This week’s creative industry trailblazer is Hearst’s branded content editor, as well as a freelance journalist, and member of our steering group, it’s Isabella Silvers. Isabella started off as a Creative Access intern at Time Inc in 2015 and has since worked at Hearst across titles like Cosmopolitan and Digital Spy.  

In this interview, she gives us the lowdown on why being a multi-platform journalist is such a fulfilling role she also tells us about the projects she’s most proud of and reveals the skills anyone looking to break into the industry or wanting to move up the ladder needs to succeed...

I was working at InStyle when they closed the magazine and I was made redundant. My boss at the time told me that a friend of hers was hiring at Hearst – I applied, and the rest is history. I’ve worked at Hearst for over six years, starting as a digital commercial writer and I’m now their branded content editor. I produce branded content for all our titles across all digital and print platforms, focusing on Cosmopolitan and Digital Spy.  

For the past two years, I’ve worked this role part-time with a job-share whilst I focus on editorial freelancing, whether that’s writing articles, interviewing celebrities, hosting panels or working with clients on sponsored social media posts. I worked up to this by freelancing alongside working full-time, and networking to build up contacts. I also write a weekly newsletter, Mixed Messages, about mixed-race identity. 

Communication is key. Knowing how to present your ideas to commissioning editors, convincing people to speak to you for features and writing clearly is vital! It’s also essential when negotiating pay, advocating for yourself and balancing multiple requests; when I’m writing or producing commercial content, I need to balance the interests of our magazines, their audiences and the client, which isn’t easy. Being a problem-solver and thinking outside the box is also a huge asset. If you can’t find any contact details for someone you want to interview on their website for example, are you going to give up or keep digging? 

Ask for forgiveness, not permission! Obviously take this one with a pinch of salt, but you will come up against barriers and nobody is going to advocate for you as much as you can for yourself. Sometimes it pays to take a calculated risk rather than waiting for a green light. Also: don’t ask, don’t get. It’s always worth asking the question – the worst someone can say is no! 

It has to be my newsletter, Mixed Messages. This weekly newsletter about mixed-race identity started as the seed of an idea in my head and is now something thousands of people subscribe to. I’ve even been stopped on a train by someone telling me that my newsletter influences the way they raise their child. To me, that’s incredible and encourages me to keep going. So far, ‘ve interviewed the likes of Selling Sunset‘s Amanza Smith, musician Jordan Stephens, presenter Miquita Oliver, author Dean Atta and more. In terms of branded content, I am so proud to have commissioned a series with Digital Spy and streaming service NOW that asked five LGBTQ+ writers to share the films or TV shows that resonated with their queer identity. You can read those pieces here. 

It’s an incredibly varied role where no week is the same. You get to speak to so many different people and hear about so many cool brands, organisations, events and movies. You learn something new every single day and you get to share that with the world. The joy of bringing someone’s story to the page and making a difference in the world is unmatched. Your piece could even be used to push for changes in the law or drive people to a charity they’d not heard of before, how great is that? 

Reputation is key, so if you’re known as a reliable, friendly and hard-working person you’ll always be considered for opportunities. But don’t wait for others, push for yourself. Flag to your manager things you’d be keen to be involved with, make a case for courses you’d like to do or awards you want to enter. Always be advocating for your own progress and if you need to break the rules a little… I’ll let you fill in the blanks.  

Banseka Kayembe. Everything she writes is just spot on – whether it’s Love Island commentary on Instagram or a deep dive on race and colonialism, each piece is nuanced, historically contextualised, socially aware and digestible. I also really rate Tobi Oredein at Black Ballad – by and for Black women, this site covers a multitude of topics and looks outside the London bubble too.   

Inspired to look for your next journalism opportunity? Head to our opportunities page.  

Creative Access announces results of annual survey charting career optimism among diverse talent & employer progress towards DEI goals in creative industries

• Respondents feeling sufficiently prepared & resourced to advance their careers has dropped since 2022
• A third of respondents haven’t progressed in the last year
• 1 in 5 don’t see DEI progress from their company

New research from leading diversity & inclusion social enterprise Creative Access confirms a dip in optimism about career futures in individuals from under-represented groups in the creative industries. 

The Creative Access Thrive Report 2023 comes after a gruelling year for talent as well as organisations navigating the world of work – from the return to the office, technology shifts and staff retention. The not-for-profit reflects a decline in sentiment around career prospects in disabled individuals (54% versus the average 62%), and markedly so when intersectionality is taken into consideration, for example if an individual is also Black, Asian or Ethnically Diverse (BAED) which drops to 50%.

Increased employer ED&I investment – the results?

The report findings show that despite 68% of organisations upping DE&I spend in the last year, talent from under-represented groups still faces significant barriers to progression and employers are not focused enough on addressing these, which leads to churn:

• Only a third (33%) of individuals from under-represented groups in the wider creative industries have progressed in their career in the last 12 months – but for those who have received support services (such as: training, mentoring & networking) this significantly rises to 67% having progressed
• And a third (31)% of individuals from under-represented groups across the creative industries do not feel they have the skills & knowledge to progress in their careers 

Under-represented talent stuck in the middle

Organisations within the creative sector such as PR, broadcast/media, publishing, performing arts and more are currently putting most of their efforts into improving diversity and inclusion at entry-level (45%), however when asked where they felt their organisation should focus their DE&I efforts, 70% said it should be at all career levels of the organisation.

How do employers support diverse talent?  

From respondents who aren’t in receipt of support services a lack of networks and contacts was highlighted as a key barrier to career progression, where only 29% of BAED individuals feel armed with career-enhancing contacts (such as mentors or career champions), this drops even more so if individuals are from lower socio-economic status (lower SES) backgrounds 24%, or are disabled 21%. Respondents largely pointed to five main career progression barriers:

1. Organisational structures preventing progress
2. Financial barriers (for equipment or training)
3. Physical location where an individual lives
4. Lack of training
5. Lack access to networks, such as mentor or career champion

Bibi Hilton, CEO, Creative Access: ”It’s encouraging to see that despite a year of challenging economic headwinds, organisations are encouragingly still prioritising DE&I work. Whether appointing DE&I leads or teams, or increasing overall spend to reach their DE&I goals. However, while 38% admit to having a DE&I strategy in place, that means the vast majority do not, and we’re seeing the knock-on impact by way of increased poor mental health and a lack of career progression in under-represented talent who are without support. It begs the question as to whether employers are investing in the most impactful areas to acquire, develop & retain diverse talent at all levels.”

Read the report in full here.

The annual Thrive report by Creative Access examines business sentiment around DE&I with employers and career sentiment amongst individuals from our community, the majority of which (70%) come from groups underrepresented in the creative industries. 

This study conducted over a two week period in May 2023 sets out to compare how far the dial has moved for individuals when it comes to career progression and what employers are doing to facilitate this. We also looked into whether enough is being done to secure and foster mid to senior diverse talent to thrive in the creative industries. A career level where we’ve consistently seen industry-wide under-representation.

• For employees, we looked at whether they felt they have the necessary tools and resources for career progression, such as a strong network, skills and knowledge as well as more intangible factors such as confidence
• In our research with employers, we examined their progress towards putting in the structures needed to support employees and building inclusive business cultures

Key findings:

• The number of respondents reporting feeling sufficiently prepared and resourced for advancing their careers has dropped since 2022
• Feelings of confidence, optimism and being well resourced are also lower amongst disabled respondents than amongst other groups, this is especially true when intersectionality is considered, for example when disabled candidates are also Black, Asian, or Ethnically Diverse (BAED)
• Individuals who have not received support from CA are less also likely to report working in a supportive and inclusive culture (73% versus 59%), less likely to report that their organisation is making progress on equity, diversity and inclusion (76% versus 65%). And they’re also much less likely to report feeling confident or optimistic, or having the skills, knowledge, contacts and networks they need to progress in their careers 
• While most employers recognise that their DE&I focus has been concentrated at entry level so far, there is recognition that this needs to shift towards the whole of the organisation, especially at mid to senior level
• 89% of employers said working with CA contributed towards their organisation’s progress against their DE&I goals. And the majority report that they have a strategy in hand (38%)

Read the report in full here.

This month our employer partner Penguin Random House hosted the latest instalment in our career-in-focus events series, this time to shine a light on publishing career in sales. These are events intended to demystify important, but lesser-understood industry functions – if you’re an employer and interested in doing a career-in-focus event with our community get in touch (details are below).  

At this panel and networking event we got to hear about four very different career journeys from Penguin Random House sales team members. We were joined by publishing and sales enthusiasts from our community at the Penguin UK offices for career wisdom, networking and free books!  

The panel which was chaired by Ella Darlington (head of communications and marketing, Creative Access) featured:  

• Justin Ward Turner (international sales manager – South Africa) 
• Riannah Donald (key account executive – UK waterstones)

• Cara Conquest (sales director – international online, North American and South Africa) 
• and Victoria Ajayi (senior key account executive – UK children’s non-trade) 

The expert speakers represented different areas of the publishing house as well as different career stages. And here are five potentially surprising insights we took from the talk on how to have a successful publishing sales career, according to our expert panellists: 

1. Retail is a common route in. There’s lots of different routes into publishing but working in a bookshop is a common one. Senior key account executive, Victoria, explained how the skills required in retail are totally transferable to this industry, and her previous experience at Schuh really helped her develop the sales skills (such as KPIs, financial goals & competitive selling) that she uses in her role now. Similarly, sales director Sara, developed her ability to upsell, speak to people and have difficult conversations during her time selling advertising space. All the panellists emphasised that sales experience is incredibly valuable to the publishing sector as a whole. 

2. Natural curiosity is more valuable than traditional qualifications. If you’re worrying that you absolutely *need* that publishing degree to get your foot in the door, the panellists say that you don’t! Strong sales experience is likely to be more useful than a publishing degree. What makes an individual really stand out is their curiosity and passion. Don’t underestimate how infectious it can be when someone explains the reasons behind their favourite book, or how much potential a candidate shows by being curious about how selling works or what makes different readers and retailers tick. Interpersonal skills like showing that you can bring people together, build trust and rapport, with an innate passion for bookselling, is what will lead you to success.  

3. BookTok is exciting, and influential. Take a page out of key account executive Riannah’s book and keep an eye on BookTok (or Book TikTokers) for the latest trends and creativity. She also said it’s an opportunity to inject some extra fun into the sales publishing world: “In what other job would I get to dance, whilst promoting a book?!”.  

4. Application advice. Apply for jobs you have a genuine passion for, and showing you’re passionate about the employer will carry you far – has Penguin (or even one of its competitors) printed a book you really love? Scroll through the website and bring your opinions on what book is going to do well next. Demonstrate promotional acumen with a curiosity of how they make money or how they target a specific demographic. If you haven’t got retail experience, have you ever set up a book club? Got people together for a cause? Is there an example of when you’ve changed someone’s mind? Think laterally about those skills, and also, use spellcheck! 

5. Work/life balance. International sales manager Justin wanted to set honest expectations for the budding audience members on the busy and varied lifestyle of people in sales publishing: “My advice to anyone starting out is to ensure you can handle the workload, because it is a lot. So, learn how to say ‘no’ in a constructive way. Become confident in knowing when it’s useful for your time to be involved and when it’s not, because your time is important’. Useful advice for any industry! 

Are you an employer interested in doing a career-in-focus event with the Creative Access community? You can get in touch: info [at] creativeaccess [dot] org [dot] uk  

Job hunting, or career switching? Make sure you’re signed up with Creative Access and following us on all social channels to hear when the next event is. A very big thank you to Penguin Random House UK for hosting us! 

Founder and executive chair of Creative Access, Josie Dobrin, has been featured amongst leaders in the PR and advertising world in an article on how to address the ‘high churn’ of junior staff in the industry. Read the piece in full here.

In our latest edition of creative industry trailblazers, we’re speaking to Creative Access alumni and member of our Steering Group Nitin Rishi! Nitin started off as a technical runner for TV and radio production company, Somethin Else in 2015 and now works as a freelance producer and director. He work has been broadcast across all major UK broadcasters and he’s produced programmes at major global events like the FIFA World Cup Final, as well as directed commercials for brands such as Porsche, D&G and Christies.

Here he gives his advice on the skills you need to break into the role of producer/director, and how you can move up the career ladder in TV and film too, as well as what inspires him creatively…

My first foot in the door was working as a technical runner for TV and radio production company, Somethin’ Else. This was through the Creative Access paid internship scheme, and it provided an invaluable foundation to build my skills and network.  

I tried to learn as much as I could about cameras and post-production and eventually progressed to in-house camera operator and editor.  

After two years full time, I went freelance as a shooting assistant producer to get more experience in the editorial aspect of production. I jumped between various editorial and crew roles to eventually work my way up to a producer / director in TV, whilst also maintaining an active presence in lighting, shooting and editing for both independent and commercial productions. 

A solid understanding of filming and post-production processes and techniques is essential. This includes a certain degree of technical knowledge so you can clearly communicate with your crew to ensure a seamless production process and a polished-looking finished product. 

Treat everyone you work with or alongside with respect and kindness and don’t burn bridges. You never know where your next project might come from. For example, the runner on your set today might be the executive on a show hiring you later down the road, so be a nice person and stay in people’s good books. 

When I first started freelancing, I was one of the camera operators on Sky Art’s ‘Brian Johnson’s Life on the Road’ I got to work with rock legends such as Led Zeppelin’s Robert Plant, Pink Floyd’s Nick Mason and, of course, AC/DC’s Brian Johnson himself. I’m a huge fan of rock music so this was a special project for me to be involved with.  

If you want to have a dynamic, varied career where you get to travel the world, work creatively to tell stories through pictures and sound, and temporarily immerse yourself in different worlds and subcultures, then you’ll be really well suited to this line of work.  

There are a few things I’d recommend: 

1. Make sure you always nurture and focus on your passion for filmmaking; always be learning and upskilling. Whether it’s refining your soft skills, like leadership and organisation or your hard skills, like learning how to use new cameras and mastering editing software.   

2. Ensure everything you do is executed punctually, properly and enthusiastically, no matter how menial the task. People will take notice and begin entrusting you with greater responsibilities.  

3. When you’re starting out always be prepared to go the extra mile. Work on as many different projects as you can but be conscious about taking on more than you can handle.  

4. Build and maintain a strong network in the industry; be sociable, helpful and be that person that connects people.  

Filmmaker and director Asif Kapadia: Every generation has a filmmaker that is able to bring documentaries to the mainstream and Asif Kapadia has been able to do this with his exceptional films like Senna, Amy & Diego Maradona. 

His films are accessible and meticulously put together, but also have a raw authenticity to them.   

We are also both British South Asians from North London so for me to see him break through the glass ceiling to become one of the most celebrated directors of his generation is very inspiring. 

Read more of our creative industry trailblazer series here.

Creative Access has partnered with The Financial Times since 2016 to provide access to and demystify the world of journalism to people from under-represented communities. 

The Financial Times committed not just to bringing in diverse talent, but to investing in that talent to enable them to thrive and progress in their careers. To that end, as well running regular internships, they also sponsor the Creative Access alumni mentoring programme which sees over 100 individuals matched with senior professionals each year.

The partnership with Creative Access has enabled The Financial Times to bring in over 25 talented individuals from lower socio-economic backgrounds or Black, Asian and ethnically diverse communities into paid internships at the newspaper and its specialist titles. Almost all of these are still working in journalism and progressing through the industry. 

Founded in 1888, The Financial Times is a daily newspaper, printed in broadsheet and published digitally, that focuses on business and economic current affairs. 

Last night the Creative Access community got to visit the prestigious BAFTA offices. We were able to get behind the scenes and gain exclusive insights into the inner workings of this renowned entertainment icon including TV, film and gaming.  

The panel discussion featured directors, gaming professionals, programmers, and diversity advocates, and touched on the many issues within the creative industries such as routes in, networking, key skills and, perhaps most importantly, the power of self-belief.  

Chaired by Tim Hunter, executive director of learning and inclusion, the discussion kicked off with our panel sharing how they fell into their roles, or in some cases how their roles found them. Ashley Francis-Roy, director and CA alum, revealed he found a way in through a Creative Access internship with BBC Art and Music. After studying a degree in music, he worked his way up through a number of runner, assistant producer, and director roles. “My degree made me smarter” he says, before touching on the fact that although always knowing he wanted to direct, his degree taught how important it is to be able to “make it happen yourself”. 

Mariayah Kaderbhai, head of programmes at BAFTA echoed this when speaking on her own university experience: “You have to engineer what you want”, saying that her course helped her explore her interests, even if they weren’t always directly aligned, by taking lots of film and cinema modules. She then interned at the BFI and has now been at BAFTA for 20 years.   

Our final panel panelist Sara Machado, works in recruitment as senior talent acquisition partner at game developer, Sumo Digital, is no stranger to also making it happen yourself. After studying international defense with the dream of being a spy, Sara moved from Brazil to the UK seven years ago and has been making it happen ever since. “When I got my first job, I started thinking about how I’d get my second” she explained, “there are just so many pathways”, our panel shared a number that you can start trying now. 

“Develop a sense of who you are, what you want and tell people!” Mariayah  

There are often loads of roles in your favorite organizations that you might even not think of. For example, community management, or operations, or legal – it’s helpful to think of these companies like a machine, with many parts that all help it work. With this mindset, it’s easier to see lots of fantastic opportunities where you can learn more about the industry. Mariayah spoke about festivals and open submission roles where you can be paid a day rate to watch films! Tim shared the brilliant free-to-access BAFTA toolkit, which may be more relevant for those who have already made their short film, but still worth taking a look at.  

When asked about networking, the panel had lots of top tips to share and encouraged our audience to put these into practice with the networking session that followed the discussion. Ashley commented that networking “doesn’t always have to pay off next week” but rather should be just about making that connection so that when an opportunity does arise, your name is first in their minds. For those who don’t enjoy the dreaded task of networking, Mariayah says “cut the small talk”, instead begin with what you do know, who you are and what you’re passionate about. However, walking into these rooms can still feel really daunting for some; if that sounds like you Sara speaks on the relevance of building an online community through attending webinars, workshops and even literally creating a map of the influential people you’d like to get in front of and beginning there. After her autism diagnosis in January, Sara makes sure to tell our audiences to “understand your limits”. Networking can sometimes be quite socially exhausting, so it’s important to find a way to make it work for you. 

“It’s so important to be able to talk to lots of different types of people…” Tim  

A lot of our audience wanted to know about skills to succeed in film, gaming and tv industries that you might not expect, and the panel again shared some gems. Ashley told us the power of positive thinking, “you can’t accept defeat” he says, “you need to find a way around it”. Sara and Mariayah agreed, adding critical thinking, diplomacy, time management and a good portfolio –which can sometimes be even more important than a good CV. Sara said it’s good to be someone who naturally enjoys solving problems “there are two types of people” she continues “those who panic when there’s a fire, and those who relish starting from scratch”. Being able to talk about yourself is also a must, Sara uses the formula of qualitative and quantitative statements to show impact. It’s important to remember there may always be obstacles and unexpected events, but being able to bounce back and redirect is a key skill for success. 

“As long as I am adding value, I don’t allow myself to feel bad!” Sara  

We also touched on imposter syndrome and how best to deal with the creeping feeling that you might not be good enough to enjoy what you have achieved. Imposter syndrome casts a shadow of doubt and self-deprecation over the talented individuals who really don’t need to be as hard on themselves as they are. “It’s not a helpful term” Ashley says, “there will always be moments like that in your career, but you have to encourage yourself to take up space”. Ashley makes a point to say he rejects impostor syndrome and Sara agreed. “What’s being good enough? Who decided that?” she asks. Imposter syndrome does nothing but hinder confidence and prevent you from embracing your uniqueness. It is a silent battle that many creatives face, but by recognizing and confronting imposter syndrome head-on, Mariayah says “you can hold onto your story, and hold onto who you are”. 

In the vast landscape of creative industries, finding your tribe is a crucial step towards success and personal growth. These connections will not only inspire and support you but also serve as invaluable resources for collaboration, mentorship, and professional opportunities. The panel spoke about how useful it was to have a champion, or someone who could speak to your experience and passion in rooms you hadn’t been able to reach yet. Ashley’s Creative Access mentor, for example, helped him with placements and job applications. 

“Every time I stepped up in my career, someone’s championed me…those people are so important” Ashley 

Your network becomes a lifeline, providing guidance, feedback, and a sense of belonging in an industry that can often feel overwhelming. Together, you and your network can navigate the creative landscape, celebrating achievements, sharing knowledge, and propelling each other towards greater heights. 

We would like to extend our heartfelt thanks to our panel and BAFTA for hosting our masterclass and to each and every one of you who attended the event.  

Love literature? TV addict? Crazy about the sound of music? So, how do you actually make a career out of it? So whether you’re a fresh-faced graduate or a seasoned professional looking to make a career-changing move, make sure you check out our tips on how to create an outstanding CV and cover letter…

Composing your CV

1. Step out of your shoes… and into the recruiters: Ask yourself whether you’re making it as easy as possible for the recruiter to determine that you’re a strong candidate for this specific job? What makes your application stand out from the countless other applications they are skim-reading?
   
2. Length: Keep it to a maximum of two sides of A4 (ideally one) and include bullet points so you’re concise and to the point
   
3. Format: Choose a font that’s simple and easy to read. Include clear headings, and leave enough white space so that the reader can easily jump to what they need to find
   
4. Start with contact details: name, phone number, and email. No need for a photo or a full address but you could include your city or region and whether or not you’re open to relocating
   
5. Add a short profile; maximum of two sentences about you, what you’re doing at the moment, and what you’re interested in pursuing
   
6. List your:
   
   • Education: Your most recent qualification first. Include key modules and dissertation title (if relevant to the role) and any awards or professional memberships
     
   • Employment experience: List it in reverse chronological order and include all experience, whether relevant to the role of note. Separate into voluntary/paid employment. Include the role title, the company, and employment start and end dates
     
   • Skills: IT, systems, languages and, soft skills e.g. team working skills
     
   • Interests and hobbies: Include involvement with clubs and societies and anything quirky that makes you stand out from the crowd
     
7. Social media: Include links to your accounts (especially if you’re going for a marketing role) but make sure your feed is current and appropriate; many employers do check
   
8. Blog or portfolio: Include links to these, but only if they’re up to date
   
9. References: Include two full reference contact details (one employment, one academic). If not, write ‘References available upon request’
   
10. Proofread: Yourself first and then get someone else to.
    

Crafting your cover letter

1. Less is more. Your letter doesn’t need to exceed one page. Keep it succinct and to the point
   
2. Always tailor your letter to fit the specific organisation and role you’re applying for. It’s obvious which candidates have put in the work to craft a thoughtful cover letter
   
3. Show why you want to work for this particular organisation; write about the company and what appeals to you; reference the authors they publish, the shows they produce, the content they create, etc
   
4. Don’t repeat your CV, but use this as a chance to explain why you’re applying for the role
   
5. Explain and evidence how you meet the job’s criteria. Don’t just say you can do the job, show them! Include links to relevant content that you have created that demonstrates your ability
   
6. Refer to transferable skills: If you don’t have direct experience in the areas outlined, think about what skills you’ve acquired through study or other jobs and how you might be able to translate them into this role
   
7. Your chance to shine …Sell yourself by including keywords that will credit your attributes and skills; using phrases like ‘was involved in’ and ‘assisted’ implies that you were more of a bystander than an instigator. Consider using strong action verbs such as ‘chaired’ and ‘coordinated’.
   
8. Show enthusiasm: More than anything, an organisation wants to know that you’re passionate
   
9. Ensure your spelling and grammar is accurate. Print out your letter if you can to proofread it; it’s easier than doing so on a screen
   
10. Don’t forget, the perfect CV and cover letter is not an exact science. Stay positive, keep refining your CV and cover letter, and your moment will come. Good luck!

If you want more advice about entering the creative industries, stay in touch with Creative Access:

Instagram: https://www.instagram.com/_creativeaccess/

Twitter: https://twitter.com/_creativeaccess

LinkedIn: https://www.linkedin.com/company/creative-access/

Facebook: https://www.facebook.com/CreativeAccessUK

Register with us at: creativeaccess.org.uk

A Bookseller article by Caroline Carpenter focusing on the prospects for the book trade in the north-west features former Creative Access intern and current editor at Orion Books.

The article reads:

Read more here.

In our Creative Industry Trailblazers series, we’re focusing on some of the best and brightest minds working across TV, film, music, marketing, theatre, journalism, design and beyond. Creative Access supports individuals at all stages of their career cycle, and we’re excited for you to read about the experiences & lessons from our impressive mid-senior community. 

In this blog, we’re delighted to chat to #CAalumni and current member of our steering group, UK correspondent for Bloomberg TV, Lizzy Burden. In this interview Lizzy reveals how she got into journalism and the skills you need to progress in the industry…  

I freelanced as a producer at the BBC, was a grad trainee at The Times — a role I secured via Creative Access — then wrote about economics for The Telegraph and Bloomberg News before moving to Bloomberg TV as UK correspondent. 

Resilience. 

Cut your teeth in print. It gives you a foundation of specialist knowledge that enables you to speak with confidence and authority, it hones your writing and teaches you how to hunt a real scoop-worthy story. 

When it was still taboo in the business word, I wrote a feature about menopause in the workplace, interviewing a FTSE 100 CEO on-camera about her experience of hot flushes. When calling business lobby groups for comment, press officers literally laughed down the phone — that’s how little the topic was talked about. In the end, the story got millions of hits and helped bring about a parliamentary inquiry into the issue. Now I rarely attend a diversity event where menopause isn’t mentioned. 

It’s a cliché but you get a front-row seat to history. I sat cross-legged on Downing Street with nothing between me and Boris Johnson delivering his resignation speech — same for Liz Truss and Rishi Sunak when they took office. I interviewed shadow chancellor Rachel Reeves as the pound crashed in the aftermath of Kwasi Kwarteng’s mini-budget. I’ve witnessed Sunak and Emmanuel Macron’s bromance up close in Paris. But, more importantly, good journalism can change history’s course. 

Be open to opportunities. I didn’t set out to be a financial journalist but I have discovered I love its rigour and the impartiality of the markets’ perspective. 

Stephanie Flanders. She’s my former boss at Bloomberg and was previously BBC Economics Editor. She explains complex concepts simply and when she interviews policymakers, they meet as intellectual equals. 

Check out Lizzy’s tips for getting into journalism here! https://creativeaccess.org.uk/latest/top-tips-for-aspiring-journalists  

Or, if you’re looking for a new role in the industry, head to our opportunities board.

Over the past ten years, the team at Creative Access have amassed a wealth of knowledge to help organisations attract the strongest candidates from communities under-represented in the sector. One key thing we have learnt is that if you don’t include a salary you are much less likely to generate a positive response to your advert…

We analysed 500 of the most recent job listings that have appeared on our website. Our research found that jobs where the employer chose to withhold the salary and list it as ‘competitive’ attracted nearly 40% less applicants than jobs where the salary (or a salary range) was stated in the advert.

This is also an issue when recruiting for a more experienced hire. Our research showed that listings for senior roles where the salary was stated received 58% more applications than those where it was just listed as ‘competitive’.

People work for passion and for pay

It is not an unreasonable expectation that people will be recompensed fairly for their work. It is for this reason that we refuse to advertise unpaid internships through Creative Access. Pay matters.

Candidates need the full range of information available to them to make informed choices about their careers and their lives, and that includes specific information about remuneration.

If you are transparent with salary details you can help ensure that the correct calibre of candidates apply. Applicants can better gauge what level of experience is required for the roles they’re applying to.

Walk the talk

Our candidates come from groups that are already under-represented in the creative industries. Our pool of candidates is predominantly formed of:

• Women (who already know they are underpaid compared to men)

• Black, Asian, and ethnically diverse groups (who already know they are underpaid compared to their white peers, especially in London)

• People from low-socio economic backgrounds (who already know they are underpaid compared to their peers from more affluent backgrounds)

• People living with disabilities (who already know they are underpaid compared to those who don’t have disabilities)

These candidates are not just looking to work anywhere. They’re looking for an organisation where they will feel valued, and that has a positive, transparent, and inclusive company culture in which they can truly thrive. Starting your relationship with candidates by deliberately withholding key information from them points to a lack of trust and openness, which will raise alarm bells about your company’s practices. Whilst you may be working with us in an attempt to reach great candidates from under-represented groups, by withholding salary information you’re actually inadvertently repelling the best of them.

A practice that entrenches inequalities

When salaries are not stated, compensation can become a matter of negotiation. When salaries are decided through private negotiations, the result is often that pay inequalities are compounded for those from under-represented groups. By stating the salary, you are sending a signal that what you’re offering is fair and that you are ensuring that anyone who applies can access that fair pay.

“When I was looking for jobs and I came across ones that were listed as ‘competitive pay’, I skipped them,” one candidate who was job-hunting last summer told us. “Applications take a lot of time and it’s disheartening to go a long way in the hiring process to then discover that pay is lower than you expected. This has happened to me before and I had to turn the role down because I couldn’t live off that wage. Now when I see a role listed as ‘competitive’, to me it screams ‘low pay’.”

This experience is consistent with other reasons we’ve heard from candidates about why they avoid jobs where the salary isn’t stated. They said:

• It gives out a bad vibe about the organisation; they appear secretive

• It could be a potential waste of their time to submit an application only to find out that my expectations are way off

• It suggests that current staff are underpaid

• I don’t have a clear idea that my skills and requirements are aligned with the seniority of the role

Aki Schilz, who campaigns to improve salary transparency in publishing, believes that it’s a simple and positive step to make salaries for roles more transparent, especially at entry level.

“If we’re to start addressing inequalities, we have to have a cultural shift and that’s got to start somewhere simple and easy – at entry level. From the outside, you have no idea as an applicant wanting an entry-level job who’s new to this [what a fair salary is]. It’s putting far too much expectation on the person applying and there’s not enough accountability from those working in those organisations.”

What should you do?

Quite simply, state the salary from the outset every time.

Salary ranges are fine; candidates understand this, and can prepare for a fair negotiation within a clear range. ‘Dependant on experience’ without a salary range is just as unhelpful as saying ‘competitive’.

Sometimes you might be unsure as to how senior to pitch a role and therefore you’re not sure what the salary range is; just include a wider salary range to cover the lower and upper ends. Alternatively, advertise two roles at two different levels with the respective salaries stated.

Ultimately, a job advert is often a candidate’s first detailed look into you as an organisation. Show that you’re open and fair. Show that you value diversity and inclusion. Show that you respect that candidate’s time. Show all of this by simply showing the salary.