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. Register your interest now for Creative Access’s Inclusive AI training and contact info@creativeaccess.org.uk.

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.

At the Creative Access book club, we’ve closed the final chapter on 2024 having turned an incredible 2,941 pages along the way. We’ve welcomed our community of mentees, interns and alumni to eight chatty meetings to cover an incredible range of new fiction and non-fiction by authors from historically under-represented backgrounds. As always, a huge thank you goes to our partners in the publishing industry for providing book copies and, often, a place to talk about them over the year! 

Here’s what we read in 2024: 

• My Friends by Hisham Matar (Penguin Viking) 

• The Five Sorrowful Mysteries of Andy Africa by Stephen Buoro (Bloomsbury Publishing) 

• Manny & the Baby by Varaidzo (Scribe UK) 

• We Were Girls Once by Aiwanose Odafen (Simon & Schuster) 

• Yellowface by Rebecca F Kuang (HarperCollins) 

• Mongrel by Hanako Footman (Footnote Press, Bonnier Books) 

• Where We Come From: Rap, Home & Hope in Modern Britain by Aniefiok Ekpoudom (Faber) 

• Happiness Falls by Angie Kim (Faber) 

This year we sat down to interview three authors about their new books: Stephen Buoro, Hanako Footman and Aniefiok Ekpoudom (who also happens to be a Creative Access alumnus himself!). We worked with seven different publishers – from independent publishers Faber, Scribe, Bloomsbury Publishing and Bonnier Books to major publishers Simon & Schuster, HarperCollins, and Penguin Random House – to provide 260 copies of books to read who then came to talk about the book as a group. 

“Loved it. The book really made me think about how oral history is collected.” – one reader on Where We Come From: Rap, Home & Hope in Modern Britain by Aniefiok Ekpoudom (pictured above). 

As always, our book picks spanned many genres united by the common theme of being written by authors from marginalised backgrounds. Highlights included finally getting our hands on the hooky and relentless thriller Yellowface by Rebecca F. Kuang (someone at the event said “this book made me fall in love with reading again”) and diving into the social history of British rap and grime with Aniefiok Ekpoudom with his non-fiction book Where We Come From: Rap, Home & Hope in Modern Britain. 

And a special shoutout to Hanako Footman for filling us in about her Waterstones Debut Prize-nominated Mongrel on a Zoom call in September. The novel shifts between three women Mei, Yuki and Haruka as they navigate life across different countries and generations. “I loved the book!” one book club attendee told us. “The characters were compelling, and the interwoven narratives were so lyrically written that it sometimes felt like reading poetry.” 

Our cosy Q&A Zoom call with author and actor extraordinaire Hanako Footman, discussing her first novel Mongrel.  

The Creative Access book club is possible because of our publishing partners that provide copies and often a space to talk about the book, so a huge shout out to both them and our wonderful community of readers who brought these discussions to life. We’re excited for more page turners in 2025! 

We’re always looking for new book club partners. As well as discussing the book, we can organise a giveaway across our socials and make sure you get plenty of coverage across our community. If you’d like to nominate a title by an author from an historically under-represented community (and you can post out 25-35 copies to attendees) please get in touch at theo@creativeaccess.org.uk.  

The Fund has placed over 50 interns in publishing, theatre and music traineeships 

The Mo Siewcharran Fund has announced its latest four grant awards: immersive theatre company, Punchdrunk Enrichment; theatre publishers and performing arts agents, Nick Hern Books; national poetry charity, Forward Arts Foundation; and Leicester-based arts charity, Soft Touch Arts. 

In its sixth year, the Mo Siewcharran Fund continues to support a breadth of creative organisations in its mission to enable people from Black, Asian and ethnically diverse backgrounds to break into publishing, theatre and music.  

The Fund was set up in memory of Nielsen Books’ former Director of Marketing and Communications, Mo Siewcharran by her husband, John Seaton; she was passionate about improving accessibility and representation in publishing and theatre. The Fund is administered by Creative Access – a leading social enterprise specialising in diversity and inclusion. 

Including the latest grant awards, since the Fund started in 2018, it will have supported 52 Black, Asian and ethnically-diverse trainees in publishing, theatre and music across the UK. The grants contribute to the salary of an intern for a six-month traineeship and a full programme of support from Creative Access to ensure the trainee thrives in their new role. 

Its impact can be clearly seen across each sector: two-thirds (63%) of interns supported by the Fund stayed on at their host organisation at the end of their traineeship, whilst 9 out of 10 (89%) trainees continued to work in the same sector.  

On this latest round of recipients, the founder of the Mo Siewcharran Memorial Fund, John Seaton said: 

“With this round a happy milestone is passed. Since starting in 2018 the Mo Siewcharran Fund has supported over fifty interns. And it is not stopping here! To add to all the previous wonderful participating companies, it is a delight to welcome these four new ones covering, so stylishly as they do, such a broad area of the Arts: theatre, music, theatre publishing and poetry. Bravo to them; my thanks, as ever, to Creative Access for making it all happen.” 

Punchdrunk Enrichment is a charity creating transformational theatre for education, community and family audiences. On being awarded the Fund, Punchdrunk Enrichment’s Artistic Director, Peter Higgin said: 

“Punchdrunk Enrichment is delighted to be part of the Creative Access Programme, supported by the Mo Siewcharran Fund. As we make our home in Brent, we are committed to ensuring that our staff team, stories we tell and audiences are representative of the communities we serve. This opportunity will allow an individual their first steps into an industry, removing barriers and creating visibility. Programmes like this are vital in supporting our organisation and the wider sector.”  

Forward Arts Foundation is a national charity committed to widening poetry’s audience through grassroots campaigns. Head of Programmes, Jay Bhadricha stated: 

“We are extremely excited to get the Mo Siewcharran Fund grant from Creative Access, which will enable us to welcome a Marketing and Communications Assistant to Forward Arts Foundation. This opportunity will help us champion diverse voices in poetry, support emerging talent while fostering inclusive audiences. With the support and training provided, the Trainee will make a significant contribution to Forward and the sector as a whole.” 

Recipient, Nick Hern Books, are the UK’s leading specialist theatre publishers and performing rights agents with over 1,500 plays and theatre books in its catalogue. Matt Applewhite, Managing Director, commented: 

“We are proud and grateful to receive the support of the Mo Siewcharran Fund, and the brilliant Creative Access, to launch an internship scheme at Nick Hern Books. As a publisher of plays and books about theatre, it is particularly fitting and humbling, given Mo’s passion for both theatre and books. We are committed to publishing work that represents the wonderful diversity of the UK – and equally passionate about breaking down barriers for underrepresented groups working in the creative industries. We are very much looking forward to welcoming our first intern in the new year, and excited about the contribution they’ll make as a valued member of our team.” 

Leicester-based Soft Touch Arts has been using creative projects to engage with and transform the lives of young people since 1986. Upon receiving the Fund, Helen Abeles, Co-artistic Director, said: 

“We are delighted to have been offered a grant from the Mo Siewcharran Fund to take on a music intern. This funding will enable us to bring in new talent to support our work with young people whilst fostering the new generation of participatory music leaders.”  

Josie Dobrin OBE, Executive Chair, Creative Access, said: 

“It has been such a joy to work with John on launching and running the Mo Siewcharran Fund. We can be hugely proud of the impact the Fund has already had; with these latest round of grant awards, we will have placed 52 trainees in paid 6 month internships, the length and breadth of the UK – from Edinburgh and Glasgow, to Manchester and Sheffield, to Brighton and Bristol. The vast majority of the interns have gone on to forge successful careers in the creative industries, which represents a fantastic legacy for Mo.”  

The Fund is once again open for other theatre, publishing or music organisations wishing to support internships for those from under-represented communities.  

The deadline for the next round is midday Thursday 26^th June 2025. Those interested in applying should download the application form here: Mo Siewcharran Fund application form

Matilda Battersby has reported that Creative Access has secured sponsorship from publishers, including Penguin Random House, Sage and Profile Books, to support mid-level freelancers from under-represented backgrounds via sponsored places on a year-long creative development programme. Read the article in full.

Creative Access is thrilled to announce that Dean Webster has joined the board of Creative Access. Dean started his Creative Access journey as a trainee for Shine Group back in 2013 and is now Head of Development at Ten66 Television.  

Dean participated in the2023 – 24 Steering Group; a training programme for future charity trustees bringing together a group of 16 individuals from the Creative Access community. This initiative is sponsored by leading media law firm, Simons Muirhead Burton who joined forces with Creative Access to guide and sponsor the programme. Their involvement includes a financial contribution, hosting the meetings at their central London office and providing in-house speakers on legal governance.  

In addition to Dean, two other members of the steering group have secured board roles including film & TV production strategist Osas Esosa, Olsberg SPI, who has joined the board of Shoreditch Town Hall and freelance writer & editor Dushi Horti (formerly HarperCollins) is joining London-based reading charity, Doorstep Library.  

Josie Dobrin, Executive Chair, Creative Access said: “We’re delighted to be welcoming Dean to our Board. We know his commitment, energy and experience will be a huge asset to us. It’s extremely exciting to now have two brilliant and skilled alumni on our board, reflecting the needs of our community 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.   

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 we are thrilled that by having created this leadership pathway, we are removing obstacles for progression and that so many of the group have already secured non-executive roles. We are indebted to Simons Muirhead Burton for their huge and invaluable support of this programme.”  

Commenting on his appointment to the Board, Dean Webster, Head of Development, Ten66 Television said: “I’m absolutely delighted to have been accepted onto the Non-Executive Board of Creative Access, an organisation that has been so integral in my career by opening the door to the television industry and supporting me to thrive in the sector. I’m proud and excited to support Creative Access in this new chapter as they continue to create more opportunities in the creative economy for diverse people.”  

Speaking of their involvement, 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 which will benefit from their engagement.”