Creative Access, the leading social enterprise in progressive career development and support and McLaren Racing are today launching the Creative Access x McLaren Racing Career Development Bursary.   

The Bursary is a new fund aimed at supporting talent from under-represented communities who aspire to work, or further their career, in the creative industries, but who are currently held back from doing so because of their financial status. 

Creative Access surveyed more than 1,900 people working in, or looking to pursue, a career in the creative industries to examine how financial barriers impact career progression. The results demonstrate how crucial the bursary will be to enabling people from under-represented groups to access and progress in the sector. Key findings include:  

• Just over three quarters (77%) have not applied for a job due to the associated high living or commuting costs 
• Over a third (35%) have refused job offers because of financial obstacles 
• 76% of 18 – 25 year olds and 79% of 26 – 35 year-olds have not applied for roles due to financial pressures and 69% of 18 – 25 year olds have not taken up a role  
• The most common financial pressures impacting career progression are cited as unaffordable living, commuting and relocation costs  

• 47% people surveyed say financial barriers have ‘greatly’ impacted their career progression – this increases to 61% for those from under-represented socio-economic backgrounds  
• 80% of people who identified as having disabilities did not apply for a role and 59% did not take up a job offer because of financial barriers 
• Financial status also prevented 82% of people from under-represented socio-economic backgrounds from applying for roles and 58% from taking up a job offer  

The top 5 creative sectors where potential candidates did not apply for a role due to financial reasons are:  

1. Film – 86% 

2. Music – 86% 

3. Theatre – 85%  

4. TV – 82% 

5. Museums & Galleries – 81%  

The Bursary is the first initiative from the Creative Access and McLaren Racing partnership, which was formed in June this year under the McLaren Racing Engage alliance, which aims to diversify talent in motorsport. 

The Bursary will fund training courses, software, equipment and relocation costs, as well as disability access support, care costs and bespoke coaching or mentoring.  

The application window for the first round of bursaries will open on Wednesday 27 October and close on Wednesday 8 December. Applicants can apply for bursaries of £250, £500, £750 or £1000 by logging in to an existing Creative Access account or registering at creativeaccess.org.uk.  

Coverage of the bursary, as well as our research has been featured in PR Week, The Bookseller, The Stage, ArtsProfessional, Broadcast, UK Screen Alliance and DiversityQ.

Creative Access surveyed more than 1,900 people working in, or looking to pursue, a career in the creative industries to examine how financial barriers impact career progression. The results demonstrate how crucial the bursary from Creative Access and McLaren Racing will be to enabling people from under-represented groups to access and progress in the sector. Key findings include:  

• Just over three quarters (77%) have not applied for a job due to the associated high living or commuting costs 
• Over a third (35%) have refused job offers because of financial obstacles 
• 76% of 18 – 25 year olds and 79% of 26 – 35 year-olds have not applied for roles due to financial pressures and 69% of 18 – 25 year olds have not taken up a role  
• The most common financial pressures impacting career progression are cited as unaffordable living, commuting and relocation costs  

• 47% people surveyed say financial barriers have ‘greatly’ impacted their career progression – this increases to 61% for those from under-represented socio-economic backgrounds  
• 80% of people who identified as having disabilities did not apply for a role and 59% did not take up a job offer because of financial barriers 
• Financial status also prevented 82% of people from under-represented socio-economic backgrounds from applying for roles and 58% from taking up a job offer  

The top 5 creative sectors where potential candidates did not apply for a role due to financial reasons are:  

1. Film – 86% 
2. Music – 86% 
3. Theatre – 85%  
4. TV – 82% 
5. Museums & Galleries – 81%  

This research was done to coincide with the launch of the Creative Access x McLaren Bursary.

We’re back with another Spotlight Series blog post! Under the spotlight, this time is our super hard-working Copywriter, Theo Perrin.

Can you introduce yourself?

I’m Theo! I’m a Copywriter and CRM Assistant at Creative Access.

Could you describe your role in a little more detail?

My job involves populating our opportunities page with the hundreds of internships and jobs that we advertise through our networks, hopefully making them as informative and appealing to potential candidates as possible.

Part of my work is also making sure that these roles find their audience; I contribute to our Twitter page and put together our fortnightly email newsletter to candidates, offering a bitesize roundup of live roles in the creative industries to those who have signed up with us. I also liaise with our many employer partners to make sure we have all the right details for them.

What’s your favourite thing about your role?

With a background in creative writing, I’m always going to enjoy a chance to create or edit something so that it reads well for an audience. Hopefully telling them everything they need to know without putting them to sleep!

But beyond this, I find a lot of satisfaction in discovering better ways to work. I’ve joined the organisation at a time when it’s busier than ever and there is plenty of thinking about our approach to what we do behind the scenes. Finding even tiny solutions by myself or in conversation with colleagues is secretly my favourite part of the job.

Talk to us about your writing background, please, Theo.

I’ve been writing in my own time, mainly pieces of fiction, since I was 13. I also wrote a 50,000-word fantasy-crime novel with my friend back in sixth form. Although I didn’t think it would lead to anything, I knew I didn’t want to give up writing, so I went and studied English and Creative Writing at the University of Nottingham and kept pulling at that thread.

I would love to be able to expand and grow my skill set and put it to use across a broader range of mediums, like blog posts or video scripts. It’s hard to find the time to write for myself at the moment, but I make space in my life outside work to keep my hand in writing whenever I can.

Tell me more about why you joined CA. How do you feel connected to the company?

To expand on an earlier question, a big part of what makes my role enjoyable is that I’m invested in the success of CA’s work on a deep level and want to see the organisation keep growing. It was a priority for me when searching for a job that I would be in an organisation where I didn’t feel alienated from its goals.

This is also hopefully what Creative Access can offer to those who find new roles through them too. There is often a lot of focus on your specific daily tasks when searching for jobs, but I think ideally the bigger picture is also compelling and drives you forward.

But it’s not as straightforward to find that connection to your labour in an era of hyper-specialised work. When your ancestor fashioned a tool to make farming crops easier a few thousand years ago, they knew exactly how this was going to help their community. So, the chance to help a wider range of people find work they care about in the creative industries was really special to me and something I didn’t want to miss.

It feels strange to put it so bluntly considering what I look back on as a really positive and varied upbringing, but I was raised in a low-income household. This absolutely shaped my perspective on what opportunities different people can access.

Then growing up through the past decade, watching funding being squeezed from creative education and extracurricular activities, knowing that fewer people than ever are financially equipped to enter industries that were already known to be very insular and difficult for newcomers. All these things have a big impact if you value the arts and cultural sectors, and happen to feel a little edgy about your financial security.

And finally, if you could travel anywhere in the world, where would you go and why?

This is quite a poignant question considering the past year and a half isn’t it! I would love to repeat a past holiday and go back to the south of Spain and spend more time looking at Moorish architecture. So Cordoba, Seville, Granada. Lots of very intricate and geometric Islamic art we don’t always think of when we talk about Europe.

Having said this, I think my most memorable travel experiences have been finding myself in unexpected places, doing things that aren’t necessarily on the itinerary. Like I once spent 30 hours sat on a train going through Canada because a freight train broke down on the same line. It wasn’t a sleeper train, so I spent 30 hours more or less sat upright, trying to read a book. The food carriage started running out of things that weren’t snacks. I was very bored and tired but these irritating details disappear when you’re looking back on dull experiences; memory smooths them over. I was staring at mountains and endless forests I’d never seen before. It was very peaceful in a way.

Four creative professionals working for ITV came together to share their journeys through the television industry and their top tips on how to make yourself stand out from the rest in our September masterclass.

The Creative Access community joined to watch Creative Access alumni, Raine Beckford and Mica Rowe, talk with Sonny Hanley, and David Proud to discuss the on and off-screen truths about the industry.

The television industry is often perceived as hard to access, with many of our community uncertain on how to make the first steps to a role in TV. Creative Access, with our mission to give people from under-represented communities access to TV and other creative industries, assembled a panel of pros working in areas from content distribution to script writing, producing and acting, to explore not only how to make it into the industry, but how to get noticed and be remembered and the future of television itself.

Sonny Hanley, Controller of Content Services, spoke of a strong desire to work for ITV that revealed itself at a young age. Passing the building with his mother, he was confident that one day he too would work there. Sonny, taken with the mechanics of television as a young boy, now sits proudly at the helm of ITV’s distribution of its most well-known and well-loved programmes. For Sonny, persistence was key as he told our viewers of his experience of asking for work and being rejected but having the tenacity to ask again – this time being invited to spend a few weeks at the ITV studios to make a documentary. Sonny used this vital opportunity to make contacts and learn as much as he could – and has now been working for ITV for 18 years.

For others, this journey is not so linear. Our host Raine Beckford, who is now a researcher on Piers Morgan’s Life Stories and Mica Rowe, now Assistant Producer on Loose Women, both shared their feelings of being lost and unsure what to do next in their careers. Raine left university with an economics degree, but after thinking about what she enjoyed doing, decided to pursue a career within media, later getting a Creative Access internship with Peston as a runner.

Like Raine, Mica is also Creative Access alum. “I was always interested in stories and speaking to people” Mica said as she spoke of her first job on an antiques show and stressed the importance of a strong work ethic, as working-class woman of colour with no prior contacts in the industry. She is proof that it is possible.

When asked about specific tips our Creative Access community could use to improve their networking skills, David Proud, writer of Coronation Street and proud owner of a new puppy, Alfie (whose cute barks could be heard throughout!) had lots to share.

He spoke of how essential it is to not only network with those above you, but with your peers, as they will be the reinforcement you need to keep going sometimes. Sonny and Mica agreed, both saying how important it is to form connections. “Networking sounds like a dirty word, but because everyone is in it…it’s not so bad!” Sonny added. All members of the panel emphasised getting out there, meeting people and pushing yourself outside your comfort zone, to eventually reap the rewards. David said:

Mica commented on the importance of keeping your CV up to date, as well as making yourself known to the talent managers of various TV companies to make sure you stay on their radars. Creative Access also runs regular CV consultation clinics, specifically created for those wanting to get into television/film, don’t forget to sign up here if you’re interested!

Networking can also help with getting your work looked at, with David’s advice being to find an agent, as well as sharing your work at script festivals, new writers’ avenues and writing spec scripts – but foremost finding your agent as negotiating can be intimidating!

Being genuine and helpful is also vital, as Sonny said:

Being freelance can also be intimidating in nature, the panel revealed. With the changing dynamic of the world, more and more individuals in the television industry have decided that freelance working is their new norm. Mica, who has had the best of both worlds, commented that although being staff allows you to climb up the ladder, sometimes freelance work can lead to more naturally organic connections with people. David had quit a full-time job to pursue a career as an actor at the beginning of his career, unsure of what the future might hold. Freelance is scary, but if we’ve learnt anything, it’s that sometimes it’s worth taking the risk as it can be “both terrifying and exciting” he said.

The past two years have shown just how adaptable the creative industries can be, and this definitely includes the television sector. ITV has had to be more flexible and innovative when building a rapport not only with their audience but with the guests on their various shows. Mica spoke about “thinking outside the box”, especially when it came to building those vital relationships. Things are slowly making their way back to a new kind of normal, as David tells us about writing for running drama, Coronation Street:

ITV pulled together during the Pandemic, and although challenging, it was made easier as everyone had one common goal – to produce and distribute amazing television.

Raine wrapped up our Masterclass by asking for any special guidance on applications. Mica shared how essential it is to make your CV easy to read, avoiding huge blocks of text. Many members of our panel revealed they go through hundreds of CV sometimes, so format definitely matters. Sonny added the strength of a well thought-out, passionate cover letter, with David adding the importance of being honest about your shortcomings, but a willingness and drive to learn and be more. Sometimes it can feel like the odds are stacked against you, but as David said, “don’t let them win…don’t give up!”.

We are very grateful to Sonny, Mica, David and Raine for sharing their time and experiences with us. If you are interested in a career in television, don’t forget to check out our current opportunities. We also thank all those who attended and contributed to the discussion by asking questions to our panel.

Watch the session in full on our YouTube channel here.

In an article on closing ethnicity and gender pay gaps, PRWeek spoke to agencies about the biggest barriers within the advertising agency and how to change.

WDW Entertainment spoke of calling out the limitations of advertising roles in the echo chamber. They explained that their partnership with Creative Access have helped diversify their applicant pool:

“When we have advertised jobs historically on our social channels or via word of mouth most applicants have been white. The biggest challenge has been the pipeline. since working with Creative Access this has changed exponentially.”

Read the article in full here.

Demand for diverse talent to fill vacancies in the creative industries increased by a staggering 331% in August 2021 compared to August 2019 Creative Access have seen as employers seek to use the current vacancies boom to address the sector’s longstanding diversity problem. We have also seen a 185% increase in the number of employers wanting to recruit more people from under-represented communities, showing that employers are seeking to understand how best to create an inclusive workforce and want to increase their confidence in navigating the diversity agenda and terminology and take appropriate action.

Creative Access saw the most significant rise in vacancies in music and the performing and visual arts as theatres, film and TV productions and entertainment venues re-open and need to hire staff post-pandemic.

Our data research has been covered by The Bookseller.

The Drum recently covered creating a more diverse talent pipeline in the advertising, PR and communications industry.

Katie Edwards at Publicis•Poke Publicis Groupe explained how they set up Publicis Poke Talent by

While Nicola Statham at FleishmanHillard said,

The article can be seen here.

In response to COVID-19, Kickstart placements have given young people the opportunity to work in a range of creative industries, bridging the gap of unemployment that the pandemic has caused. Annabella Costantino, recent MA Publishing Media graduate from Oxford Brookes University, is a current Kickstart placement holder at inclusive children’s fiction studio, Storymix.

Can you tell us a little bit about yourself?

Hi! I’m Annabella and I work as a General Assistant to the Founder at Storymix. I also volunteer for The Publishing Post as a Contributing Writer and Copyeditor, and am growing my skills as a freelancer editor. I grewup in the East Midlands and moved to Guildford in 2016, where I studied BA English Literature with Creative Writing at the University of Surrey, graduating in 2019. Later that same year, I moved to Oxford to study MA Publishing Media at Oxford Brookes University. This was where I learnt about the publishing industry and it solidified my interest in children’s books.

How have you found the role at Storymix?

I’ve learnt so much! It has been great to see the internal processes of a publication and how different departments work together, in-house and with freelancers. The team is very friendly, quick to help and fun to work with. I have particularly loved to see how editorial and marketing work for creative projects in development and how to pitch a book to publishers. As it’s a remote position, I haven’t met any of my colleagues in-person though, which is common in the COVID-19 climate.

What does your role there involve?

My job is varied, which is why I love it. First and foremost, I offer administrative support to Jasmine Richards, founder of Storymix, by liaising with her professional network. I support ongoing projects by storylining and editing, as well as creating articles, blogs and social media content on behalf of Storymix, supporting marketing and PR strategy. Some examples are a set of inclusive book recommendations and a blog post for Black Books Matter, covering the publishing processes for Aziza’s Secret Fairy Door. I am also a reader and reviewer for prizes, providing feedback for Jasmine. It’s a very creative job where I have developed my attention to detail and organisation skills – and all in just a few months!

Why is Kickstart a good initiative by the government?

The Kickstart scheme has really helped young people whose careers have been negatively impacted by the pandemic. COVID-19 has significantly affected recruitment processes for recent graduates, with less job availability and opportunities to network with new people. The Kickstart scheme has connected companies with gateway organisations such as Creative Access, who in turn, have offered support to candidates and increased opportunities in a highly competitive job market.

How has Creative Access supported you during your placement?

Creative Access has offered training and workshops throughout my placement, specifically for the Kickstart cohort. This included an induction, where I got the chance to meet other Kickstarters and set SMART goals. This helped me to suggest ways of monitoring my progress at Storymix, taking the experience to the next level. Creative Access also offer several online masterclasses, in addition to our workshop schedule.

What are your hopes and ambitions career-wise?

My ambitions are that I can take my experience and work in a children’s publishing house, preferably in editorial. I would also love to return to the publishing scene in Oxford, if possible. My passion for words is what has taken me this far, and the chance to continue working on inclusive publications that positively impact readers would be amazing. Reading makes a difference, and I can’t wait to work on more books that I am passionate about. Publishing is an exciting industry and I have already met so many talented people. I have high hopes for the future and it’s great to see progress – one book at a time!

When Annabella isn’t at Storymix, you can find her portfolio on LinkedIn, including her interviews with publishing professionals and upskilling tips on The Publishing Post website. You can also find her on Twitter.

To explore Kickstart Scheme opportunities via Creative Access see here.

Maja Pawinska Sims has covered Bibi Hilton’s new position at Creative Access in Provoke Media. Speaking to Sims on her role, Hilton stated:

You can read the full article here.

As part of Creative Access’ ongoing partnership with Aardman Animations, Izzy Thomson, was offered a complimentary place on this coveted world-class stop motion course. Here she tells us what she learned and her plans for the future…

I am a painter from the Highlands of Scotland. I grew up in a place called Cromarty, an old fishing town nestled between the hills and sea. I went to Aberdeen, where I gained my BA (Hons) in Painting from Gray’s School of Art. After graduating with a first-class degree, I then went on to complete the Graduate Residency in Leith School of Art, in Edinburgh. After spending time in Aberdeen and Edinburgh, I have since returned to the Highlands and I am currently based in Wasps Studios, Inverness.

My work derives from a love of wild landscapes and storytelling. I have always been captivated by animation and I have had a growing desire to explore the use of one-stop animation within my painting practice since my degree. I am drawn to animation, as a way to make my paintings move and to see how the characters within them might journey through their worlds.

With funding from Creative Access, I was given the chance to undergo the Aardman Academy’s Stop Motion 1 course and finally explore this curiosity. The course took place online, over a 12-week period and was about one-stop, performance-based animation. It guided us through the principles of animation, each week giving us a progressively harder task to complete, to cleverly build up our skill-base and confidence. These ranged from penny slides to animated idles. This prepared us for making a final film for the graduation screening.

The overall ethos was welcoming and relaxed, yet it encouraged a passion for dedication and hard work. This provided the perfect environment to learn from. There was also an online community, which formed a platform for the students and tutors to chat, get to know each other and share ideas. It is a great feeling when you find likeminded people!

The course allowed me to deepen my practice as a visual narrator by further developing my use of one-stop animation within my work and my final project was derived from a painting I had made a couple of years ago.

The access to the use of Dragonframe (the animating software) and the armature by Animation Toolkit (the skeleton that you build up the puppet on) that came with the course, allowed me to immediately put into practice the principles of animation I was taught each week, without having to find the tools to do so.

This opportunity has been challenging, fun and a huge learning curve. I will certainly apply the skills and knowledge I have gained to future projects and continue to develop my use of animation as an extension to my painting practice. I have an upcoming exhibition, for which I am planning to make animations that coexist alongside my paintings – to help me tell stories and bring my world to life.

In the future, I would love to use my animations and storytelling to educate people about ecology, biodiversity loss and the importance of the natural world. Using animation and painting to visually engage and inspire, it is a dream of mine to make work for nature-based charities, to help them promote and rekindle a love for the living world and help to protect it.

For any of you out there at the beginning of your animation journey, I would advise you get a lump of plasticine and a cheap/free app on your mobile (such as Stop Motion Studio) and have a good old play around and make the plasticine move! I would also highly recommend getting your hands on a copy of “The Animator’s Survival Kit” by Richard Williams.

I wouldn’t have been able to complete this course without the help from Creative Access. So, I thank you very much for this marvellous opportunity to grow my creative practice.

You can view Izzy’s animation work here including her final short film The Constant Gardener, created for Aardman on the course.

PR Week have reported that Bibi Hilton has joined the Creative Access team, acting as the new Director of Communications. She has over 15 years experience in PR, working as MD of Golin London and, most recently, as Global Engagement Director for Unilever at Interpublic. Bibi is also the former President of Women in PR.

Read the full article here.

We are shining the spotlight on our amazing staff once again. This time it’s the turn of our fabulous Employer Training & Operations Assistant, Ayesha Ali. Grab a cuppa as we talk all things creative (and Wales!).

Please introduce yourself!

I’m Ayesha and I am the Employer Training & Operations Assistant for Creative Access.

What were your motivations for joining CA? 

I knew that I wanted to work for a mission-based organisation, somewhere where my work would help change society for the better. I always thought I’d work in the third sector – helping fill the gaps and give support the Government have missed. Since university, I have had a big interest in diversity and inclusion and mental health, so when I saw a role advertised by Creative Access, I knew I had to apply.

Since working for CA, I’ve learnt so much about the creative industries and the different types of roles in the creative sector and where creative industries can take you in your career – working here has opened my eyes to the creative world.

Which creative sector are you most passionate about?

If you know me, you’ll know I am someone who has a lot of different interests so this question is quite difficult for me to answer. I am an avid reader and I adore musicals; so aligning with my hobbies, I’d say publishing and theatre. I love stories and being transported to different worlds and places. I am a big history nerd and I love learning more about different periods of history through musicals and books.

Can you tell me more about the creative industries in Wales? Have they improved in terms of diversity and inclusion over the years, and if so, how? 

The creative industries in Wales are growing and becoming more established, especially journalism and TV. Historically, Wales is known for being the place where Doctor Who was filmed, but there have been so many great newer productions filmed and produced in Wales in the last couple of years. For example, last year I watched His Dark Materials which was a Bad Wolf Studios production and was filmed in Cardiff. Early this year I watched The Pembrokeshire Murders which I enjoyed, it was starring Luke Evans (who was also Gaston in Disney’s Beauty and the Beast) and through the show, I discovered new Welsh talent such as Alexandria Riley.

In terms of Diversity and Inclusion, I think so much more needs to be done in Wales. I remember a few years ago, a theatre production of The Golden Dragon was criticised for its lack of diversity in casting South East Asian actors. More recently the BBC did a report a few weeks ago on Welsh musicians of colour, which covered similar themes of lack of representation of people of colour. I think the general trend is that young people who are interested in the creative industries are more likely to move to London, which is a shame.

What else can be done to help the progression of the creative industries in Wales? 

At the moment, there isn’t a well-developed infrastructure in Wales yet to support young people of colour who are interested in the Arts and creative industries. The talent is here – but we need to support young people by investing money in the industry and investing in grassroots organisations like organisations including Ladies of Rage who I discovered when I was protesting with the Cardiff & Vale Black Lives Matter march. Ladies of Rage are an organisation that support female and non-binary musicians in Wales and they have such a great sense of community. Culture is one of the areas where the Welsh government have more control and independence over and I think more needs to be done in terms of showcasing the diversity in Wales.

What do you love most about being from Wales? 

I love the community; Welsh people are known for being friendly and it really is true. I also appreciate the beautiful landscapes; I am such a beach person and love being in nature – and Wales is full of nature! Most importantly I love the familiarity, I’ve moved around a little for travelling, work and university so I love the familiarity and comfort I feel being back at home in Wales. I am proud to be Welsh – it plays a big part in my identity.

Finally, what’s your favourite Welsh saying? 

Ych-a-fi!

It means “that’s disgusting”. It just rolls off the tongue! I often find myself using it more than the English phrase (which is a bit more of a mouthful!).