The next stop on many Creative Access community members’ career journey last week was Coronation Street, as we hosted our creative industries showcase event at ITV Studios in Salford, just above the television set experience! 

We partnered up with ITV Academy to tap into Greater Manchester’s thriving creative community and heard from a panel of professionals living and working in the area spanning TV, marketing, social, creative communications and publishing. The panellists shared insight into their career journeys as well as advice on how to find your own creative industry pathway and move up the career ladder. Luckily for you, we’ve collated some of the highlights here in case you missed out… 

Panellists: 

• Yasmin Hemmings (Chair), Acting Head of Programmes, Creative Access 
• Abdul Tahir, Support engineer, Coronation Street, ITV 
• Malyun Mohamud, Marketing officer, University of Salford (CA alumni) 
• Tierney Witty, Editor, Seven Dials & Trapeze, (CA alumni) 
• Tom Moss, Senior account manager, Citypress 
• Jahmal Williams-Thomas, Reporter & camera operator, ITV News Granada Reports 

The room was full of individuals looking to step into a career in the creative industries, and the appetite for hearing just how these panellists made it happen was high. The team at Creative Access know that the first jump into sectors such as publishing, journalism and TV can be daunting, and creatives based in the North as these are historically London-centric indsutries. But, we know that creative opportunities are opening up around the country and we heard an inspiring range of ways you can make it happen.  

 How our panel got their career breaks 

“I spoke to absolutely everyone…If I walked past someone in the hallway, I asked “What is it you do?”” – Jahmal 

Our publishing representative was editor Tierney, a former Creative Access intern and mentee. Tierney had been training to become a teacher in the pandemic, but his passion was in books. After over 150 job rejection letters,   Tierney came across the CA x Penguin Random House mentoring scheme and was connected with a publishing mentor: “I went from having nothing to having a job in six months.” His mentor helped with applications, networking, and he progressed from intern to editor in just three years.  

Tierney wasn’t the only panellist that had other careers in sight, with Tom, senior account manager in PR, having spent years as a competitive swimmer for Great Britain. Tom, a history and politics graduate at University of Manchester, wanted a career that was rooted in his love of writing, reading and storytelling. After lots of rejections and a job as a bookkeeper, he eventually rose up the PR ranks at Manchester-based Citypress, working on campaigns with Coca-Cola, British Gas and Primark. 

Marketing officer, Malyun, had dreamed of a creative career “for as long as I can remember”, but the dream of journalism quickly unfolded when she didn’t enjoy completing a diploma in the sector.  The skills Malyun acquired studying journalism transferred well into communications. She now loves her career in marketing and comms, which started with a CA internship as marketing trainee.  

Camera operator and reporter, Jahmal, told the audience: “It used to be a totally different landscape to how you get in the industry, it’s much better now with mentoring and other opportunities. I started working when I was 15, in a community group I honed craft in video, then got into the BBC and I spoke to absolutely everyone…If I walked past someone in the hallway, I asked “What is it you do?””  

Coronation Street’s support engineer, Abdul, studied media technology at University of Salford. There were pathways from that course into audio, camera work, directing, and after experiencing a variety of roles in Leeds and within the sports industry, he eventually found a role at ITV. Abdul advised “marketing yourself on LinkedIn – even things you’ve learned that you haven’t necessarily experienced yet. Connect with professionals and send them a message introducing yourself.” 

How to creative opportunities in the North-East 

“This wasn’t the plan, it wasn’t my dream…there aren’t many people from Merseyside that I know in this industry.” – Tierney 

A hot topic of the night were the opportunities, or historically lack of, outside of London. The panellists all have experience in building successful careers in Greater Manchester, and noted that the industry is diversifying, so to pay attention to companies with offices based in the North or which are expanding. The panellists also emphasised how important virtual networking is. For publishing enthusiasts, Tierney said: “Publishing is on Twitter, not LinkedIn. Every publishing house will have a Twitter so follow them and send a message.” 

Attendees were also advised to be pragmatic, and explore the possibility of breaking into an industry through alternative pathways to the most popular, so if you want to become an editor, look at roles in areas of that sector like design, sales or art. Jahmal advised an aspiring director in the audience to look at the many brilliant independent production companies in the North.  

Six brilliant career top tips for creative industry roles 

Straight from the professionals’ mouths: 

“Have your work ready at a moment’s notice, so that if one day you’re in a lift and you hear someone in a say, “I really need more crew on my production” you’ve got a business card, a website, a portfolio, ready and can say “Hi, here’s my information!”” 

“I will respond better to a DM saying ‘Alright mate? How’s it going’ than an email with loads of unnecessary words. You just need to be casual and say ‘Here’s what I do, I would love if you could look’. Be specific about what you’re asking of them and spell names correctly!” 

“Speak up. Ask to get involved in big projects. If you don’t see progression opportunities with your current company, look for one that does.” 

“Experience is the buzz word isn’t it. How can I get experience? Blogging, podcasting, anything that showcases your skillset…If I went to a gig, I’d review it. It shows passion.”  

“Be a sponge. Be ready to do everything and learn something from every person you interact with. You’ll build yourself up made from skills you’ve learnt from a million people around you.” 

“Imposter syndrome doesn’t just happen to people early in their careers, it happens to my colleagues that have been here 20 years. Look back at your career and what you’ve achieved. You’re here for a reason, so back yourself.” 

Finally, ITV Academy’s Sonny Hanley spoke to announce a very exciting ITV cohort of traineeships across Manchester and Leeds, that will be going live on the Creative Access website soon. Make sure you’re signed up with us to be the first to hear about it! 

The evening continued with lots of networking, LinkedIn connects and spring rolls. We want to say thank you so much to our panellists, our host at ITV Salford and everyone in our community that came. Until next time! 

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

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

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

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

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

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

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

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

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

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

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

The global title read by presidents and entrepreneurs, the Financial Times hosted the last Creative Access masterclass of the year at its London offices yesterday. Likeminded individuals, hungry to learn about the world of journalism, gathered to hear from our esteemed panel spanning editorial, diversity and inclusion, photography, and technology.  

John Kundert, chief product and technology officer, welcomed our audience, speaking of the Financial Times’ mission to “hold power to account” and his appreciation of working for a company where he can bring his real, authentic self to work every day. This was a theme that reoccurred many times during our masterclass, leaving us with the takeaway that our unique experiences can often be the key to being noticed.  

When asked for their top tips on making the often-difficult step into journalism, our panel had lots to share. Nikou Asgari, who joined the Financial Times as an intern in 2018 via Creative Access after studying economics, advised getting as much experience as possible for portfolios. This might involve volunteering for smaller local newspapers or joining your university club but “if you want to be a journalist, do the journalism”.  

Murad Ahmed, technology news editor, spoke of post-graduate degrees and training, especially legal training, as saying the wrong thing can land you in hot water in journalism. He added that these qualifications often add a degree of seriousness, rather than writing just being an interest. If this isn’t feasible, smaller, more accessible steps might be taking a closer look at your Linkedin and making improvements there. Yasir Mirza, head of diversity and inclusion at the FT, said “connect with those in places you’d like to be in”. If you’re not sure where to begin with making your LinkedIn profile stand out, we’ve written a blog post on the best way to get ahead. 

And what if you have experience, as well as a strong LinkedIn profile, but you’re still dealing with lots of rejections? Our panel sympathised. Esan Swan, Creative Access alum and now picture editor at the FT, admitted to taking a hiatus from applications, before returning with a clearer head and renewed energy. “Sometimes you need a break” he said. It can be gruelling to hear no’s, but it’s part of the process, and it’s important to make sure you don’t take it personally. Abbie Scott, our chair and deputy managing editor at FT, revealed that after being involved in Nikou’s interview process, she was one of 1400 applicants for the role. Competition is tough – but if you are often not getting to the interview stage, there are a few things you can do to increase your chances.  

Murad and Abbie spoke of countless times where candidates had clearly not done their research on the newspaper, or even worse – mistakenly referred competitor newspapers in applications instead. Vital advice would be to triple check your cover letter and CV, as well as making sure each one is personalised to the role you are applying for, as sometimes it can be obvious when someone has used one for several roles. The message here is that although rejection is difficult, it’s important to recognise that with each no, you’re closer to cracking the formula.  

Part of that formula, is the word that many fear and even one that CEOs often admit they don’t enjoy… Networking. As someone who utilised going for a coffee with experienced peers and reaching out to those he admired on LinkedIn, Murad believes in the significance in paying it forward. “Use the people who believe in you”, Abbie continued. Think not just about connecting with those above you, but with your peers, who might also be struggling with networking.  

For those who find it particularly difficult, Yasir shared his personal experience. As an introvert, he found himself dreading having to go to events and introduce himself. “Go with a specific ask” he advised our audience, “have 1-2 people you need to speak to, and once you’ve done that, feel free to get out!”. Esan added that it doesn’t always have to be a serious big thing; it can be as simple as asking someone for a quick coffee, or a virtual call. Creating these simple targets for yourself can make a nerve-wracking task a lot easier to get through, and can also give you a sense of achievement for completing them. With practise, networking does get easier. 

Our audience was eager to know about any mistakes our panel made, and how they learnt from them, and this question provoked lots of interesting responses. Esan warned us to make sure we do our research, brush up on your knowledge of the details used by a newspaper, how they edit, and “take risks, do things you’re not always sure about”. The panel all agreed on the benefit of proactivity. You are the best person to prioritise your career, and you must be striving to know more, on a journey to satisfy a curious mind, Yasir added.  

Murad told us not to “tell yourself you’re lucky to be anywhere” tell yourself, “I got here on merit and worked hard”. Often, coming from an underrepresented background can provoke feelings of imposter syndrome, and a lack of confidence in your abilities, but Murad is a testament to the power we hold when we simply believe in ourselves.    

You are in charge of your career. To make your first steps, think about not only what you want, but how you want to get there, and who can help. Being your authentic self is just one component of this formula, but after last night, we’ve learnt that it’s in fact, the most important one.  

We’d like to extend a special thanks to the team at the Financial Times, and our varied and experienced panel for their time. Please keep an eye out for our next masterclass in January 2023, and if you missed this one, the recordings are available to watch here.

On Thursday 30th September, we were joined at MullenLowe’s offices by four brilliant Creative Access alumni who are storytellers across publishing, TV and film, content strategy, and news reportage.

To quickly introduce the panel: our chair, Raveena Ghattaura, is an experienced broadcast journalist currently working as a reporter and presenter at ITV News Anglia. She is highly skilled in covering breaking news stories, self-shooting/editing and creating news content for online platforms.

Esther Akinola is an enthusiastic advocate for diversity in influencer marketing, storytelling and creative marketing. She’s worked with Twitter, Facebook, PMI and Netflix. Esther completed her Creative Access internship as a multimedia journalist at The Sun Newspaper in 2016.

Serena Arthur is fiction editor at Trapeze Books, Orion (a division of Hachette UK), where she is editing and publishing books. She joined Orion in June 2022 after just under three years at another Hachette division – Headline – where she started as an editorial intern through Creative Access.

Callum Akass joined House Productions as Development Executive in March 2021 to work across their TV and film slates. He was a Creative Access trainee in 2016 at Blacklisted Films and Leopard Pictures (Argonon group) and gained his first TV credit as script editor on Mackenzie Crook’s Worzel Gummidge for Leopard, before joining Urban Myth Films to script edit the 8-part series The Lazarus Project for Sky.

How does storytelling come into your job?

An editor at Hachette, Serena makes a clear distinction between enabling storytelling and being a direct creator or writer. The former is what she does as an editor; she shapes stories and the way that they enter the world in those final steps before they’re in the hands of readers. On the other end of the creative spectrum, she writes her own poetry, and has found that the two things have a symbiotic relationship when it comes to her understanding of stories and the relationships she has formed with writers through publishing. It’s a huge bonus to approach stories from these two different directions.

Adding to this idea of being an ‘enabler’ for stories, Callum thinks that as someone who develops scripts he thrives on working in the shadows rather than the limelight, and explains how cathartic and satisfying it can be to bring about the final state of something like series Sherwood (BBC) or Lazarus Project (Sky) from that more supportive role.

Raveena has a very direct relationship with storytelling as a news reporter, as it’s her job to pull the concise narrative from events and present this to a wide audience. The approach needs to be accessible and easy to grasp because she wants people of all demographics to be able to connect and take something meaningful from the story in question.

How did you reach where you are today?

Esther says: I don’t know where my degree is. The biggest lesson she has learned as she progresses in her career is to successfully pitch herself to interviewers and prospective clients, something that’s critical as a self-employed content strategist.

She describes how important it is to stand out from your contemporaries, especially in an area like branded social media where people are often talking about very similar things, and to present your ideas through something like a pitch deck. Even if interviewers aren’t explicitly asking for a portfolio – bring something along! The insight that this gives people shouldn’t be underestimated.

Callum, on the other hand, focuses on how important it has been for him to build relationships with those in the industry. This doesn’t need to mean talking to people with decades of experience. At the beginning, Callum says he participated in a monthly writing group with peers that was helpful when it came to comparing experiences and understanding what other people were up to. In this way they began to form a collective knowledge and wider perspective on how the industry operates that you might not have by yourself. In his words, ‘not much writing got done.’ It’s always worth reaching out to people for a tea or coffee with this in mind.

But… what’s the job really like?

Serena talks about her transition from editorial assistant to editor and what these two roles entailed. Being an editorial assistant can often feel like being a project manager, and is heavy on administration and maintaining crystal clear internal communications between teams so that projects progress as they should – all while learning the publishing process from the work happening around you. Now an editor, she says that anyone expecting to hide behind a pile of manuscripts might be disappointed. The role is highly social! This includes being in close contact with agents, authors, and other departments.

For Esther, this one is difficult to answer because her role title has been something different at each stage of her career. She thrives on this because it means constantly challenging herself and developing more knowledge through this. Esther adds that you can be excited by the chance to grow the skills you already acquired aren’t currently being used, rather than feeling frustrated.

Working in TV and film, Callum that sometimes having early starts and longer hours means that he tries to follow advice from his old boss – make the most of the quiet moments. Find time to switch off from your area of expertise completely, even if you’re itching to catch up with the latest drama or comedy film.

A huge thanks to Raveena, Callum, Esther, and Serena for their thoughts and sage words!

If you don’t have many contacts in the creative industries, mentoring is a great way to gain expert advice for getting ahead in your career. Former ITV x Creative Access mentee, Wakai Muganiwah talks about how her mentoring experience shaped her career aspirations and helped her gain confidence and the skills for applying to internships and roles in the TV industry.  

For a very long time I have known my desire to work within the media and communication industry. Yet, as a University of Leeds journalism student, I had been confused on where to start my journey and how to begin filtering towards my dream career.  

While I had known about Creative Access for years prior to my mentorship, I had never truly looked at the incredible opportunities it had to offer. I was slightly lost in an abundance of career aspirations and goals, so when I came across the Creative Access mentoring scheme in the summer of 2021, it felt like a perfect opportunity to get clarity on where I was going in life and when I was allocated Paul Moore, the Group Corporate Affairs and Communications Director at ITV, I was ecstatic. I was surprised at how perfect the pairing seemed. A communications director who had been in a variety of disciplines would be extremely helpful in guiding me towards narrowing down the career I desired.  

Initially, I had been extremely nervous to begin this mentorship scheme, but the ease and the support I received throughout the process, from both my mentor and the Creative Access team alleviated all of my preliminary anxiety. Over the six months of mentoring over zoom, I can truly say the advice and guidance I received was invaluable. We completed a variety of tasks and exercises that helped me begin exploring my passions more in order to compact them into tangible careers.  

• We completed CV workshops, where Paul guided me in improving my CV to entice employers and capitalise on my skills and work experiences. Through these workshops I can truly say my CV improved immensely and helped me acquire some of the incredible placements and internships I have today.  
• Practice/mock interviews were extremely helpful in preparing me for future interviews. We practiced under the guise that I was interviewing for a role in media and communications and my mentor acted as an employer in a well-known media organization. After the exercise I was given constructive feedback on ways to improve my interview techniques.  
• Guidance on how to write a cover letter, something that I can truly say became one of the core elements to the success of my applications. I had previously not recognised the significance of cover letters when submitting job applications, particularly paired with a tailored CV.  

It goes without saying how lucky I was to get this help in the aftermath of the pandemic. Like so many in my position, finding such incredible placements felt intangible because of the socio-economic effect of the pandemic. Several months on, I have two 3-week placements and a year internship with Discovery – a role that I applied to through Creative Access. I would not have had the confidence to apply for the amazing opportunities I got had it not been for my mentor’s encouragement, from his help with my CV and cover letters to the interview exercises.  

I applied for this mentorship with the aim of guiding me into the right direction to begin starting my career and guiding me on what else I can do alongside my studies to begin my career, yet I got so much more. I honestly cannot express how much of an incredible opportunity it was to talk to and get guidance from an industry expert. These schemes are important because they allow students and young people like me the opportunity to be seen!  

Despite applying the scheme on a whim and not expecting too much, I received so much more than I could have asked for. Not only did I acquire an incredible contact, but I gained an extremely enriching experience. I never understood the value of having a mentor to help guide you through the extremely confusing industrial work. It is not easy to start a career in the creative industry, but I was fortunate enough to get such an amazing advisor.  

The Creative Access mentoring schemes have created an enormous difference to my personal and professional life. It has given me insight and advice that I would have otherwise never acquired and it has cemented Creative Access’ determination to help people like me.  

Creative Access’ latest Masterclass coincided with Mental Health Awareness Week (9th – 16th May), and we were joined by a brilliant panel to discuss all things related to mental health, wellbeing and putting yourself first. The official theme this year was loneliness, and how it can produce feelings of depression, sadness, and isolation, especially after three long years of being in and out of lockdowns. With this masterclass, we aimed to raise awareness, encourage initiative, and invite discussions that might be uncomfortable to hear, but necessary to have. Yasmin Hemmings, our programme manager, sat in conversation with Kamilah McInnis, a senior journalist at BBC News podcasts, as well as Sam Bickley, TV consultant, exec producer and welfare executive, and began the conversation we hope many of you will continue in within your family, friends, and workplaces.  

Prioritizing your mental health isn’t always easy. Sometimes it may come as a shock that you might be struggling, but 1 in four adults experience issues with their mental health, making it a lot more common than you might think. When asked about their top tips on how to put your mental health first, Kamiliah, currently working on the podcast “If You Don’t Know” which focuses on informing young black adults of politics, culture and much more, spoke of the importance of knowing when to say no. Often, with those who have just begun their career in the creative industry, there can be a desire to try hard to prove their worth with their new company. This could involve staying after work hours, not taking adequate, full breaks, or simply saying yes, when really you should be saying no. It’s vital to understand that none of these things will be sustainable in the long run, and will certainly leave you burnt-out and unable to do your job to the best of your ability. Sam agreed, advising taking walks, as well as regular breaks away from computer screens to calm the mind and reset your focus.  

When discussing mental wellbeing, there can often be a one-size-fits-all approach on self-care. Lighting a candle won’t always fix everything, and our panel spoke about finding what works for you. Sam herself is an advocate for “self-care in the day, and self-care in the week,” sharing how important it is to find things you enjoy that can fit around the diary. Maybe the candle will work for an evening and keep you going till a fantastic new play you’ve booked to see that weekend, or a day trip you have in a fortnight – it’s important to set things up for yourself. In addition to this, Kamilah adds that it’s important to “take holiday every few months!”, a right we are all entitled to, but many forget. A few days away from work can do the world of good, helping you get back to your normal self. Communicating this need to your workplace can be daunting, but is better than the alternative. Your manager will really appreciate your honesty about your capacity. “No” doesn’t mean you aren’t capable, it can also mean yes, but I will get it done tomorrow, which is just as good.  

For those who are still job searching, we understand what a tiring process that can be. It might seem like you are getting nowhere, but you can’t give up. When speaking about the strength in kindness, Kamilah shared a sweet story of her days as a BBC multi-media trainee (a role secured by Creative Access!), and how when her contract came to an end, she felt anxious about her next career move, and whether she would find anything at all. As she wandered outside her offices, trying to clear her head, she looked down and saw some free flowers, a sign to persevere that in a roundabout way, lead to her next role. Although the lesson here is rooted in goodwill, it is also a testament to not giving up, and even more than that, to taking your breaks! Sam also added how useful it is to “think about your network,” doing things together and bouncing off each other’s ideas can really propel your applications. Especially for freelancers – get a friend’s opinion, or even a mentor, who can offer their advice and guidance. It can be easy to apply for everything, but really hone in on what you want from your work, what kind of industry you would like to go into, and that passion and determination will jump off the page in your applications.  

Networking is nerve-wracking for people already struggling with anxiety. For this, our panel spoke of the power of preparation. Kamilah, when really struggling, tells herself to just “go for an hour” to an event. Once the hour is up, you can leave, but you might just find yourself having so much fun you’d like to stay. You can try and prepare conversation starters and do some research on who will be there, and the work they have done is a great place to start. However, if you are really not well, don’t force yourself to go, instead perhaps draft a message explaining that you would’ve loved to attend, but were unable to, and try and connect with that person via LinkedIn orother appropriate social media. Sam said it is also completely fine “to let people know you’re feeling a little nervous,” because there is a lot of strength that comes with that honesty. Yasmin added how useful joining networking groups like “Young People in the Arts” was. Rest in the fact that you are amazing, and not meeting someone, or going to an event does not mean the end of your career – you just might need to get a little more imaginative about how you strategically place yourself in that important person’s line of view.  

When asked how to bring her best self to work, Kamilah had loads of top tips. “We are all works in progress,” she says smiling, before admitting that she still has down days, but with experience, time, and counselling (which she recommends), it becomes easier to deal with. The 4-7-8 breathing technique is great for calming yourself down during those sudden panic bursts, or just before a big meeting, as well as the book Feeling Good, by David D Burns, which discusses numerous coping techniques, including how to rewire those negative thoughts. More often than not, you can feel an episode brewing, Kamilah warms to pay attention to this, and let your team know. Yasmin encourages a routine with exercise, and Sam journaling, as “being a companion to yourself” can provide a sense of clarity that can be beneficial. “You control how your day looks” she continues, set boundaries with your workplace, for example mentioning that your workday must finish at a certain time, and you can’t exceed that. Other tips included writing lists, breaking down tasks into chunks and always keeping your managers in the know.  

There is so much more support now for those dealing with mental health struggles. Sam notes how the younger generation’s openness about something once seen as taboo is breaking down barriers for those in the industry ahead of them. As a welfare executive, Sam’s role is proof that after tragedies within television, such as those on Love Island, and Jeremy Kyle, companies now understand more than ever the importance of aftercare. As someone who has always cared about her contributors and advocated for their needs, this change is needed and welcomed by Sam. Many workplaces now have mental health policies, and if you are curious about whether yours does, Yasmin says you are well within your right to ask. If there is not one, and it’s something you would like to help create, make this known too! Kamilah is part of a wellbeing group that is actively trying to change work culture, and often has executives sit in on meetings so they know what more they can be doing to support their workforce. It’s not a job that can be done by an individual, but it does take that one person to begin the conversation. Mental health is no longer a taboo; Be upfront with those who need to know. 

People are willing to listen; don’t be worried about signposting useful information to your managers. Kamilah advises speaking to your colleagues and joining initiatives and groups. If you are a journalist, the National Union of Journalists (NUJ) is good at providing any information you might need. Sam adds to research dignity at work responses, which are quickly improving in comparison to five years ago. Above all, listen to your body, navigating mental health can be difficult, but you are not alone in this. Reach out and speak out if you need help.  

Please do watch a recording of this masterclass here.  

You can also read our resource on how we support our team’s mental wellbeing here.

Former Creative Access intern, Nimra Shahid talks us through her role as an investigative journalist and why the environmental sector is such an interesting space to be working in right now…

Who are you?

I’m an investigator at Global Witness, an NGO specialising in hard-hitting investigations and advocacy relating to climate and the environment. My team’s work focuses on deforestation and subsequent human rights abuses happening in Brazil, the Democratic Republic of Congo and Papua New Guinea, as highlighted by our recent investigation, The True Price of Palm Oil. This was broadcast on Channel 4 News and the Washington Post. I also assist with data-led investigative journalism including our latest analysis, which revealed on BBC News that over 500 fossil fuel lobbyists have been attending COP26.

How did you get into your role?

While completing my journalism training, I started freelancing as a news reporter at the Guardian and became interested in digging a bit deeper into stories beyond the fast daily output. Around the same time, I started to learn about data journalism and how powerful it is for storytelling and investigations. So I applied for the Google News Initiative fellowship for a few months at the Bureau of Investigative Journalism, to learn about data led-investigations. I really admired their focus on creating impact and making the world a slightly better place with their reporting. After completing my fellowship, I came across an insight day hosted by Creative Access and Bloomberg about financial journalism. That opened my eyes to how markets underline so many events in our day to day lives ranging from Brexit and Covid to what really peaked my interest – the environment, inequality and the role capitalism plays.

I started a 3 month internship at Bloomberg in January and with support from Creative Access, I’ve received mentoring since from some fantastic journalists including fellow CA alumni, Lizzy Burden. The newsroom’s motto of “following the money” and climate coverage got me interested in the role banks and financiers play in the crisis, through their choice of investments in big fossil fuel companies and agribusinesses. I’d always understood the climate crisis from an individual perspective i.e. being more conscious of recycling, so Bloomberg’s output exposed me to some of the big players involved.

One day, I was sent an ad by a former colleague about my current role at Global Witness, which seeks to break the links between deforestation and harmful investment through investigation and advocacy. I knew I had to apply and here I am now!

Why is it an interesting time to work in this space?

Of many possible answers, working here during COP is the most obvious one! Seeing how our investigations and advocacy are creating impact and directly influencing coverage makes me hopeful that change is possible. COP is only for two weeks though and countering the climate crisis will be a long work in progress. Communities in the Global South continue to be directly affected by deforestation and our overheating planet. There may never not be an important time to work in this space, as much as I would like to hope otherwise for the sake of our future.

What is your response to COP?

There are vital conversations happening about our world inside and outside the summit and it’s crucial that those who are most affected by the climate crisis are well represented and have seats at the policy-making tables. The Runnymede Trust stated that people of colour in the UK will be disproportionately affected along with those in the Global South. Unfortunately, our own investigation at Global Witness has shown that fossil fuel lobbyists at COP outnumber the UN’s own official indigenous delegation by around two to one, while a number of activists from diverse backgrounds have expressed that they have felt excluded from key decision-making processes. Without their voices, pledges will not go far enough in tackling the climate crisis. We have already seen the final agreement fall short on fossil fuels, by only calling for an accelerated phase out of coal when emissions from coal are less than half the problem. And while it’s great that world leaders have pledged $19 billion to ending deforestation by 2030, we need strong and binding legislation to stop banks from funding the destruction of our forests.

Do you have any thoughts about diversity and sustainability?

My thoughts build on my sentiments around COP. Climate will continue to dominate our news cycles after the UN summit finishes in Glasgow and it’s essential that those leading the coverage, whether they are journalists or campaigners, come from a range of different backgrounds and experiences. There are stories waiting to be told in the UK and across the globe that will best come from those with direct lived experiences of some of the issues at hand. But they will also need resources to ensure their voices are effectively heard. I’m incredibly lucky at Global Witness that investigative journalism is well funded and seen as a core part of the organisation. However, I rarely see grants generally in the UK for journalists of colour to specialise in areas such as climate, data and investigative journalism. I would love to see initiatives similar to the Ida B. Wells Society and IRE & NICAR fellowships in the US being offered here as well to undertake important reporting that holds those in power to account.

Four creative professionals working for The Guardian across advertising and journalism shared their career journeys with the Creative Access community in a wide-ranging Masterclass chaired by Creative Access alumna Jacqueline Otagburuagu.

Adam Foley, Director of Advertising, UK, spoke about his journey from a small town in Devon to The Guardian, via a range of roles in food, magazine publishing, music advertising, and media agencies. As one of the first in his family to go to university, he spoke about his passion for the intellectual challenges of using the sum of his experiences to gain a competitive advantage in a very challenging and fast-moving advertising landscape. He cited the ability to speak truths, and “challenge lazy thinking” as one of the key qualities that has enabled him to succeed in his career. Speaking of the importance of diversity of thought and experiences in the advertising sector, he said:

Imogen Fox, Executive Editor, UK Advertising, shared her experience of attempting to break into the fashion industry with no connections. For her, this involved working for free for two years (whilst working on the side as a cleaner). Her own perseverance and resourcefulness opened up opportunities to work on fashion shoots, and eventually took her around the world. She arrived at The Guardian on their fashion desk, but has since found that her editorial experience is valued in the commercial arm of the business, where she now works with brands and their branded content. Speaking of moving from one area of expertise to another, she said:

Joseph Harker is a long-time friend of Creative Access, as a member of our Advisory Board. He has seen journalism in the country change since the 90s, but is still adamant that more change is needed, even in relatively liberal organisations like The Guardian. When he started in journalism, he noted that “there was no interest in bringing in outside voices”. Now, as The Guardian’s deputy opinions editor, he is responsible for bringing fresh, insightful voices on emerging or established issues to readers. When asked why opinion columns are needed, he explained:

“News happens, but how we interpret the news is what’s important. [Other voices] are important parts of how we form our opinions on what we’re told is news. For our own safety, but also for our general knowledge of the world and knowing what’s going on, it’s important we give voice to people from all different backgrounds.”

Our very own Creative Access alumna Jacqueline Otagburuagu led the discussions. She has worked at Guardian Labs for the last year as a multimedia producer. She brought her own energy and experiences to the conversation, allowing a wide range of topics to be explored. She shared her own journey from her days as a Creative Access intern at BBC History, and the employment and moral challenges she has faced as she has navigated a career across several creative sectors. Speaking of what’s driven her to where she is now, she spoke of her compulsion to explore the unknown:

We are very grateful to Jacqueline, Adam, Imogen, and Joseph for sharing their experiences with us. If you are interested in a career in advertising or in journalism, don’t forget to check out our current opportunities. We also thank all those who attended and contributed to the discussion by asking questions to our panel.

You can watch the full Masterclass here.

For this week’s Thursday Thoughts session, we were joined for an honest and thought-provoking conversation with Robert Peston and Kishan Koria.

Robert Peston is ITV News’ political editor and presenter of the politics show Peston. A journalist, presenter and writer, he has published four books and won over thirty awards for his journalism, including Journalist of the Year and Scoop of the Year from the Royal Television Society. As part of his work making the creative industries more accessible, Robert has worked with Creative Access for years and has also founded the charity Speakers for Schools, helping young people access opportunities through inspiring school talks and work experience.

Kishan is a producer on Peston. He first began there as a Production intern through Creative Access after graduating from the Centre for Journalism with an MA in Multimedia Journalism. Four years later, Kishan is now a Producer on the show. In his new role, he revealed that he now has more input on “what the news is, who the best guests would be and what are the issues people want to hear discussed. It’s a great job.”

Kicking off the discussion, Kishan had lots of great advice for those starting out in the industry. He explained that “the first job is the hardest job to get, I was lucky in the sense that Creative Access fulfilled that for me … If you’re struggling to get your first job don’t worry, once you’ve got there, all you have to do is be good, be keen and get stuck in, then actually you find the industry is a lot easier to navigate than you think it is.”

If there’s something that you really love and you enjoy doing, then you don’t have to make an effort to be enthusiastic about it

When Josie asked, “Do you think it matters if that first job isn’t your dream role? Can you find your journey once you’re in?” Kishan answered, “You meet people all over the industry as soon as you’re in. No matter what show you’re doing, you’ll make contacts. They become your friends and you can get an idea on what their job is like and before you know it you could be working with them.” He also emphasised that “the thing that’s been most useful for me is that I really love what we cover … If there’s something that you really love and you enjoy doing, then you don’t have to make an effort to be enthusiastic about it because it’s just what you want

to do.”

Robert kicked off by talking about his love of journalism: “The obvious thing about being a journalist is that you do have to love it. I’ve always loved trying to understand the world, I’ve always loved meeting amazing, interesting people, which is part of what you get when you’re a journalist. Historically, I’ve loved trying to get scoops.”

He reflected on the best and worst parts of his role, including bumping his head during an interview with Michael Fallon MP and being frustrated by politicians who refuse to answer this questions.

When reflecting on reporting on the current pandemic, Robert also shared: “The last few months have been exhausting, but I’m bloody lucky to do what I do … Trying to make sense of it is fascinating.”

He spoke about the challenges of starting a career during a pandemic, with Robert reassuring the audience that “when everyone else is scared, that’s the moment to build. It’s a lesson for all of us as individuals; stand your ground and you’ll get noticed.”

When Kishan asked how he started out in the industry, Robert explained that he “did the odd bits and pieces for our school newspaper and uni magazine but there genuinely wasn’t a big plan to be a journalist … though after some work experience I realised I didn’t want to do anything else.” He also pointed towards the opportunity in creating your own content: “The great thing about doing news or creative stuff in the media is that … there’s an enormous amount you can do on your own with technology to improve your skills. It was one of the things that didn’t exist at all when I started out, the ability to self-publish blogs, videos, audio or podcasts … I’m not trying to minimise the challenges but there are amazing opportunities for young people.”

“Fairness is desperately important, and we’re a long away from having a society that is fair.”

When the conversation then turned to his work with Creative Access, Robert answered, “As a matter of principle, I’ve devoted a bi

g chunk of my life to a particular form of encouraging opportunity … Anything I can do to help any talented person get on, on the basis of merit. Background shouldn’t be a factor, where you come from shouldn’t be a factor. Fairness is desperately important, and we’re a long away from having a society that is fair.”

When Kishan said he was grateful to Creative Access for joining his show, Peston told him that, “you’re an absolute foundation of the show, just to be absolutely clear, we’re not taking people who are less talented. Kish is one of the most talented people I’ve ever worked with. All we’re doing is making sure we’re seeing the world properly and seeing talent where it really is.”

“I’m optimistic about the future of television and the media. The need for it is greater than ever.”
Finally, when looking to what’s next for the media industry, Robert revealed that, “I’m optimistic about the future of television and the media. The need for it is greater than ever.” He emphasised the importance of media representing different experiences on how people to see the world: “Its not always easy to talk about broadening your vision, which shows the importance of organisations like Creative Access. The great thing about what you do is that you bring people into the studio and workspaces where I am, people with a completely different set of experiences, who are there in a very positive way to challenge me.”

With huge thanks to Robert and Kishan for their time and wise words.

You can view the whole conversation on our YouTube channel here.

We caught up with our former intern-turned Economics reporter at The Telegraph, Lizzy Burden, to learn about her journey into newspaper journalism and hear her top tips for getting started in the industry.

Filipina-English by birth, Lizzy has lived all over the world, having worked as a fashion model for eight years before becoming a journalist, including walking the fashion weeks of New York, London, Milan and Paris. She’s now economics reporter at The Telegraph, with a focus on international trade. She covers protectionism in the Covid-19 crisis, developments in the post-Brexit ‘Global Britain’ project and trade wars between the world’s biggest economies.

Head to our YouTube channel to listen to Lizzy’s top tips or read them below…

Hello, I’m Lizzy Burden, Economics reporter at The Telegraph. I started my career as a Creative Access intern at The Times, so I wanted to share with you a few things that I’ve learned along the way.

When I did The Times internship on the home and foreign news desks, I had no experience in journalism except on my student paper, so it was during those six weeks that I learned to write a news story. I started off turning copy from wires like Reuters into Times-style stories, and then graduated onto writing my own stories that editors would ask me to write, maybe following up on something another paper had written to find a new angle, or turning a press release into a story. Then I was sent out to cover stories like the Salisbury poisoning and Notting Hill carnival, and finally I started pitching my own news to editors. I loved feeling like I was at the helm of what was happening in the world and being around all the savagely witty characters of the newsroom, and I decided that I didn’t want to leave.

I applied for funding from the journalism diversity fund to complete a fast-track NCTJ which is where I learned short-hand media law and more about writing journalistically. Not spending a whole year on a masters meant I could get back to the newsroom faster, which I found much more beneficial than sitting in a classroom, and during the course I was constantly keeping an eye on the next step. As soon as I finished, I did another two internships at Reuters and Bloomberg, then worked as a producer at the BBC on the daily politics programme, and at the same time I would do night shifts as a reporter with The Times. I was knackered. Then I joined The Times as a grad trainee, where I rotated through the Glasgow office on the Scottish edition of the paper, the business desk and the sub editing team.

I then moved to The Telegraph, where I am an economics reporter specialising in trade, which I love, because my beat sits at the intersection of business, foreign and politics. When I arrived, the biggest issues of the day were Brexit and the US-China trade war, and now I’m covering the biggest economic crisis in centuries, so I really do feel hugely privileged to do what I do.

Applying my experiences to you, here are my six tips on starting your career as a newspaper journalist:

1. Read widely. Even the papers you don’t agree with, even the sections you find boring, and even the news in brief.
2. Be open minded – because you don’t know what could suit you until you try it. I didn’t realise how much I’d love financial journalism at first, but what I discovered at Bloomberg was that I really like how it has a quantifiable impact.
3. Constantly push to level up. If you’re doing work experience, try to turn it into an internship. And if you’re doing an internship, try to turn it into shifts or a grad scheme. Never sit twiddling your thumbs. Come armed with ideas for stories, ask how to improve them if they get rejected, volunteer to help other reporters, ask them where they get stories, look at the news to see if you can follow up on anything. Just always find ways to add value so that you’re remembered. Then at the end, ask what other opportunities are available and ask specifically what you need to do to get onto that next step. Then when you leave, keep in touch.
4. Break news. Getting scoops seems like luck, but you need to make your own luck to be in the right place at the right time for a tip off. For instance, ring a source quoted by a rival paper and go for a coffee. Find out what’s going on with them and check in regularly. You might wonder where to start if you don’t have a beat yet. When I was on the business desk at The Times as part of the grad scheme, I wasn’t assigned a specific patch to cover, so I made myself one. The retail editor had just left, so I targeted retail stories until they found a replacement for her. And when the new retail editor arrived, the market reporter job was empty, so I volunteered to do that. And if all the beats are taken, look at a rival newspaper and pick a beat your paper doesn’t have covered yet. Make yourself indispensable.
5. Breaking news is about being first, which means being organised. For example, make twitter lists and subscribe to other people’s lists so you can keep abreast of the current debates in different areas. Put your calls in early as soon as you set a story, so people have time to get back to you well before your deadline. If you’re waiting to cover a speech, write a template with as much other detail as you can beforehand, and keep a diary. And finally, perhaps the hardest lesson of all…
6. Be okay with conflict. Newsrooms are full of strong characters who will respect you more if you stand up for yourself when you need to. Pick your battles, but never let anyone walk all over you, because people will push you as far as you’ll let them. Work hard, but learn to say no.

You can follow Lizzie on Twitter at @LizzzBurden

Khaleda Rahman has come so far since her internship with Creative Access in 2013. She has worked across the world in offices in London, New York and Sydney, but one thing she has noticed consistently is the diversity problem in journalism. Khaleda shares some of her own experiences with us…

Walking into an unfamiliar newsroom for the first time is daunting for any new journalist, I’m sure—but it’s even more so when you realise you’re one of very few people of colour there.

As a freshly qualified journalist, I secured an internship with a local London newspaper through Creative Access. I’m incredibly thankful that I was able to learn the ropes at a small weekly newspaper so when I made the leap to the nationals and found myself walking into newsroom after newsroom where I was in the minority in the years that followed, I was a much more confident journalist.

Over the past six or so years, I’ve worked at the Birmingham Mail and the Scottish Daily Mail while on the MailOnline graduate scheme and then went to work in MailOnline’s offices in London, New York and Sydney. After a stint as a foreign news reporter back in London, I decided to go freelance and move to Los Angeles. I’m now based back in the U.K. as a reporter for Newsweek.

I’ve been lucky enough to live and work in some of the greatest cities in the world and work on some of the biggest news stories in recent years—the 2016 presidential election, ISIS and “Megxit” to name just a few.

But one thing I’ve noticed everywhere I’ve worked is the lack of diversity. It’s not just an issue in UK newsrooms, but also in the US and Australia.

Don’t just take my word for it—there are plenty of statistics that speak for themselves. According to the National Council for the Training of Journalists, 94 percent of journalists in the UK are white and it is 87 percent in the US. Research in the US also found that employees in newsrooms are more likely to be white and male than anywhere else in the country. In Australia, newsrooms are overwhelmingly white and a recent study found that more than a third of hard news stories reflect negatively on minority communities.

That lack of ethnic diversity is most glaring when stories related to race have made headlines, whether it’s about politics or terrorism. It’s clear there’s a problem when mainstream news outlets misidentify prominent people of color or someone like the BBC’s Naga Munchetty is unfairly penalised for voicing her experience of racism when speaking about racist comments made by Donald Trump. And of course, there’s the specific kind of coverage of the Duchess of Sussex that some have claimed is fuelled by racism, while others insist has nothing to do with her skin colour.

In my years in journalism, I’ve had an editor suggest I would have an easier time securing job interviews if I Anglicised my name on my CV. I’ve had another confuse me for the only other brown woman in the office. I’ve seen the surprise on the faces of colleagues when I’ve told them I’m Muslim. And sometimes, I’ve had to strongly push back on headlines that I feel are unnecessarily inflammatory or biased.

But when it comes to these kinds of things, it can be challenging to have your voice heard. Speak too loud and you’ll be accused of “playing the race card.” Say nothing and it keeps happening. Sometimes you might feel it’s better to pick your battles as you always have a job to be getting on.

The onus shouldn’t be on the few people of color in newsrooms to educate their colleagues, especially if they’re in more junior positions.

Of course, more people of color should be recruited into newsrooms but tokenism in the workplace won’t make a big enough difference. They should also be recruited into more senior roles and changes should be made at the top.

Newsrooms should reflect the communities and demographics they represent, and it’s disheartening to say that almost a decade after I started on my path to become a journalist, there’s still a long way to go.

Journalists from diverse backgrounds can add so much value to newsrooms today and ensure reporting is more accurate and comprehensive. While it can be a tough road at times, the job is also an incredibly rewarding one. Over the past few years, I’ve had the chance to pursue some of the stories I feel most passionate about, including revealing the identity of a jihadi bride from Scotland, speaking to a Saudi teenager who fled the kingdom and barricaded herself in a hotel in Bangkok Airport and interview a man who survived the mosque shooting in Christchurch, New Zealand.

There are plenty of stories like these that need to be told and we are the ones who should tell them.

You can follow Khaleda on Twitter at @Khaleda

Kavita Puri works in BBC TV Current Affairs, and is the Editor of Our World the award-winning foreign affairs documentary series. She is also the presenter of Radio 4 programmes, her next series Partition Voices is out this summer. Here she outlines her top ten tips to getting started in journalism.

Journalism is an incredibly fulfilling career but there are many easier ways to earn a living. You have to feel passionately about what you are doing. Be prepared for unsociable hours. If you still want to be a journalist, read on…

1. Make opportunities. Don’t be afraid to ask people for coffee at a place you want to work. Be persistent but polite if you don’t get an initial response, it shows tenacity. Do your homework before a meeting. Know what it is you are asking – is it work experience, advice on the industry, or pitching ideas? It’s vital to have watched the output, and have something to say about it.
2. While you are waiting for an internship or job – blog, make short films, post your videos – show prospective employees what it is you can do, how you write, and what your views are.
3. Get your foot in the door. Ask for a day of work experience and make sure that day lasts a week, a month, a year….and becomes something more concrete.

5. Identify people who could be your mentor. People are always happy to give advice. Make sure to keep up with them.
6. Keep a note of all your contacts on stories, it can lead to future stories.
7. Look around you. Stories are everywhere. And read widely, not just the papers lying around the office.
8. Be pro-active and volunteer to work on stories and events, even if it means staying late or coming in on your days off.
9. Be up to date with technology, if you can shoot, edit and write you will be in demand!
10. Even if you don’t feel confident, act it. Remember everyone was an intern once. Soon someone will be asking to meet you for advice.

Good luck

You can follow Kavita on Twitter at @kavpuri and @BBCOurWorld