How to Become a Helicopter Pilot, Part I: Before the Tests

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It can’t be too easy, can it?

A few weeks ago, I got this e-mail message from a blog reader. In an effort to keep him anonymous, let’s call him Stu (short for student). Here’s what he had to say:

Perhaps you could post an article about the difficulties of initial licensing. I have some 40+ hours of instruction and believe I can fly a R22 quite well. My problem is the written test. I just can not get my arms around studying for and taking it. Partially due to time constraints, partially due to me being much better at practical things than book learning.. and partially of course, laziness.

I know I have to do it.. I just procrastinate a lot and simply have not gotten around to studying.. nor of course taking the test itself.

Any words or advice, thoughts, inspiration (LOL).

I wrote back, telling him that he’d just given me a topic for a blog post. I finally have time to write it.

So allow me to explain what you need to do to become a private helicopter pilot. In this first post, I’ll talk about the pre-test requirements. In the second part, I’ll talk about the tests and link to some useful resources that can help you pass them.

Hours

There’s a lot in that e-mail message, so I’ll start at the top. Stu says he has “some 40+ hours of instruction” and believes he “can fly an R22 quite well.” That’s great. If it’s true, it also makes him a better than average pilot. Most pilots need at least 60 hours of flight time before they’re proficient enough to take a check ride.

FAR Part 61.109, “Aeronautical experience” states, in part:

(c) For a helicopter rating. Except as provided in paragraph (k) of this section, a person who applies for a private pilot certificate with rotorcraft category and helicopter class rating must log at least 40 hours of flight time that includes at least 20 hours of flight training from an authorized instructor and 10 hours of solo flight training in the areas of operation listed in Sec. 61.107(b)(3) of this part, and the training must include at least–
(1) 3 hours of cross-country flight training in a helicopter;
(2) Except as provided in Sec. 61.110 of this part, 3 hours of night flight training in a helicopter that includes–
(i) One cross-country flight of over 50 nautical miles total distance; and
(ii) 10 takeoffs and 10 landings to a full stop (with each landing involving a flight in the traffic pattern) at an airport.
(3) 3 hours of flight training in preparation for the practical test in a helicopter, which must have been performed within 60 days preceding the date of the test; and
(4) 10 hours of solo flight time in a helicopter, consisting of at least–
(i) 3 hours cross-country time;
(ii) One solo cross-country flight of at least 75 nautical miles total distance, with landings at a minimum of three points, and one segment of the flight being a straight-line distance of at least 25 nautical miles between the takeoff and landing locations; and
(iii) Three takeoffs and three landings to a full stop (with each landing involving a flight in the traffic pattern) at an airport with an operating control tower.

The short version of this is that to be a private helicopter pilot, you need 40 hours of flight time, of which 20 must be dual, 10 solo, and 3 cross-country. Stu might meet this requirement.

Training

It isn’t enough to have the hours you need to be a pilot. You must also meet the requirements of FAR Part 61.107, “Flight Proficiency.” It points out, in part:

(a) General. A person who applies for a private pilot certificate must receive and log ground and flight training from an authorized instructor on the areas of operation of this section that apply to the aircraft category and class rating sought.
(b) Areas of operation.
…
(3) For a rotorcraft category rating with a helicopter class rating:
(i) Preflight preparation;
(ii) Preflight procedures;
(iii) Airport and heliport operations;
(iv) Hovering maneuvers;
(v) Takeoffs, landings, and go-arounds;
(vi) Performance maneuvers;
(vii) Navigation;
(viii) Emergency operations;
(ix) Night operations, except as provided in Sec. 61.110 of this part; and
(x) Postflight procedures.

This means it isn’t enough to just get 40 hours that meet the requirements of Part 61.109. You must also get training on all of these areas from an “authorized instructor,” or CFI. If Stu went to a reputable training organization to get his flight training, he might meet all of these requirement’s too.

Ground School

Aeronautical knowledge or “ground school” training is also required, although the FAA does not specify a minimum amount of time. This training helps a pilot understand the important part of flying: aerodynamics, aircraft operations, communications, weather, navigation, flight planning — the list goes on and on.

FAR Part 61.105, “Aeronautical knowledge,” gets pretty specific when it states:

(a) General. A person who is applying for a private pilot certificate must receive and log ground training from an authorized instructor or complete a home-study course on the aeronautical knowledge areas of paragraph (b) of this section that apply to the aircraft category and class rating sought.
(b) Aeronautical knowledge areas. (1) Applicable Federal Aviation Regulations of this chapter that relate to private pilot privileges, limitations, and flight operations;
(2) Accident reporting requirements of the National Transportation Safety Board;
(3) Use of the applicable portions of the “Aeronautical Information Manual” and FAA advisory circulars;
(4) Use of aeronautical charts for VFR navigation using pilotage, dead reckoning, and navigation systems;
(5) Radio communication procedures;
(6) Recognition of critical weather situations from the ground and in flight, windshear avoidance, and the procurement and use of aeronautical weather reports and forecasts;
(7) Safe and efficient operation of aircraft, including collision avoidance, and recognition and avoidance of wake turbulence;
(8) Effects of density altitude on takeoff and climb performance;
(9) Weight and balance computations;
(10) Principles of aerodynamics, powerplants, and aircraft systems;
(11) Stall awareness, spin entry, spins, and spin recovery techniques for the airplane and glider category ratings;
(12) Aeronautical decision making and judgment; and
(13) Preflight action that includes–
(i) How to obtain information on runway lengths at airports of intended use, data on takeoff and landing distances, weather reports and forecasts, and fuel requirements; and
(ii) How to plan for alternatives if the planned flight cannot be completed or delays are encountered.

So it isn’t enough to know how to fly the aircraft. You need to know all the other things that are part of being a pilot. That’s what ground school is about.

There is a way to complete ground school quicker, more conveniently, and probably more cost-effectively: buy a video training course. I used the King Schools course for my primary training as a way to supplement ground school. John and Martha may be among the most corny and/or boring people on the planet, but they do cover all the basics very well. When I used the course back in the late 1990s, it came with a certificate that can could be used as certification that I’d completed ground school training. (Remember that the FAA says a “home study course” is okay.) Of course, your CFI won’t sign off on you unless he knows that you’ve covered all that material and understand it, so don’t be surprised if you still need additional ground school after watching all those videos. Still, when I took the written test right after watching the videos for days on end, I passed easily with a 94.

Endorsements

Before I go any further and start talking about tests, I do need to comment on endorsements or “sign offs.” To solo, you need an endorsement. To take the written test, you need an endorsement. To take a check ride, you need an endorsement.

What is an endorsement? It’s a signed and dated note in your logbook that confirms you’re ready to do whatever the endorsement is good for: solo, take the written test, take the check ride.

Who gives you your endorsements? Usually, it’s your flight instructor, but in some instances, it could be another CFI at your flight school. Good flight schools often require you to take a “stage check” with another CFI before getting an important endorsement. This helps prevent an ineffective CFI from pushing a student forward when he’s not ready. It also helps identify ineffective CFIs and unprepared students.

This is the gotcha that a lot of student pilots don’t get. It isn’t enough to have the 40 hours and meet the requirements of Parts 61.109, 61.105, and 61.107 quoted above. You also have to be able to prove that you have the knowledge you need to pass the written test and that you can perform the maneuvers you’ll be required to perform on a check ride.

And in the real world, 40 hours usually isn’t enough flight time to get the endorsements you need to move forward.

Up Next

In the second part of this article, I’ll tell you about the two tests you need to take and pass to become a private helicopter pilot. I’ll also provide links to some resources you might find helpful for preparing for — and hopefully passing — these tests.

What Editors [Are Supposed to] Do

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And what they’re not supposed to do.

As I travel across northern Arizona by helicopter, escorting two paying passengers among Arizona’s natural and semi-natural wonders, I find myself working remotely on a book project I started before I left and will finish when I return. I promised to keep the ball moving while away and that means reviewing edits of chapters I’ve completed.

It does not mean getting angry about editors overstepping their bounds and making manuscript changes they have no business making.

In an effort to educate writers and editors about the various editing jobs out there, I decided to put together this list of editor job types and duties. I’m hoping that my project editor and the miscellaneous editors she’s managing will read this and learn.

Rather than discuss all kinds of editors, I’ll concentrate on just two: technical editor and copy editor. These are the ones I work with directly most often — and the ones that give me the most headaches.

Technical Editor

A technical editor’s job is to ensure that a book’s content is accurate and instructions are easy to follow. Technical editors are widely used in the computer books I write, although for many of my titles, I’m responsible for my own technical accuracy. When a technical editor is put on a job, his duties include the following:

  • Reading the entire manuscript.
  • Reviewing all statements of fact to ensure they’re correct.
  • Trying all instructions to make sure they work.
  • Reviewing all screenshots to ensure that they’re correct.
  • Asking the author for clarification on something that’s not clear.
  • Informing the author of inaccuracies in text or screenshots.
  • Suggesting additional information that the author may have missed that’s within the scope of the book and may be useful to readers.

A technical editor should not — I repeat, not — do the following:

  • Make changes to information or instructions. That’s the author’s job on reviewing the technical edits. An exception would be to fix an obvious typo.
  • Add information or instructions. That’s the author’s job on reviewing the technical edits.
  • Ask the author questions about how the program works. The technical editor should know how the program works. If the author got something wrong, it’s the technical editor’s job to tell him — not to ask him if it’s right or wrong.

Under no circumstances should the technical editor make changes to the manuscript to introduce information or instructions that he has not verified. The author should never be required to perform technical editing chores on text introduced by the technical editor. It must be assumed by the author that the technical editor’s comments and suggestions are accurate and correct. Otherwise, why have a technical editor?

Copy Editor

A copy editor’s job is to review the manuscript and make sure the text is grammatically correct and conforms to the style guidelines established for the publication. The copy editor’s job is to improve the book, not change it. Specifically, his responsibilities include:

  • Reading the entire manuscript, or, for a revision, the portions that have changed since the previously published edition.
  • Identifying and fixing typos and spelling errors. If there are a lot of these, the author is simply not doing his job.
  • Identifying and fixing grammatical errors. One could argue that if there are a lot of these, the author probably shouldn’t be writing. I’ll agree with that. But every author is prone to making a few grammatical errors and should probably be forgiven. The copy editor needs to fix it.
  • Identifying and fixing style errors. I’m talking about usage like e-mail vs. email, Web site vs. website, and press the OK button vs. click OK. Style should be established in advance and adhered to by the author, so there shouldn’t be many of these problems, either.
  • Point out sentence constructions that aren’t clear. If a rewrite is necessary to clarify, the author should be allowed to do it. If it’s an easy fix like adding punctuation or a few words, the editor should be able to do it.

The copy editor should not do the following:

  • Change the author’s voice. It is the author’s book, not the copy editor’s. The only exception should be in the event that the author’s voice is so far off established standards that it needs changing. That’s a problem that needs to be resolved by the editor in charge of the project, though.
  • Change the author’s common usage to something the copy editor prefers. If the author likes to use a phase such as “If desired, you can…,” the copy editor should not change the phrase to “If you want to, you can….”
  • Create awkward sentence reconstructions to remove prepositions from the end of a sentence. While old-time grammar rules say you shouldn’t end a sentence with a preposition, it’s commonly done in casual voice writing. An author should try to avoid this, but should not be required to make his sentences sound like those in a college text book to do so.

There are good copy editors, bad copy editors, and copy editors who should not be copy editors at all. I love having a good copy editor; I love feeling that a revised sentence remains in my own voice but is improved. I love to learn from that. A bad copy editor, on the other hand, won’t find the errors he’s supposed to find. It’s embarrassing when they’re found in the printed book. A copy editor who makes changes for the sake of changes — as if to justify his own importance to the project — should not be editing. He should be either writing his own books or doing something that has nothing to do with writing. These copy editors create bad feelings for experienced authors and make their work a real chore.

What Do You Think?

What are your thoughts on this? Are you a writer with some editor stories to share? Or an editor with some author stories to share? Please share your comments on this post. I’d like to get a discussion going about this. I think I’m on track with this assessment, but maybe you have other ideas?

In the meantime, I’ve got to make a phone call. One of my editors needs to be reminded of her responsibilities and their limitations.

Night Shots at Grand Canyon Village

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There are still opportunities for photography after the sun goes down.

I know I’ve written about this before in this blog, but it’s worth repeating: I like taking photos at night. I like the way the light illuminates the things we don’t notice during the day. I like the weird colors of the light sources. I like the deep shadows and the way some things seem to come out of darkness.

Grand Canyon Village, with its rustic, historic buildings, is one of my favorite places to photograph at night. And since I was so lazy yesterday afternoon, I thought I’d make up for it by taking my camera and tripod for a walk from Bright Angel Lodge, where I’m staying, to the El Tovar Hotel, which just happens to have a nice bar.

These are some of the shots I took along the way.

Outdoor Passageway

Outdoor Hallway

The historic Bright Angel Lodge is a series of stone and wood buildings along the South Rim of the Grand Canyon. The main lodge building houses the lobby, a museum, restaurants, and various service desks. The other lodge buildings are cross-shaped and house small, simple guest rooms like the one I usually stay in. And then there are cabins with two or four guest rooms per building.

Covered, wooden plank walkways run between many of the buildings. They’re illuminated at night and glow rusty red from the red-painted walls.

Cabin Door

Cabin Door

The cabins at Bright Angel Lodge are scattered along the rim. They’re all unique. Some have partial views into the canyon. Others are hidden away among the trees alongside the gravel parking lot.

At night, the doors to some of the cabins glow with a friendly, almost beckoning light. This one, facing into the canyon, seems to await the return of its occupants, who left chairs out front to watch the sunset from their room.

Lookout Studio

Lookout Studio

Lookout Studio is another of Mary Colter’s designs. This historic building now houses a gift shop. But if you come to the canyon, walk in and through the building. You’ll emerge on the other side, on the top level of a terraced overlook. Climb down for a good spot to watch sunsets or condors or tourists.

The building is lighted mostly from within at night. The wooden trim around its windows is painted a bright teal green.

Light Posts

Light Posts

Subdued lighting lines the path between the main building of Bright Angel Lodge and El Tovar Hotel. The lights are just bright enough to ensure that you don’t trip or bump into a grazing deer or elk along the path at night — but no brighter.

Although they line the path in even intervals, the curve of the path gives them the appearance of random blobs of light ahead.

Hopi House

Hopi House

Mary Colter also designed Hopi House, which is currently set up as a gift shop and gallery. She based her design on the architecture of Pueblo indian tribes such as the Hopi. In the old days — the early 1900s — Native American peoples actually lived in upper floors and on the roof of the building.

The building’s stone walls are a textural delight for anyone who admires such things. Set roughly, the stones cast deep shadows on the walls at almost any time of day. At night, things are a bit more subdued.

El Tovar Entrance

El Tovar Entrance

El Tovar, which was completed around 1905, is the grand hotel of the Canyon. When finished, it was hailed as the finest hotel in the west.

Made of dark wood with large porches and pitched roofs, El Tovar seems more in place in a densely forested mountain setting than at the rim of a desert canyon. Last night, its sign seemed to glow and its wide open doors welcomed visitors into the lobby.

El Tovar Lobby

El Tovar Lobby

The lobby of El Tovar is an impressive collection of mounted wildlife heads, southwestern decor carpets, plus leather sofas in seating areas, and gift shop displays. Last night, a young woman sat in a corner with her laptop, probably surfing the Web — the lobby is one of the few places where WiFi might be available.

I captured this shot with my fisheye lens, which is why it appears distorted around the edges. I like the symmetry of this shot.

Jewelry Case

Jewelry Case

One of the highlights of El Tovar is this round jewelry case in the middle of the lobby. FIlled with the finest quality, handmade Native American jewelry sparkling under bright lights, it’s like looking into a museum display.

I used my fisheye lens for this shot, too. Although intended mostly as an experiment, I thought it was good enough to share here.

The Best Irish Coffee I Ever Had

By the time I reached this point, it was 9 PM — too late for the martini I had on my mind when I left my room. But I stepped into the bar anyway. It was nearly deserted. I sat at the bar and ordered an Irish Coffee. The bartender made me the best one I’d ever had, complete with a single sugar cube, fresh whipped cream, and a bit of creme d’menthe for color and minty flavor.

When I finished, I set my tripod on my shoulder and walked back to my room. I nearly bumped into a mule deer doe and her fawn along the way.

And yes, I was the only photographer out last night.

Why I’m Not Taking Photos at the Grand Canyon

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And why I didn’t finish this post right after I started it.

I’m at the Grand Canyon. Again.

I come here 20 to 30 times a year, often on helicopter charters. This time, I’m taking a couple from Montana on a Southwest Circle Helicopter Adventure. That’s a 6-day/5-night excursion. The second day (and night) is spent at the South Rim of the Grand Canyon.

Bright Angel Lodge

A fisheye view of my room at the Bright Angel Lodge. Simple and relatively cheap.

As usual, I have one of the tiny rooms in the Bright Angel Lodge. The historic lodge and cabin buildings were designed by Mary Colter and built in the early 1900s. My room lacks the features most guests take for granted: television, air conditioning, and shower. I don’t need the first two and the third is down the hall.

I lucked out this trip and wound up with a corner room that has windows on two sides. There’s even a window in the bathroom. But best of all, it’s literally 100 feet from the rim of the canyon. In fact, if I look out one of my windows, I can see the wall of the North Rim 10 or 15 miles away.

Not bad for $80 a night.

My passengers are staying at the Thunderbird Lodge, with a partial view of the canyon. Their room is modern and has all amenities. It also cost $180 per night.

Grand Canyon

A shot taken in passing on my way to lunch today. The clouds were great; they really added depth to the scene.

This trip, for some reason, is different than the others. I didn’t feel at all motivated to walk along the rim and shoot pictures. I think I’m tired of photographing the Grand Canyon. Is that possible?

I have hundreds of photos of this place. But none of them can really capture its magnificence. Every time I try, I’m disappointed. I feel that it’s time to stop trying.

So I spent most of the afternoon in my hotel room, pulling movies off SD cards to clear them for more movies, catching up on Twitter and e-mail, and putting a few videos online. By 5 PM, I realized that I was avoiding my photographic duties. And that made me wonder why I considered taking photos a “duty.” Almost as if it were a chore. Was it?

I sat down to write this post. I entered the title in my offline editor. And then I stopped and scolded myself.

No, I was not going to miss a beautiful Grand Canyon sunset. I was going to get my ass outside and walk along the rim. I didn’t have to take photos, but I could if I wanted to. It was more important to be outside, in the fresh air, on a beautiful late summer afternoon with one of the world’s Natural Wonders in front of me.

So I went outside with my camera. Less than a minute later, I was on the Rim near the Lookout Studio, admiring the way the late afternoon sunlight played on the buttes and canyon walls right in front of my face.

There were lots of other people out there. Most were moving about, snapping photos along the way. Many spoke in languages other than English. They were all ages, although I can’t say I noticed any school-age kids.

El Tovar

El Tovar, in the late afternoon light.

I noticed an artist sitting on a rock with an easel in front of him. This week is the Grand Canyon Celebration of Art: Plein Air Event & Modern Masters Show. The artist, Sedona-based Williamson Tapia, was using oils to paint his interpretation of the cliff on which El Tovar Hotel sits and the magnificent clouds above it. His piece was mostly clouds.

We chatted for a while about art and the Canyon as I watched the light change. The red light and deep shadows behind the buttes were calling me. I excused myself, ducked through Lookout Studio to the cliffside overlooks below it, and snapped a few photos.

Grand Canyon

A look into the Grand Canyon in the light of the setting sun. The dark and hazy canyon is Bright Angel Canyon.

I shot RAW + JPEG Fine. I don’t usually shoot RAW. I’m hoping that I can learn more about it and use it to make better photos. I figure that I can’t learn more about RAW unless I have some photos to work with. So today was the day to start collecting them. The JPEG Fine will give me some thing easy to play with until I’m ready to work with the RAW format images.

When I was finished, I went back. Will claimed I’d given him good luck; that he’d found his style for the painting. We chatted some more as he worked. I watched him paint the green bushes and trees on the cliff below the hotel and then touch up the clouds with bright white tops and lavender gray bottoms. The light got softer and redder, but it didn’t affect his work; he was painting something completely different, something he saw. Onlookers came and went, admiring his work. None lingered. We continued to talk, agreeing (among other things) that one day a week, there should be no television broadcasts.

Finally, the light faded to the point that he couldn’t continue his work. He stepped aside and I got a good look at it. He told me he’d put it in the fridge back where he was staying so the oil would stay pliable. If those clouds were back the next day, he’d continue working on it to finish it.

We exchanged cards, shook hands, and went our different ways. I came right back to my room to finish the blog post I’d started with a title two hours before.

Now, as I listen to the crickets outside my window, I wish I’d spent the day outdoors, exploring some new part of the Rim.