Have you ever wondered who chooses the music for Love Island or how an artist gets noticed by A&R? Or how you could jump from a career in accountancy to looking after new business and strategy in music? Creative Access found out just that as it joined forces with Warner Music Group for its latest masterclass, delving into the dynamic careers available and sharing advice on how to navigate the music industry maze. 

Spanning recorded music, music publishing and artist services, Warner Music Group is a global entertainment powerhouse representing artists and songwriters including Burna Boy, Fred Again, Mahalia, Dua Lipa and many, many more. Beneath the white-tiled wall which replicated the Pink Floyd’s iconic ‘The Wall’ album cover, was a stellar line-up of speakers from across the business whose expertise covers areas including A&R (artist & repertoire), sync (more on that below), business development and marketing. They shared what’s involved in nurturing musical talent, why going viral on TikTok doesn’t mean everything, and the variety of ways you can kickstart your career in the music industry! 

Panel: 

• Marcia Fray (chair) – head of diversity, equity and inclusion for EMEA and Emerging Markets at Warner Music Group 
• Wuraola Atanda – creative & licensing executive at Warner Chappell Music 
• Josh Gunston – junior marketing manager (dance marketing) 
• Renee Weeks Wilson – senior manager, new business & strategy, Emerging Markets 
• Susie Woodridge – A&R manager, international at Warner Chappell Music 

Renee, senior manager in new business and strategy, always wanted to work in the music industry. Her first role in the business was as a chartered account, but she wanted to move on from this technical role into a commercial role. Her top tip for those wanting to move from one area to another: build organic relationships across the business whenever you have the chance. In her previous role, she managed the finances of a colleague who is now her line manager. She mentioned that professionally nurturing relationships like that one meant when an opportunity arose, she had an established relationship to build upon. 

Dance marketing manager Josh didn’t get any accepted onto any internships when he applied, but that didn’t stop him from taking matters into his own hands. He emphasised the importance of starting your own projects to gain experience – starting his own record label – and suggests that whether it’s an events night, a label on SoundCloud, or working with an artist around you, it’s much easier walking into a company like Warner Music with experience under your belt that you have cultivated than none at all. He honed his administrative skills (he mentions spreadsheets and Canva) whilst running the label, which caught the attention of Warner years later; “I can’t do Photoshop for instance, but I will find a way to do everything that is done on it another way, using some other platform.” 

Creative & licensing executive Wuraola studied at Guildhall School of Music and Drama and similarly advised getting out there and networking in industry spaces (music events, friends’ gigs, etc.). For International A&R manager Susie, music wasn’t always the plan as she completed a biology degree, but she worked her way up from a temp contract in the royalties department, then called ADA, to her role now where she works with producers, artists and writers.  

TIP: Panellists also recommended reading Music Week and Music Business Worldwide for both opportunities and information to stay up-to-date on the industry! 

Our brilliant chair, Marcia, tells the audience that there’s a huge variety of roles which scaffold the music industry as we know it. You can’t have companies like Warner without departments such as sync, A&R, communications, HR, rights management, marketing, finance, and many more. So, if you’re keen to work in the music industry, familiarise yourself with the different departments and see what your skills align to.  

Renee is in the emerging markets team and is a key player in the deal-making process across A&R and mergers & acquisitions. The dynamic emerging markets team covers Sub-Saharan Africa, the Middle East and North Africa, the Indian subcontinent, the Eastern Mediterranean and Eastern Europe. Our masterclass audience was captivated as Renee discussed how markets have changed in recent years, citing Nigeria and India as countries with huge revenue growth and a rise in domestic artists: “Nigeria was listening to a lot of US hip-hop years ago, but now there’s a lot of artists coming out of Nigeria itself and we’re seeing huge growth…India is set to have one of the most amount of annual streams soon, where the growth outpaces Anglo markets.” 

Wuraola works in sync, pitching music for TV and film. She usually gets a brief, which could be ‘songs from 1982-1985 with XYZ mood and length’. On her first day, she found out she would be working on Love Island, and she highlighted having secured so much music on there as a huge achievement, particularly as she placed so many artists that needed exposure on there.  

The artists in the room paid close attention to the advice given by Warner’s A&R Susie, who said she’s looking for qualities in an artist which naturally stand out, a kind of uniqueness and authenticity that an A&R team can sense. How to do the impossible? She advises finding your creative vision because “it stands out when you don’t have one [for the wrong reasons], and it stands out [for the right ones] when you do”. She also points out that both an artist’s ‘data’ and attitude as important; ideally there’s data that backs up their engagement (trending sounds on TikTok, reel views) and a defiant spirit which makes an A&R person think,“are they willing to work really hard for this?”. 

Unlike Susie, whose job it is to find the next big artist, marketing manager Josh helps get an artist noticed. Whether it’s through elevating their online presence on social media or engaging the public through events and collaborations, Josh thinks artists should focus on generating an authentic, sustainable fanbase. The last time Creative Access visited Warner Music Group, TikTok was somewhat shiny and new and on the tip of everyone’s tongue, but Josh now takes it with a pinch of salt: “An artist will go viral, or blow up, then you’ll sign them and work with them, and sometimes that’s the end of the artist. Who’s your audience? Who are your fans? What are you building here? It’s more exciting when an artist comes in and they’ve got heat, real engagement – albeit 1k or 5k followers. We’ve seen people come in from the TikTok wave, and they’ve almost gotten viral too early, because they’ve blown up overnight before building a solid fan base. Someone goes viral, you go to their gig, and they’ve only got 4 fans and a load of A&R people.” 

Wuraola: Trust the process. You may feel like you’re not where you want to be but trust that you’ll be where you want to be if it’s your passion. It’s important to have teams of people that want the same thing and bounce off of that. It’s not easy to land a role in the music industry, it can takes years and years so go to other people going through the same thing. 

Susie: Have patience because everything is a journey and you learn so much along it. Everything I did from my biology degree to working in royalties – all my experiences added up to what I’m doing now. 

Renee: Hone in on your skillset and what can set you apart, know your strengths and sell them the best you can. There’s a place for you somewhere in the building. 

Josh: I could get quite worked up if something went wrong at work, and my manager always said to me: “We’re not saving lives.” I wish I had learnt that 9 years ago! 

The evening continued with drinks, snacks, and networking. Thank you so much to Warner Music Group for hosting us and sharing so much with our community. And, thank you to everyone from our amazing community who attended – see you next time! 

Interested in attending our next masterclass? You can sign up to our opportunities board to spot upcoming industry events and read our back catalogue of masterclass events. 

Tom West has reported on Creative Access and FleishmanHillard’s latest data on the class ceiling in the creative industries. Read the article in full.

‘‘Eton Rifles’ still the top guns of the creative industry’ in Decision Marketing reports on how: “The British class system is still alive and kicking in the creative industries, with where an individual went to school and their level confidence still affecting how peers see each other and discrimination is widespread” using Creative Access and FleishmanHillard’s latest research.

Georgia Luckhurst has reported on the findings that 80% of theatre workers believe working-class people experience “disadvantage” within the industry, according to research from Creative Access.

A poll of creative workers found 73% of theatre employees feel it is harder for those from working-class backgrounds to land a role, while only 17% think that equal career mobility exists.

Read the article on The Stage.

Want your boss to invest in your development but not sure how to talk to them about it? We’ve all been there! But, it pays to advocate for yourself in the workplace. Whilst a good manager will help you grow and progress; you can, and you should, take your career into your own hands.  

At Creative Access, we want everyone to feel empowered to be the drivers of their own careers. We support people in developing the confidence to advocate for new work opportunities, equal access to training, pay rises and promotions, whilst building networks with people across the creative sectors. 

So, here’s our advice on how to talk to your employer about career development… 

Career development is anything that helps to evolve your skillset and contribute to growth in your role. This includes: 

• Skills-based training 
• Mentor-matching 
• Workshops  
• Courses  
• Coaching  
• Wholistic career development programmes 
• Attending industry conferences 

Accessing any of the above can act as a pathway to a greater sense of validation, confidence, skill or portfolio development, improved leadership capability and belonging, as well as recognition through promotions, pay rises and achieving your career goals.  

First thing’s first: know exactly what you want to talk to your manager about before you schedule a meeting. It’s a good idea to sketch out your career goals and identify any skill gaps beforehand that you’d like to address in the meeting. It’s advisable to revisit your existing job description or development plan, as well as looking at the job description of the role above you – this firms your understanding of how success is measured in your role as well as how your role contributes to the bigger picture, and what you’ll need to do, to take that next step up. 

If you’re not sure where to start – have a look at industry bodies relating to your role, as well as searching on LinkedIn for people with similar jobs in similar companies. This can help you gage what other people on your level are doing and what accreditations you can gain.  

We’d also advise using SMART goals to lay out your aims. This stands for Specific, Measurable, Achievable, Relevant, and Time-Bound. By using these parameters, you can help make sure you goal is attainable within a certain time frame.  

Example: “I will improve my facilitation skills, focusing on problem solving, and host my own session within 6 months by regularly looking for training opportunities and attending at least three within this time.” 

The next step is about giving yourself a deadline by scheduling uninterrupted time with your line manager, an influential figure in your progress. This may be easy enough if you have regular 1:1s with your line manager, but if not, schedule in a meeting stating the purpose to have a catch up on your career development. Performance reviews can also be a perfect chance to raise the case for career development with your manager. 

Once you’ve set out your plan, you can prep for what you want to say and lay out clearly what you’re looking to gain from your training, mentoring or course. Remember, a good manager is invested in your development and will help advocate for your development in the workplace so there’s no need to be nervous!  

Two things to think about are: What has your contribution been to the organisation so far and what would be the benefits of you accessing further support or training? It’s important to emphasise to your manager how it would benefit both you and the wider company.  

Example: “I’ve just been promoted and now I line manage someone. However, I’d love to attend a training on this to support both my development and the person I line manage.” 

Or another example: “For the last 6 months, I’ve been reporting on our monthly digital statistics across social media and the website. To make sure I’m maximising existing tools, and stretching my abilities, I’d like to go on this course I’ve found, ran by X organisation.” 

You can also research wider industry trends and bring in industry statistics to back up your argument for why you need to access to training, coaching or mentoring.  

Be confident in yourself by investing in your future, your company is more likely to gain a loyal employee. So, it is in their best interest to support your progress. 

Remember, you don’t just have to network up! You can network laterally with your peers inside and outside of your organisation too.  

Talk to your colleagues, ask for recommendations on what kind of career progression tools they’re using for inspiration on what you can do to progress your career. You can also seek out groups and communities related to your field, join them, attend events, expand your thinking by tapping into folks you don’t directly work with but who work across different sectors of the creative industries. 

Industry bodies, unions and networking communities to check out: 

• Creative UK 
• Bectu
• The Chartered Institute of Marketing (CIM)
• Chartered Institute of Public Relations (CIPR) 
• Advertising Association 
• The Chartered Institute of Journalists (CPJ) 
• National Union of Journalists (NUJ) 
• We Are Black Journos
• The Publishers Association
• Musicians Union
• UK Theatre  
• Museum As Muck (network of working class working in the museum sector)
• AllBright (for women) 
• Creative Lives In Progress 
• I Like Networking (for women and non-binary people in the creative industries)

We have two flagship career development programmes aimed at people from under-represented backgrounds in the creative industries.

An 18-month programme for those at entry-level. We’ve crafted a comprehensive programme focused on training, networking, and unwavering support to propel careers to new heights. You can expect to:

• Clarify and set short and medium career goals Increase confidence in the workplace

• Create and develop lasting networks of other creatives from similar backgrounds who are starting out in their careers
• Get exposure to the breadth of opportunity in the creative economy
• Get support transitioning to their next role (if not already in a permanent role)
• Attend exclusive networking events, including book club and masterclass*

Claim your spot on our unrivalled career development programme: If you’re eligible for the programme, you can ask your employer to fund your place. Find out more about the programme and how to enrol.  

Aimed at those at mid-level designed for and by people from under-represented backgrounds* in the creative industries. Our unrivalled 12-month long programme of training, networking and support aims to ensure participants develop a leadership mindset; increase influence; build resilience; develop new skills for career progression; increase confidence; build contacts across the creative sectors; and most importantly, take strides to achieve their career goals. 

Claim your spot on our unrivalled career development programme: If you’re eligible for the programme, you can ask your employer to fund your place. Find out more about the programme and how to enrol.  

“This was a great opportunity to take stock of how far I have come and connect with other like-minded people. The training really gave us a sense of our potential as future leaders; just the confidence boost I needed as I move on to the next stage in my career” 

*To participate in this programme, individuals must be from a group that is underrepresented in the creative industries. This includes, but is not limited to Black, Asian and ethnically diverse candidates, disabled people, and individuals from lower socioeconomic backgrounds. 

BookBrunch has covered the most recent recipients of the Creative Access x McLaren Racing Career Development Bursary, highlighting writer Nadia Attia’s funding. Read the article.

The Creative Access team travelled to Bristol last week for our creative industries showcase, hosted by the BBC Natural History Unit at BBC Studios, to highlight all the creativity and exciting roles on offer in the area. We were joined by a panel spanning curation, TV, animation, publishing, theatre and PR who demystified the sectors they worked in, offering up their advice for our audience on how to break in. 

Senior designer Lorna knows how disheartening rejection can be when you’re first starting out. Whilst now she’s at her ‘dream workplace’ and her day-to-day looks like creating Shaun the Sheep pyjamas for a high street brand to designing posters for Aardman Animations movies, it wasn’t always the case. She had a tough time finding a role post-university as an illustrator but didn’t give up: she decided instead to teach herself Photoshop and go down the designer route.  

“Don’t give up and keep trying. If you’re a designer or filmmaker or photographer, don’t get disheartened and feel pressured by other people’s successes. Make sure you present yourself online and shout about your work so that people notice you”  

Lorna stressed to our community that whilst it’s easy to compare yourself to friends and peers who seem like they have the ‘dream’ job and you haven’t got there yet, to keep trying. For any budding designers, she says that even things like designing a super creative CV can be what makes you stand out for the crowd, and in fact, this is what she cites as helping her get the job at Aardman.  

“Use free online websites like SquareSpace which is easy and cheap. I think Instagram profiles are a great way to display your work too. It doesn’t have to be this big thing; it doesn’t matter if it gets one like, it’s important to get it out there and you have something to show” 

Like Lorna, Saphia also studied illustration, however became interested in collaborative work whilst helping organise exhibitions during her degree and realised that’s what she wanted to do. Saphia completed an internship at Bow Arts and Christies via Creative Access in 2018. She explains that “being able to talk about curation because of my projects at university helped me get my first gallery roles”.  

So, what does a curator do? Saphia’s work at international contemporary art centre, Spike Island, involves everything from coordinating the centre’s artist development programmes to curating public workshops. She explains that traditionally a curator at an art gallery or museum would have a specialist knowledge of a particular era or art movement, however in contemporary visual arts spaces, the job is quite similar to producer roles in other arts organisations.  

“Curation takes commitment and patience – it’s quite common to be in a more junior role for a long time e.g. 5 years before you become a senior curator. So, keep patience and focus. Attend training and develop your skills to prepare you for the next level.” 

Saphia says that it’s a very hands-on role where she facilitates about four events a month both in person and online. She loves the practicality of working with artists and producing events combined with the administrative jobs that go alongside it.  

Her advice for our audience is that unfortunately, a lot of jobs will come through someone you know, so make sure to develop your networks!   

Zulekhá has been working at the crime and thriller publisher behind authors like Mick Heron, Natalie Marlow and Rose Wiling for two years now – ever since Hachette opened its Bristol office.  

Although Zulekhá really wanted to get into publishing, she struggled to find a book publishing role in the South-West (although she does say there’s lots of cool magazine publishing opportunities in the region!). So, she worked in marketing for eight years instead, however when she saw that Hachette was opening offices across the UK, she said she ‘basically refreshed the page for a year’ waiting for a role to come up… and it did! 

But how did she manage to switch careers and make herself stand out in an industry she hadn’t worked in before? Zulekhá said relying on her transferrable skills was key. Because the imprint was new, it was operating like a start-up, she used the fact she’d worked in lots of small companies before to show she worked well in these environments.  

This ability to work on multiple projects across a small team clearly came in handy as in her role as assistant editor, Zulekhá liaises with both author and agent and the book going to print, as well as provides copywriting, editing and proof-reading, she also helps out with social media, drawing on her existing experience in this area. She also tells our community to consider roles other than their ‘dream job’, for example if you want to be an editor, you could look at marketing and publicity roles in publishing as well. 

Here’s her advice for any publishing hopefuls in the South-West: 

“Put yourself out there. One thing I struggled with was finding internships. But Bath has wonderful festivals that you can volunteer at and flex that muscle, network and communicate with people in the industry you’re interested in.” 

Fellow Creative Access alumni Chase starts off by telling our audience, “I always say my career began in my grandma’s garden when I was 10 just filming everything that moved, including my cousins impersonating Steve Irwin.” Despite the long-time passion Chase had for documenting animals and nature, they never thought they could do it as a job because firstly they didn’t know anyone who actually had that job and secondly, they never saw themselves on TV in those roles.  

Chase ended up doing a zoology degree instead and whilst doing an MA, they started researching into roles in the TV industry. This is where they found Creative Access who they cite as “demystifying all the different role available in TV, making me realise it wasn’t just camera operators.”  

“Be yourself. I don’t mean that in the cliché way. It’s important to know what your skills are and bring them to the table. I’ve not done any formal camera training but my creativity came out a lot more in writing stories and drawing storyboards. Sometimes the skills you don’t think are important, turn out to the be the most useful even if it’s totally different.” 

Chase started at BBC Natural History Unit at Springwatch in 2017 via Creative Access and hasn’t left since. Assistant producers, they explain, does a bit of everything. From beginning of production, to calling scientists and thinking about what stories will be compelling, to working out how the story can be brought to life, right through to budgets and how you can bring it to the screen. From there, you work with logistics and safety teams and even help out directing on location. Because animals can do anything, and the storyline may have to change, Chase says that you have to make dynamic decisions: “Producing on location is 90% problem-solving.”  

Chase was also keen to reassure our community that TV & film is slower at the moment, but it won’t be forever; it’s good to be aware of so that you don’t feel disappointed if you’re not getting a role as quickly as you think you should. But for any aspiring wildlife filmmakers or producers, one positive is that more and more streamers and platforms want to make natural history content!  

“I really didn’t know I wanted to do this before I did this – if that’s you that’s ok, you will find something you love even if you don’t know what it is you’re looking for” 

Like Chase, Sunita was always passionate about the environment however didn’t think that the climate space was something she could build a career in. However, she cites Creative Access as a ‘gamechanger’ for introducing her to an internship at her current company, environmental agency Greenhouse Communications. 

At university, Sunita did lots of climate activism, however graduating into the pandemic meant frantically looking for jobs in an unstable market and applying for everything. Having done lots of part-time admin work throughout her time at university, she secured an admin assistant traineeship at Greenhouse Communications through Creative Access and from there became an account exec and has worked her way up over the past three years to now. She says: 

“Be open to not the exact role you’re looking for. Through working in the admin side, I got to work with everyone and met everyone on the team. By the time I came to the comms role, I had a thorough understanding of how the company worked.” 

A day-to-day role in PR and communications can involve creating media lists, writing press releases, pitching stories to journalists, drafting social posts, supporting with the website and managing client relationships. Sunita’s key tip for breaking into the world of PR and comms is to research the company you’re applying for! She says even if they don’t ask in the interview about your thoughts on their client list or their company ethos, you can use this information as a chance to shine and ask them.  

Our final and most experienced member of our panel Nancy shared the story of how she became artistic director at Bristol Old Vic and had some incredible tips for anyone in the theatre space and the arts more broadly. Hailing from New York, Nancy is from a first-generation family from Dominican Republic. Although she didn’t come from a family that went to the theatre, growing up in New York there was so much art and funding for young people to access theatre which resulted in her joining a youth theatre group in high school where she learnt her craft.  

Nancy was clear to tell her audience that, although she loved theatre because it allowed her a vehicle for her thoughts, she didn’t have network available to her to study theatre and further on, couldn’t pursue theatre a full-time as a full-time career. She worked many jobs such as bartending to make a living and prop up her theatre projects over the years.  

Nancy moved to Bristol and learning about the cultural landscape of theatre in the UK. Despite not feeling academic, Nancy went on to gain an MA in theatre directing. As an older student who had children, she says she was laser focused on her degree. She said: “I realised I know how to tell stories but I lacked the sophisticated vocabulary. But this was a good thing to know – that my intuition was right but it’s helpful to have the academic lens to use when I need it. Nancy explained that the MA opened up the door to finding opportunities, awards and grants, and networking programmes. 

“Remember: no one can set the value of your work. For artists, it’s messy because our identity is so tied to our work. I try to remember that the system I’m operating in wasn’t designed for me so where are my entry points and how can I bring value?” 

Nancy was balancing directing at lots of theatres in London and teaching theatre direction in Bristol when her current role came up at the Bristol. At first she didn’t want to apply however after some encouragement from friends in the theatre world she did. Her role is split between artistic director and joint CEO. As artistic director she takes care of the theatre’s programme, oversees the engagement work it does, as well as creates partnerships in the city as well as across other regions. As CEO, however, her role is more taking care of the day-to-day finances and strategising the theatre’s output and future. 

She says that she thinks a lot about pathways, explaining ‘mine has been such a long and winding road – how can I help that become easier for people?’. 

Register now with Creative Access to find out about exclusive events and opportunities in the creative industries. 

Creative Access took a deep dive into publishing rights this January. We wanted to unveil the mystery behind the department; what is rights? How is different from editorial or sales? Is it all spreadsheets and contracts?  

Who better to demystify rights than the experts at Penguin Random House. The rights team shared incredible insight with the publishing enthusiasts in our community during both in-person and virtual events and we’ve collated the best advice, top tips, and biggest lessons we took away. Our brilliant panellists included: 

• Ella Darlington, Head of comms and marketing, Creative Access (chair) 
• Chloe Traynor, CA alumni & Rights assistant, Penguin Random House UK
• Maeve Banham, Senior rights manager Children’s, Penguin Random House UK
• Monique Corless, Head of translation Adult, Penguin Random House UK
• Jonathan Herbert, Rights executive Adult, Penguin Random House UK
• Claudia Mair, Senior recruitment business partner, Penguin Random House UK

We learnt that the word ‘rights’ might be misleading: it’s not as contracts-based as it sounds. The rights team sell the rights of a book to foreign publishers around the world so they can sell their own editions in those languages. It’s their job to maximise the success of a book outside of the UK, which means a lot of collaboration with other departments, a lot of sales and a lot of travel too! 

Those working in rights will have set ‘markets’ or ‘territories’ that they are responsible for researching and knowing. For example, one of our panellists sells in France, the Netherlands, Portugal and Brazil. And it’s not only selling the rights for books to be translated, as some team members sell books to feature in newspapers and magazines.  

As for responsibilities, the deal-making is largely made by territory managers and executives. As for those at an entry to junior level, we heard from rights assistant Chloe that it’s a cool job where you can see a deal right through to the physical product. You could be sorting out the production elements, the delivery, the shipping, the approvals, and all the general and vital administration. 

There are so many exciting areas that publishing rights involves day to day; working on translations, publicity, pitching books to publishers, negotiating offers, and helping plan events like book festivals.  

But they don’t just sell the rights after a book has been published. The rights team are there right from the start of a book’s journey, particularly with the editorial team.  

All the panellists spoke passionately about collaboration, communication and teamwork as key components when working in rights. Our main takeaways were to evidence in these qualities in your CV, cover letter and interview, and to express genuine curiosity and knowledge of rights.  

The team acknowledged that doing an MA is publishing is expensive and emphasised that it’s not important for them when looking at a CV; they want to see that you’re hands-on, take initiative and are interested in rights.  

Chloe had a lot of great advice for applicants, having been in their shoes only a year and a half ago. She said that since working in the industry she’s realised that no one feels like they’re too important to have a conversation with you, so reach out to professionals in the industry and make connections. Other tips included demonstrating passion through whatever experience you have, whether that be through TikToks or retail experience for a bookseller. 

‘You need to have studied a language or literature degree.’ You don’t! In fact, PRH is very open to hearing from candidates who haven’t been to university. 

‘You need to have an MA in publishing.’ Nope, read above. 

‘A successful book in the UK will definitely be success internationally.’ The rights team must consider whether they can launch the author internationally and what hurdles they might face. At times they are battling the strength of the English language when trying to sell the rights to translate.  

We at Creative Access know publishing is a sought-after industry and it can take a while before you land a role. Our panellists had experienced setbacks, career breaks and industry switches before getting their foot in the door. They agreed that you can’t compare your journey to anyone else’s, and perseverance is key.  

Thank you so much to everyone that attended these events and to our amazing panel from Penguin Random House! 

Creative Access, the leading social enterprise in progressive career development and support, today announced that 37 people working in the creative industries will receive vital funding for equipment, training, driving lessons and travel costs to support their career progression in the sector as part of its collaboration with McLaren Racing. 

In 2021, Creative Access partnered with McLaren Racing as part of the team’s flagship DE&I programme, McLaren Racing Engage, which was launched to open pathways into motorsport careers. Now in its third year, the Creative Access x McLaren Racing bursary supports talent from under-represented communities aspiring to work or further their career in the creative economy, but who are currently held back from doing so because of their financial status.  

Recent Creative Access data found that 82% of those working or aspiring to work in the creative industries in 2023 named the cost-of-living crisis as a significant barrier to accessing roles (Creative Access Financial Barriers, 2023) and recent ONS data reveals that the number of working-class creatives has halved since the 1970s. This is despite 52% of British people identifying as working-class (British Social Attitudes report, 2023).  

While the Bursary is open to all ages looking to develop their career, the majority of 2023 applicants came from entry-level career stages. And 68% of applicants came from lower socio-economic backgrounds highlighting the impact and lack of accessibility to the creative industries for young people in particular.   

Each successful applicant will receive a grant between £250 and £1,000, which must be used to enable them to progress in their chosen creative career. The most common and significant request was for equipment funding such as tech and software, seconded by driving lessons.   

The successful recipients are located across the UK and currently work or aspire to work across the breadth of the creative industries including publishing, TV, film, theatre, visual arts, music, product design, fashion, technology and gaming. 55% of applicants came from London, indicating the density of creative jobs in the area paired with the effects of the high cost of rent and living in the capital.  

Funding was also requested for: 

• Commuting costs 
• Care costs 
• Living and rent costs  

The sectors with the most requests were:  

1. Film, TV, radio and audio production 
2. Music, theatre, dance and visual arts 
3. Book, newspaper and magazine publishing  

Timotej Baca, who is a freelance videographer based in Northern Ireland, said: “Receiving the Creative Access x McLaren Racing bursary is massive, with the rise in cost-of-living I’ve spent the last year developing and writing projects. With the bursary I can now buy an industry-standard camera to restart my freelance career.” 

London-based film and TV electrician, Mariam Hayat, explained: “As a South Asian woman, I look pretty different to other film and TV electricians – but now my tools look the same as theirs thanks to this bursary! I’m so excited to start a career as a practical electrician and work on my own creative electronic projects using the professional equipment I’ve bought.” 

Bibi Hilton, CEO, Creative Access says: 

“Individuals from groups under-represented in the creative industries often face financial barriers to progression. So, we are very pleased to be able to award funding from our Career Development Bursary for the 3rd year in a row, made possible thanks to generous support from McLaren Racing.  

This funding really does make a critical difference with 80% of those who received funding last year saying it’s enabled them to access new opportunities and move forward in their careers. We can’t wait to see the impact this funding will have for this year’s successful applicants.” 

Kate O’Hara-Hatchley, Head of Diversity, Early Careers and Development, McLaren Racing, commented:  

“McLaren Racing is delighted to be supporting the Creative Access Career Development Bursary for the third year running. The McLaren Racing Engage alliance aims to tackle address systemic inequalities in our industry to ensure we can become one of the most inclusive teams in sport. We have seen great impact to date, helping to break down the barriers and open more doors within the creative industries. The scheme is an integral part of McLaren Racing’s commitment to Diversity, Equity & Inclusion, a key pillar of our Sustainability Strategy ensuring that everyone, irrespective of background and financial status, has equal access and opportunities.” 
 

We were delighted to join ITV Academy at ITV’s White City space to hear from a panel working across the world of TV production, from editorial to production management, working in both scripted and unscripted, as well as two seasoned Creative Access ITV alumni sharing their insights.  

Our panel: 

• Amrit Kaur Bassi, social purpose manager at ITV (chair) – Creative Access alumni 
• Modupe Aluko, post-production manager at Potato 
• Verina Burt, head of news features at Good Morning Britain 
• Kishan Koria, editor of Peston at Multistory Media – Creative Access alumni 
• Sophia MacKay, production manager, Scripted at ITV Studios 

Here’s what we learnt… 

With live TV, things can change whilst on air. This is something Verina knows all too well: with 25 years experience and having worked her way up doing all sorts of production roles, she now runs the team who organise the daily debates, producing the participants, as well as big campaigns and national surveys at Good Morning Britain. Verina said everything is reactive to what’s in the papers that day – you must think on your feet and adapt to what’s happening in the world around you.  

This is something Kishan, who started off as an intern on Peston seven years ago via Creative Access and has been there ever since, agrees with. As editor he works out who’s on the programme and how the show runs, as well as being in the ear of the presenter.  

He explained that things change a lot, despite Peston being one-hour long ep a week and said that the biggest change he experienced whilst on air changing the format of the show was when the Capitol was stormed in 2022. He told the audience that keeping the format fresh is key: “If you want to make good current affairs TV you need to move with what’s happening, so it feels live.” 

Fellow Creative Access alumni Amrit also started off as a trainee at ITV in the social purpose team and is now a manager in the department. She works internally and externally supporting ITV’s missions around mental well-being, diversity, equity and sustainability, and helping the next generation of TV talent. She said: “I find it so difficult to describe my job because it’s so varied”.  

Meanwhile, Sophia explained that because her role is an overview, she is involved at every stage: doing everything right from the beginning such analysing the viability of a production (whether it can even be made), to pre-production, script breakdown, helping the team crew up and liaising with all the in-house teams. She then supports the team on the ground during the shoot and supports a smooth transition into postproduction, and even organises press screenings.

Sophia, having worked across both areas, says essentially the script means that there’s actors, bigger budgets and longer schedules as well as planned sequences (versus impromptu scenes that happen in unscripted).  

Although there are also ‘loose’ scripts in unscripted TV… Modupe, who works mostly on The Chase, told us that the researchers dig into the contestants’ interests and backgrounds and relay this to Bradley Walsh so he can build a rapport. So, in unscripted, the script tends to act as a way to lay down the basics for natural conversations to unfold.  

Sophia recommends that if you want to make the crossover from scipted into unscripted you shoudl try and upskill and learn about concepts such as screenwriting and lighting techniques. 

If you’re interested in TV, you probably know by now that it often requires long days. Modupe explains that as a production manager “you’re the first to be there and you’re the first to leave” and that you’re often the person everyone across the team comes to for help. Modupe said that she tends to record 3 shows a day, starting very early and finishing quite late.  

However, Modupe explains that her love of organisation means the long hours are “very rewarding” and she was keen to tell the audience that you do get that time back. She recommends that people wanting to break into TV utilise their transferable skills and passions to help them find what they want to specialise in.  

Kishan said: “Nothing is more important than love of the area you want to cover”. He explained that it’s difficult for people to respond well to a programme if the people behind-the-scenes making that programme don’t love the subject matter, continuing that all his team are politics-obsessed. 

TV is a fast-paced environment and mistakes can happen. Kishan says your team is there for you to rely on when things go wrong, or you need help: “The key thing is to know you’re part of a team – there’s meant to be a support system in place. The worst thing is to cover it up, the best thing you can do is talk to your team and ask them how you can fix it.” 

As always, we asked our panel… 

Verina: “It’s such a varied career, don’t be afraid if you don’t know what path to take yet. It’s never too late to change direction. 

Use your transferable skills, career paths are changing whether you’ve got a degree or not doesn’t hinder you. If you’re really inspired email people and get the name of the show right! Watch the shows you love that you want to work on. You could even create a YouTube or Tik Tok channel to help build experience.” 

Modupe: “There’s only one you. Whatever you like doing – use that! For example, I was the organiser in my family – I didn’t know that skill could mean I’d become a coordinator, find that skill and run with it” 

Kish: “Persistence is key. I’ve never received an email from someone who loves politics and wants to learn about TV and not been really flattered by that. It’s ok to follow up and say ‘hey, sorry if you’re busy can I follow up on this’. It does lead to things, even if it doesn’t lead to a job.”  

Amrit: “Normalise making mistakes!”  

Sophia: “Be proactive – don’t wait until you’re asked to do something. Try and pre-empt what your colleagues need. People will recognise that and think, ‘yes I want them on my next production.’  

Be kind and talk to everyone! Confidence comes with experience so just ask questions. You’ll be surprised what you find out”.

 

Melina Spanoudi reports on Hachette reopening its 2024 traineeship programme in partnership with Creative Access which will provide entry-level positions as well as, for the first time, placements for experienced candidates looking to take a new step in their career. Read the article.

At Creative Access, we have over 10 years’ experience in the diversity, equity and inclusion (DE&I) space, pioneering bespoke programmes so that people from under-represented backgrounds in the creative sectors can thrive. We also help employers ensure that not only does their company reflect society, but that they are able to provide the best support for all employees by building inclusive cultures. 

This is all to say, we’ve seen a lot of trends, discussions, debates and movements over the past 11 years. Here are our expert and data-backed predictions about the future direction/priorities of DE&I in 2024. 

Between spending cuts and the increasing cost of living, lots of creative organisations are having to tighten their purse strings. However, it would be unwise to put vital diversity and inclusion services on the backburner.  

A recent McKinsey report (Diversity Matters Even More, McKinsey & Company, Nov 2023) found that companies in top quartile for ethnic diversity do 27% financially better than their competitors. Similarly, they also found that good gender and ethnic representation in executive teams makes organisations more likely to outperform their peers.  

Meanwhile, our own data shows that only 38% of employers admit to having a DE&I strategy in place. This 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 optimism from under-represented groups without support. This data shows that employers need to take action to invest in the most impactful areas to acquire, develop & retain diverse talent.  

In 2024, employers will have to look at their mental wellbeing, reasonable adjustments and support policies.  

Whilst delivering training across the UK in 2023, we saw an increase in the need for mental health and wellbeing sessions. We also observed a significant uptake in employers requiring neurodiversity training, with our Embracing Neurodiversity session being the most popular workshop in 2023.   

Why? With NHS diagnosis waiting lists up to 24 months long, a shortage of ADHD medication, and increasing awareness of neurodivergent conditions in the UK, people are more likely than ever to self-diagnose or identify as neurodivergent in 2024. Employers that receive training on how to navigate these issues and best support their staff will hugely benefit. 

You can read more about how to best support an employee with reasonable adjustments here, and a guide on disclosure here.  

Much like during the pandemic and the Black Lives Matter movement, crises happening across the globe in 2023 have highlighted a lot of collective pain. 2024 will bring about continued global conversations around these issues and the workplace will have to find ways to respond and prioritise employees’ emotional wellbeing.  

These conversations need to be taken seriously and handled with empathy, and there is no quick fix to complex problems around the world and within the UK. As an employer, it’s not your job to change the world, but you can help your employees feel supported as they navigate it.  

Our trainer and diversity consultant Elonka Soros, says: “A DE&I consultancy session can help those responsible for leading the change to take stock and identify the best course of post-training action.  

Taking an honest look at any in-training feedback about where your company is now and helping you plan for where you want to be by the end of the year. You won’t be able to do everything in twelve months, so don’t set yourself up to fail by promising to do so. Colleagues are less forgiving of pledges and statements that are not followed through. “ 

It wouldn’t be a trend piece without us touching on AI. Much has been debated in the past year since the rapid rise of programmes such as Chat GPT. With think-pieces proclaiming the end of creativity, bolstering the very scary threat to jobs.  

However, despite this threat, we can use AI to help us work smarter through optimising writing or content creation and helping us save time. In the next year, we’ll see an increase in job roles dedicated to harnessing the convenience of AI and embedding it into creative practices in the creative industries.  

However, it’s important to recognise that AI doesn’t account for representation and has its own biases. Programmes like Chat GPT draw its answers from existing information on the internet which – you guessed it – is heavily skewed towards a white, male, privileged voice. This therefore means there are ultimately gaps in how ‘diverse’ or ‘inclusive’, or well-balanced, its conclusions are.  

If you’re interested in prioritising diversity and inclusion in 2024, you can find out more about our services here.