Administered by diversity and inclusion social enterprise Creative Access, the fund provides grants to help organisations offer six-month salaried internships for talent from global-majority backgrounds, reports Matthew Hemley, The Stage.

• Only 8% of publishing freelancers report having mentorship access, and 1 in 2 feel unsupported by employers  
• Backed by 10 trade and academic publishers, the Thrive career development programme will provide 15 essential training and support places for minority freelancers   

12 January 2026 – The UK’s leading diversity, equity and inclusion social enterprise Creative Access has – for the second consecutive year – secured sponsorship from across the publishing industry to support mid-level freelancers from under-represented backgrounds through sponsored places on its Thrive career development programme.  

This initiative addresses a significant gap in professional support for freelancers, who provide essential services to the publishing sector, yet who often lack access to crucial career development resources like training, mentorship and networking opportunities.  

For the second year, a group of 10 leading trade and academic publishers have gathered together to sponsor a cohort of 15 individuals on the Creative Access Thrive programme. These organisations are: Cambridge University Press and Assessment, Canongate, DK, Hachette, HarperCollins, Pearson, Penguin Random House, Profile Books, Sage Publications and Simon & Schuster. 

On re-launching the scheme, Josie Dobrin OBE, executive chair & co-founder, Creative Access, said:  “We had fantastic feedback from the 2025 programme participants, so we are over the moon that the sector has gathered together again to support publishing freelances from marginalised communities.  This is real strength in numbers – the sector coming together to collectively address the challenges faced by the book industry. This is a great model for other creative industries; we know what a vital freelancers pay, yet many, especially from minority backgrounds, face barriers to career growth and support. This programme will once again help ensure that all individuals – whatever their background – feel valued and are given the opportunity to thrive.” 

Serita Bonsignore, global director, Equality, Diversity, Inclusion and Belonging (EDIB) at Cambridge University Press & Assessment said: “We’re proud to renew our support for Creative Access’s Thrive programme. A representative industry depends on sustained investment in the talent pipeline and Thrive equips under‑represented talent with the skills, mentoring and networks to progress and stay in publishing. and sustain long‑term careers.” 

Jessica Harris, HR director at Simon & Schuster said: “We’re delighted to sponsor Thrive and support Creative Access in expanding access, opportunity and career development for under-represented freelancers. This builds on our DEI work at Simon & Schuster UK and reinforces our belief that diverse talent and inclusive opportunities strengthen both our industry and the stories we bring to readers.”  

Julie Fielding, HR business partner at DK said: “Freelance professionals are the backbone of the publishing industry, and it is vital that this career path is accessible to everyone, regardless of their background. DK is delighted to support this Creative Access initiative, which provides under-represented freelancers with the networks and skills needed to thrive. Strengthening this pipeline is essential for a more inclusive and resilient publishing ecosystem.” 

Shirley Finlayter, who joined the Thrive programme in 2025, commented on how valuable her experience was: “The training courses were expertly planned and delivered, offering a wealth of practical tips and valuable advice. Both in-person and online community events created excellent opportunities to expand my professional network and build meaningful connections. The mentoring sessions have been particularly impactful, giving me the confidence to apply for roles I may not have considered before and helping me recognise the experience and skills I already have.” 

Thrive Career Development Programme details  

The year-long Thrive programme will begin in March 2024 and offers 15 sponsored places for mid-level freelance talent in publishing. Participants will gain access to:  

• Targeted training in key areas such as career sustainability, leadership presence, financial literacy for freelancers, and advocacy skills.  

• Mentorship from senior professionals in the publishing industry, providing six months of personalised career support.  

• Exclusive networking events with publishing partners, offering connections to foster long-term professional relationships and more!  

This opportunity is designed for freelancers with at least six months of experience in the publishing industry, including roles across editing, design, project coordination, and other key publishing functions. It will include both in-person and online sessions to ensure accessibility to freelancers across the UK.  

Why is this programme needed? 

• Freelancers are a vital part of the publishing workforce, supporting multiple functions including proofreading, copyediting, design, illustration, and sensitivity reading.  

• According to the Department for Culture, Media & Sport (DCMS), 32% of jobs in the UK’s creative and cultural industries are self-employed, compared to just 14% across the wider UK economy. Publishing freelancers, like their counterparts in film, television, and the performing arts, are essential to sustaining the UK’s vibrant creative landscape yet often face barriers to support and growth.  

• A 2023 report by Literature Alliance Scotland showed that 93% of freelancers agree that the sector relies on freelancers, however the majority of freelancers (58%) do not feel valued by the sector.  

• Moreover, freelancers from minority backgrounds often face a significant lack of support: Creative Access’ Freelancer report in 2023 showed that only 19% have received training and just 8% have had a mentor. This is despite 61% wanting to see training from employers and 44% stating mentorship is vital. Half of publishing freelancers (50%) felt unsupported by employers. 

• The Publishers Association 2024 workforce survey showed that ethnic minority representation had reduced by 2% since 2021 and that representation of people from lower socioeconomic backgrounds remains an area for improvement in the sector. The DCMS Earnings Economic Estimate report showed that as of April 2024, for every £1.00 earned by a man employed in the included DCMS sectors, a woman earns £0.80. 

Application information  

• Applications open: 12 January 2026  

• Deadline: 8 February 2026, 11:59 PM  

• How to apply: Freelancers can apply via the Creative Access Opportunities Board, where they will complete an application form and submit an up-to-date CV, indicating any prior work with the programme’s partner publishers. Click here to apply. 

The David Tebbutt Trust and Creative Access have launched a second internship fund in memory of the late David Tebbutt, finance director at Faber from 2002 until his death in September 2011, reports Maia Snow, The Bookseller.

5 January 2026 – The David Tebbutt Trust and Creative Access are thrilled to announce the second iteration of an internship fund in memory of the late David Tebbutt, finance director at Faber from 2002 until his untimely death in September 2011. 

Any organisations wishing to apply can download an application form here. The deadline for applications is 12 noon, Monday 23 February 2026.  

As last year, 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. It will also cover all costs relating to the recruitment and training of successful candidates. 

The Fund aims to encourage young people from disadvantaged or 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 be running the David Tebbutt Internship for the second year. 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 again 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 Emma Press, an independent publisher based in Birmingham, was the first recipient of the David Tebbutt Internship Fund. They successfully placed a trainee last year, Emma Dai’an Wright, founder of The Emma Press, said:

“Our trainee Ella has been a fantastic temporary addition to our small team. She’s learnt numerous tasks to take part in the wide range of roles across an independent publisher’s working day, and quickly become a valuable colleague in our publicity, marketing and social media work. Being unable to offer salaried work experience, and unwilling to exploit free labour, it’s been a huge support to us having an extra pair of hands working alongside us full-time, eager to learn about the industry and the various jobs that keep it ticking. We are hugely grateful to the David Tebbutt Trust & Creative Access for enabling this support.” 

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 23 February 2026.  

2025 was the year I turned 30 and became a trainee. When I was younger, I thought I would have it all figured out by now, but I’ve learnt life isn’t like that. My career path has been unconventional and amazing; I wouldn’t change it at all!  

After my A-Levels, I did what everyone was told to do: go to university. I had struggled with my mental health during my A-Levels and was told to ‘get through it and uni will be better’. So that’s what I did, I chose a subject I enjoyed and applied to universities based on the grades I was getting. But all I was doing was delaying the inevitable of deciding what I wanted to do when I was older.   

University went as well as you can expect with someone who was masking neurodivergence and struggling with their mental health. Now, I’m not saying you can’t go to university with neurodivergence and mental health issues, but you do need support that wasn’t in place for me. After a year of studying and things not getting better, I decided to take a year off. During this time, I volunteered with a couple of different charities, getting experience in a variety of departments, including PR and events.

At the end of the year, I decided academia wasn’t for me and carried on volunteering. I knew I needed to get a job but had no idea where to start. Through volunteering, I was given helpful advice, training and experience that I could add to my skill set.  

I happened to come across an opportunity to work in a school library. I loved reading, needed a job and wanted to encourage students to read. I spent 2 years as a library assistant still not understanding what I wanted to do as a career. Teaching didn’t appeal to me, and the school environment was not one I enjoyed working in.  

In a turn of fate, a role opened with a different employment service for the same charity. I worked as a customer coordinator and built my experience in employability, copywriting and DE and I. I loved this role and finally felt like I belonged somewhere and I was helping people who were in a similar position to me when looking for work. I was here for almost 3 years before I heartbreakingly realised there was no longer anything left for me to learn in that role. My choice was to take a risk and find something new that would allow me to grow or stay safe in a stable job . Making the decision to find a new opportunity where I would be able to progress in my career was a difficult one, but ultimately the best one. As much as I loved my role as a customer coordinator, I wanted to learn and focus on an intersectional approach to employability. As someone who is from multiple underrepresented backgrounds, I know how hard it is to have a few things stacked against you. 

So, at 29 years old, I applied for multiple roles and was given the chance to interview for a traineeship with Creative Access. Some of you might be thinking ‘why I would step backward in my career?’ which I was also asked at my interview, but in a subtle way! The truth is, it’s not a step back. It’s a step forward, it’s an opportunity to grow and learn and, personally, that will never be a step back.  

I am now a community and partnerships trainee, supporting our outreach team and Springboard programme. Working alongside some amazing people, I am learning all about copy and content writing, events planning, session facilitation and, most importantly, supporting Creative Access’ vision to make the creative industries a more diverse and inclusive place. 

Now I am thirty, thriving and loving my non-linear and non-traditional career and I can’t wait to see where it goes next. Remember: it’s not too late to change careers and it’s ok to not know what you want to do. 

Last month, Creative Access partnered with leading media law firm, Simons Muirhead Burton to host an inspiring evening of conversation exploring what it means to build a career on your own terms. Bringing together founders, CEOs and creative leaders from across the cultural and media landscape, the event delved into the realities of moving away from traditional employment and creating businesses shaped by purpose, community and creativity. The discussion offered an honest look at risk-taking, pivot points and the growing number of ways to build a life in the creative industries.

Our trailblazing panel included:

• Alex Zepherin, founder, Don Dada Studios and Creative Access alum
• Dhanny Joshi, co-founder and managing director, Big Deal Films
• Laura Tannenbaum, CEO, Fabric Social, founder, That Lot and Creative Access non-executive director
• Peter Weiss, partner and head of corporate and commercial teams at SMB
• Rami Kadri, founder, Two Tabs Social and Creative Access alum
• Mel Rodrigues, CEO, Creative Access and founder, Gritty Talent (chair)

The conversation began with the question that connected all of our speakers: what inspires someone to step away from stability and build something of their own?

Dhanny shared that his journey started with ambition and a determination to carve out space in the music industry after spotting gaps he felt compelled to fill.

Rami, on the other hand, described a very different path, one that began with studying criminology before unexpectedly moving into digital campaigns. Working on Little Mix, then on award-winning projects, gave her the confidence to shape her own future and respond to the lack of senior representation she saw around her.
For Alex, her first Creative Access internship highlighted the desire to take more ownership over her creative work. Freelancing with Tate and the BBC helped her build momentum until she eventually launched Don Dada Studios.
Laura spoke about progressing through senior marketing roles before co-founding That Lot. Early partnerships with Virgin Media and Channel 4 showed her the potential of building an agency rooted in strong ideas and strong relationships.
Peter, meanwhile, reflected on the guiding role of purpose in his career, shaped early on by his work with the Death Penalty Project and the importance of being surrounded by people who challenge and support you.

The panel explored the first steps of building a business, a stage often marked by uncertainty and experimentation.

For Dhanny, not having money became a strange advantage because it forced him to be creative, unafraid and deeply resourceful.
Laura explained how converting early clients into retainer relationships brought stability and made it easier to plan month by month.
Rami highlighted the importance of industry networks. Her work on Burna Boy’s album created trust and visibility, while grants such as PRS and Time to Power Up helped fuel the next phase of her work.
Alex credited a strong support system and the unexpected rise in freelance opportunities during the pandemic, which enabled her to build her studio more quickly than expected.

The discussion then turned to internal culture and the environments each founder aims to create.

Peter reminded us that strong values are inseparable from good business and that a clear vision guides decisions at every stage.
Alex described how her own lived experiences shaped the culture at her studio, especially the importance of trust, creative freedom and learning from both positive and difficult moments.
Laura spoke about the need for psychological safety and flexibility and how important it is for teams to show up as their full selves without fear of judgement.
Dhanny reflected on representation in the TV industry and how the experiences behind Dreaming Whilst Black informed his approach to access, progression and preparing under-represented creatives for real challenges. The growth of the Big Deal Films alumni network is a testament to the lasting impact of this focus.

The evening ended with an open Q&A that touched on long-term planning, confidence building and the unpredictable but rewarding nature of creative entrepreneurship.

Thank you to our brilliant panellists, to SMB for hosting us, and to everyone who joined us for an energising and thoughtful conversation.

To stay connected with future Creative Access events and opportunities across the creative industries, make sure you are registered with us and keep an eye on our Opportunities Board.

More recently, work is being done to increase diversity in the sector, break down barriers to entering creative professions and eradicate exploitative internship practices. For example, Creative Access is the leading inclusivity organisation in the creative industries, supporting people from underrepresented groups (diversity, ethnicity, socioeconomic background) into creative careers.
‘Creative Access exists to help ensure opportunities are communicated widely, and that candidates have all the information they need to build a strong application,’ says Mel, reports Prospects.

Jordan John founded Underscore Studios, a London and South West based social enterprise working between film, events and education and committed to increasing accessibility in the arts. Recently awarded the Creative Access Career Development bursary towards his own short film, These Streets, John shares his experiences as a working-class founder and writer, and top tips for like-minded creatives. 

The dream. Every creative defines it differently. For some, it’s becoming a storyteller, for others, it’s bringing ideas to reality.  

The creative industries are often portrayed as accessible; a platform where anyone can be recognised and appreciated. However, for many, those dreams of creative success are buried by the weight of limited networks, financial barriers, and classism. How accessible are creative opportunities within sectors such as TV and film when identity is often intertwined with class? This was the primary question I wanted to explore on founding my non-profit company; Underscore Studios. 

When starting out as a young creative, I did what many filmmakers tend to do; I made films with my mates. I knew I wanted to be a writer, so this period was less about learning the technicalities of filmmaking, and more about creating scripts that evoked emotion. I wrote what I knew could be translated easily on to screen but also what allowed people to feel things. This was a period of experimenting with language and story structure; something I’m still experimenting with today.  

On founding Underscore Studios, I imagined accessibility. I envisioned a platform that provided support and access to resources, aimed specifically at working-class creatives. What initially housed my individual projects soon became a platform to champion like-minded, working-class individuals.  

Underscore Studios has been able to support working-class creatives by providing a multitude of free or affordable services. Free script reports to over 250 working-class writers, access to educational workshops held by industry professionals, and hosting Underscore Cinema; one of the few London-based film festivals exclusively for working-class creatives. For Underscore Studios, supplying free and affordable opportunities is an essential step in breaking the creative industry open to working class creatives. 

This has only been possible by strengthening relationships with larger organisations, such as Creative Access, Film London and the BFI. Being awarded the Creative Access Career Development bursary made it possible for my own short film, These Streets, to circulate.  

Creative Access played a huge role in allowing more people to interact with and witness that project. The response that followed reaffirmed that creatives are looking for organisations to sit up and listen to their creative needs. We need organisations that stand by us.  

8%* is the percentage of creatives in the TV and film industry that identify as being from a working-class background. Working-class can often looks like families growing up on low-income. It looks like financial obstacles, free school meals, and limited access to higher education**.

In my short film, These Streets, the story of a young woman navigating her creative dream is depicted as she faces the challenges presented to her resulting from her working-class background. The film wrestles with a core concept: opportunity. This project marked the first time I embraced spoken word as an art form, and I wanted to ensure that the protagonist’s poetry vibrated with determination and grit, with an overpowering sense of hope and commitment in her passion. This is where a working-class voice is heard. This is where a working-class creative audience is spoken to. 

I would advise understanding and embracing your social class and background. I’m at the stage of my career where I can recognise class is an undercurrent within my writing, but it doesn’t define how I write. As it is my experience of life, it feels organic to include in my projects and storytelling; I work with it now like a valued tool.  

Embracing your resourcefulness as a working-class creative is an essential part of progressing in the industry. This can look like reaching out to local theatre organisations to see how they can help you. Becoming familiar with contacts like Creative Access can open doors to support and will prove to be beneficial in the long term. It’s essential to expose your work to the resources available, as it shows that there is an undeniable demand for similar platforms to exist. 

Platforms like Underscore Cinema, can only be maintained when working class creatives share the same mantra. A high demand means more success. More success for the film festival means more opportunity for working-class artists. As this cycle begins to stabilise, better bonds are created between Underscore and organisations like Creative Access, offering more opportunities for support and collaboration. 

* https://www.equity.org.uk/news/2024/working-class-creatives-at-lowest-level-in-a-decade

** https://post.parliament.uk/education-inequalities-and-attainment-gaps

Broadcaster and entrepreneur Maya Jama has partnered with Creative Access on a 6-month mentorship for eight early-career women from historically underserved backgrounds, reports Abbey Bamford, Creative Boom.

Our latest Creative Access Masterclass pulled back the curtain on Fane, the live events and production company shaping some of the most exciting cultural moments happening on UK stages today. 

If you’ve ever attended a beautifully curated conversation with a bestselling author, an evening with a screen icon, podcaster or public thinker, there’s a good chance Fane was behind it. Known for its thoughtful, talent-led approach, the company specialises in creating space for meaningful dialogue, blending entertainment, insight and storytelling in front of live audiences. 

With a portfolio that spans global names, literary giants, cultural commentators and rising voices, Fane has become a major force in the live events landscape. The team produced over 500 shows this year alone, balancing high creative ambition with meticulous logistical planning. 

Against the backdrop of the Barbican’s Frobisher Rooms, the Fane team offered an exclusive, behind-the-scenes look at how these events come to life. Our panel included:

• Renae Prince, associate producer
• Deena Mavji, programming manager
• Olivia Atley, senior marketing manager
• Sally Zarzour, young Barbican alumna and panel chair

Renae captured Fane’s mission simply: 

But behind that simplicity is a complex and highly collaborative process. Every event begins with an idea, which is often sparked through cultural trends, talent relationships or team passion projects. This happens before moving into planning, pricing, creative approvals and long-term scheduling. 

From assessing audience demand through social media insights, to crafting copy, artwork and marketing plans, the journey can take months. Occasionally, though, things move fast: the team revealed that the event featuring highly acclaimed Tony, Emmy & Grammy award-winner Cynthia Erivo, alongside BAFTA Scotland’s award-winning actor Ncuti Gatwa, celebrating her brand-new memoir SIMPLY MORE!, went on sale in just four weeks. Fane’s immense success comes to fruition from its esteemed relationships with venues, talent teams, publicists, designers, and the close-knit team members themselves.

Producing high-impact events 

Olivia described producing as understanding “what makes a show a show”: the details, tone, atmosphere and narrative that shape the audience experience. Clear communication, patience and thorough pre-event preparation all matter, especially when balancing multiple events at different stages of development. 

Deena highlighted the importance of staying flexible and organised, using digital tools like spreadsheets or Asana to keep fast-moving projects aligned. Meanwhile, marketing plays a crucial role in capturing audience attention: 

The panel also discussed Fane’s active approach to widening its reach beyond London, diversifying audiences regionally and spotlighting a broader range of voices across its stages. 

Reflecting on the last five years, our panel noted major shifts post-pandemic. Olivia shared that audiences are now more selective, choosing experiences that truly resonate with them. Deena added that the industry has pivoted away from relying solely on big names as audiences now respond more to authenticity, passion and strong content than to celebrity status alone. 

Despite the challenges of recent years, the appetite for live culture is growing. Theatre attendance rose 11% from 2023 to 2024, pointing to a renewed desire for in-person connection. Fane has continued to balance both digital and live formats, keeping accessibility at the forefront while still celebrating the energy of live performance. 

Panel favourites: standout Fane events of 2025 

When asked about their most memorable shows of the year and countless options to pick from, our panellists lit up.

• Deena – ‘Most wanted’ with Gillian Anderson at the Barbican: A moving and candid event where Anderson read anonymous letters from women, exploring personal fantasies and untold stories. 

• Olivia – Margaret Atwood, celebrating the launch of her new book ‘Book of Lives: A Memoir of Sorts’: A sassier evening than expected, and a powerful full-circle moment for Olivia after studying her work in school. 

• Renae – An evening with Barack Obama & ‘Always winning’ with Ashley Walters: Obama’s event was a surreal milestone. Walters’ appearance, meanwhile, offered vital representation for audiences who, historically, may not have seen themselves reflected in traditional theatre spaces. 

And on the horizon: a very special Judi Dench event on 16 December… 

The team offered thoughtful, impactful advice for people from under-represented starting out in the creative industries:

Deena: Stay open to unexpected paths, a mindset that led Deena to Fane through Creative Access. 

Renae: “Be more confident.” Self-doubt will hold you back long before the industry will. Mentors can be transformative, and tailoring your CV and cover letter to the role you’re applying for is essential. 

Why does it take at least four weeks to launch an event? 

Because aligning talent schedules, venue availability, artwork, copy, and client approvals is complex and compressing that timeline is very tough. 

How do you handle working with controversial guests? 

Rigorous research and transparency. Accountability comes first. 

How do you navigate creative differences? 

Through clear communication, exploring multiple options, and always identifying the core audience. 

How is event funding secured? 

Fane usually fronts funding. For independent creators, clarity on your identity, your aesthetic, your value, your audience is essential. Networking opportunities, like Creative Access masterclasses, play a huge role. 

How do I re-enter marketing or the creative industries? 

A strong cover letter can stand out more than a CV. Keep putting yourself out there, trust your instincts, and ask friends for a second opinion on your applications before sending them in. 

These were just some of the standout moments from an insightful, energising session at the Barbican. Big thank you to our amazing panellists and chair, the Barbican for hosting us, and everyone that attended!  

To join future Creative Access masterclasses and hear directly from leading voices across the creative industries, make sure you’re registered with us and keep an eye on our opportunities board. 

“Love Island” host Maya Jama is partnering with social enterprise Creative Access to launch a new mentorship program for marginalised women in the U.K. creative industries. The six-month program will connect eight emerging creatives with powerhouse mentors from Jama’s own professional network who will offer guidance, insight and support in areas including TV production, broadcasting, fashion, communications, marketing and talent management. The program is aimed at women in the U.K. from underserved communities who are at the entry-level career stage and will also include a visit to a London school and an event for early-career professionals. Reports Ellise Shafer at Variety.

Broadcaster and entrepreneur Maya Jama is partnering with Creative Access, a leading social enterprise, to launch a groundbreaking new mentorship opportunity for women from historically underserved and marginalised backgrounds.  

The 6-month programme will connect eight emerging creatives with eight powerhouse mentors from Maya Jama’s professional network. The mentors will offer guidance, industry insight, and career support in the worlds of TV production, broadcasting, fashion, communications & marketing, and talent management.  

It is aimed at women from underserved and marginalised backgrounds in the UK who are at aspiring, entry or junior-level career stage and who have not previously worked with a mentor. 

Maya has enlisted the following women within her network to act as mentors: 

• Broadcaster and Entrepreneur – Julie Adenuga 

• VP, Global Brand Marketing at Coty – Janine Fernandes 

• Director of Entertainment at Insanity – Issy Lloyd 

• ITV’s Commissioning Editor, Reality & Entertainment – Amanda Stavri 

• Senior Culture & Entertainment Manager at Diageo – Francesca Hayward 

• Freelance Comedy Entertainment Executive Producer – Carol Baffour-Awuah  

• Financial Times’ HTSI Editor – Jo Ellison 

• Creative Director & Founder of fashion brand Ahluwalia & Film Director – Priya Ahluwalia 

Maya Jama said:

“This mentorship programme is something I have always wanted to do. I’m incredibly excited to be partnering with Creative Access to connect talented young women with eight industry pros who will nurture and guide their careers.” 

Josie Dobrin, executive chair of Creative Access, said: 

“Creative Access is proud to partner with the brilliant Maya Jama on this impactful mentorship programme, which will provide a vital stepping-stone for eight talented aspiring creatives. It is more important than ever to commit to upskilling the next generation of diverse talent, and through mentorship in flagship creative sectors, eight women will gain the support, guidance and access they need to thrive. Without programmes like this, the industry risks missing out on the voices and visions that will shape its future.” 

The programme will also include a visit to a London school and an event for early-careers professionals, both of which the mentors will be involved with.