We use cookies

Please note that on our website we use cookies to enhance your experience, and for analytics purposes. To learn more about our cookies, please read our Privacy policy. By clicking “Accept Cookies” or by continuing to use our website you agree to our use of cookies.

In today’s digital-first world, virtual networking has become a crucial skill, especially for professionals and those aspiring in creative industries. Whether you’re seeking new job opportunities, collaborating with peers, or connecting with potential mentors, building an online network can significantly boost your career. 

If the thought of virtual networking makes you nervous, don’t worry! We’re about to show you how to professionally slide into someone’s DMs, and here’s the thing: almost everyone in the creative industries does it. According to LinkedIn, almost 80% of professionals consider professional networking to be important to career success.  

There are so many benefits to virtual networking; the first being that you don’t have to panic over whether you should go for a handshake or not. It also eliminates geographical barriers, providing easier access to industry leaders and inclusive spaces for diverse talent.  

Are you ready to learn how to create meaningful connections online and open doors to exciting career opportunities? Let’s dive in! 

Find the networking style that suits you 

Today, the opportunities and ways to network online are more abundant than ever. At a recent Creative Access masterclass talent acquisition expert Sara Machado shared her approach to building community – attending webinars and workshops, mapping out key industry figures, and connecting with them strategically. After her Autism diagnosis, Sara recognised the importance of finding a networking style that works for her, especially when social interaction can be draining or you have additional things to consider. 

The bottom line? You can build an authentic online community at your own pace, from the comfort of your home. So, what does virtual networking look like? 

What do these things have in common?  

  • Meeting for a coffee 
  • 1:1 Zoom call 
  • Mentorships 
  • Volunteering 
  • Interacting on social media 
  • Creative networks 
  • Collaborating with peers on a project 
  • Attending online events 

Answer: They’re all examples of virtual networking! 

It’s really common to struggle with imposter syndrome, but networking can help combat that feeling when you make connections with likeminded peers. 

How to be a confident virtual networker 

It is totally normal to be very nervous about networking, but we promise that when you prepare and practise, it will become aa useful and fun part of your professional life. Here are some things you might contend with or need along the way in building your confidence to network: 

  • Preparation. Write a 30 second intro to yourself that you can use to start conversations, with some details about who you are, what you’ve done, what you’re interested in and why you’re reaching out. Keep it conversational, light and direct. As Radio 1 DJ Melvin Odoom said at our Radio masterclass: “Failure to prepare is preparation for failure”. 
  • Be informed. Before attending virtual events or meetings, research the other participants or speakers. Knowing a bit about them will help you find common ground and ask relevant questions. It can also help to be knowledgeable about current trends in your industry and will give you more confidence during conversations. 
  • Purpose. Why are you reaching out to this person? Knowing the answer to that question will be a great reminder when you’re feeling nervous, whether the answer is, ‘I want to know what it’s like being a social media content creator’ or ‘They work for a company I have a question about’. Remind yourself of this. 
  • Embrace the awkward moments. If you have an online meeting with someone and you feel a little nervous, you don’t have to hide it – most people will find it relatable. No one is expecting you to be the smoothest networker and you’ll be laughing when later down the line, you have grown a brilliant network of connections you learn from and engage with. 
  • Imposter syndrome. It’s really common to struggle with imposter syndrome, particularly if you’re from an under-represented background in the creative industries, BUT networking can help combat that feeling when you make connections with likeminded peers. 
  • Confidence: List your skills, accomplishments, and experiences and review this list before networking to remind you of the value you bring. 

🔥 Remember: view networking as an opportunity to learn and grow, rather than a test of your worth. Mistakes or awkward moments are learning experiences, not proof of inadequacy. 

Professional social media – have you got it? If not, get it.  

It’s easy to leverage all the social media platforms to your advantage once you know how each platform can benefit your networking goals. Each platform is an opportunity to showcase your personal brand in a different way and the likes of Instagram, LinkedIn and TikTok all have unique benefits and demographics worth researching.  

For example, at our recent creative showcase Creative Access alumni Tierney Witty, Editor, Seven Dials & Trapeze said: “Publishing is on Twitter, not LinkedIn. Every publishing house will have a Twitter so follow them and send them a message.” Getting involved in BookTok is also an amazing way to engage with the publishing sphere and capture the attention of publishers and peers. 

If you’re interested in TV and production, join Facebook groups. Creative Access intern Lanna Cowles, ITV Sport’s trainee technical assistant recommends Facebook runner groups to make connections in the TV industry, “I was constantly refreshing them and being the first to apply, because a lot of them are first come first serve.” 

Last but not least, LinkedIn is the world’s largest professional network with 722 million members in over 200 countries, and it was made for virtual networking. 1 in 4 professionals around the world have established new business partnerships by networking there, so create your profile if you haven’t already (Source: LinkedIn).  

Personal branding on social media 

Your social media profile on ANY platform should tell a clear story of who you are, what you care about and your aspirations. You can get this across in your personal statement or bio. What’s that you wonder? 

A personal brand or elevator pitch explains what you do and why you are unique in your field. It incorporates your experience, skills, and interests so that people can easily understand who you are and what you offer. 

You can also use your personal statement at the top of a CV in the profile section when promoting your successes whether at work or university, or when introducing yourself to others. You can incorporate this statement on your Instagram or TikTok by making a video or a post with the same content and pinning it to your profile. 

INSPO: Here’s Creative Access alumni Isabella Silver’s Instagram profile and an example of how to utilise a platform for branding and networking.  

Notice how she has a clear descriptive bio, a variety of labelled story highlights, and a combination of posts that detail her journalistic work, interests, passions and personality. These components create a strong impression of who she is a journalist and make it easy to find and get in touch with her. 

Some estimate that as much as 80% of new jobs are never listed but are instead filled internally or via networking.

Payscale

Horizontal networking 

Whether it’s ‘horizontal’, ‘lateral’ or ‘peer’, it all roughly means the same thing; connecting with people on a similar level to you as opposed to someone more experienced and/or senior. You can do this at any point in your career! If you’re at university and about to graduate, it might look like reading each other’s CVs and sending each other opportunities and roles. 

In a few years’ time, you might be talking with those same peers but about how to negotiate a salary increase or change industry. 

Having networks where you can mutually share and offer support can be especially useful for individuals from underrepresented backgrounds. It helps to have a variety of people in your network, and it’s wise to get help with any challenges or collaborate on work projects with people who you, in some way, connect with. 

How to reach out online without being cringe 

“I will respond better to a DM saying ‘Alright mate? How’s it going?’ than an email with loads of unnecessary words. You just need to be casual and say, ‘Here’s what I do, I would love if you could look’. Be specific about what you’re asking of them and spell names correctly!” Jahmal Williams-Thomas, Reporter & camera operator, ITV News Granada Reports. 

Sliding into the DMs of a professional you admire is a craft. We asked virtual networking pro Ella Darlington, Head of comms & marketing at Creative Access for her top tips: 

  • Be specific about what you’re asking for – the person you’re reaching out to genuinely wants to help! However, if you’re vague about your request, it can come across as needing extensive guidance, which may feel like an open-ended commitment. Clear and focused questions make it easier for them to offer meaningful support. 
  • Offer a virtual meet up (or in-person if that works for you) 
  • Keep the communication short and sweet, it’ll help you to come across as efficient! 
  • LinkedIn DM or email is best for someone you haven’t met, or might have only met once 
  • Don’t ask for someone to just get you a job!  

“I will happily meet someone if they’ve looked at my experience and they have a relevant and specific question that I can help with, such as advice on navigating promotions, managing a team or clients in a comms agency, or making the transition from journalism to PR. Or even if someone is looking for a contact in a specific area of Comms/PR/Marketing, if you say, ‘I’d love to get into sports/music/tech PR’ I’ll happily make an introduction.” – Ella Darlington. 

Virtual spaces to get involved in  

Whether it’s a WhatsApp group chat, online event, forum or membership network, there are so many online spaces that you can be a part of. Do some research online to find the right ones for you, as well as asking any professionals you chat to if they know any groups they recommend. Here are some we’ve rounded up to get you started: 

Of course, Creative Access is so proud to host its own community that we welcome individuals to be a part of. We hope you’ve learnt something new about virtual networking and have fun putting it into practise! 

The bursary has been launched after a survey revealed that 80% of under-represented respondents in publishing have faced financial obstacles when applying for jobs, as reported by Lucy Nathan at BookBrunch.

Broadcast Now reports on Creative Access bursary in response to ‘concerning trends’. Read here.

‘The Mo Siewcharran Fund offers opportunities for young people from ethnically diverse backgroundsreports BookBrunch.

‘Little Angel Theatre aims to tackle lack of diversity in puppetry with internship’ reports The Stage.

The Mo Siewcharran Fund has awarded its latest round of grants, with recipients including the Women’s Prize Trust and academic publisher The Association of Laboratory Medicine, as reported by The Bookseller. You can read it here.

The Mo Siewcharran Fund has awarded its latest round of grants; to book charity The Women’s Prize Trust, Edinburgh-based theatre and dance organisation Imaginate, non-profit member organisation the Association of Laboratory Medicine and puppet theatre Little Angel Theatre.  

In its sixth year, the Mo Siewcharran Fund continues to support a breadth of creative organisations within its mission to enable young people from Black, Asian and ethnically diverse backgrounds to break into publishing and theatre.  

The Fund was set up in memory of Nielsen Books’ former Director of Marketing and Communications, Mo Siewcharran by her husband, John Seaton; she was passionate about improving accessibility and representation in publishing and theatre. The Fund is administered by Creative Access – a leading social enterprise specialising in diversity and inclusion.  

Impact of the Fund 

Since the Fund started in 2018, it has supported over 45 Black, Asian and ethnically-diverse trainees in publishing, theatre and music across the UK.  

Its impact can be clearly seen across each sector: last year Creative Access found that two-thirds (63%) of interns supported by the Fund stayed on at their host organisation at the end of their traineeship, whilst 9 out of 10 (89%) trainees continued to work in the same sector.  

“Two highlights for me in the year are when the applicants for the Mo Siewcharran Fund are assessed. The successful companies this time bring to the fore publishing and theatre. They do so with panache and with a fierce sense of needing to bring about fairer and more representative workplaces. It will be a delight to work with them. It is a constant delight to work with Creative Access”. 

John Seaton, Founder of the Mo Siewcharran Memorial Fund

The grants contribute to the salary of an intern for a six-month traineeship and a full programme of support from Creative Access to ensure the trainee thrives in their new role. 

Edinburgh-based recipient Imaginate is producer of the Edinburgh International Children’s Festival and Scotland’s national charity that presents, develops and celebrates inspiring theatre and dance performances for children and young people.

“We are absolutely delighted to have received this award from the Mo Siewcharran Fund that will enable us to work with a global majority Trainee on our Creative Encounters project.  The level of training and care offered to the Trainee through this Fund, and the cohort they will be part of, are fantastic.”  

Fiona Ferguson, Creative Development Director, Imaginate

Recipient, The Women’s Prize Trust, has a mission is to enrich society by creating equitable opportunities for women in the world of books and beyond. It believes that books by women can change the world, and supports women writers at all stages of development, providing coaching and resources to unlock potential, boost confidence and increase skills.

“We value the full spectrum of talent, which applies to all of us who work in the world of books as well as writers and creatives. So we are thrilled to be awarded the funding to take on a trainee from an ethnically diverse background as they embark on their career. Thank you to the Mo Siewcharran Fund for the financial support and to Creative Access for their expertise and recruitment services; we know that we will be a stronger organisation benefiting from this grant and the role it enables.”  

Claire Shanahan, Executive Director, Women’s Prize Trust

Recipient, Little Angel Theatre, uses puppetry to create and share inspiring stories; igniting the imaginations of the youngest minds. The theatre’s success has been built upon a spirit of artistic innovation and is committed to pushing the boundaries of what puppetry can be, whilst preserving its heritage.

“Having diverse puppet makers is important as it brings a variety of perspectives, cultural influences, and creative approaches to the field of puppet making; ultimately leading to a richer and more inclusive workforce that reflects the complexity and diversity of the real world. Funding to support our intern enables us to provide yet another diverse puppet maker with a year- long, on the job, hands on experience – enriching the cultural workforce.”   

Samantha Lane, Artistic Director, Little Angel Theatre

The Fund was also granted to academic publishers, the Association of Laboratory Medicine, one of the world’s leading professional membership organisations dedicated to the practice and promotion of clinical science.

“We are delighted to receive the Mo Siewcharran grant from Creative Access, enabling us to bring a talented intern into the Association for Laboratory Medicine. They’ll get hands-on experience in publishing and communicating scientific content to our members. We are excited to support and mentor this emerging professional, thanks to Creative Access’s generous support.” 

Victoria Logan, Chief Executive, Association of Laboratory Medicine

The Fund opens its next grant round 

The Fund is once again open for other theatre, publishing or music organisations wishing to support internships for those from under-represented communities.  

Those interested in applying should contact lucy@creativeaccess.org.uk. The deadline for the next round of applications is midday Thursday 29 November 2024. 

Ever wondered what it’s like to be on the front lines of live sports broadcasting?  

Our Diary of a CA Intern series uncovers the career journeys of the latest entrants in the creative industries, placed by Creative Access. This week we’re joined by the talented trainee technical assistant Lanna Cowles. 

In 2023, a new traineeship was launched in memory of the late ITV Sport technical director Roger Pearce. That trainee is Lanna, a drama graduate from Northampton, who smiles for the entirety of our conversation and is soaking up every minute of her technical traineeship. 

Lanna joined the call with us from a hotel room in Norwich before she dashed to work on the Women’s Euro Qualifiers.  

Keep reading to find out her insights into why live TV is so exciting, why the lifestyle isn’t for everyone, and her advice for those aspiring to work in the sports TV industry. 

One of the best things about this traineeship is that, after this, people will recognise me and I’ll be a familiar face, and that – networking – is a huge part of this job.

CA: Hi Lanna, we are so excited to be chatting with you! Can you give us an intro to your industry and where you’re placed? 

Lanna: It’s titled technical assistant, but I get to go around all of the technical departments within sports television, including cameras, sounds, VT (videotape) and vision. At the start of the traineeship, I was seeing everything and then as the year’s gone on, I’ve chosen the areas that I’m more interested in which are sound and VT. 

Whether it’s football, rugby or horse racing, I experience a real variety of different sports and it’s been great seeing stuff like the touring cars and the Euros! 

My role is to shadow and learn, to ask lots of questions and get to know lots of people. It’s just great. I get great behind the scenes insight and then also get to learn it all. There’s absolutely no pressure on my part; my role doesn’t have any direct responsibility which is good because that’s what the scheme is. 

When you see a replay of that goal or injury, that’s the VT department working very efficiently to get these straight to the director. I enjoy its fast-paced nature.

CA: What’s VT? And why do you love it? 

Lanna: VT deals with any of the pre-recorded content. For example, it could be an interview with Gareth Southgate that has been filmed prior, or a highlights reel at the end of the show. Then they have the exciting part where they clip up any of the exciting action happening live! So when you see a replay of that goal or injury, that’s the VT department working very efficiently to get these straight to the director. I enjoy its fast-paced nature and I like that the department feels at the centre of it all, where vision and sound come together. 

CA: What’s the sports industry like to work in? Especially as somebody starting their career? 

Lanna: It’s definitely a certain lifestyle that you have to get used to – I’m in a hotel room right now! 

There’s a lot of moving around the country, being away from home, and the days can be 10+ hours. They do compensate and give me study days where I can just recap everything I’ve learnt. I love it, it just feels weird being part of something so big like the Euros, because I’m not actually that much of a football fan… It’s just so odd seeing my friends posting on their stories about the Euros and I’m like, ‘Ah, it is actually really cool that I work on this!’ 

CA: Has there been anything that surprised you? 

Lanna: It amazes me how resilient each person who works in this industry is. Whether it’s raining or freezing cold outside, whether there is a 12-hour day ahead of them –  everyone I have spoken to loves their job and they are always so enthusiastic about this industry. I never expected the job to feel so rewarding. 

CA: Have you always been interested in this industry? 

Lanna: I was always drawn to cameras and came from a photography background. Then at university, I joined the student-run TV society, where we had a similar kind of setup that was just more amateur. I just loved it so much. 

I was a runner on a few factual entertainment shows for about a year and a half and I did some production work alongside that, which I absolutely hated. I realised I didn’t want to go down that side of it at all! 

I always knew I wanted a technical role. I wanted to stop being a runner and get that step up, and I wanted to get back into live TV but I didn’t know how, and then I saw this role. It felt like all my experience and my interests aligned because I’d worked on the commonwealth games and had my first taste of sports broadcast which I really enjoyed. It felt like it was the role for me. 

CA: You mentioned that networking is a big part of your experience… How have you found making professional connections so far? 

Lanna: Like with anything at the start, it was really daunting. Everyone knows each other and at each OB (outside broadcast) I’d go to there would be new faces all the time. But once you break the barrier and ask someone what their role is or how their day is going, it’s easy from there on and I’m always interested in what they’re up to! 

Everyone is so welcoming, and they know about the scheme so I’m hoping that it will all help me in the future after this. One of the best things about this traineeship is that, after this, people will recognise me and I’ll be a familiar face, and that – networking – is a huge part of this job. I have good faith that I will continue working in this industry! 

CA: So being ‘good to work with’ is just as important as being good at what you do in TV? 

Lanna: Yeah, it’s such a ‘people-person’ job. You’re working with and talking to people all the time and they are long days, so everyone wants someone who’s got a smile on their face. 

CA: What would you say is the heart of working in the technical side of TV sport? 

Lanna: I think what I love so much, specifically for live TV, is that things can go wrong. 

Weirdly enough – I mean it’s not fallen on me obviously – but it’s quite fun to troubleshoot and solve problems. Touch wood, I’ve never seen anything go wrong while it’s live, but I do hear stories all the time of things going wrong, and it is quite fun having to think on your feet knowing that there is that pressure on you. 

People at home wouldn’t even know when there’s something wrong because there’s backups for everything. The amount that goes into it is insane, I could never have imagined the time and effort that goes into it just to get onto our screens; going up to the satellites and back. I can’t get my head around it. It’s a lot of work and a lot of money is in it too, which is why there’s so much pressure to get it live and faultless. So yeah, I love that it has to be perfect, but also if things go wrong, that’s kind of what makes it exciting. 

CA: You’re a successful young woman in an industry where female representation is quite low, do you have any advice for someone wanting to get in? 

Lanna: It’s so difficult because I’ve always said ‘I just got lucky’, but you have to want it. 

What I did was join loads and loads of Facebook groups for TV, and even if I didn’t think I was capable of a job, I still applied for it. 

Sometimes I got them on LinkedIn, or if you’re looking at the credits of a show you really love, you can find someone’s name or find the production that worked on it and search them on LinkedIn, add them and then message them if they add you back. 

It is really difficult and I do think a lot of it is who you know unfortunately, but do what you can to make connections. I was really desperate for it; I was looking every day, always on my phone refreshing those runner Facebook groups, constantly being the first to apply, because a lot of them are first come first serve, so if you don’t see it within 15 minutes, twenty people have already applied and you’ve missed your chance. 

Something that has helped me get this job was being a part of my TV society at university. I spent more time there than I did with my own degree because that’s what I loved more. If you have the opportunity to join online courses in camera, or workshops, or attending film festivals – even if you aren’t that interested – I say just get stuck in, because it’s the people there that will help you get the job and giving yourself that exposure will increase your chances.  

CA: How long had you been looking at Creative Access for opportunities? 

Lanna: Since I finished university, because I was freelance running and never really had a stable job. I was always looking on Creative Access, it’s always been one of the websites I’ve always looked on. I was on a mentoring scheme through Creative Access at university too. l knew I could get frequent opportunities from it and there’s always stuff on there, I literally love Creative Access. 

CA: Final question: how would you describe your internship in three words? 

Lanna: Thrilling. Fast-paced. Fascinating.  

CA: Thank you so much for your time, we can’t wait to see what you do next! 

Stay in touch with Lanna and follow her work on: 

Instagram: @lannacowles 

From the increasing digitalisation of the industry, to environmental and financial sustainability, what the future of theatre looks like was up for discussion at our last masterclass of the summer. We were captivated by an incredible panel made up of industry heavyweights like the National Theatre (NT)’s artistic director Rufus Norris and award-winning playwright Roy Williams, whose work and influence has had much involvement in what theatre has looked like for the past twenty years.  

Equally impressive was Creative Access alumni Atri Banerjee, theatre director currently directing Look Back In Anger at the Almedia, and Minoli De Silva, production coordinator at the NT; two trailblazers in the industry who have a lot to say about the future of theatre and how to make one’s mark in it. Chairing the panel was the fantastic Rachel Twigg, head of studio at NT, who guided the panel and room through the big questions with ease (and some swearing).  

Roy Williams on the future of theatre and what about it excites him: 

“Good storytelling and good theatre can’t help itself but arrive. 

What excites me the most is the range of storytelling, of what’s already been told and what’s still to be told. Specifically, what it means to be British.  As a Black man, it’s a question I’ve been asking myself in my work for many years, and no doubt will continue to as I get older and hopefully wiser. 

So it’s those stories; the new generation of playwrights expressing how they feel about what it means to be British, whatever ethnicity, class, sexuality, and then bringing it to the stage. Those questions are important. The last few years have been uncertain and scary for all of us, so it’s interesting to see where we go from here.” 
 

Atri Banerjee on theatre’s power to transform reality:  

“It’s fair to say that there’s been a lot of worry and preoccupation of the future of theatre.  

I do feel heartened by the prospect of a new government and what it might mean to have a culture secretary who tweets about the Oldham Coliseum and actually seems like she goes to the theatre.  

But I think I’m most excited by the fact that theatre is one of the oldest and most resilient art forms we have.  

The great Brazilian theatre practitioner Augusto Boal says, ‘It should not just reflect reality but try to transform it’ and theatre has always been a space to reimagine and reconsider the future.  

We’ve been through such cultural upheaval and immense global struggle and conflict, but I’m heartened by the commitment of people towards new ethical working practices, the value of community, peer support and peer groups, rather than old hierarchical models.” 

Minoli De Silva’s thoughts on digital content theatre and connection: 

“The first thing I ever saw from the NT was a recording of Frankenstein for my A level. I didn’t step foot in and physically watch a show there until mid-pandemic. 

For me, watching those NT at homes on YouTube was how I got to know their body of work, so from an access perspective and in terms of reaching new audiences, it’s exciting.  

But the balance with live performance is really important.  

In my previous job, the show was an improv comedy show in-person at a theatre, but during lockdown it was adapted to a live streaming model. Those artists were then socially distancing in a room performing live comedy to nobody but cameramen. They’re brilliant and made it work, and so many people contacted us to say how much it meant to them and enabled them to connect with people they loved across the world watching it. 

But I do always think of that when discussing how we balance live performance with digital, and how we preserve that theatre is a live art form and the beauty of it is the connection that you have in the room.” 

Rufus Norris on how the NT is embedding sustainability into its processes 

“There are three areas to look at: the work you make on stage, the buildings that you make the work within, and touring.  

I’ll talk about making the work. We’re signed up to the Theatre Green Book baseline standard, so from this year onwards, in every show you see on our stage, 50% of it has had a former life and 60% has to have a future life.  

What it comes down to is reusing things, focusing on people instead of stuff, and thinking about it in the beginning of the process.  

Allow it to be a useful restriction – it makes you work earlier and that is never a bad idea. Any of you that have made a theatre show, tell me of a show where you didn’t run out of time… it just what happens. 

I think it makes the production better, because most shows, the simpler they are, the better they are.” 

…And that was just a snippet of the riveting panel discussion! It was followed by networking between the panellists, the National Theatre team and the Creative Access community.  

Thank you to everyone that joined us, we’re taking a short break for the summer and will see you in September. 

Welcome to Diary of a CA Intern, the series where we dive into the career journeys of the newest talents in the creative industries, placed in internships by Creative Access. We’re delighted to be spending time with Lauren Warner, a marketing and development intern at the Royal Philharmonic Orchestra (RPO)!

Lauren started her 6-month internship at the symphony orchestra in April this year. After graduating in 2021 with a degree in Psychology, she spent the last few years working as a teaching assistant in schools and volunteering at music organisation Kente Club. At 26-years-old, she said “I can’t do this no more!” and applied for new roles, including RPO’s internship through Creative Access which she is now over halfway through. In our chat, Lauren reflected on her memorable moments so far, how she’s learning to say ‘no’, and how proud her Granddad, who belonged to the Windrush generation, would be of her now. 

CA: Hey Lauren! How would you describe your internship in three words? 

Lauren: Concerts. Challenges. Laughter.

CA: Laughter’s a great one.

Lauren: Everyone in the office is hilarious. There’s a group of young women in the office and we all have that sort of, ‘I’m just a girl moment’ so it’s good vibes. For the longest time, I thought I’d never be able to work in an office.

CA: How has the internship shifted your perspective of working in an office?

Lauren: The flexibility of being able to work from home has opened up so much for my mental health. And I’ve adjusted to the office space culture now. At first I didn’t know what to wear, how many cups of tea I could make in an hour, silly stuff like that. But now I know you just do your job and go home. 

CA: If you could go back to March and say to yourself, ‘Don’t worry. Wear the clothes you want to wear and drink however many cups of tea you want to drink.’ Is that what you’d say to yourself? 

Lauren: I’d say, relax into it. When you are changing environments and you are making a transition like that, you feel very on edge. But relax, because you’ve earned your space. Just take it, don’t overthink it, and enjoy your cups of tea. 

CA: So did you always have your eye on the creative industries while you were working in schools? 

Lauren: I’d been working with a collective called the Kente Club; writing their press releases, helping with creative content and photo shoots. I wanted to segue into something creative, and I saw this opportunity and thought, it’s different but it’s music, marketing, content creation and it’s all the skills that I already sort of do, so why not just try!

Even my Gran back in Barbados, she says “You’re working where?!”

CA: Do you think your previous experience is what made you stand out as a candidate?

Lauren: Not to toot my own horn, but I think they liked that I have a lot of experience! I’m a more mature intern at 26. I’ve worked in restaurants, I’ve worked in kitchens, I’ve worked in schools. I’ve also been doing voluntary creative stuff around work for the last four years so I’d used Canva and editing tools before. 

I also did a lot of research on RPO as a brand. I think when you hear ‘classical music’, you might think of stuffy, posh people who don’t really connect with outside society at all, but I researched RPO and saw how much outreach they do, and whether it’s with their education programmes or their music with stroke survivors, they’re actually amazing. 

CA: Hospitality, retail and education gives you so many transferable skills for the creative industries!

Lauren: Exactly.

CA: For those of us who don’t know what a marketing and development intern gets up to day-to-day, what’s a typical day like?

Lauren: Within the marketing team, our main goal is to sell the tickets for concerts. That could mean making promotional content (programmes, flyers, brochures), reaching out to people, video editing, copywriting, proofing and scheduling social media content.

As for development, that’s all to do with fundraising. RPO is a registered charity so we have different schemes and levels of giving to encourage donations. That could look like talking a potential benefactor through the process, their benefits, and how we can incorporate them into the culture of the orchestra. So I work across both teams which is fun. 

CA: How do you find being in a training opportunity across not one, but two teams? 

Lauren: I think it’s amazing, I’m having a chance to learn so much. I was already interested in a marketing career but fundraising and business development is an area I didn’t know much about. I’ve gone from being sure I wanted to do marketing for a charity or NGO I really care about, to thinking that these places obviously have staff and need to be funded somehow, so perhaps I’ll work in fundraising. 

I actually had the opportunity to make a partnership proposal between RPO and a donor and I managed to secure funds, which I’m still sort of processing! I thought, I’m actually doing this job! It felt really good.

CA: Sounds like one of those special moments in an internship where your self-belief grows a little more.

Lauren: Honestly, I went home and said to my Mum, ‘I don’t know how to feel.’ She was asking what was wrong and repeating that I’d done a really good thing, but I thought ‘It doesn’t feel real?’. My brain was really struggling with it and I think it’s because previously in my work, I was often underpaid and underappreciated, just by way of the public sector being the way it is. So when I was sat down and told, “Well done! This thing went through. You did really well. It felt surreal. [she gasps]. But I’m still passionate about education – I tutor English at the weekends and run a classical literature club.

CA: It’s giving: high achiever. Do you think being such a hard worker is why you are where you are?

Lauren: It’s fulfilling, and I have a very hard-working mum and family, period. This internship will open up so many opportunities for me, to say that I’ve worked in this organisation and to have done the things that I have done already in such a short period of time. So that’s just what it needs to be right now. Working hard until I don’t need to work so hard!

CA: Have you come across any challenges or hurdles in your internship so far?

Lauren: Yes. Saying ‘No’. 

I’m trying to cram in as many experiences as I can because I want to soak it all up. I’m also learning to say I don’t have capacity to complete something because I’ve got other things on my to-do list. You know, high achieving kids don’t really like saying, ‘No I can’t do that’. 

I remember that I don’t have to do every single thing that they ask, because they’re not expecting me to, they’ll only ask me if I can because they need it done, not because I have to be the one that gets it done.

You have to learn to sell yourself. Not through an AI-produced CV or cover letter, but through authentically being yourself. 

CA: What’s your most memorable moment so far?

Lauren: Every concert that RPO has, we get two free tickets, so being able to take my mum to her first ever orchestral show was the cutest thing. She said, ‘I don’t know when to clap!’ And I said, ‘Just follow my lead.’ She got to meet the managing director and it was a wow moment, because it’s not just a dream come true for me, it’s a dream come true for her. 

Nothing that I do is just about me – which is even the nature of working in a team – but me being here is not just about my own personal career development, it’s also about my family who are mad proud, which is a great thing to feel. 

Even my Gran back in Barbados, she says “You’re working where?!”

CA: What does your Gran in Barbados think about your internship?

Lauren: She loves it, but I think because she’s of that generation, if you say ‘royal’ she gasps. But I will not be meeting the King anytime soon. 

CA: On the topic of your family, did you get your love of music from them? How deep does the music gene run? 

Lauren: Funny story! I told this in my RPO interview which may also have been a selling point. 

When I was born, my parents were in that pop-psychology time around the late 90s, and child development was big (praises, fads, that sort of stuff). So my parents used to play me a lot of baby Mozart and baby Beethoven music videos when I was fresh out of the womb, and now that I look back, that was some weird stuff to be playing to a kid! I later asked my mum what she was thinking, and she said they said it’s meant to stimulate parts of the brain… And I sometimes recognise a piece.

CA: Do you ever announce “This was my favourite sonata when I was 2 weeks old”?

Lauren: Yeah I’m like, ‘This is my jam’. [laughs]  We used to listen to them up until I was like three or four, and then it seemed so insignificant, but now I’m here.

CA: You’ve talked about how you made yourself stand out, but have you got tips for others trying to land an internship?

Lauren: I’ve been telling everyone I know that is looking for work to go to Creative Access. I didn’t know that you could get a job like this. It changes people’s lives and I don’t think there’s enough recruitment organisations that are actually moving the needle in the direction that it needs to be moved, but you guys are. 

As for advice for future interns, you have to learn to sell yourself. Not through an AI-produced CV or cover letter, but through authentically being yourself. That means taking your life experiences and making them into something that someone should care about, because we all have a story. Those stories need to relate to a role, even if it’s something as far away as relating working in a kitchen to working in classical music. Working in a kitchen teaches you how to work under pressure and how to have a quick turnaround of orders and checks. Things like that do make you stand out because you’re able to think about how you can use what you’ve learnt in something that is completely different. And if they can see that your mind works like that, they’ll probably think you know what you’re doing.

CA: At Creative Access, we know that everyone has a unique perspective to bring to the table. Have you had any learnings, so far, on how your identity intersects with your creativity and work, now you’re in the industry?

Lauren: My grandparents came here in the 50s in the Windrush generation. My Granddad was working at the railways, and if he was alive and could see me now, and see the leaps that generationally my family have made, just through work – because that’s all it’s really been – it would make him very proud. The thing about being working class is, even though now the postcode I’m working in is very middle-upper, the home that I live in now would be considered middle-upper, I don’t feel middle-upper, because I’ve still got to work my butt off to get where I want to go. 

So as for my place in the world, how I feel like I identify; I’m a working-class girlie living middle-class lifestyle.

But I know where I came from, and I know where the people who helped get me here came from too. 

CA: Thank you so much for sharing that with us, it’s a pleasure to hear your story. Final question, do you have any plans, projects or career hopes on the horizon? 

Lauren: At the moment, I’m still working with the Kente Club so I’m shouting them out. I write poetry as well and my poetry project will be out in October. In Jesus’ name, it will be amazing! I am also helping to develop a series of events with a lovely lady called Cherise under the name shadeINDIGO and we will be supporting up and coming artists who make interesting and unique music.

Stay in touch with Lauren’s career and follow her work on:

LinkedIn: Lauren Warner

Instagram: @chezlaurenn

Welcome to the latest instalment of our series, Diary of a CA Intern, where we dive into the career journeys of the newest talents in the creative industries, placed in internships by Creative Access. We’re thrilled to be catching up with self-professed shark nerd, Finnegan Crouch, an adventurous intern making waves at BBC Studios Natural History Unit.

Dialling in from a tent in Dorset, Finn was in the midst of researching and filming rare animal behaviour as part of the acclaimed series The Watches (SpringwatchWinterwatch) when we caught up. We discussed their favourite ‘wow’ moments working in conservation at such a historic point in time, and how they tackle hurdles as an intern new to the industry bursting with ideas. 

We also discussed how being from an under-represented background has shaped Finn’s creativity and work. When you grow up facing the horrifying reality of having to choose between heating and food, it’s not easy to map out a smooth journey to your dream job; but read on to see how Finn navigated this with their Grandad’s sailing mantra of ‘velocity made good’. We also touch on their professional experiences as an ADHDer (“I might be emailing while I’m talking if that’s okay, I’ve got raving ADHD so I can do a bajillion things at once”).

Dive into Finn’s incredible journey so far, shedding light on the invaluable insights and lessons learned along the way…This is a story you won’t want to miss!

CA: Hi Finn, we are so excited to be chatting with you! Let’s start with: How would you describe your internship in three words?

Finn: Fuelling my passion. 

CA: As a trainee researcher on The Watches at BBC Studios, you get to do some very cool stuff. What’s a typical day like?

Finn: We’ll rock up and have a whole production script runthrough with the presenters, wildlife team and production, then on to a researcher’s brainstorm. We go through endless story ideas and animal stories. It might be things that we’ve read, seen, filmed or experienced on location or around the UK. We’ll share footage that we’ve found online on rare animal behaviour across the British Isles, and keep an eye out for cool research and science stories from around the globe. 

Then, I’ll be tasked with writing up some bullet points on a story. So let’s say the story is on Spotted Catshark camouflage, I will have to write up three intriguing story beats about their camouflage and behaviour, then make sure that’s all linked to research from the real scientists. I’ll talk to others; emailing connections I’ve made so far or reach out to people who have written scientific papers in order to delve into their work. I’ll also write up scripts and detailed research documents to pitch to the researcher or producer that I work alongside. They’ll then pitch that to the series producers and once a week we put those forward to the entire team and we decide whether to develop further or drop them. I’ve done some filming for the show too, getting out into the wild. It’s not technically a part of the job but I do it outside of this work and so I said to my colleagues, “I could do this, so use me if you want to!”

I find it vitally important to work impactful conservation messages into our stories too. I think we should do that with all our work, rather than just making it purely on natural history behaviour and animal behaviour. We need to acknowledge the other side of the story.

Growing up with having to choose between heating and food didn’t allow for much time to think about exploring my dreams. However, this didn’t seem to stop my fascination with nature and my obsession with animals.

CA: Do you ever receive pushback when you’re trying to put in a message about a larger conservation problem? 

Finn: Yes, more than I expected, which is something that has upset me in the past and still does, because there’s such a room for it and such a need for it. The world of conservation and climate research is one of the most oversubscribed job markets in the world but for good reason. We need to do all we can, while we can. That doesn’t mean that there’s any reason for us to not keep talking about it. If anything, because there’s more people talking about it, we should keep doing even more. 

CA: Do you wonder if it’s a generational thing? Do you think your generation [Gen Z] is more vocal about wanting to confront global issues within our work?

Finn: Yes, I feel like a lot of people are outraged. A lot of the people that will be facing the brunt of the situation are very vocal about it, or at least understand the platforms to be able to be more vocal about it, rather than people who find it difficult to utilise these platforms perhaps. It’s a symptom of the shifting baseline syndrome, where you view whatever state the world is as the norm, and once it gets worse, the people who grow with that see it as the norm.

There’s always been awesome people who push back like Steve Irwin, Sylvia Earle, Steve Backshall, David Attenborough, and all the people that I share this room with [in the workplace], but I feel there’s definitely a generational charge, which is very exciting. Learning from those who came before.

CA: What were your initial thoughts going into the internship? Was there anything that you were particularly hesitant about? Or most excited to learn?

Finn: I was shocked I got it. I thought um, okay, amazing, someone believes that I can do this. This is awesome. Then, once I started to get into it, I was absolutely terrified. I had such a complete lack of confidence, major imposter syndrome. I would sit down in front of the mirror and say: right, someone believes that you can do this – you may not – but somebody else does. So just go with it and make loads of mistakes, but do it all the same.

I also felt very proud of myself. Really, really proud of myself. Proud that I could do it.

This internship allowed me to get a taste of how the world actually works, rather than observing it from the outside.

CA: We’re proud of you! A lot of interns and readers will appreciate hearing your honesty, because it’s a very common feeling in our community, and challenges are part of any learning experience. Would you say that you’ve faced any hurdles during your internship and if so, how did you overcome them?

Finn: One is trying to separate my passion from the facts. I’ve learnt that just because I’m really, really, really excited about something, doesn’t mean somebody else is going to be. Spending lots of time on a project and story, going for it, and then it getting shut down – that’s hard. You have to build a thick skin, as my producer Christina said to me recently. You put a lot of yourself, your heart and a lot of passion into your work, and if somebody else doesn’t reciprocate that same thing, it can be crushing.

I sometimes get so passionate and excited about something, I keep nattering on and then don’t deliver the right words. And then I go home and think, ‘I could have done so much better than that’. 

Yet, there are highs and lows. You can’t have one without the other. You have to try and recognise the nine wins against the one loss. 

CA: We understand that that’s so much of the intern experience. You’re trying to do everything for the first time, all the while thinking I know I could do this better.

Finn: But then again, it can also really push you, which is quite cool. It is a lesson every day.

CA: Has there been a moment during your internship that stood out as a highlight? Something that made you think ‘This is why I’m here’?

FinnOne moment was filming puffins on Skomer Island, and telling the story of their conservation and the most recent sandeel ban, from ideation to release. This was a story that I pitched, wrote, developed and filmed, alongside a great team that helped along the way. Actually being there on the island, surrounded by the animals, filming them and talking about behaviour with researchers, I thought, ‘Yeah, this is what I wanted to do, this is what I trained to do.’

It was a unique moment and absolute pleasure to be there surrounded by such quirky, interesting, little birds. And also to learn about everything else – the threats that they face, the threats that we’ve imposed upon them, and also the endless hope and passion that people have to rescue these animals from the brink that is just so inspiring. 

Puffins on Skomer Island – all images by Finnegan James Crouch

CA: Many of our readers are looking to break into the creative industries through internships. What advice would you give to them?

FinnBe proud of what you know, be proud of what you want to know, and when people try to push you down, just use that to fuel yourself. Keep pushing but learn how to slow down and appreciate where you are. If someone says I can’t do something, I have to show them that I can. Reach out to people to help you, because people are actually really, really kind. As long as you are kind back to them, they’ll have a lot of time for you.

I would also say, you have to deliver. If you promise something, then you must deliver it. Keep yourself to your own word, whether that’s with your goals and aspirations or waking up in the morning and going for a walk or a stretch. It can be such little things, but keep yourself to your word. 

Something that my Granddad always said to me, and it really helped me when I was young, is a sailing phrase: ‘velocity made good.’ If you have an end goal – mine is to be an underwater cameraman or a self-shooting producer or even a conservationist of sharks or whales – it doesn’t matter if you have to tack and go to the right, or left, or around the other side and zigzag through, just keep moving towards your goal. That goal can change, and that’s fine, being amenable to change is really important. But don’t stop trying and don’t stop looking, and be kind to yourself and be kind to other people.

CA: How is your internship at BBC Studios influencing your creative aspirations?

Finn: It’s informed how I need to practise my skills, it’s helped me make connections, and taught me how to be professional. It’s allowed me to get a taste of how the world actually works, rather than observing it from the outside.

I wouldn’t be sitting here, being able to have a conversation with you if it wasn’t for that, I’d be in a pretty bad spot. So it’s definitely given me the direction of, right, that’s the career angle I want to go down. That is the kind of life I want to live.  

CA: At Creative Access, we know that everyone has a unique perspective to bring to the table. Have you had any reflections, so far, on how your identity intersects with your creativity and work, now you’re in the industry?

Finn: That’s something that gets missed a lot of time I think, and it’s such an important dynamic of every person that you meet. There are a few different angles to this for me that have really impacted my work; neurodivergence, gender and socio-economic background.

My time at the BBC has really put my brain and heart to the test. I have, and am extremely proud of having, ADHD. I’ve had to think deeply on how it affects my workflow, both positively and negatively. From time to time, it can mean that I feel overly emotional about my work, about the state of the industry, and when I’m feeling invested I can go down deep holes of research. However, I find that this is also one of my greatest strengths. I’ve been told by colleagues that my ability to hone in on a story, character or species so much that I fall in love with it, gets them just as invested. It makes me think from a different perspective, perhaps from an angle that hasn’t been seen before. 

I have spoken with many others from Creative Access at neurodiversity meetings, NHU [Natural History Unit] Inclusion chats and with colleagues, and every time people are wanting to learn, share their thoughts and grow. I’m proud of my ADHD; the drive it gives me and the passion it helps to fuel. I do sometimes forget to slow down, but wow, I wouldn’t have it any other way. 

As a non-binary person, working at the BBC has actually been a great experience. As a member of the NHU Inclusion group, I have been connecting with people like myself and not all across the industry. Many people are eager to learn and understand. It has been a really pleasant experience. 

I have also experienced living on the streets for a time to now being in my own home with an amazing job and living my childhood dream. This industry is known to be very hard to break into with only around 8% of people being from a low socioeconomic background (Channel 4). Growing up with having to choose between heating and food didn’t allow for much time to think about exploring my dreams. However, this didn’t seem to stop my fascination with nature and my obsession with animals.

CA: You’ll complete your internship this summer. It’s a while away but do you have any exciting plans or projects on the horizon?

Finn: These past months have been a blast and have indeed, blasted past. So, the post-internship plans are coming round sooner rather than later. Currently I am open and looking for more work both within and outside this field, behind, in front and working the camera, within conservation, design or anything TV/film related. 

I am also a part of an awesome research team of UK shark species, helping to create a vital film project with an NGO named Kai, alongside Liberty Denman and many others. It is a real grass roots project but I couldn’t be more proud so far. Sharing an insight to one of our most underappreciated shark species, due to be released and tour the UK later this year. Also, I will be releasing a passion project of mine in November, which is a series of magazines and a short film about the conservation hero, Chris Hines MBE. Other than that, I am open and free to start exploring what comes next and always keen to hear from people from many sides of the creative, scientific or both.

CA: Thank you so much for your time, we can’t wait to see what you do next!

Stay in touch with Finn and follow their work on:

Today’s interns are tomorrow’s future! In Diary of a CA Intern, we get to hear from the next generation of creatives to watch, who have been placed in an internship via Creative Access. Read on as we dive into their incredible career journeys so far, shedding light on the invaluable insights and lessons learned along the way…

Meet Nandi, a visual artist based in South London who loves to dabble with different art mediums, from clay and illustrative work to creative campaigns. She completed her 15-week internship as ‘creative IGNITE intern’ at award-winning communications agency McCann Health in April 2024 via Creative Access. For those who aren’t familiar, McCann Health is a multi-service comms agency combining science, creativity and strategy, serving clients across the therapeutic space. Passionate about digital marketing and content creation, Nandi’s now well on her way to forging an incredible career in the creative industries. Let’s get to know her!

CA: Hi Nandi, it’s great to connect! Let’s start with something fun: How would you describe your internship in three words?

Nandi: Fun, insightful and challenging.

CA: What were your initial thoughts going into the role? 

Nandi: I was excited to be part of a set team for a long period of time! Although, I was a bit unsure of what to expect coming into a health agency. However, this just sparked up more curiosity – I was excited to gain industry experience regardless of the work being in the pharmaceutical industry. 

“One thing about me is, if I don’t know what’s going on or I’m unfamiliar with something – expect me to ask multiple times… That’s [one of the ways] I overcome hurdles.”

CA: Could you tell us about the projects you worked on during your creative internship? What sort of work does a Creative IGNITE intern get up to?

Nandi: The projects I worked on were categorised as either being billable or non-billable (non-billable hours are the work hours you spend which are not going to be directly charged to the client). One of my billable favourites was coming up with cool activations people can engage with when they are out and about (social out of home marketing, which is advertising that takes place out of the home, such as on billboards and posters on transport). The reason why I loved working on this was because we wanted consumers to associate these concepts with feeling a sense of calmness. I always love working on projects that are centred around people and how work can evoke certain emotions! 

On occasion the IGNITE interns were called upon to help other internal teams in the agency. I loved coming up with concepts for client booths to attract healthcare care professionals to engage with health congress or simply brainstorming names for what medical events could possibly be called. 

CA: Take us through a typical day as an IGNITE intern at McCann Health. What did your daily routine look like?

Nandi: Myself and the three other interns gelled extremely well so, speaking to them at any time during the day was strongly integrated into our working culture. Each day would entail a catch up between us interns and when we were put on new work, it was a standard procedure for it to begin with a discussion. 

“I got to meet such talented, creative peers who I can strongly say are now friends for life.”

For a bit more context, my working style beforehand was very much independent. Making that shift to teamwork was something new that I didn’t consciously practice. I say this all to say that my daily routine was great – I got to meet such talented, creative peers who I can strongly say are now friends for life.

CA: How did your internship within the comms industry at McCann Health impact your career trajectory or influence your creative aspirations?

Nandi: The name ‘McCann Health’ holds a lot of prestige – it has won several awards and is recognised on a global scale! I’m happy that I fully immersed myself in the workplace for a long time (15 weeks)! Although my time has come to a close, I was proactive and made great connections. I definitely feel as though I left a Nandi-shaped mark in the London office and will be sure to keep my past colleagues in the loop. 

“One bit of advice I would give to anybody looking to apply for opportunities is to literally just keep going! I’ve had to learn to accept rejections and take on the mindset that what is meant for me will not pass me.”

CA: Challenges are part of any learning experience. Did you face any hurdles during your internship and if so, how did you overcome them?

Nandi: Oh 100%! I was coming in as a very entry-level creative with a very commercial based ‘passion project’ portfolio. It’s definitely fair to say I got a shock entering the Pharma world. All sorts of acronyms and phrases are used by the pros in the Pharma world, that’s just the lingo used. It is understandable that one would forget that the newcomers may have no clue as to what may have just been said! One thing about me is if I don’t know what’s going on or I’m unfamiliar with something – expect me to ask multiple times… So, that’s how I overcame that particular hurdle.

CA: Many of our readers are looking to break into the creative industries through internships. What advice would you give your younger self in 2023 when you were applying for opportunities?

Nandi: One bit of advice I would give to anybody looking to apply for opportunities is to literally just keep going! As cliche as it sounds it honestly is the truth. I know how annoying and disappointing it is when you don’t hear back from places or get hit with emails starting with, “we regret to inform you” or “unfortunately on this occasion we haven’t been able to”. I’ve had to learn to accept rejections and take on the mindset that what is meant for me will not pass me! 

CA: Let’s talk about your *beautiful* illustrations – they’re fantastic and really enhance your storytelling. Who or what inspires you? Any advice for aspiring illustrators and content creators?

Nandi: Ah, thanks so much! My digital illustration to storytelling takes on the form of childlike drawings – they’re so fun to draw! The reason it takes on a youthful style is purely because I was hitting a rough patch. I somehow was convinced that more refined art is greatly appreciated and ‘proper art’. 

‘Proper’ realistic art took ages to produce and I didn’t haven’t fun producing art this way at all. To any illustrators and makers out there experiencing art block or self-doubt, honestly try and see if there are alternative routes or approaches to expressing your talent. At the end of the day, you should do what makes you happy! Find that solution and hopefully you’ll feel happy, both on the inside and outside! 

CA: Finally, what’s next for you? Any exciting plans or projects on the horizon?

Nandi: A shoutout is definitely needed for Good Nugget – who describe themselves as a positive impact agency. I started their kickstarter programme last October and have been able to gain so much experience and knowledge about the creative industry. There’s possibly something very exciting in the works and I’m keeping everything crossed! You can also definitely expect more video-based art content on my social media accounts as I’ve been posting a lot more consistently this year and the engagement seems to be doing well too!

Stay in touch with Nandi and follow her work on:

Instagram: @theartofnandi

TikTok: @theartofnandi