humor or bad words, you know. But then, you know, each country has its own twist to that. So that may be difficult. And obviously there’s, you know, those words that have one meaning in one country and a completely different meaning in another country. And, you know, we all make fun of those words. And of course, we use them because we know, you know, they’re going to be a very good conversation topic. But I think overall, we’re able to understand each other pretty well.

Paul Gallagher: Thank you.

Andie Ho: All right. Well, final question that I ask all of my interviewees. Is there anything else you would like people to know at all? Edna, I’ll start with you.

Edna Santizo: Well, I think there is this conception sometimes, that’s what I’ve heard, that because the Spanish Division is so big that it’s not approachable sometimes or that, you know, the volunteers are handpicked or that we are not willing to collaborate with other divisions because we are so big. But that’s not the case. Please reach out to us if you need any help, if we can support in promoting your events, your content, if you have a podcast and you want us to help you, please reach out. And if you want to volunteer also, you will be more than welcome to join us. Yeah.

Edna Santizo: That’s it.

Paul Gallagher: I was going to say much the same thing. So thank you, Edna, for saying it so well. The Korean Language Division always welcomes new members. We’re happy to have you to join with you, to welcome you in. What should I say? [speaks Korean] When somebody arrives and you want to welcome them, typically that’s what they say, [speaks Korean], which is literally “quickly come,” in a polite form. It would be like usted in Spanish or vous in French.

Andie Ho: I love it. Thank you guys for being here. I think we should maybe think about some collaborations with each other.

Edna Santizo: Absolutely.

Paul Gallagher: I’m ready.

Edna Santizo: Yeah.

Andie Ho: Excellent.

Andie Ho: Maybe stay tuned, people. And also, if you want to be the one hundredth KLD member, sign up now.

Paul Gallagher: Yeah. You get a you get a free toaster.

Paul Gallagher: Just kidding. Kidding.

Andie Ho: Thank you.

Paul Gallagher: Thank you, Andie, for hosting this.

Edna Santizo: Thank you, Andie. Appreciate it.

March 1, 2025February 25, 2025 FLD Editor

[Transcript] ATA Continuing Education Series Podcast — Episode 25 — Matt Bunczk on Paralegal Certificates

A pile of three books on the left and an open notebook on the right. There is a pen resting on the notebook. — ATA FLD Podcast. Photo Credit: Unsplash

HOW TO LISTEN TO THE ORIGINAL EPISODE

SOUNDCLOUD: You can listen to or download Episode 25 and all previous episodes on Soundcloud here.

ITUNES: This episode and all previous episodes are available on iTunes here. You can subscribe or listen online. Like what you hear? Rate us and review us! It really helps get the word out.

Episode 25 — Matt Bunczk on Paralegal Certificates

MB: Thank you, Andie. It’s great to be here.

AH: Now, I’ve already spilled the beans on why I asked Matt to speak with us today. And it’s because of that certificate of proficiency in paralegal studies from Delaware County Community College that I wanted to talk to him about it. One of our colleagues put me on to the fact that you earned this paralegal certificate, and my interest was immediately piqued because I had never heard of such a thing and didn’t know such a thing existed. So I want to hear all about it today. Why, when, where, how,, everything. And maybe our colleagues will be inspired to get one as well. So first things first. How did you learn about this paralegal certificate? Since I’ve never heard of it.

MB: I was, well, when I started freelancing back in 2015, there were just a lot of different projects coming at me, and there were some that I was that I was able to do just with my business background and as a project coordinator and an executive assistant. And then there were others that were kind of out of reach for me. But I would have liked to be able to translate them and understand the documents and everything. And so I really got into the paralegal program because I wanted to explore those documents that I was interested in translating.

AH: Did you want to specialize in legal right off the bat? Is that what made you get it or was it just because you were receiving legal and wanted to understand more about it?

MB: I think it was because I was receiving the legal documents and I wanted to understand more about them. And I think I also had the impetus from setting out on my own as a freelancer and no longer being an employee of a company and just understanding how the law affected me as an independent contractor. And in that process, I also learned a lot just about my rights and my obligations as a person. So there’s been a lot of enlightening moments along the way.

AH: So you got it from a Delaware County Community College. You got your certificate from there. Is that near you?

MB: Yes. It’s about a half an hour away from me. And Delaware County is not the county that I live in. I actually live in Montgomery County, but at Montgomery County Community College, they don’t have a paralegal certificate program. But in neighboring Delaware County, even though I would have to pay more to attend that community college, I found it very affordable still, and I was able to drive there and attend the classes.

AH: Okay. So it was in-person?

MB: Yes. And they also had a hybrid model where they wanted you to show up in person, but if you couldn’t show up in person, they streamed the class online.

AH: And this was in in what year? I mean pre-COVID?

MB: Yes, this was. I started the program in 2019 and then I completed it in 2021.

AH: So they were a little bit just ahead of the curve, huh?

MB: Yeah, absolutely.

AH: Do you know, do they happen to be full online at this point?

MB: I’m not sure about that. I would venture to say that they went back to in-person classes, but I’m not sure about that.

AH: So you said 2019 to 2021. Was it a two-year program or one-and-a-half or, I mean, how did they count it?

MB: Yeah. So technically, there are two tracks to this program. If you don’t have an associate’s degree or a bachelor’s degree, you could obtain your associate’s degree in paralegal studies. If you have an associate’s degree or a bachelor’s degree, you could take their certificate of proficiency program, which is just the classes focused on the paralegal studies. And so since I had a bachelor’s degree already, I was able to do the professional certificate program. And that was a little shorter than two years. That was about a year and a half.

AH: Taking how many classes at a time?

MB: I just took one or two classes at a time. And I was able to fit that comfortably into my schedule and still have a social life.

AH: That was going to be my next question is, how did you balance working full time, running your own business and then being in school at the same time?

MB: Basically, I took a class or two in the evenings and over the summer, and like I said, it was just one or two at a time. And it was just for each class. It was about three hours of class time each week. And then probably the same, if not a little more, more hours for homework. But it was definitely doable working full-time.

AH: And all the classes were in the evening?

MB: Yeah. Yep. There was no problem there.

AH: Okay, so that sounds like it lends itself to working professionals, people who are already working a full-time job.

MB: Exactly, yeah.

AH: Okay, so what was the curriculum like? What kinds of classes do you take to get a paralegal certificate?

MB: So they start out their program with an introduction to paralegal studies, and that gave an overview of our legal system in the United States. And then after that, I took two classes in legal research and writing, and that was followed by contract law and then another class called Technology in the Law, which made sure that we were able to draft documents in Microsoft Word and create PowerPoint presentations and work with software that you would find in law firms. And then after that, I took a real estate law class. I took an accounting class because they want their paralegal students to have some general idea of how accounting works. I took civil litigation and tort principles, civil litigation and toward applications, criminal law. And then at the end of it all, I had — it was almost like an internship, but it was geared toward working professionals so you didn’t have to show up at an internship every day. But in the evenings we would go to our professor’s law firm. She had a private practice and she would give us real live cases to work on.

AH: Oh, wow. That’s really neat.

MB: Yeah, it was really neat and really eye-opening and really humbling.

AH: Wow. So how many of those classes did you choose, and how many of them were mandatory for everyone in the program?

MB: So most of those classes were mandatory. There was one elective that we had to take, but we had a choice of which elective we took. And the choices were family law, there was one called elder law, there was bankruptcy law, there was business organizations, administrative law. And the one that I took, I actually took it at Montgomery County Community College, and I had the credit transferred in, and that was a business law class.

AH: All right. Okay. So I don’t know if you have a full answer for this, but how does a paralegal certificate differ from full-blown law school? Is it…I mean, did you… Do people in law school take the classes that you took and then continue on? Or was it like a pretty separate program?

MB: Right. What I heard from the chairperson of the paralegal studies department when I was first being received into the paralegal studies program was that this program was almost like the equivalent of the first year of law school, and it touches on most areas of the law. I would say it doesn’t go as in-depth as a law school curriculum would go, but it still gave you still went pretty deep with everything.

AH: You mentioned tuition being relatively affordable. I mean, we don’t have to go into specifics, but you found it was affordable for your case?

MB: Yeah, absolutely.

MB: I don’t mind sharing how much it cost for me as an out-of-county student. I paid about $1,000 a class, not including the books. So with 11 or 12 classes, that was around $12,000. And I wasn’t paying that all at once. I was just paying as I went.

AH: Okay. And then you mentioned that you could go into the certificate program even if you don’t already have an associate’s or a bachelor’s. So what are the qualifications to get in?

MB: You would basically have to apply to the program, like, just apply to the college and declare your major as a paralegal studies major.

AH: Okay. So you could just be straight out of high school, for instance?

MB: Absolutely, yep.

AH: Okay. Well, how many of your fellow students were straight out of high school or traditional college age? And how many of them were older or non-traditional?

MB: I would say it was split half and half. So half the students were straight out of high school and then the other half were working professionals.

AH: And how big were the classes?

MB: They were, I would say, they kind of ranged between probably between eight and 15 people in a class, I’d say.

AH: Oh, that’s a nice little size.

MB: Oh, yeah. Yeah, we had great discussions that way.

AH: Oh, good. So did you feel like you got some good personal attention from your professors?

MB: Oh, yeah. Lots of personal attention. Yeah.

AH: You mentioned going to your professor’s actual law firm. That’s pretty cool.

MB: Oh, yeah, Yeah, that was. And, yeah, she trusted us with her cases, and she was okay with asking her clients if it was okay if we sat in on the discussions and helped with the cases and everything and yeah, it was really a wonderful opportunity.

AH: So what kinds of backgrounds did your fellow students come from? I mean, were there lots of other translators like you or people who actually, you know, wanted to work as a paralegal afterwards? Where did they come from?

MB: Most of them, they were seeking employment as a paralegal. For me, I was kind of the oddball. I mean, they were very interested in my translation work and everything. I definitely felt out of place because, you know, I kind of didn’t have it in my mind that I would be working as a paralegal after this. And I still don’t because there’s a level of stress in the work that I’m personally like, I don’t feel like I’m up to it. But yeah, most people in the program were working toward working as a paralegal.

AH: I can definitely relate to being in a room and being the oddball translator there.

MB: Exactly.

AH: So the big questions. How has this helped you in your translation work, if at all? Like, how have you been able to use this in your translation career?

MB: I would say the most important thing that it’s given me is it’s enabled me to translate the documents that I’ve wanted to work with, and then some. There are lots of moments where I’m saying to myself, oh my God, I’m so glad I took these classes. And I don’t feel so lost when I’m facing certain documents or certain situations.

AH: Have you been able to actively use your certificate as a selling point to potential clients?

MB: Oh yeah.

AH: Or is it more of a personal…

MB: I do put myself out there as someone who specializes in legal translations. I’m not necessarily actively seeking out legal translation, but it is something that interests me very much. It’s something that I think I’m pretty good at. Those are my feelings about that. Does that answer the question?

AH: I think so, yeah. And yeah, it makes sense. If you also specialize in business and financial, you’re probably going to see a fair amount of legal coming at you as well.

MB: Absolutely. Yeah.

AH: Okay, Well, this has been very interesting. Um, last question that I always ask all of my interviewees. Is there anything else you want listeners to know about life, the universe and everything?

MB: [laughs] Well, I guess in terms of the paralegal program and paralegal studies, I guess I will end by saying that I know it’s not for everyone. I know there’s one listener in particular who won’t touch legal translations with a 10-foot pole. But if you are interested in legal things, if you would like to learn more about our legal system in the United States, it’s definitely an interesting program. Linguistically, you do so much mental gymnastics, working with words and dealing with terminology and statutes and court cases. So it’s definitely an exercise in working with your words, and I think it would definitely improve your skills as a translator even if you don’t go into legal translation. Um. And, I think that’s it.

AH: All right. Words of wisdom from Matt Bunczk. Thank you so much, Matt, for this perspective. Very interesting. I may be googling paralegal certificates near me soon. We’ll see. But thank you for your time today. We appreciate it.

MB: Great, thanks a lot for the opportunity, Andie.

MB: Appreciate it.

AH: This concludes our episode for today. You can subscribe to the Continuing Education Series podcast on SoundCloud or iTunes by searching for “Continuing Education series.” You can contact the FLD at division [at] atanet.org, visit our website at www.ata-divisions.org/fld, or get in touch with us on social media. This is Andie Ho signing off. Thanks for listening and à bientôt!

Matthew Bunczk is an ATA-certified German-to-English and ATA-certified French-to-English translator specializing in business and legal texts.

ATA Podcast host Andie Ho is a certified French to English translator specializing in the food industry. She earned her M.A. in translation from Kent State University and is now based in the Houston area. She currently serves as the ATA’s French Language Division administrator. You can follow her on Twitter at @JHawkTranslator or email her at andie [at] andiehotranslations [dot] com.