• Only 8% of publishing freelancers report having mentorship access, and 1 in 2 feel unsupported by employers 

• Backed by 11 trade and academic publishers, Thrive Career Development Programme provides 17 essential training & support places for minority freelancers  

• Launch supports the Publisher Association’s Work in Publishing Week to boost career growth for diverse talent 

Diversity, equity and inclusion social enterprise Creative Access has secured sponsorship from across the publishing industry to support mid-level freelancers from under-represented backgrounds through sponsored places on its Thrive Career Development Programme. This initiative addresses a significant gap in professional support for freelancers, who provide essential services to the publishing sector yet often lack access to crucial career development resources like training, mentorship and networking opportunities. 

Freelancers are a vital part of the publishing workforce, supporting functions like proofreading, copyediting, design, illustration and sensitivity reading. However, freelancers from minority backgrounds face a significant lack of support: Creative Access’ Freelancer Report 2023 shows that only 19% have received training and just 8% have had a mentor. This is despite 61% wanting to see training from employers and 44% stating mentorship is vital. Half of publishing freelancers (50%) feel unsupported by employers, with 58% citing basic practices such as late payment as a major issue.  

Launching during Work in Publishing Week—a national campaign by the Publisher’s Association to inspire careers in publishing—Creative Access’ Thrive Career Development Programme for mid-level professionals has garnered unprecedented industry support, with sponsorship from trade and academic publishers,  

According to the Department for Culture, Media and Sport (DCMS), 32% of jobs in the UK’s creative and cultural industries are self-employed, compared to just 14% across the wider UK economy. Publishing freelancers, like their counterparts in film, television, and the performing arts, are essential to sustaining the UK’s vibrant creative landscape yet often face barriers to support and growth. A 2023 report by Literature Alliance Scotland showed that 93% of freelancers agree that the sector relies on freelancers, however the majority of freelancers (58%) do not feel valued by the sector. This programme aims to address these gaps and empower publishing freelancers to thrive in their careers. 

Josie Dobrin OBE, executive chair & co-founder, Creative Access: “We know how vital freelancers are to the publishing industry, yet many, especially from minority backgrounds, face barriers to career growth and support. It is so gratifying to see key players across the industry come together to collectively address the challenges faced by the freelance community; to promote retention and ensure that all individuals – whatever their background – feel valued and are given the opportunity to thrive.” 

Claire Thomas, director of organisational development & talent at Penguin Random House said: “Penguin Random House is thrilled to support Creative Access’s innovative new programme. Investing in the development of freelancers from under-represented communities will support the industry’s commitment to greater representation and retention, through the development and strengthening of new networks and skills.” 

Kiren Shoman, executive vice president, editorial & global executive lead, DEI at Sage said: “We are thrilled to support the Freelancers Publishers Training Programme as a sponsor. At Sage, we believe in the power of diverse voices. This programme aligns with our commitment to fostering creativity and inclusivity in the publishing industry. We look forward to seeing the valuable impact that will emerge from this initiative.” 

Rebecca Gray, managing director at Profile Books, said: “Creative Access is constantly driving change and coming up with ways to open up our industry, so when Josie asked us to sponsor a place on this scheme we said a very quick ‘yes please!’ Making freelancing accessible is a clever way to look at our diversity initiatives through a new lens and we are very much looking forward to meeting the people who join the programme.” 

The year-long Thrive programme will begin in March 2024 and offers 17 sponsored places for mid-level freelance talent in publishing. Participants will gain access to: 

• Targeted training in key areas such as career sustainability, leadership presence, financial literacy for freelancers, and advocacy skills. 

• Mentorship from senior professionals in the publishing industry, providing six months of personalised career support. 

• Exclusive networking events with publishing partners, offering connections to foster long-term professional relationships and more! 

This opportunity is designed for freelancers with at least six months of experience in the publishing industry, including in roles across editing, design, project coordination, and other key publishing functions. It will include both in-person and online sessions to ensure accessibility to freelancers across the UK. 

Application Information 

• Applications Open: 18 November 2024 

• Deadline: 2 January 2025, 5:00pm

• How to Apply: Freelancers can apply via the Creative Access opportunities board, where they will complete an application form and submit an up-to-date CV, indicating any prior work with the programme’s partner publishers. Link to apply: https://opportunities.creativeaccess.org.uk/job/thrive-development-programmes-freelancers-working-publishing-31401  

For more details about the Thrive Career Development Programme and the application process, visit http://opportunities.creativeaccess.org.uk/ or contact yasmin@creativeaccess.org.uk  

‘Reacting to the announcement of 2024’s Class Pay Gap Day, Yasmin Hemmings, who oversees support programmes for individuals from under-represented backgrounds at social enterprise Creative Access, explains the pay gap is even more acute for ethnically diverse talent.

According to Creative Access research, almost half (48%) of ethnically diverse professionals surveyed report socio-economic bias in hiring and promotions, double that of their white counterparts (24%). A further 40% feel overlooked in their careers due to class, versus 30% of white working class professionals.

“This stark ‘class ceiling’ strongly impacts diversity in leadership. Seeing few others who share their background, working class ethnically diverse professionals face extra hurdles to advance,” says Hemmings.

“This goes beyond fairness – it’s a call for employers to adopt truly inclusive practices that address class and race, as well as disability.”

She argues the introduction of mandatory socio-economic pay gap reporting would help “dismantle” the structural barriers holding talented professionals back.

Member of the Creative Access steering group Jaber Mohamed, director of health comms and PR at MHP Group, identifies connections and money as two of the biggest barriers to entry into the creative industries. 

“Lots of opportunities aren’t advertised, so you need to know the right people to get them. And the PR and comms industry is very concentrated to London, so you need to be able to afford to live here/support yourself to take advantage of those opportunities,” Mohamed notes.

“This is especially difficult if your family can’t support you/help you when you’re starting out.”’

You can read the full article here.

On the new report from the Sutton Trust examining class inequality in creative careers and education, Creative Access CEO Mel Rodrigues offers comment and advice for employers intent on tackling social inequality in the creative industries, reports Mary Stone:

‘Melanie Rodrigues, CEO of Creative Access, said employers and institutions need to work together to remove obstacles “in a more joined-up way”.

She agreed the findings “sadly reflect the everyday experiences of working-class talent across the UK, who face a multitude of barriers to accessing and maintaining creative careers”.

“Addressing socio-economic barriers is a complex task, but it is business critical to nurture and progress talent from all backgrounds. There is a huge risk that the creative industries will lose what makes us great if we don’t embrace the myriad of stories and experiences that make up the society we live in – and that can only be achieved via a diverse and representative workforce,” said Rodrigues.’

Read the full article here.

Creative Access has added Dean Webster, Head of Development at Ten66 Television, to its board, reports Televisual.

Read the full article here.

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! 

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? 

• 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 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. 

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).  

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. 

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. 

“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. 

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: 

• Sector specific; Museum as Muck, UK Black Comms Network, Women in Film & TV, Asian Communication Network, Vampr,  

• Community networks; Common People, Disability Arts Online, Black Disabled Creatives, The 93% Club, Working Arts Club, Ladies Wine & Design, Other Box Community Group  

• General creative networks; Creative Lives in Progress, Bricks Learner Platform, CreativeMornings   

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 backgrounds‘ reports 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 recruit@creativeaccess.org.uk. The deadline for the next round of applications is midday Thursday 28th 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. 

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. 

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: 

LinkedIn: Lanna Cowles

YouTube

Instagram: @lannacowles