The Creative Access team has grown and with so many great new additions, we’re letting you in behind the scenes. We’re excited for you all to know a little bit more about our roles. So, grab a cuppa, sit back and relax while we shine the first CA Spotlight on our brilliant Kickstart Coordinator, Yasmin Hemmings

Can you introduce yourself to us?

I’m Yasmin Hemmings and I am the Kickstart Coordinator at Creative Access.

Could you describe your role in a little more detail?

I lead on Creative Access’s involvement with the Kickstart programme, which is a government-led scheme for 16-24 year-olds who are on Universal Credit. Creative Access is a Kickstart gateway, which means that we take applications on behalf of employers and submit them to the Department for Work & Pensions (DWP). We’re working with a lot of employers and we’ve had just over 200 placements approved across more than 70 employers, including the Whitechapel Gallery, Curtis Brown, Paines Plough and The Young Vic theatre.

My day-to-day role consists of speaking with employers who are interested in applying for a Kickstart role through Creative Access. I also prepare Kickstart applications to be sent to the DWP, and then further down the line I support employers with their Kickstart placements to help make sure that it all goes smoothly, as well as help them liaise with Job Centres. Once employers have informed me about hiring someone, I’ll then register the new starter and get in touch with them about our Kickstart support programme which consists of multiple training sessions at the start, middle and end of their placements.

What’s your favourite thing about your role?

I love it when an employer lets me know that they have found someone for their role. Knowing that this person who has not been in work for a long time now has a role with a really exciting and creative company is so fulfilling. Hopefully, with their Kickstart placement, they’ll be able to find something beyond this too.

Also, because I run the induction programme for the new starters, I get to meet them, and it’s lovely to be able to put a face to the name.

What previous experience do you have?

I am a former Creative Access intern for the London Symphony Orchestra, where I worked in their education team and in-house record label. Since having that opportunity of working for an education team I really wanted to follow that line of work and offer projects to those who may not normally get involved in creative activities.

I then moved to English National Opera and worked in their education team, and after that, I became Learning & Participation Producer at the Philharmonia Orchestra where I looked after projects aimed at schools, universities and music hubs. My previous role to this one at Creative Access was Schools Engagement Manager for the Barbican Centre. It’s always been about connecting people to creative opportunities.

My current role combines my professional experience with my personal experience outside of work, where I’m one of the Directors of a volunteer organisation called Young People in the Arts which is a networking organisation for people taking their first steps into an arts-based career. We run events which allow like-minded people to meet each other and network, as well as panel discussions that are about hot topics in the arts, such as diversity and sustainability.

Can you tell us more about Kickstart and why you’re passionate about it?

So, the pandemic has massively impacted the jobs landscape and I think the Kickstart scheme is a wonderful scheme. It supports people who might not have been able to find a job otherwise and it’s supporting new roles to be created. These jobs wouldn’t exist if it wasn’t for the scheme. It offers 16–24 year-olds the chance to not be so negatively affected by the pandemic.

I was job searching during the pandemic and I can appreciate just how difficult it is. I can only empathise with those coming out of education and trying to get their foot in the door. I think Kickstart definitely helps and I’m really keen to speak to employers and encourage them to sign up. I think a lot of people don’t realise that this scheme is completely free to employers; they can get someone into their organisation and support them in the world of work.

Finally, and totally unrelated to your job, what’s your favourite animal?

My favourite animals are cats. I love them. I grew up with four lovely Birman cats, they’re long hair pedigree cats. However, since I moved out of my parents, I’ve developed an allergy to cats, so despite them being my favourite animal I’m also very allergic to them, so I can never probably own them myself!

To view our Kickstart opportunities click here.

We know so many of you want to get your foot in the door of the publishing world, so we assembled a fantastic panel for our latest Masterclass from The Bookseller’s Publisher of the Year, Orion Books, to give you all the advice needed to stand out from the crowd. Chaired by Creative Access alumna Tanjiah Islam and featuring another Creative Access alumna, Rhea Kurien, here are the tips you need to thrive in publishing.

Patricia Deever, Publicity Assistant for Orion Books, has been working for the company for two years. She graduated from university and attended the Hachette Insight into Publishing Day where she had an eye-opening experience. It was then that she realised that publishing was the career sector for her. Patricia started as an intern for Hachette and worked in the marketing department before rotating to the children’s editorial department. She secured that traineeship by getting feedback, getting inside knowledge on publishing, being creative with her pitch, showing commercial acumen, and letting her personality shine through.

PR is versatile and Patricia made it clear that “no two days are the same in this role.” Patricia believes that bringing your best to the role and having confidence in your skills and background are also important. While she doesn’t think you necessarily need a master’s degree to progress in publishing, she does think it’s important to “have fun and be creative with your application and make your own opportunities.” When asked about making your application stand out, Patricia said:

Jasdip Nandra is the perfect example of how transferable skills can be truly valued in the publishing industry. Jasdip has a varied background. He studied science and achieved a master’s degree in Chemistry, yet he is now the Finance Analyst for Orion Books. Being a publishing outsider, Jasdip had to learn about the publishing business and discover why it’s “a weird and wonderful world, but a personable area to be in!” When he changed his career, Jasdip had to be adaptable to excel in a new environment. He had to learn about the trade and know what his strengths and weaknesses were. Making contacts from the sector and making himself known was key to his success.

Ultimately it paid off, as Jasdip felt he could apply his existing skillset to his new role well and continue to make new connections. Finance plays a bigger role in publishing than some people may realise but it’s a journey, a process that every book goes through and Jasdip, the skilled problem solver that he is, is there to make sure it runs as smoothly as possible. What does Jasdip think is important to bring to your new publishing role? Life experience. Orion wants to bring in as much life experience and diversity as possible. What have you learned? Who are your contacts? How do you complete your projects? These are driven by your life skills rather than education and that’s the best thing you can bring to your interview.

Chair of the Masterclass and CA alumna, Tanjiah Islam, is the Marketing Assistant for Orion. Tanjiah was placed by us as an intern at Scribe UK Books and she thought she would become an editor. Then Tanjiah found marketing and she realised that editorial was not for her. After applying for many marketing roles, she landed this one with Orion. Tanjiah put the work in to make her CV and personal statement shine by tailoring her application to this specific role. So, what is it that Tanjiah looks for in your applications? Tanjiah is looking for your passion and research in your applications as well as your communication skills and confidence. She wants to know why you’re the right person for the job and what you would bring to the role and company. Do you know the company’s core values? It’s something you should definitely know and research when applying for a role.

One of Orion’s values is every story matters. Tanjiah really wants to know not only why she should hire you but why she must hire you. An important point to remember from Tanijah is “Your experiences and your voice shape the narrative and understanding of the world, so we need as many different voices as possible in the industry.” As the cool kids say, “trust your sauce!”

Fellow CA alumna, Rhea Kurien was placed by us at Harlequin UK and has since risen to become Digital Editorial Director for Orion Dash. How did she rise to this position? Well, apart from being brilliant, Rhea made sure she networked with colleagues and made sure she was someone people wanted to work with. Before working for Orion, Rhea actually made the decision to leave the publishing industry and work in the charity sector. Books, however, kept calling her name and it wasn’t long before she rejoined the publishing world as an Editorial Assistant before working her way up the career ladder and also becoming Commissioning Editor for Head of Zeus.

Proving there is no harm in asking for help, during her career progression, Rhea reached out to Creative Access for guidance, and we were able to help by finding a mentor who believed in Rhea and saw her potential. Rhea strongly believes that networking in publishing is vital. Whether it’s emailing a potential colleague, complimenting their work, and establishing interests to making friends in the industry, networking is the most important thing you can do. A highlight of being a CA intern for Rhea? Making so many friends!

We are extremely grateful to Patricia, Jasdip, Tanjiah, and Rhea for sharing their knowledge and advice in our Masterclass. Thank you also to those who contributed and took part in the discussion. For those of you who are looking for a role in the publishing sector, be sure to check our opportunities page.

You can read Rhea’s blog for interview tips here.

You can watch the full Masterclass here.

The team behind the Manchester International Festival (MIF) shared their varied career journeys as well as insights into working on major events with our community in our latest industry Masterclass.

Ebony Montague chaired the discussion. Ebony joined MIF in 2019 in the role of HR Administrator, having previously worked in a call centre environment. Working across recruitment, induction, training and development Ebony supports the wider MIF team. In opening the discussion she spoke of how exciting, challenging, and rewarding it was to work in events. She then introduced four of her colleagues and, between them, they spoke all things career paths, career tips, and festivals.

Kiah Simpson joined MIF in 2018 as a Content Producer, developing content that communicates the work of MIF and The Factory and that sparks discussion. He also works closely with creative teams on projects that involve new, cutting edge digital technologies. When asked about what he enjoyed most about working in festivals, he explained that it was the ability to collaborate that fulfilled him:

Having joined MIF in 2018 after a career acting as Director of Castlefield Gallery and a variety of freelance roles, Kwong Lee is one of the MIF’s core Producing team and is responsible for taking new commissions/events from development of the idea to its presentation to the public. Kwong spoke about the attitude needed to succeed in the demanding and ever-changing world of event production. He advised going above and beyond and showing a real thirst for learning.

Rosannah Jones joined MIF in 2018 as Creative Engagement Assistant having previously undertaken voluntary work with young people and worked in Events and Customer Service jobs, before moving into her new role at MIF as Engagement Coordinator. She spoke of her love of working with the local people of Manchester to put on this event. She also added that even in a junior role there is a misconception that you can’t make a difference. However, she was adamant that ‘you can absolutely do that’.

Yvonne Hepburn-Foster joined Manchester International Festival in 2018 as Trusts & Foundations Manager, having gained experience in the corporate, cultural and voluntary sectors. She spoke about her own journey and left the audience with a fantastic piece of advice.

We would like to thank the MIF team for sharing their experiences with us. If you are interested in a career in the creative industries, 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.

You can watch the full Masterclass here.

• Applications now open for mentoring programme for those seeking career advancement in publishing
• The programme follows Penguin Random House’s commitment to better support emerging creative talent from under-represented communities as part of its accelerated inclusivity action plan

Creative Access and Penguin Random House have re-opened applications for their new mentoring programme which will see senior leaders from the publisher take on mentees from groups that are under-represented in the publishing industry.

In this second round of the programme, Creative Access will find and match 100 people with senior leaders from across Penguin Random House. The programme is aimed at those from under-represented communities who want to pursue a career in publishing, whether they are in education or have some work experience in publishing or other creative industries. The programme also welcomes applications from those currently not in education, employment, or training. Alongside this, the Penguin Random House HR team will pair each of their leaders with a second mentee from within the company to offer support and advice on career development and progression.

The programme, launched in October 2020, is running as two six-month cohorts over a 12-month period. The second cohort is open for applications until 25th April 2021 and mentees will be matched with mentors comprising Penguin Random House UK’s entire Senior Leadership team (including CEO Tom Weldon) alongside a number of other Heads of Department across the company. To help set the new relationships up for success, Creative Access will offer training to both mentors and mentees.

This programme follows Penguin Random House’s launch of its Books for Everyone, by Everyone action plan in July 2020, which set out a renewed commitment to being a more inclusive company and publisher. It outlines a number of actions focused on removing barriers for entry and offering greater support for career progression and development for those in the company, including a commitment to match each leadership team member with two mentees.

Josie Dobrin, CEO, Creative Access:

Val Garside, HR Director at Penguin Random House:

The programme follows Penguin Random House’s commitment to better support emerging creative talent from under-represented communities as part of its accelerated inclusivity action plan.

Creative Access and Penguin Random House have re-opened applications for their new mentoring programme which will see senior leaders from the publisher take on mentees from groups that are under-represented in the publishing industry.

In this second round of the programme, Creative Access will find and match 100 people with senior leaders from across Penguin Random House. The programme is aimed at those from under-represented communities who want to pursue a career in publishing, whether they are in education or have some work experience in publishing or other creative industries. The programme also welcomes applications from those currently not in education, employment, or training. Alongside this, the Penguin Random House HR team will pair each of their leaders with a second mentee from within the company to offer support and advice on career development and progression.

The programme, launched in October 2020, is running as two six-month cohorts over a 12-month period. The second cohort is open for applications until 25th April 2021 and mentees will be matched with mentors comprising Penguin Random House UK’s entire Senior Leadership team (including CEO Tom Weldon) alongside a number of other Heads of Department across the company. To help set the new relationships up for success, Creative Access will offer training to both mentors and mentees.

This programme follows Penguin Random House’s launch of its Books for Everyone, by Everyone action plan in July 2020, which set out a renewed commitment to being a more inclusive company and publisher. It outlines a number of actions focused on removing barriers for entry and offering greater support for career progression and development for those in the company, including a commitment to match each leadership team member with two mentees.

Josie Dobrin, CEO, Creative Access:

Val Garside, HR Director at Penguin Random House:

If you are interested in applying for this programme, please apply here.

I (Larah Yearwood) was hired by Creative Access in October 2020 and I have been dealing with Imposter Syndrome throughout my employment. Here, I share my experience and some tips to help others navigate through the same issue.

Imposter Syndrome is something a lot of people struggle with. It is the internal belief that you are not good enough to be where you are. That you do not deserve to be where you are and that maybe, other people will realise you are not as good as you say you are. A completely false belief that for many of us can impact on our work, life, and relationships.

My story
As a young black woman, I already face challenges in my life and career for where I want to go. Mixing Imposter Syndrome in with this makes life a little more complex. While Imposter Syndrome can vary with people, the general idea that you are not worthy of being where you are normally stays the same.

Before starting as the Marketing Assistant for Creative Access I was furloughed and then made redundant from my previous job, which was just devastating.

Anyone who has been made redundant will know the feeling, especially during the incredibly difficult year that 2020 was. I was lucky enough to actually be unemployed for only two weeks before finding work again at Creative Access.

Although I wasn’t aware at the time, it was then – on securing a new role – that my Imposter Syndrome started. 2020 was a rough year for us all and many people lost jobs. I felt that others who were still unemployed had more skills than I did; had worked for longer than I had; were older than me. And yet it was me that bounced back quickest. It didn’t feel right to me. It felt strange. I felt like I didn’t deserve to be hired so quickly. I carried these feelings with me into my job at Creative Access.

The struggle
To be clear, I am fully qualified to do my job. I have a degree in English Literature and a master’s degree in Magazine Journalism, as well as lots of work experience. There isn’t a single reason why I can’t do this job. Yet Imposter Syndrome has held me back from achieving my full potential in this role so far. It stopped me from putting ideas forward that I know could and would work. It stopped me from questioning other suggestions. It also stopped me from recognising my own success and achievements in this role.

Instead, I questioned them. I questioned if my ideas were worth listening to and convinced myself that they weren’t. I questioned if I truly deserved the praise I was getting and if the work I’d produced was worthy of any commendation. Some may say I’m naturally hard on myself (and maybe I am) but every time I was praised, I truly felt like I didn’t deserve it. Instead, the praise and acknowledgments that were meant to boost my confidence ended up shattering it.

The realisation
The self-doubt can be crippling. It wasn’t until I opened up to a colleague about how I was feeling that I was first informed about Imposter Syndrome. I then decided to some research and found that it’s very common. According to a report by Medical News Today, up to 82% of employees are impacted by Imposter Syndrome. 6 in 10 women experience it. Although the figures are eye-opening, I admit I was a little relieved to see that I wasn’t on my own and what I was feeling was recognised.

I then decided to attend a training session that Creative Access ran about Imposter Syndrome. During this session, I was able to pinpoint when it first kicked in and what caused it. It allowed me to connect with others who also have similar experiences and realise once again that I’m not alone.

I know this is a journey and I’m gradually learning to let go of these feelings. My hope is that over time they’ll fade completely.

Top tips for anyone struggling with Imposter Syndrome

• If you feel able to, open up about it; Imposter Syndrome is shockingly common, and people will be more understanding than you think
• The more I read about it, the more I related to it and the more I was able to understand that I wasn’t alone.
• Don’t hide away. I thought hiding it and keeping it to myself was the best thing to do. It isn’t.
• Keep track of your success. Having a record will help you to recognise that your achievements are due to your talent and abilities and not just lucky flukes
• Embrace the praise because you deserve it
• Remember no one is perfect. Everyone makes mistakes
• Most importantly, remember your worth. We are not superhuman, but we do have the ability to be great at what we do. You deserve to be where you are.

I still have moments where I question myself and the praise I get, but I’m now able to quickly reassure myself that I do deserve the praise. That I do deserve to where I am today and that I am worthy of this job and what I do. I hope that by reading this, you are able to feel worthy too.

Four creative professionals working for The Guardian across advertising and journalism shared their career journeys with the Creative Access community in a wide-ranging Masterclass chaired by Creative Access alumna Jacqueline Otagburuagu.

Adam Foley, Director of Advertising, UK, spoke about his journey from a small town in Devon to The Guardian, via a range of roles in food, magazine publishing, music advertising, and media agencies. As one of the first in his family to go to university, he spoke about his passion for the intellectual challenges of using the sum of his experiences to gain a competitive advantage in a very challenging and fast-moving advertising landscape. He cited the ability to speak truths, and “challenge lazy thinking” as one of the key qualities that has enabled him to succeed in his career. Speaking of the importance of diversity of thought and experiences in the advertising sector, he said:

Imogen Fox, Executive Editor, UK Advertising, shared her experience of attempting to break into the fashion industry with no connections. For her, this involved working for free for two years (whilst working on the side as a cleaner). Her own perseverance and resourcefulness opened up opportunities to work on fashion shoots, and eventually took her around the world. She arrived at The Guardian on their fashion desk, but has since found that her editorial experience is valued in the commercial arm of the business, where she now works with brands and their branded content. Speaking of moving from one area of expertise to another, she said:

Joseph Harker is a long-time friend of Creative Access, as a member of our Advisory Board. He has seen journalism in the country change since the 90s, but is still adamant that more change is needed, even in relatively liberal organisations like The Guardian. When he started in journalism, he noted that “there was no interest in bringing in outside voices”. Now, as The Guardian’s deputy opinions editor, he is responsible for bringing fresh, insightful voices on emerging or established issues to readers. When asked why opinion columns are needed, he explained:

“News happens, but how we interpret the news is what’s important. [Other voices] are important parts of how we form our opinions on what we’re told is news. For our own safety, but also for our general knowledge of the world and knowing what’s going on, it’s important we give voice to people from all different backgrounds.”

Our very own Creative Access alumna Jacqueline Otagburuagu led the discussions. She has worked at Guardian Labs for the last year as a multimedia producer. She brought her own energy and experiences to the conversation, allowing a wide range of topics to be explored. She shared her own journey from her days as a Creative Access intern at BBC History, and the employment and moral challenges she has faced as she has navigated a career across several creative sectors. Speaking of what’s driven her to where she is now, she spoke of her compulsion to explore the unknown:

We are very grateful to Jacqueline, Adam, Imogen, and Joseph for sharing their experiences with us. If you are interested in a career in advertising or in journalism, 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.

You can watch the full Masterclass here.

Creative Access is supporting Prospects to increase the diversity of the career case studies on their website. Prospects are experts in graduate careers, and the information, advice, and opportunities that they provide help guides students and graduates towards bright futures.

Creative Access alumni are highly regarded in the creative industries, so we’ve connected with Prospects to help bring their career insights to those seeking to establish careers in the creative industries.

• Anya Ryan on audience research at the BBC
• Maryam Qaiser on writing features for a daily newspaper
• Sharul Khan on producing programmes for TV

In the week where it was announced that theatres in England might reopen by mid-May, we were delighted to have our minds opened in a Theatre Masterclass during which Kwame Kwei-Armah, the Artistic Director of the Young Vic Theatre, joined Creative Access alumna Olivia Nwabali for an engrossing evening of conversation that flitted effortlessly between the practical and philosophical.

Olivia, who was previously a Creative Access trainee at the Barbican, is now Kwame’s Executive Assistant and the “better half of my brain” according to the man himself. She skilfully guided the discussion through topics as diverse as the Black Plays Archive that Kwame established, the value of networking within the industry, and the very future of theatre.

“Your voice is everything”

It was a discussion where Kwame’s experience of carving out a successful career in the creative arts was the central theme. Kwame spoke about his own ascent, and attributed his innate “restless curiosity” and boredom of waiting for opportunities as key drivers that propelled him from becoming an actor to a writer, then to a director, to now being the artistic director of a major arts organisation.

“I didn’t do all those things just so that I could get into an institution; I did all of those other things therefore part of my journey is running an institution” he relayed.

In 2005, Kwame became the first British Afro-Caribbean playwright to have a play produced in London’s West End. Since then, his illustrious career has taken him all over the world, from Baltimore to Senegal (which he cited as his greatest career achievement) and back to his home city of London. He was appointed as Artistic Director of the Young Vic in 2018.

A captivated audience of Creative Access community members listened as he gave clear and nuanced advice to those interested in playwrighting, advising them to make sure they find their voice:

He urged aspirants to be on top of their artistry using the tools that they have at that moment in time.

“It doesn’t mean that you have to be technically brilliant; the tool that you need to have honed is your voice. What is it that you are saying that is unique to you? In your specificity, other people see their story. Your voice is your everything,” he explained. He then shared his own insights into finding the right agent for your voice, or the right theatre for your writing.

Networking is just seeking family

A theme that reverberated throughout the hour-long discussion was that of connections, networks, and creative ‘family’.

“When I first started in this industry networking was really daunting to me, probably because I am naturally quite shy, and possibly because I knew nothing of the industry,” Olivia confessed. “It was all very opaque to me before I had my internship with Creative Access.”

Kwame also spoke about his own natural aversion to networking in his early career. On reflection, he admits that by not networking he failed himself. He realised that he was seeing other people who he deemed were no more talented than himself move higher and faster through the industry because they had nurtured relationships and had won advocates. He urged people not to succumb to imposter syndrome and not to necessarily see it as ‘networking’, but more as simply putting yourself in environments where you can build connections, make friends, and find your creative family – a tribe of peers who you trust and who don’t define their relationship with you by how well you are doing at that particular time. Olivia echoed that it was important too. She added:

Despite flourishing under Kwame’s leadership, Olivia expressed an awareness that getting into the industry is one thing, but sustaining yourself once in is another thing entirely.

“Simply being in a space does not account for the walloping that structural inequality can give you,” she warned. She mused about juggling both the weight of expectation placed on you as an outsider or minority who has made it in, and the limitations placed on you for those very same reasons.

Speaking of being resilient in what is known to be a demanding sector, Kwame recommended finding something or someone in your life that allows you to stay grounded. He revealed that when things aren’t going well, he doesn’t let it get to his head. Likewise, when things are going great, he still doesn’t let it get to his head.

Despite these challenges, it was clear to all that Kwame knows and feels he is doing what he was called to do. The fulfilment derived from being able to make a living out of one’s imagination is both a privilege and an untameable urge.

“I adore the act of serving a community through art,” he said. “Who wouldn’t want to be an artist and sit in this world where you’re continually being refreshed by other people’s philosophy and their take on the world?” This was echoed by Olivia who concluded that the imagination is one of the most radical tools we have at our disposal.

The future of theatre, and Kwame’s legacy

Kwame was palpably excited about the future of theatre, asserting categorically that “theatre will never die”. Despite feeling like “we’re in the middle of a vortex” at present, Kwame spoke of his excitement about what a return to theatre could mean, and how theatreland’s digital innovations of the last year might transform the way theatre is experienced in physical spaces for years to come, to create 4-D theatrical experiences from the 3-D pre-COVID theatre experience and the 2-D theatre we’ve seen this year through screens.

Speaking of theatre’s need to decolonise the canon, he stressed that decolonisation did not mean the destruction and erasure of old classics. It merely meant augmenting and widening what is written and produced, seeking stories and ideas from a wider range of experiences and backgrounds. He asserted that if what appears on stage starts to change, then who appears behind the scenes, and what gets taught in performing arts academies will also start to change.

For those seeking to enter the industry, he believed that it is incumbent on them to be innovative and deliberate about putting the spotlight on themselves, citing some TikTok users’ enviable ability to demonstrate incredible amounts of talent through just a few seconds of video.

He suggested asking yourself these four questions, when trying to enter the spotlight:

• What is your voice?
• How refined is your voice?
• What mechanisms have you used to put a spotlight on your voice?
• What mechanisms have you used to get your voice in front of those who can get you to the next level?

He started and ended with praise for Creative Access and Olivia.

Olivia expressed an interest in the process of writing being brought to life, and a nascent interest in dramaturgy. Whatever she puts her mind to, we have no doubt that she’ll succeed. As for Kwame, he sees himself creating opportunities to open doors and create space for other creatives to fulfil their potential and use their art for good.

We are very grateful to Kwame and Olivia for sharing their experiences with us, and wish them well as theatres prepare to reopen to their doors later in the year. If you are interested in a career in theatre, don’t forget to check out our current theatre opportunities. We also thank all those who attended and contributed to the discussion by asking questions to the pair.

You can watch the full Masterclass here.

Broadcast has covered Creative Access’ new mentorship programme with ITV, who are partnering with us to pair 150 of their staff with emerging talent from under-represented communities.

Run virtually, the scheme will partner individuals with staff from all areas of the business including development and production, design, digital, technology, legal, finance and HR.

The programme is focused on people who are in formal education and looking to pursue a career in TV and those with up to eight years’ experience in TV who are looking to progress into senior positions.

Read more on Broadcast’s website (paywalled, but register to view five free articles per month).

Televisual has covered Creative Access’ new mentorship programme with ITV, who are partnering with us to pair 150 of their staff with emerging talent from under-represented communities.

Run virtually, the scheme will partner individuals with staff from all areas of the business including development and production, design, digital, technology, legal, finance and HR.

The programme is focused on people who are in formal education and looking to pursue a career in TV and those with up to eight years’ experience in TV who are looking to progress into senior positions.

Read more on Televisual’s website.

The pandemic has had a disruptive effect on people’s jobs and career prospects. It has forced many people into seeking new opportunities, and has turned home into both a living and a working space for many others.

Whilst there is yet no strong indication of when (or if!) ‘normal office life’ will resume, the positive news is that many organisations are still hiring. This means that new employees are starting new internships and jobs at organisations without ever having physically met any of their colleagues, or without having ever visited their organisation’s office.

As an employer, it is important to think about your remote induction processes before you offer any roles to ensure things run smoothly when your new hire starts. We’ve put together this guide on how to onboard new employees in a fully remote work environment, while ensuring that they are set up for success and feel like part of the team.

Step 1 – Contract and offer paperwork

As soon as your offer has been verbally accepted, aim to send out your offer in writing, ideally with a contract of employment/training agreement. E-signing is a quick and easy way to wrap up documentation, and many of our employer partners use DocuSign.

You will want to ensure you have agreed on a secure way to obtain proof of eligibility to work, payroll information, and tax details, as well as details of any employment references you may need.

Step 2 – Equipment and setup

Make sure your new starter has all the right equipment they need to work remotely. You’ll need to conduct a Work From Home audit covering wi-fi, laptop/PC, footrest, office chair and desk, mobile/phone line, printer (if needed), headphones, mouse and mouse mat, cables, and chargers.

Don’t forget to check with the new starter what their working environment looks like, for example, where will they be working (bedroom, office, living room?) What kind of setup do they have at home? Do they have the appropriate space to set up their workstation and do they need any adjustments to help them work effectively? Any health and safety questions that would ordinarily be carried out if an individual were working onsite should also be asked when they work at home.

Ensure that the new starter has all the necessary information they need to log into the company intranet. Do they have the correct access rights, logins, and passwords? Do they know who to speak to in IT support if they have any problems? The smoother the first day starts the better it is for everyone.

Step 3 – Induction

The key to a successful start rests on the induction; use video conferencing to communicate with the new starter.

Establish work hours, methods of catch-ups, and meeting platforms. Encourage your staff to take regular breaks and not to exceed contracted hours so that the lines between work and home are not too blurred.

Set out the day’s agenda. What should they expect? When should they take lunch? Is there a regular time for team updates?

Draw up an induction timetable for their first week and, if needed, book time with any or all of the following:

Senior Management Team – To give an overview of the company, its vision, achievements, and goals.

Finance – To check payroll processes, expense claims, and any other financial benefit queries.

IT – To go through data security, permitted software lists, shared passwords, security practices, antivirus and malware updates, where emails and files can be stored.

Step 4 – Introducing the team

Introduce your new colleague to as many people as possible in the first week. Sometimes it’s easier to do this informally or in short one-on-ones. At other times it is very helpful to see everyone together. If you have any videos or photos of the office showing how it would usually be, share those.

Add them to any WhatsApp or Facebook groups that your company may have, to help them feel integrated and invite them to any social get-togethers.

Ensure the line manager is available to make contact on the morning your new person starts and every day for at least the first fortnight.

Step 5 – Explain team duties

Manage expectations by letting your new starter know how work will be assessed and when reviews will take place. How often will you update them with their progress or let them update you? Schedule these times in your diaries. Aim for daily updates, with an overall recap at the end of each week.

Prepare a skills checklist and arrange for any necessary training. Do you have team updates in addition to any other arrangements, and if they are asked to attend, what do they need to prepare for those? How should they deal with any queries they may have? Do you share a task calendar or have a shared project management tool? Do you use instant messaging for urgent queries? Taking the time to go through these things with your new starter will help them to feel more at ease in their first few days.

Step 6 – Communicate and ask for feedback

And finally, make sure you communicate and collaborate regularly. Ask for feedback on how the remote onboarding process is working and if there are any suggestions or recommendations for improvement. Being asked for feedback will not only help the new starter feel valued and believe their opinion counts! It will also help you the next time you onboard a new starter.