The 2023-24 cohort of Creative Access’ Steering Group has been featured in Book Brunch. The title also reported on the announcement that Cameron Myers and Lizzy Burden, former Steering Group members, have become Creative Access’ newest non-executive directors.

Read here.

Lizzy Burden and Cameron Myers, two former Creative Access Steering Group members, have joined Creative Access’ Board as Non-Executive Directors, Arts Professional have reported.

The appointments come as Creative Access announces 16 creative industry workers and alumni to its Steering Group for 2023-24 following a successful pilot initiative.

Read in full here.

Sian Bayley for The Bookseller has reported on Creative Access alumni Cameron Myers and Lizzy Burden’s appointment as non-executive board directors at Creative Access, as well as the announcement of its 2023-24 Steering Group cohort.

Read about it here.  

Media firm Simons Muirhead Burton sponsor steering group of 16 creative industry stars 

Two former members appointed to Creative Access board 

Creative Access is proud to announce the members of its 2023 – 24 Steering Group. The training programme for future charity trustees once again brings together a group of 16 individuals from the Creative Access community. Showcasing the impact of the programme, two members of the inaugural steering group have also been appointed Creative Access board directors after a rigorous application process; the first alumni of the organisation to do so. 

Leading media firm, Simons Muirhead Burton has joined forces with Creative Access to guide and sponsor the Steering Group. Its involvement includes a financial contribution, hosting the meetings at its cental London office and providing in-house speakers on legal governance. 

Speaking of the firm’s sponsorship, Peter Weiss, who jointly heads the Corporate, Commercial & Finance team at Simons Muirhead Burton and also sits on the Creative Access advisory board said: “There are many synergies between the work and values of both Creative Access and Simons Muirhead Burton. We are delighted to be able to sponsor this important initiative which will create a pipeline of candidates from communities that are under-represented at non-executive level, who will help organisations to innovate, future-proof decision-making and better reflect the organisations in which they serve.” 

Creative Access’s newest non-executive directors commenced their term on 1^st November. Cameron Myers, former Creative Access trainee at Hodder & Stoughton and current Commissioning Editor at Penguin General said: “I’m so thrilled and delighted to be joining the Board of Creative Access. I’ve benefitted so much from the organisation’s leadership and impact over the years, so to be able to now feed in to all that Creative Access continues to do on a strategic level is sure to be one of the most rewarding experiences of my career.” 

Lizzy Burden, who was an intern via Creative Access at The Times in 2017 and is now UK Correspondent at Bloomberg TV, is also joining the board. She said: “Creative Access secured my first opportunity in journalism so it’s an honour to be part of its incredible work to help diverse talent excel at every level of the creative industries. We can’t let representation be a casualty of these challenging economic times. I’m excited to build on the success of the past decade.” 

Josie Dobrin, Executive Chair, Creative Access said: “We’re delighted to be welcoming Cameron and Lizzy to our Board. Creative Access has grown rapidly in both its work and its influence over the past few years. It’s extremely exciting to add two such brilliant and skilled people to the organisation – and especially gratifying to have our first alumni on our board as we seek to grow our impact over the coming years, and to create the urgent change required to representation at all levels of the creative industries and culture sector.  

We are also thrilled to have such a phenomenal new group of alumni to our steering group. Our community have a huge amount of skills and energy to offer to leadership teams of commercial and not-for-profit organisations.  All too often job descriptions require applicants to have experience for non-executive roles, so by creating this leadership pathway, we are removing obstacles for progression. We are indebted to Simons Muirhead Burton for their huge and invaluable support of this programme.” 

The two co-chairs of this year’s group are Anderona Cole (former RadioCentre trainee, now External Relations and Public Affairs Officer at Jisc) and Osas Esosa (former intern at the Financial Times and now research analyst at Olsberg SPI). Anderona said:  Anderona said: “Over the years, I have observed how Creative Access has been working tirelessly to help level the playing field and make progress to ensure that those working in the creative sector better reflect society as a whole. I am impressed by the organisation’s willingness to evolve and the determination and wealth of experience held by the individuals who make up this year’s cohort. I am looking forward to working alongside incredibly talented individuals who are united in their desire to bring about positive change.” 

See the full list of this year’s Steering Group here.

Why not apply to join our next steering group cohort! Drop a line to our Thrive Team at this link to mark your interest.

A job advert is the first touch point between a prospective candidate and a future employee and therefore a critical window into how inclusive your organisation may be.

One study has found that the average jobseeker spends 49.7 seconds reviewing a job advert before deciding it’s not a fit for them. Job adverts can perpetuate a particular image of the ‘ideal candidate’, which discourages candidates from diverse backgrounds and circumstances from applying if they feel that they do not fit that image.

To help you attract a diverse pool of candidates, we’ve put together our top 10 tips to writing an inclusive job description

1.Be mindful of gender-coded language and use of pronouns

Gender-coded words can reduce the number of women applying for your opportunity. When listing the ideal skills and qualities of the ideal candidate, consider whether your choice of language is contributing to a heavily masculine coded advert. Use this Gender Decoder tool so you’re aware of what words to avoid.

On top of this, consider your use of pronouns in your adverts. Ensure that your advert uses gender neutral pronouns such as ‘you’ and ‘they’ instead of ‘he’ or ‘she’.

2. Avoid jargon and corporate language

The use of jargon and corporate language in entry-level roles can make qualified candidates feel unqualified, if they don’t understand the terms and acronyms used on your job advert. Draft each advert with the assumption that the reader doesn’t understand your industry lingo. Ensure that you open up acronyms and include universal wording where applicable, so that those using their transferable skills from other industries feel welcomed to put an application forward.

3. Avoid phrases and requirements which discriminate against older or younger candidates

Only use phrases such as ‘recent graduate’ or ‘highly experienced’ or ask for grades and qualifications, if it is a genuine requirement for the role and really is required for the candidate to succeed.

The use of terms such as ‘digital native’ or ‘tech-savvy’ can also discourage older candidates from applying. If certain technical skills can be taught to the successful candidate while in the role, avoid making it seem like a prerequisite in the job advert.

Ensure that your advert uses gender neutral pronouns such as ‘you’ and ‘they’ instead of ‘he’ or ‘she’.

4. Ensure your job advert is formatted in an accessible way

When formatting your job advert, ensure your choice of font and colours are accessible for those with dyslexia. The British Dyslexia Association advises using san-serif fonts such as Arial, Verdana, or Calibri as these are easier to read. Along with this, avoid using underlining and italics, but instead use bold if you wish to emphasise something.

Also consider using other methods, such as audio recordings, larger fonts, and braille.

5. Avoid phrases and requirements which perpetuate racial or faith bias

Avoid phrases that can read as perpetuating negative racial, cultural, or faith stereotypes. Avoid using phrases such as ‘strong English-language skills’ as this may discourage non-native English speakers and avoid phrases such as ‘do you want to join our gang?’ which can have negative racial connotations.

6. Include the relevant skills

Women will typically only apply for a job if they meet 100% of the qualifications, while men are likely to apply to jobs for which they meet only 60% of the qualifications.  To encourage women to apply, ensure that you keep your job advert brief and remove requirements which are not necessary for the role or that can be taught through training.

7. Include benefits and provisions

As well as including any required skills and information, make sure your job postings are welcoming to candidates of all abilities and circumstances. You can do this by clearly outlining the provisions and benefits included as being part of the company, including flexible working hours and childcare provisions. Making these clear at the first touchpoint as opposed to candidates having to ask will encourage more people to apply knowing they are welcome to.

8. Include transparent job details

Set out your expectations for the recruitment process clearly; ensure candidates are aware of application deadlines, what is needed to put forward an application, salaries, and timelines. Transparency around salaries is particularly important to help ensure that candidates from all backgrounds are paid the same amount for the same role.

9. Emphasise your commitment to Diversity and Inclusion

Consider stating your commitment to Diversity and Inclusion in the job advert. Let applicants know you have taken strides to become a more welcoming and inclusive workplace and direct them to any initiatives or reports to demonstrate this.

10. No trick questions

Be open about the process; what questions you might ask in an interview; what a task (if you’re setting one) will be; who will be conducting the interviews. You’re trying to get the best out of people, not trip them up!

Good luck!

Whether intentional or not, accent bias is alive and well in the UK. Creative Access’ upcoming research in partnership with PR agency Fleishman Hillard found that over three quarters (77%) of people working in creative industries have felt they had to change their accents in the workplace. Meanwhile 89% believed that others had made subconscious judgements about them based on their accent or how they speak, compared to 65% among the general population.

The Accent Bias in Britain Report: 2020 found that people “evaluated job candidates who spoke in a Received Pronunciation (RP) accent as more informed and more suitable for professional employment, even when speakers of other accents gave identical answers.” This highlights that whilst accent discrimination is of course part of a greater problem surrounding social inequality and classism within the UK, our findings illustrate how this inequality is reflected within our creative industries. It is vital that employers working to become more inclusive address accent discrimination – and its wider implications of classism – within the workplace. Here are our tips on tackling accent bias…

Take a fresh look at who you consider a ‘fit’ for your organisation. Create an environment where all qualified applicants are welcome, not just those who have gone to elite universities or speak a certain way. This also means extending our understanding of what ‘qualified’ means – can this incorporate skills over a university education for example?

If there is a lack of diversity in accents within your organisation, what could you do to make the workplace more welcoming to those from different backgrounds or even regions of the UK?

Whilst recruiting talent from communities under-represented in the creative industries and breaking down the barriers for entry into the creative industries is extremely important, the need for inclusion extends to mid to senior levels as well. You need to provide the opportunity to for them to develop and step up. Examine the concept of what it means to be ‘pitch perfect’ or ‘client friendly’. We know that clients are increasingly looking for and expecting diversity to represent their companies and engage audiences – offer your employees an equal chance to do this.

Look into your HR and talent development decisions and processes – are they fair?

Bearing concepts such as code-switching in mind, it’s important that we think about the language and imagery we use whilst hiring and in interviews: avoid jargon and corporate language, be transparent (for example, be clear around salary and progression), and let the candidate and your employees know that you’re committed to diversity and inclusion through your actions as an organisation, not just by what you say. By demonstrating an inclusive environment in the hiring process, you’re showing your potential future employee what it could be like to work at your organisation. The creative industries, which create the books, plays, films and TV we all consume, need to represent all of society, not just a small proportion – this is an employer’s chance to reach talent from backgrounds that may not ‘traditionally’ work in the sector and broaden their perspective as well as their creative output.

Do your current staff feel as though they can be their authentic selves at work? This can include everything from not mocking the way people pronounce things, or where they’re from, to being mindful of the language you use when describing someone’s accent. Think about the implications of words like ‘thick’ or ‘common’, as well as ‘articulate’ or ‘eloquent’; these terms can be seen as loaded with classist and racist connotations.  

The majority of our participants (89%) believed that others had made subconscious judgements about them based on their accent or how they speak. The first step is to accept we all have unconscious bias and become aware of this. This can be further worked on through setting up initiatives like workplace training, running workshops with external speakers, and setting up internal working groups to hear new perspectives which challenge your thinking.

Creating an inclusive culture at work means being open to having honest conversations. You must make employees aware that that if they are offended by something or uncomfortable, that there is space for their criticism or concerns. You can conduct regular anonymous surveys on workplace culture and from here, you can determine what can be improved, and most importantly, respond to the feedback.

It is clear that people from under-represented backgrounds in terms of ethnicity and socio-economic background feel the effects of accent discrimination disproportionately to other groups. Ensuring that members of your team feel able to come to you with a problem around discrimination – and to know that problem will be heard and taken seriously – is vital.

Take action with Creative Access training:

Creative Access’ has a number of comprehensive training programmes, delivered by a highly experienced team, which enable employees to thrive in a diverse and inclusive workplace. Find out more about our bespoke employer training sessions on class in the workplace, unconscious bias, inclusive recruitment and more.

If you’re a small organisation or an individual employee looking to learn more about the topics, check out our upcoming open training workshops.

Can you imagine what it feels like to direct, produce and edit your first hour of TV? Well, that was the reality for Creative Access alumni Salomè-Dior Williams who was handpicked by ITV to be one of a handful of producer directors in their successful Fresh Cuts series. Salomè’s episode examines Black British fashion trailblazers, and this is how it went...

Can you tell us any more about how this episode idea came together?

I was lucky enough to work across the development process for ITV’s Fresh Cuts concept at the beginning of the year.

For the uninitiated, Fresh Cuts debuted in 2022. It’s a Diversity Commission Fund initiative from ITV & ITV Studios which scouts first-time producer directors to achieve their first single factual non-scripted film for ITV. Picture: Adessy Akerele (researcher), Mohamed Shalaby (shooting producer), Salomé-Dior Williams (producer/director), Jason Ferguson (Director of Photography – DOP)

I created a slate of areas that had enough depth & history that could be mined across the series. When I left, the company was considering whether to give applicants fully formed ideas from the slate, which would have ruled me out of the scheme for fairness. Thankfully they opened the project out to people pitching with or without an idea. Months later I decided to apply for the scheme and thankfully got it. In my interview I was asked which ideas were my top three to make, and Fashion was top of that list.

I found my main story through social media and with the help of a friend. I watched the GUAP gala last year through the stories and posts of all my favourite creatives. The theme and red carpet blew me away.

GUAP Gala extends from GUAP Magazine, founded by Ibrahim Kamara & Jide Adetunji, is a youth-led new media platform dedicated to discovering, showcasing and nurturing emerging & underrepresented creatives & communities. The Gala exists to recognise underrepresented figures across the arts and culture sectors.

Unfortunately, last year it was in October so I assumed I wouldn’t be able to shoot it in time. Thankfully a good friend r helped put me in contact with the team. Last year was scheduled for September but unfortunately due to the tragic loss of the late Queen Elizabeth, it was delayed. This year however was scheduled for their original date to coincide with fashion week, and the rest was history.

1Xtra DJ Remi Burgz was a natural choice for a narrator. Not only is she a close friend of the GUAP team but also featured naturally in the film, from start to finish.

For my master interviews (the history of black Britons in fashion) I really wanted to get a collection of people who have affected and changed British fashion in some capacity. Thankfully the community were super open to help and I had a mix of designers, curators, stylists, and authors who contributed to the evaluation and documentation of British fashion.

Unfortunately, I was filming until the 11th hour, which meant my turnaround time was insane, to say the least. 

What drew you to the topic?

Fashion is a far cry from what you usually see on TV during Black History Month. It’s a much lighter topic that is a reflection of what I really wanted this film to capture. The film is about black excellence, despite adversity and how the people who came before us paved the way for a new generation who in turn are paying it forward. Black people are not a monolith, and with the film we manage to explore inequality without dwelling on it; it sees young CEOs, designers, master tailors, creatives demonstrate that being Black and British is limitless.

Photo: Gus Casely-Hayford OBE British curator, cultural historian, broadcaster & lecturer

Overall highlights?

I loved working within a team with such a diverse range of talented people. I also, really enjoyed morning meetings and brainstorms when my team would come together and discuss editorial.

What advice would you give to people on how to boost their hiring potential in this industry?

It’s okay to want to do more than one thing. When I started in the industry, many people told me I couldn’t do development & production. But now, nearly 10 years later I’m glad I followed my passion. I wouldn’t have got this opportunity without working in development, and without working in development I wouldn’t have my first one hour documentary commissioned on ITV1 & ITVX.  Go for what you want, be diligent and trust your creative voice.

You’re a proud Creative Access alumni. Do you have any comments for anyone else about to start a relationship with CA?

Creative Access is a one-of-a-kind organisation. Without CA I wouldn’t have got my first two paid jobs in TV & film. In an industry that previously was extremely exclusive and nepotistic, it helped me, a young black woman from a working-class background, to get a foot in the door whilst giving me a community that supported my growth.

I know Creative Access has helped so many other amazing creatives to break through and I can’t wait to see all the talent to come. If you haven’t already signed up let this be your sign.

You can catch Salomè’s Fresh Cuts episode Black in Fashion here on ITVX.

If you haven’t already you can register with Creative Access at this link. It means you’ll be among the first to hear about our latest offers bursary funds, events and job or career opportunity highlights direct to your inbox.

Last night, we entered the Publicis Poke offices in Television Centre for a masterclass on all things advertising. Publicis Poke is a 160-person strong ad agency that has worked on campaigns for the likes of Google, Renault and Morrisons.  

Our panel included: 

• Prianka Ramlugun – strategist 
• Mollie Milton – strategist 
• Emma Tacon  – account manager 
• Khalil Orrett – producer 
• Kate Bly  – business lead  

Our community were welcomed by Creative Access alumni Prianka, introducing us to Kate who gave an insight into agencies back in the day (think Mad Men, Kate said) versus agencies now (thankfully, there’s much more diversity but there’s still more to be done). Kate talked us through the different departments helping us understand what it’s like to work in strategy, creative, production, and as a business lead.  

We were then lucky to get a behind the scenes look at a case study of their client Tourism Ireland’s ‘Fill Your Heart With Ireland’ campaign. Mollie, Emma and Khalil pulled back the veil on exactly what goes into a high-profile campaign from the level of research needed to help discover the concept, how long pre-production and post-production takes and of course, its delivery (plus then even more research afterwards to see how well the project has worked!). You can see the fruits of their labour in this advert with cast members of Derry Girls here… 

Throughout the masterclass we gained a deep insight into the nitty gritty processes that help make advertising work. However, our panel also made our audience aware of the skills needed to break into the industry and propel careers forward. Here’s the top three things we learnt… 

Many of our panel spoke about their ‘unconventional routes’ into advertising. Out of all the panel, only Mollie studied marketing at university. Khalil actually studied law and worked as lawyer for a couple of years but hated it. He got into advertising via a Bartle Bogle Hegarty scheme which didn’t ask for a CV, experience or a relevant degree, and recommended keeping an eye out for this sort of internship. Khalil also advised our audience to hone your interests outside academia and work; whatever your passion is (doesn’t have to be related to advertising!) can make you stand out from the crowd.  

Kate has also had a ‘squiggly career’, working on and off in advertising for 20 years. In that time, she took 10 years out of the industry to raise her 2 autistic children and work as a wedding florist. She said: “My attitude now is totally different compared to if I’d stayed in advertising – you can use your life experiences to your advantage.” 

Meanwhile, Prianka found her start in advertising via a Creative Access internship at Publicis Poke two years ago. She said she used her history degree to her advantage:  

“The process before getting my internship was horrible as I graduated and then it was lockdown and I was stuck. I used my history degree to sell myself: creating a story, my research skills, what I do in my free time, what work I love. This industry is about selling yourself, it’s not about having a particular skill or experience” 

Prianka’s route into the industry shows the power of storytelling in advertising. Ultimately, advertising is about making the audience feel something. In her intro, Kate used the example of the Snickers’ tagline “you’re not you when you’re hungry” as a statement which really makes you think about your feelings and is emotive.  

Mollie recommended that any aspiring advertisers do their research into brands they like or products they’ve bought and to bring their learnings to a job interview or into their role: “Have a look at what brands inspire you and how you can bring that into your role. What led you to buy the thing that you bought recently? Analyse that process.” 

Kate stressed that the industry has changed, it’s not as hierarchal as it once was; “A good idea is a good idea, and it can come from anywhere or anyone”. This means, if you have an idea you believe in then back yourself. Emma says learning this skill will come in handy when receiving push back from clients.  

And finally, whilst advertising is a very fun industry, it can also be difficult if a client is unhappy with the campaign, putting your team under pressure. This is why Khalil wants to hire people who ‘when we’re in the trenches, we can rely on you.’ Kate echoes this highlighting that skills like tenacity, teamwork, and simply being a nice person are what she looks for when hiring new talent: “If you’re in an edit suite together at 6pm on a Friday and the client has threatened to pull the ad (when it’s due out on a Monday), you need someone with you can trust and get on well with”. 

When dealing with pressure, Mollie says that kindness will help you take a step back and remember it’s only advertising.  

Ultimately though, being friendly will also help you build up your network as you work your way up the career ladder. Khalil explained that: “It is a tough industry with a lot of nepotism, but those who have to try harder or network more will have actually worked out whether you really want to do the job or not”. He recommended the audience to keep finding their own network as his network helped him get back on his feet and find a new job during the pandemic.  

Emma assured the audience that there’s no need to be intimidated when meeting industry contacts exclaiming: “We’re all a friendly bunch so get out there and have a chat!”.  

A massive thank you to the team at Publicis Poke for welcoming us into their offices and arming us with the behind-the-scenes intel on how the industry works, what it takes to create a campaign, and why our audience should enter the sector! Find roles in advertising here.

Keep your eyes peeled for our next masterclass in November…  

Creative Access’ recent research into expectations around ‘what to wear’ in the workplace has been featured across 22 of Reach Plc’s titles. The coverage explained job seekers found vague terms like ‘smart casual’ confusing and almost two-thirds of employees would welcome a clearer dress code.

• Sussex Live
• Hampshire Live
• Cornwall Live
• Teeside Live
• Essex Live
• Staffordshire Live
• Gloucestershire Live
• Belfast Live
• Berkshire Live
• Hull Daily Mail
• Bristol Post
• Somerset Live
• Lincolnshire Live
• Leicester Mercury
• Surrey Live
• Nottingham Post
• Derby Telegraph
• Devon Live
• Wales Online
• Aberdeen Live
• Northants Live
• Kent Live

Don’t pause for the menopause

By Dr Victoria Mattison, consultant clinical psychologist and Creative Access trainer

This #WorldMenopauseDay, we’re focusing on the impact of the menopause upon working women and how the workplace can create as inclusive environment as possible. Dr Victoria Mattison, consultant clinical psychologist and Creative Access trainer explores the stigma of menopause and how we can demystify it…

For many women, the menopause can be a taboo subject leading to isolation, silence and stigma surrounding what is an important life stage. Far too many feel unsupported at work and are burdened by feelings of shame, or even guilt, when raising their menopause and perimenopause symptoms with managers and colleagues. As a team at Creative Access, we believe that even a small amount of awareness and education could have widespread impact on staff retention, welfare and engagement and, therefore, should be on everyone’s agenda.

Becky Smith, director of digital & impact at Creative Access, tells us:

Menopause awareness is not just about women of a certain age! It remains an unspoken inclusion challenge in the workplace. Menopause is guaranteed to directly impact 51 % of the population, and indirectly impacts everyone, and we need a collective approach to ‘putting menopause on the map’ in our working lives.

According to Amelia Hill in The Guardian, women over 50 are the fastest growing sector, with 80% of menopausal women at work. They are likely to work beyond their menopause transition and well into their 60s and 70s. Still, valuable female talent exit the workplace prematurely every day. More than 60% of women experience menopausal symptoms such as sweats; physical health challenges; poor sleep; anxiety; low mood; low self-esteem; memory struggles; and ‘brain fog’. Despite the multitude of symptoms, the Department of Work and Pensions indicate (2022) that currently one in four women with serious menopause symptoms are forced to leave work. Furthermore, with most workplaces offering no training policies whatsoever, it is estimated that more than one million women in the UK could be forced out of their jobs entirely because their employers are ‘failing to support and include them’ as they go through their menopause.

There is currently no national legislation on menopause, but it is covered under the Equality Act as a protective characteristic, alongside age, sex and any disability, which could be affected by direct and indirect discrimination. So, how can we improve menopause education and raise awareness to reduce stigma?

We have developed our own menopause training for teams to start raising awareness within the workplace so that all employers have guidelines in place to support women experiencing symptoms. A recent survey of 2000 women aged 45 – 67 across the UK experiencing menopause symptoms found that this lack of support is having a direct impact on their capacity to work. This demonstrates how urgently we need prevent harassment, such as unwanted comments and jokes regarding symptoms of the menopause, in the workplace. We must ensure that rather than being a hostile environment, workplaces are safe, empathetic and supportive spaces. At Creative Access, we believe that women who are supported through menopause will remain in the workplace and achieve their full potential, meanwhile employers will retain valuable members of their team. It’s a ‘win-win situation’ for everyone.

If we can break the silence around this subject by creating an open and inclusive culture, we can guarantee that those struggling with symptoms can access the support they deserve to survive and thrive at work. As the Minister for Employment, Mims David MP suggests: “we are losing too many talented and experienced women from our workforce too early”. Employers and sectors with better support and clearer understanding are able to keep female talent and boost inclusivity. And, ultimately, women who have worked hard throughout their careers and are at the peak of their experience and skill will not be forced to curtail their careers due to the impact of menopause or the biases of others within the office.

We have training dedicated to destigmatising menopause in the workplace…

Menopause at work

• Menopause – symptoms, awareness and misconceptions
• Talent retention and employee engagement
• Developing support networks and organisational awareness; what line managers and colleagues can do
• Where help and support are available: in and out of work
• Legal considerations concerning discrimination, reasonable adjustments and sickness absence

Enquire here.

All workshops will provide a safe space in which to raise questions and practice responses and a supportive environment for learning, reflection and relaxed conversation.

While Publishing Association data from 2022 reports an increase in diversity, the industry still remains tough to get into for those from underrepresented groups. Only 17% of those working in the industry are from ethnically diverse backgrounds and two-thirds (66%) are from privileged backgrounds. 

Research shows that people from underrepresented backgrounds who advance the furthest in their careers all share one characteristic – a strong network who nurture their professional development. A mentor programme  is a powerful tool to provide insight to the breadth of roles available, support with goal setting and building networks for navigating the industry.​  

In 2022, Creative Access and Penguin Random House UK established a commitment to set up 500 mentor programme partnerships by 2025 to support aspiring talent from under-represented groups seeking to access the industry. The mentors came from within PRH and mentees from across the Creative Access community.  

The programme aimed to break down barriers and myths, showcase the rich mix of roles and opportunities on offer and provide an opportunity for mentees to build on knowledge and expertise about the world of publishing. The mentorship is designed to help develop skills and confidence, and build new connections and touchpoints in publishing. 

To date, the scheme has established 346 mentor matches. And its impact is far reaching:   

1. 100% of mentee survey respondents said this mentoring programme has improved their knowledge and understanding of publishing.​ 

2. 98% of mentee survey respondents said this mentoring programme has boosted their confidence​ 

3. 90% of mentee survey respondents said their mentor has supported them with applying for new roles in publishing ​ 

4. 84% of mentee survey respondents said this mentoring programme has expanded their industry contacts and networks. ​ 

The next stop on many Creative Access community members’ career journey last week was Coronation Street, as we hosted our creative industries showcase event at ITV Studios in Salford, just above the television set experience! 

We partnered up with ITV Academy to tap into Greater Manchester’s thriving creative community and heard from a panel of professionals living and working in the area spanning TV, marketing, social, creative communications and publishing. The panellists shared insight into their career journeys as well as advice on how to find your own creative industry pathway and move up the career ladder. Luckily for you, we’ve collated some of the highlights here in case you missed out… 

Panellists: 

• Yasmin Hemmings (Chair), Acting Head of Programmes, Creative Access 
• Abdul Tahir, Support engineer, Coronation Street, ITV 
• Malyun Mohamud, Marketing officer, University of Salford (CA alumni) 
• Tierney Witty, Editor, Seven Dials & Trapeze, (CA alumni) 
• Tom Moss, Senior account manager, Citypress 
• Jahmal Williams-Thomas, Reporter & camera operator, ITV News Granada Reports 

The room was full of individuals looking to step into a career in the creative industries, and the appetite for hearing just how these panellists made it happen was high. The team at Creative Access know that the first jump into sectors such as publishing, journalism and TV can be daunting, and creatives based in the North as these are historically London-centric indsutries. But, we know that creative opportunities are opening up around the country and we heard an inspiring range of ways you can make it happen.  

 How our panel got their career breaks 

“I spoke to absolutely everyone…If I walked past someone in the hallway, I asked “What is it you do?”” – Jahmal 

Our publishing representative was editor Tierney, a former Creative Access intern and mentee. Tierney had been training to become a teacher in the pandemic, but his passion was in books. After over 150 job rejection letters,   Tierney came across the CA x Penguin Random House mentoring scheme and was connected with a publishing mentor: “I went from having nothing to having a job in six months.” His mentor helped with applications, networking, and he progressed from intern to editor in just three years.  

Tierney wasn’t the only panellist that had other careers in sight, with Tom, senior account manager in PR, having spent years as a competitive swimmer for Great Britain. Tom, a history and politics graduate at University of Manchester, wanted a career that was rooted in his love of writing, reading and storytelling. After lots of rejections and a job as a bookkeeper, he eventually rose up the PR ranks at Manchester-based Citypress, working on campaigns with Coca-Cola, British Gas and Primark. 

Marketing officer, Malyun, had dreamed of a creative career “for as long as I can remember”, but the dream of journalism quickly unfolded when she didn’t enjoy completing a diploma in the sector.  The skills Malyun acquired studying journalism transferred well into communications. She now loves her career in marketing and comms, which started with a CA internship as marketing trainee.  

Camera operator and reporter, Jahmal, told the audience: “It used to be a totally different landscape to how you get in the industry, it’s much better now with mentoring and other opportunities. I started working when I was 15, in a community group I honed craft in video, then got into the BBC and I spoke to absolutely everyone…If I walked past someone in the hallway, I asked “What is it you do?””  

Coronation Street’s support engineer, Abdul, studied media technology at University of Salford. There were pathways from that course into audio, camera work, directing, and after experiencing a variety of roles in Leeds and within the sports industry, he eventually found a role at ITV. Abdul advised “marketing yourself on LinkedIn – even things you’ve learned that you haven’t necessarily experienced yet. Connect with professionals and send them a message introducing yourself.” 

How to creative opportunities in the North-East 

“This wasn’t the plan, it wasn’t my dream…there aren’t many people from Merseyside that I know in this industry.” – Tierney 

A hot topic of the night were the opportunities, or historically lack of, outside of London. The panellists all have experience in building successful careers in Greater Manchester, and noted that the industry is diversifying, so to pay attention to companies with offices based in the North or which are expanding. The panellists also emphasised how important virtual networking is. For publishing enthusiasts, Tierney said: “Publishing is on Twitter, not LinkedIn. Every publishing house will have a Twitter so follow them and send a message.” 

Attendees were also advised to be pragmatic, and explore the possibility of breaking into an industry through alternative pathways to the most popular, so if you want to become an editor, look at roles in areas of that sector like design, sales or art. Jahmal advised an aspiring director in the audience to look at the many brilliant independent production companies in the North.  

Six brilliant career top tips for creative industry roles 

Straight from the professionals’ mouths: 

“Have your work ready at a moment’s notice, so that if one day you’re in a lift and you hear someone in a say, “I really need more crew on my production” you’ve got a business card, a website, a portfolio, ready and can say “Hi, here’s my information!”” 

“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!” 

“Speak up. Ask to get involved in big projects. If you don’t see progression opportunities with your current company, look for one that does.” 

“Experience is the buzz word isn’t it. How can I get experience? Blogging, podcasting, anything that showcases your skillset…If I went to a gig, I’d review it. It shows passion.”  

“Be a sponge. Be ready to do everything and learn something from every person you interact with. You’ll build yourself up made from skills you’ve learnt from a million people around you.” 

“Imposter syndrome doesn’t just happen to people early in their careers, it happens to my colleagues that have been here 20 years. Look back at your career and what you’ve achieved. You’re here for a reason, so back yourself.” 

Finally, ITV Academy’s Sonny Hanley spoke to announce a very exciting ITV cohort of traineeships across Manchester and Leeds, that will be going live on the Creative Access website soon. Make sure you’re signed up with us to be the first to hear about it! 

The evening continued with lots of networking, LinkedIn connects and spring rolls. We want to say thank you so much to our panellists, our host at ITV Salford and everyone in our community that came. Until next time!