Birmingham Publisher, The Emma Press, awarded internship grant to open doors for under-represented talent in publishing 

The Emma Press, an independent publisher based in Birmingham, has been named the first recipient of the David Tebbutt Internship Fund – a new initiative from Creative Access and the David Tebbutt Trust to open doors for under-represented talent in publishing.  

The internship fund honours the memory of David Tebbutt, former Finance Director at Faber, who passed away in 2011. The Fund is jointly administered by Faber and the Tebbutt family. 

The Fund will provide 100% of the cost of an intern’s training bursary or salary based on the Real Living Wage for a 6-month, full-time traineeship once a year for three years. It will also cover all costs relating to the recruitment and training of successful candidates. 

The initiative is aimed at small, regional publishers who might not otherwise have the resources to host a trainee. It is specifically designed to support people from backgrounds historically under-represented in publishing – this includes, but is not limited to, Black, Asian and ethnically diverse candidates, disabled, D/deaf and neurodivergent people, and individuals from lower socioeconomic backgrounds. 

On receiving the funding, Emma Dai’an Wright, founder of The Emma Press, said:

“We feel incredibly honoured to have been awarded this opportunity, and we are so looking forward to working with Creative Access and the David Tebbutt Trust on giving a trainee the best possible start in publishing. We are proud to be hosting this role in the West Midlands, as a small press, and are so pleased that the role will go to someone from an under-represented group in publishing.” 

Judith Tebbutt, wife of the late David Tebbutt, and Oliver Tebbutt, his son, as trustees of the David Tebbutt Trust said: 

“We are absolutely delighted that the Emma Press has been chosen as the recipient of the first Creative Access/David Tebbutt Trust award. This will give the chosen trainee an exceptional opportunity for what is hoped will be, a successful future career in publishing. David would have been extremely happy.” 

Josie Dobrin, founder and executive chair of Creative Access, commented: 

“We were absolutely thrilled with the calibre and breadth of applications for the first ever round of the David Tebbutt internship. It was genuinely tough to reach a decision as there are so many excellent small regional publishers who would provide a great training ground for an intern. We are, however, delighted to have awarded the grant to The Emma Press in Birmingham. We are confident they will offer an outstanding learning opportunity for someone from a disadvantaged or marginalised community to enter the publishing industry and help to continue and honour David’s legacy.”  

Recruitment for The Emma Press’ publishing intern will be led by Creative Access. The intern will be paid the National Living Wage and join Creative Access’ Springboard programme, receiving training, mentoring and peer support to help them build a sustainable career in publishing. 

Applications for the next round of the Fund will be open from the start of January – mid February 2026. For more information and to apply, contact recruit@creativeaccess.org.uk.  

Apply to become The Emma Press’ next publishing intern. Applications close: 30/06/25 at 11.59pm

So, you’ve been scrolling on the Creative Access opportunities board and finally found an internship you want to apply for, but you aren’t quite sure what that means for your bank balance. Don’t worry, we’ve got you. Read our handy guide to find out what a traineeship is, why a training allowance is different from a salary, and how to calculate your take-home pay as an intern. 

If you’re familiar with Creative Access, you’ll know that our vision is to see a day when the creative industries are truly representative of society. In the last 12 years, we’ve placed over 2,500 individuals from under-represented groups in the creative industries into paid internships and traineeships. The majority of our internships are Positive Action Schemes (training opportunities specifically for people under-represented groups), and you can read more about our eligibility criteria here. 

A training allowance is a tax-free payment given to interns under a training contract, designed to support learning and development rather than formal employment. This means you won’t pay income tax, national insurance, or student loan contributions, and will receive the full amount of your take-home pay. 

At Creative Access, we use the terms traineeship and internship interchangeably – but what do these words actually mean? 

Well, the bottom line is that a traineeship is what it says on the tin: a training opportunity. And, at Creative Access, all of the traineeships placed through us are paid. 

This means that, as a trainee, you’ll sign a training contract (not an employment contract) and take on a role designed to support your learning and development in a professional environment. Workloads should be reasonable with minimal pressure and trainees should not be subject to any formal performance reviews. The bottom line is, traineeships are a great way to learn while you earn and get a foot in the door of the creative industries. 

In most cases, trainees placed through Creative Access will receive a training allowance. And here’s the key bit: 

A training allowance is not a salary. 

‘What’s the difference?!’ we hear you ask. Okay, let’s get technical – but don’t worry, a list of key terms and FAQs can be found at the end of this resource. 

We know you’ll more than likely be familiar with a salary, but here’s a quick recap: 

A salary is a sum of money that you receive each year (annually) from your employer, usually paid monthly. The gross (total) amount is usually listed on the job advert and is ultimately agreed between you and your employer. 

A salary is subject to deductions such as income tax, national insurance contributions and student loan repayments. Once these deductions are removed from your gross annual salary, the money you’re left with is known as your net salary or take-home pay. 

A training allowance, on the other hand, is not subject to these deductions. This means that you do not pay income tax or make national insurance and/or student loan contributions, and you receive 100% of your agreed allowance. Also, instead of receiving a payslip, you’ll get something called remittance advice when you receive your pay. 

Information overload? Here’s the top line: 

As mentioned, the majority of interns recruited through Creative Access are paid via a training allowance. However, it is possible that an employer may choose to pay a standard salary. Whether you’re being paid a training allowance or a salary should be outlined in the traineeship offer letter and contract you receive from the employer – so make sure you read it carefully! 

Okay, now we’ve got a better understanding of what a training allowance actually is, let’s break down the numbers and what this means when you secure an internship through us. 

It’s important to note that you will be paid directly by the organisation that holds your training contract. You will not be paid by Creative Access. Creative Access does not set the rate of pay; however, we do advocate for employers to pay interns the real Living Wage. 

This is an adaptive rate set by the Living Wage Foundation, and is calculated based on the cost of living: https://www.livingwage.org.uk/what-real-living-wage. As of 2024-25, the UK Living Wage is £12.60 per hour across the UK and goes up to £13.85 per hour in London. 

You can use this calculation to work out relevant salary or allowance payments: 

• Weekly pay: hourly rate x hours worked per week 
• Annual pay: weekly pay x 52 (weeks per year) 
• Monthly pay: annual pay ÷ 12 (months per year) 

Let’s use a typical 9-5 role in London, paid at London Living Wage, as an example… 

• Weekly pay: £13.85 x 35 hours (40 hours per week – 5 unpaid hours for lunch) = £484.75 
• Annual pay: £484.75 x 52 = £25,207  
• Monthly pay: £2100.58 

To then get the net equivalents, you can use take home pay calculator tools like this one by Money Saving Expert, or this one on the gov.uk website. For the example above, the net amount works out to £21,669 per annum, or £1,806 per month. 

Alex is offered a 12-month traineeship with a training allowance equivalent to London Living Wage. Alex double-checks the contract and confirms that their lunch breaks are unpaid, so they’ll be working 35 paid hours per week.  

Alex will receive a training allowance – meaning that the amount they receive will not be subject to tax or National Insurance. So, the training contract states the gross amount of annual pay as £25,207. Alex then puts this figure into the take-home pay calculator and works out the equivalent amount that they will receive is 21,699 a year, which breaks down to £1,806 in Alex’s pocket per month. Knowing the monthly amount, Alex is now able to confidently budget for things like rent, bills, ever-rising TfL prices etc. 

Essentially, Alex will receive the same amount of take-home pay each month as someone who works a salaried job and earns £25,207 per year. 

So, there you have it! 

Getting to grips with how you’ll be paid – whether it’s a salary or a training allowance – might seem a bit overwhelming at first, but it’s totally manageable once you break it down. 

Always check your contract, know how to calculate what you’ll take home, and don’t be afraid to ask your employer any questions if you’re unsure. 

Most importantly, remember that this is just the start of your journey into the creative industries. We know launching a creative career can feel tricky to navigate at times, especially when you’re just starting out, but Creative Access is here to support you every step of the way, from understanding your pay to helping you build a thriving career in the creative industries. 

We hope this helps you feel more confident when applying for internships and traineeships – and remember, if you’re still unsure, Creative Access is here to help! 

Traineeship / internship – A structured training opportunity designed to support learning and development in a professional environment, and provide practical experience in a given industry. 

Training contract – A legal agreement between a trainee and an employer outlining the terms of a traineeship. 

Employment contract – A legally binding agreement between an employer and an employee, typically associated with a salaried role. 

Training allowance – A tax-free payment given to trainees under a training contract, meant to support learning and development rather than formal employment. 

Salary – A fixed annual sum paid by an employer, subject to deductions such as tax, national insurance, and student loan repayments. 

Gross salary – The total salary amount before any deductions such as tax or student loans, usually calculated annually / per year. 

Net salary (take-home pay) – The amount left after deductions like income tax,  national insurance contributions, student loan repayments and pension contributions. 

Income tax – A mandatory tax paid to the government on earnings above a certain threshold. 

National Insurance Contributions (NICs) – Payments made to qualify for state benefits like pensions and healthcare. 

Student loan repayments – Deductions taken from salary to repay student loans once earnings exceed a set threshold. 

Remittance advice – A document outlining payment details, provided instead of a payslip when receiving a training allowance. 

Positive Action Scheme – A positive action scheme is a strategic initiative under the Equality Act 2010 which allows organisations to provide training opportunities to certain groups of the population as long as they can prove that: 

• The opportunity is a training role and not a job. 

• That it is targeting a group of the population proven to be under-represented in the sector. individuals from groups that are under-represented in the creative industries. This includes, but is not limited to, individuals who identify as Black, Asian, or from other ethnically diverse backgrounds, or people of any ethnicity who belong to the following under-represented groups: disabled people, people with the characteristic of gender reassignment, individuals from lower socioeconomic backgrounds, carers and asylum seekers. Please note, this will be specified on each opportunity. 

Real Living Wage – A UK wage rate based on the cost of living, set by the Living Wage Foundation. The rates are calculated annually by the Resolution Foundation and overseen by the Living Wage Commission, based on the best available evidence about living standards in London and the UK. Meeting the real living wage is a non-enforceable recommendation rather than a legal requirement. 

• The UK Living Wage for outside of London is currently £12.60 per hour. 

• The London Living Wage is currently £13.85 per hour and covers all boroughs in Greater London. 

National Minimum Wage or National Living Wage – A statutory minimum wage for workers over a certain age, set by the government. 

Take-home pay calculator – Online tools that help employees estimate their net pay after deductions: The Salary Calculator; Money Saving Expert; Gov.UK. 

What is the difference between a traineeship and an internship? 

At Creative Access, we use the terms traineeship and internship interchangeably. A traineeship is a training opportunity.  

Is a traineeship a form of employment? 

No, a traineeship is a training opportunity rather than formal employment. As a trainee, you sign a training contract (not an employment contract), and the role is designed to support your learning and development rather than to function as a regular job. 

How does a training allowance differ from a salary? 

A salary is a regular payment from an employer, subject to deductions like income tax, national insurance, and student loan repayments. A training allowance is tax-free and not subject to these deductions, meaning you receive the full amount without reductions. 

Will I have to pay tax on my training allowance? 

No, training allowances are not subject to income tax, national insurance contributions, or student loan repayments. 

How do I calculate my take-home pay as an intern? 

If you receive a training allowance, your take-home pay is simply the full agreed amount – e.g. a yearly fixed amount stated in your contract divided by 12 months. 

In the case that it is stated as a salary equivalent instead of a fixed training allowance, or if you are being paid a salary instead of a training allowance, then you can use an online take-home pay calculator to estimate your post-tax income (please note this will only be an estimate as deductions vary based on your personal circumstances). 

Who pays my salary or training bursary? 

You will be paid directly by the organisation that holds your training contract, not by Creative Access. 

Will I receive a payslip if I’m paid a training bursary? 

No, instead of a payslip, you will receive remittance advice, which confirms your payment details. 

How do I know if I’m being paid a salary or a training bursary? 

This should be outlined in your contract and cover letter from your employer. Make sure to check your paperwork carefully. 

Can my employer choose to pay me a salary instead of a training bursary? 

Yes, while most interns through Creative Access receive a training allowance, some employers may choose to pay a salary instead. Make sure to check your paperwork carefully. 

Do I have to pay student loan repayments while receiving a training bursary? 

No, since a training bursary is not considered taxable income, you will not have to make student loan repayments. 

How can I get further support if I have questions about my pay? 

You can reach out to Creative Access for guidance, as they are available to support interns with any questions regarding their pay and employment terms. Please email recruit@creativeaccess.org.uk for any questions. 

Wonder what it’s like working for a major label representing the likes of Burna Boy, Fred Again and Dua Lipa? At our latest masterclass, the Creative Access community headed down to Warner Music UK’s offices for an energising panel exploring the many routes into the music industry – and the stories behind the people who’ve carved out careers across A&R, creative direction, sync, strategy, and brand partnerships. 

With representatives from Warner Records, Warner Classics, Warner Chappell and WMX, the panel was packed with practical insights and real talk about how to find your voice, own your identity, and thrive in a fast-paced, ever-evolving creative space. 

• Femi Bello – creative director, Warner Records 

• Jonathan Farmer – senior manager, music artist & brand partners, WMX 

• Thomas Horley – creative sync & marketing director, Warner Chappell Music 

• Kara Mukerjee, strategy & innovation, Warner Classics 

• Emily Green (host) director, A&R and catalogue, Warner Chappell UK 

For many of the panellists, breaking into music wasn’t linear – it took resilience, side-hustles, and a lot of DMs. 

Femi Bello, now creative director at Warner Records, began her creative career directing a friend’s music video “by accident” and quickly realised she was more excited by this world than the path she’d set out on at university. “Where I’m from, there weren’t opportunities like this,” she said. “I left university after my first year when I realised I didn’t want to be stuck in a 9 – 5 I didn’t love.” 

“I was hustling, sending 20 DMs a day during the pandemic. That’s how I got an internship,” she added. “Look at your interests and what sets your heart on fire. It’s okay if it’s not cohesive – find the thing that excites you.” 

For Thomas Horley, now director of creative sync & marketing at Warner Chappell Music, getting his foot in the door meant saying yes to everything. “Every job I’ve ever had, I was already doing it three months before.” 

He added, “Put yourself out there. Sometimes in this industry, you have to use a machine gun to swat a fly – show your passion and your instinct.” 

The panellists spoke candidly about how crucial it is for artists and execs alike to understand who they are, and what they stand for – particularly in an industry that can blur the lines between identity and commerce. 

Jonathan Farmer, senior manager of artist & brand partnerships at WMX, emphasised the importance of authenticity when it comes to brand collaborations: “If an artist doesn’t know who they are, it can be easy to be misled by money. If the brand and artist aren’t aligned, the partnership won’t work – especially now, with Gen Z audiences being so switched-on to what’s real.” 

Femi agreed: “Creative direction is being the eye to the ear. Sometimes it’s like being a psychologist: listening, figuring out the truth, and helping to build a strategy that feels authentic.” 

The panel also reflected on what meaningful inclusion looks like within the music industry – and the efforts being made within Warner to foster long-term, systemic change. 

“There’s no one person who can represent everyone in the UK,” said Emily Green, director of A&R and catalogue at Warner Chappell. “We need a huge array of people and identities in this industry.” 

Warner’s employee resource groups (ERGs) offer safe, collaborative spaces for marginalised groups. As Jonathan, who co-chairs the Kinfolk ERG for Black staff, put it: “The Black experience is so diverse. We want to be able to showcase the full diaspora.” 

Kara Mukerjee, who works across strategy and innovation at Warner Classics and is deeply embedded in DE&I work across the sector, said: “We’re trying to change the narrative around disability and neurodiversity. These are vital to how people express themselves – this is where our industry comes from. We do the same thing for our staff as we do for our artists.” 

Kara has also just launched Lila Music, a new initiative focused on the representation & support of South Asian artists & music professionals in the UK music industry! 

Imposter syndrome was a common thread throughout the evening. But instead of shying away from it, the panellists offered constructive and generous ways to reframe those feelings. 

Femi shared a breakthrough moment: “Imposter syndrome is often about focusing too much on what you don’t know, rather than what you have to give. Everyone has something to learn, but also something to offer.” 

Thomas added: “I’m happy to ask the ‘stupid’ question. I know that if I’m in the room, there’s a reason I’m there.” 

Jonathan encouraged attendees to demand support from those around them: “Identify a good leader and ask for what you need. If you’re in the space, know that you were selected for a reason.” 

Kara echoed this reassuring our audience: “Your opinion is unique”. “One of the most flattering and engaging things you can do is to ask a question”, she continued. “It shows you’re thinking”. 

The panel also tackled the challenges of making ends meet in the creative industries – particularly for artists and early-career professionals. 

“Don’t feel ashamed if you need to work another job to pay the bills,” said Emily. “That’s normal.” 

Femi worked in hospitality while building a directing portfolio. Thomas spent years working in pubs before breaking into sync. “What kept me going was knowing I didn’t want to go back to accountancy,” he said. “The passion will sustain you.” 

Jonathan reminded attendees that skills developed elsewhere – especially as artists – can be valuable in other roles. “Content creation, community building… those things don’t take away from your dream, they can feed it.” 

“The hairs on my arms still stand up when I hear great music,” said Thomas. 

“For me, it’s about being there at that pivotal moment in an artist’s journey,” said Jonathan. “That’s everything.” 

Kara said it’s the “constant collaboration” between music and technology: “Getting to work with artists every day is always inspiring but getting to marry that with new tools and learning new skills every day… The whole world is a playground!” 

And for Femi: “It’s about remembering what you loved doing as a child. For me, that was watching music videos – it was my escape. Now I get to help others tell their stories through creativity. Working with artists, we’re changing lives.” 

A huge thank you goes to our partner, Warner Music Group, for hosting this incredible masterclass, as well as to the panellists for being so generous with their time and advice. And of course, thanks to the audience for coming along, asking amazing questions, and networking the night away!  

Want to come to the next free Creative Access event? Register with us.  

Did you know that springtime is the best time to land a new role?

Whether it’s because budgets are renewing or simply because the sun is shining, we’re seeing A LOT more opportunities come through right now. Our data shows a consistent spike in job listings between the months of March and May – and this is trend we’re seeing continue in 2025!

If you’ve been job hunting for a while and are having no luck, we’re here to tell you to keep the faith. Here’s how…

This is your sign to update your CV with all your latest achievements, job responsibilities and the new skills you’ve acquired recently. Aim to refresh your CV and portfolio as regularly as you can – it makes applying for jobs so much easier when you don’t have to spend ages listing new responsibilities

or updating the format!

Whether you’re just starting out or looking to take the next step on the career ladder, read our advice on updating your CV.

Along with giving your CV a spring clean, this is the perfect chance to level up your professional social media channels. Make sure your job title is up to date on LinkedIn. If you use Instagram as a portfolio, pin your post of your latest project. Or, share a TikTok about a recent networking event you’ve attended.

Whatever platform you’re using, make sure you’re shouting about all the amazing work you’re doing!

List your skills and qualifications, then identify gaps you can build on whilst you’re job hunting. Make your goals SMART (specific, measurable, achievable, realistic, timely). If you’re unemployed, it could be a free online course to gain a qualification, or if you’re in work, you could ask to spearhead a new project that reflects your goals.

Here’s some advice from Aki Schilz, director of The Literary Consultancy, who recently hosted a masterclass with us. Take a holistic approach to career planning, using a self-reflective SWOT analysis:

• What are your superpowers?
• What sparks your curiosity?
• What do you value most?
• What impact do you want to have?

Remember, it’s quality over quantity. We often think of applying for jobs as a numbers game – but recruiters can tell when you’ve completely copy and pasted a cover letter or haven’t tailored your CV to the skills in the job description. We know it takes a bit longer, but trust us it’s worth it!

We read 100s of applications a week and the ones that show clear passion for the role and company stand out the most.

Level up your career. Register for opportunities with Creative Access.

In our latest masterclass, we were joined by Aki Schilz, director of The Literary Consultancy – the UK’s longest-standing editorial consultancy. A writer, businesswoman and creative facilitator, alongside her role at TLC, Aki set up the Rebecca Swift Foundation, is the co-founder of Being a Writer, and launched the #BookJobTransparency campaign.

Aki led an interactive session on how to build a career that centres equity. Read on to find out about her career journey and how to create work that makes an impact…  

Feeling adrift in your career? It’s a sign that something isn’t quite aligning. Aki encouraged our audience to take a holistic approach to career planning, using a self-reflective SWOT analysis. Instead of just looking at career opportunities, she advised participants to ask themselves four key questions: 

• What are your superpowers? 

• What sparks your curiosity? 

• What do you value most? 

• What impact do you want to have? 

By considering these factors, creatives can carve out careers that feel both purposeful and fulfilling. 

Aki shared her personal career trajectory, demonstrating that there’s no single path into the literary world. Coming from a family of teachers and avid library-goers, books were a natural part of her life. She studied languages at university before pursuing a master’s in creative writing. 

However, after she graduated, she entered the workforce during a recession and found that her degrees hadn’t equipped her with practical career skills. She worked temp jobs as a secretary and PA in the NHS, transitioning into SEO copywriting and internships before landing a role as an acquisitions assistant at Jessica Kingsley Publishers. 

While working, Aki continued to engage with the arts, writing dance reviews through a youth arts charity. She later came across Free Word and proactively reached out to every company based in their building. The only person to reply was Rebecca Swift – who she would later go on to work with at The Literary Consultancy.

Aki encouraged attendees to look for common threads in their past work to help understand what role or career would be a good fit for them. For her, it was creativity, literature, access, culture, change, and, more recently, wellbeing.  

She also emphasised that failures are not discussed enough in the creative industries, saying: “Some of my failures haven’t made me stronger – they’ve just been challenging. It’s important to acknowledge this candidly.” Failures can include job rejections, unsuccessful funding applications, bias in the industry, burnout, or projects not going to plan. The key, she said, is learning from these moments while recognising that they are an inevitable part of a creative career. 

However, when looking to progress your career, Aki said: “Empower yourself to ask for promotions and bring proof to those meetings!” 

Aki highlighted how gatekeepers often present small, incremental changes as major progress: “Gatekeepers like to feed breadcrumbs and tell you that it’s change.” 

True change, she argued, requires more than just representation – it demands structural transformation, co-ownership of ideas without exploitation, and continuous evaluation. 

She also challenged the literary world to rethink the idea of the ‘default reader’, examine unconscious biases, and practice radical empathy. At the heart of her work is the principle of literary citizenship – a commitment to making the industry more equitable for everyone. 

Aki shared her own manifesto for working ethically in the creative industries: 

• Transparency 

• Accountability 

• Curiosity  

• True and equitable collaboration 

• Creativity and risk-taking 

She then asked the audience to consider their own vision for creative citizenship by reflecting on four key questions: 

1. What makes you feel safe in the workplace? 

2. What makes you feel valued in the workplace? 

3. What makes you feel confident in the workplace? 

4. What lasting change are you committed to making? 

Aki recommended: 

• Exploring job boards like Creative Access, Arts Jobs and Arts Professional

• Researching organisations that receive funding from bodies like Arts Council England, Creative Scotland, and Arts Council Northern Ireland to identify potential employers 

• Knowing your employment rights, including ensuring you are paid fairly 

• Gaining experience wherever possible, such as taking on a role in university societies or volunteering  

“Sometimes we’re asked to be a bit of an avatar of ourselves,” Aki noted. She shared these practical tips for interviews: 

• Prepare thoroughly and don’t be afraid to bring notes 

• Take a moment before answering questions – it’s okay to ask for clarification 

• Remember that nerves are normal and won’t count against you 

For those nervous about re-entering the creative industries or disclosing a disability after a career break, Aki reassured attendees: 

• Legally, there is no obligation to disclose anything 

• If you choose to disclose, you are entitled to reasonable adjustments 

• Instead of focusing on gaps, reframe your experience: “What are the assets I’m bringing?” 

• Identify your fundamental needs, especially if you require flexibility or specific workplace accommodations 

Aki encouraged career changers to rethink how they present their CVs: 

• Instead of chronological order, highlight three key skills at the top 

• Use a personal statement to explain your career transition 

• Provide specific examples of the impact you’ve made in previous roles 

• Identify light-touch ways to fill any skill gaps – such as online courses or volunteer work 

Huge thanks to Aki for sharing her time with us and prompting our audience to better understand their career paths, and of course thank you to our audience for bringing their unique perspectives to the session! Looking for some more career inspiration? Head to our opportunites board to find your next role and join us at our next event.

At Creative Access, we’ve been thinking about all the ways that AI will impact inclusion, skills and recruitment in the creative economy.  

Technological change is nothing new for creatives – we’re always seeking new tools to do innovative and imaginative things. The mass adoption of creative tools like ChatGPT, Gemini, Runway or Midjourney presents a huge creative opportunity, but it also opens the door to a host of complex cultural, ethical and editorial challenges for anyone using these tools in their daily workflows. 

With this challenge in mind, the Creative Access team has spent the last few months getting curious about the inclusivity and accessibility of AI. Our AI task force meets regularly to review case studies, concerns and to ask ourselves the question: ‘How can we use AI as a force of good in the creative and cultural sectors?’ 

We’ve boiled it down to three main areas of focus for creatives and their employers: 

Access & inclusion: How can the industry ensure that creatives from under-represented backgrounds – who may have less access to this technology – gain the training and digital fluency needed to future-proof their careers? 

Knowledge & skills: What must employers consider when integrating AI into workflows, and how can biases and errors be mitigated? 

Leadership & good governance: What best practices are emerging, and how can leaders navigate legal and editorial frameworks to adopt AI responsibly and inclusively? 

Read on for our insights and find out how our new Inclusive AI training can support you…  

We’ve been talking to creatives about how they use Generative AI (GenAI) to understand where they’re at on their skills journey, and what support they need from both their employers and Creative Access. 

In a recent snap survey with our community, we asked… 

What do you most commonly use GenAI for? 

• Idea generation – 38% 

• Copywriting – 23% 

• Research – 38%  

• Picture & video generation – 0% 

Are you having open discussions about GenAI at work? 

• Informal chats between peers – 33%  

• Managers and senior team members are leading the GenAI conversation – 29% 

• Not at all – 38% 

Have you had any GenAI training in your workplace? 

• Yes – 15% 

• No – 80% 

• It’s in the works – 5% 

Even though our findings show that the majority of workplaces aren’t yet having formal discussions or delivering training on GenAI, insights from our jobs board tell us that employers are increasingly asking for AI skills:  

• We’ve seen spike in the demand for ‘creative AI skills’ between 2022 to 2024 on job adverts – with 13 adverts asking for AI skills in the first 2 months of 2025 alone 

• The most common theme is the ability to use AI to innovate workflows such as in data analysis or creative productions 

• Mentions of AI in job postings vary across industries – with music, theatre, dance and visual arts ranking significantly lower than the likes of publishing, TV and marketing 

As AI reshapes job roles, it also raises critical questions about ownership and fair compensation for creative work. 

A major concern is how AI uses copyrighted material. In February, UK newspapers and creative organisations united for the Make It Fair campaign, pushing for stronger protections. In response, the government pledged to review AI legislation, though concerns remain. 

Just last week, ChatGPT announced a new AI model that is ‘good at creative writing’ fuelling further tensions between tech firms and creatives over the use of copyrighted material to train AI models. 

For creatives from under-represented backgrounds – who already face barriers to fair pay and career progression – AI’s unchecked expansion could deepen inequalities. The industry must act now to safeguard fair creative opportunities through training and ethical AI adoption, rather than waiting for government intervention.  

As ‘off the shelf’ AI tools become more valuable, a lack of workplace training on utilising the technology could widen inequalities. The accessibility of these tools delivers the potential to break down previous barriers to inclusion, but without investment and planning, access could remain limited to a privileged few. 

The risk of biases and propensity for hallucinations in AI tools are also well documented, and its use in recruitment could pose risks to diversity. In 2024, 7 in 10 companies said they planned to use AI in the hiring process, despite most acknowledging its bias. With figures like this bound to grow, it’s vital that employers manage these biases, or risk further marginalising high potential talent from under-represented groups.  

The inclusion of everyone needs to be a priority when designing and adopting AI tools. Therefore, the creative industries must enact proactive measures so that AI’s benefits are shared equitably across the industry. That’s why Creative Access has designed a bespoke AI training workshop to help you harness these new technologies and upskill employees from all backgrounds, disciplines and career stages. 

At Creative Access, we have over a decade’s worth of expertise in breaking down barriers and championing inclusive workplaces. Our training will equip employers, team leaders, and hiring managers with the tools they need to integrate AI fairly, responsibly and effectively. 

Whether in recruitment or creative workflows, AI should elevate rather than exclude talent. From image creation to CV scanning, AI is becoming an essential professional tool. Let’s make sure it’s used ethically, effectively, and inclusively. 

Future-proof your workforce and ensure AI works for everyone. Find out more and sign up for Creative Access’s Inclusive AI training today.

Join us at Tate Britain on Saturday 12th April for a day filled with career talks, hands-on workshops, and one-to-one mentoring with industry pros across the art world, TV & film, journalism, publishing, PR & marketing, theatre and beyond.

Get top tips from creative professionals, have your CV or portfolio looked at by experts and level up your networking game. Expect live DJs, art installations and much more.

The whole day is free to attend but some sessions will be ticketed. Click the Apply button to read the full programme and book your place at ticketed sessions.

Talks

• Making Waves in the Art World
• Money Talks: How to pay the bills as a creative
• Youth Collectives 101

Mentoring

• Creative Industries Speed Mentoring
• Tate Staff Speed Mentoring

CV Surgeries

• CV Clinic Live
• CV Refresher 

Workshops

• The Networking Lab
• Cosy Comfy Creative: Bedroom Studios

Find out more about the programme and how to sign up for a slot on our opportunities board. Otherwise, clear your diary and get down to Tate Britain on 12th April from 11am – 6pm! We can’t wait to see you there 👋

Georgia Luckhurt of The Stage has covered the news that Creative Access’ Career Development Bursary will allow 49 creatives will receive vital funding to cover equipment, training, travel, and other career-critical costs. 

The coverage featured a testimonial from Welsh theatremaker Mehdi Razi, who is using the funding to attend director courses to support an upcoming project: “This bursary comes at a pivoting point in my career. I only recently stepped into my first executive role as co-artistic director of Papergang theatre company where I will need investing in gaining new vision and skills. This bursary funds such crucial elements of mentoring and training and impact this stage of my career’s development.”

Read: Creative Access hands out 49 bursaries to address ‘critical’ career costs

Advanced Television has covered Creative Access’ announcement of its most recent Career Development Bursary recipients: 49 creatives will receive vital funding to cover equipment, training, travel, and other career-critical costs. The highest number of applications came from creatives working in TV & film.

The coverage featured a testimonial from recipient Noor Kabbanian, an aspiring Film & TV freelancer based in Scotland who will be using the funding to attend the National Film and Television ‘Under-represented Voices Writing Lab’. On receiving the Bursary, Noor said: “As a Global Majority creative, this amazing bursary has allowed me to participate in a course aimed at teaching under-represented screenwriters how to navigate the industry and empower their artistic visions”.

Read: Funding demand hits record high for under-represented creatives

Mid-level talent face deep financial challenges to career progression as Creative Access announce recipients of Career Development Bursary, supported by WME & McLaren Racing  

Creative Access, the UK’s leading diversity, equity & inclusion social enterprise has announced that 49 creatives will receive vital funding to cover equipment, training, travel, and other career-critical costs. A record-breaking surge in demand for financial support has exposed the growing crisis facing talent from under-represented groups in the UK’s creative industries. 

Now in its fourth year, the Creative Access Career Development Bursary – generously supported this year by WME and McLaren Racing’s Engage Programme – received over 1,000 applications, a three-fold increase from last year. McLaren Racing has worked with Creative Access since 2021 as part of its McLaren Racing Engage Alliance to open up pathways in motorsports careers.  

The spike in demand reveals that financial barriers are preventing aspiring, junior and mid-level creatives from breaking into and progressing in the industry. Recent data from Creative Access showed that 81% of respondents cite financial constraints, including commuting and living costs, as obstacles to applying for new roles.  

Recipients of the Bursary span the UK and represent a broad range of creative sectors, from publishing to TV & film, theatre, visual arts, music and fashion. The majority (35%) of Bursary recipients are at mid-level in their careers, revealing the struggles that experienced and skilled talent – who have successfully carved out careers over the past decade – are now facing in progressing their careers and staying in the creative sector. 

The steep rise in Bursary applications demonstrates the intersectionality of the challenge for creatives. Those from lower socio-economic backgrounds (71%) and/or those from Black, Asian and ethnically diverse backgrounds (70%) made up the majority of applications, and disabled talent equated for nearly half of all applicants (47%). This increase in demand for funding is the result of longstanding inequalities in the sector: 90% of the arts workforce are white (PEC), whilst the number of working-class creatives has halved since the 1970s (ONS). The disability employment gap also remains large; in 2024, only 53% of disabled people were employed compared to 81.6% of non-disabled people (ONS). 

Geography also plays a part. While London remains the UK’s largest creative hub, its high living costs continue to squeeze out talent from under-represented groups. Over half (52%) of all applicants were based in the capital, reflecting both the concentration of creative jobs and the financial barriers involved with sustaining a career there. Across the UK’s creative hubs, getting access to funding, support and networks to grow a creative career is a barrier for talent at all stages. The Bursary has been awarded to recipients across the UK, including Scotland, South East, South West, North East, North West, West Midlands, East Midlands, Wales, and Yorkshire and the Humber.  

The highest number of applications came from creatives working in: 

1. Film & TV 

2. Music  

3. Art  

4. Theatre  

5. Publishing  

Each successful applicant will receive a grant between £250 and £1,000, enabling them to advance their careers. Uses for the bursary include: 

• Essential equipment such as laptops, software and cameras  

• Driving lessons to access opportunities 

• Travel and commuting costs 

• Training courses 

• Rent and living expenses 

Leon Clowes, is a mid-level musician studying a PhD, using the funding towards travel and accommodation to attend a music workshop leadership course. They said: “As an older artist in addiction recovery, this chance to join New Note Orchestra’s first community music leadership scheme is game-changing. Being with peers who share my experiences is unparalleled. Huge thanks to Creative Access for making my participation possible through the bursary – this opportunity means everything.” 

Louisa Agyei is a student aspiring to work in fashion, using the Bursary for an iPad to develop her collection. On receiving the funding, she said: “Opportunities like the Creative Access Bursary are essential, especially for under-represented communities like mine. Due to financial limitations, many of us are forced to abandon our artistic pursuits in favour of other jobs just to survive, which also restricts our creative growth. Support like this is crucial, it not only provides the necessary resources but also empowers and encourages people of colour to pursue careers in the arts without feeling limited by a lack of resources.”  

Mel Rodrigues, CEO at Creative Access: 

“This upsurge in demand for financial support is our strongest wake-up call yet. We are at serious risk of losing a critical mass of excellent creatives who help make our sector world-class – as well as failing to create a robust future pipeline – if financial barriers to entry and progression are not addressed. Creativity should not be a privilege and financial interventions like the Bursary are a vital step to ensuring that talented people – from all backgrounds and parts of the UK – are able to access the resources they need to progress and thrive in our industry. Now more than ever, we need to come together as a sector to deliver more consistent and scalable solutions to the financial lock-out”. 

Sagina Shabaya, Senior Director, Impact, Inclusion & Advocacy, EMEA at WME: 

“We believe in the importance of championing the next generation of artists and continue to support organisations that help to democratise access and break down barriers so that all creatives have the ability to be discovered. We’re proud to support Creative Access Career Development Bursary recipients and the work they continue to do to create a diverse and thriving industry.”  

Kim Wilson, Director of Sustainability at McLaren Racing: 

“We are thrilled to announce another year collaborating with Creative Access, which has been a key partner in our Engage Alliance since 2021 as part of the team’s flagship DE&I programme. Through the launch of these initiatives, we can open pathways and break down some of the barriers to working in industries like motorsport, supporting talented individuals through their journey. We want to pioneer equal access and set the benchmark for diversity and inclusion in sport and programmes like this are helping us to ensure everyone has an equal opportunity to start up in the industry.” 

About the Bursary

• The Creative Access Career Development Bursary launched in 2021 and has supported 172 creatives to date 

• McLaren Racing has worked with Creative Access since 2021 as part of the team’s flagship DE&I programme, McLaren Racing Engage, which was launched to open pathways into motorsport careers and support talent from under-represented communities. 

Creative Access’ CEO, Mel Rodrigues, has been featured in HR Magazine’s ‘Lessons from the C-Suite’ discussing her career path, inspirations, and what HR professionals need to enter the C-suite.

Read ‘Lessons from the C-suite: Mel Rodrigues, Creative Access‘.

The David Tebbutt Trust and Creative Access have announced a new internship fund in memory of the late David Tebbutt, Finance Director at Faber from 2002 until his untimely death in September 2011. 

The Fund will provide 100% of the cost of an intern’s training bursary or salary based on the Real Living Wage for a 6-month full-time traineeship once a year for three years. It will also cover all costs relating to the recruitment and training of successful candidates. 

The Fund aims to encourage young people from historically marginalised backgrounds to pursue a career in publishing. This means that successful trainees will identify as being from an under-represented group in the creative industries, including, but not limited to, Black, Asian and ethnically diverse candidates, disabled, deaf and neurodivergent people, and individuals from lower socioeconomic backgrounds. 

It will support smaller regional publishers who might otherwise not be able to host a trainee. The internship will be funded by the David Tebbutt Trust, which is jointly administered by Faber and the Tebbutt family.  

Oliver Tebbutt, the late David Tebbutt’s son and David Tebbutt Fund Trustee said:  

“We are very pleased to announce the David Tebbutt Internship. My father was dedicated to publishing and the book trade and was passionate about supporting people from all backgrounds to pursue careers in the sector. I know it would make him extremely happy and I hope it can help people from under-represented communities enter the industry that he loved.” 

Josie Dobrin, Executive Chair of Creative Access, said:  

“We are absolutely thrilled to be partnering with the David Tebbutt Trust to create much-needed entry roles in the publishing industry for people from marginalised communities; a Fund which honours David and is fitting to his memory. We are particularly pleased to be funding small to medium-sized organisations where this grant can have more impact and to be focusing on regional companies where there are fewer opportunities to enter the book sector.” 

The process of recruiting candidates for the traineeship will be undertaken by Creative Access. Successful interns will be paid the Real Living Wage and will join the Creative Access Springboard programme, including training, networking and peer support. 

Any organisations wishing to apply can download an application form here. The deadline for applications is 12 noon, Monday 17 February 2025.