Work in Publishing Week is a time to celebrate the many paths into publishing and we break minimise barriers to entry, encouraging diverse audiences to consider a career in this exciting sector. At Creative Access, we’re committed to providing resources that empower the next generation of publishing professionals. Below, we’ve curated a selection of expert advice from recent resources, ideal for your prep stage when applying for an opportunity all the way through to taking part in an impressive interview in the publishing world.

If you’re heading into a publishing interview, understanding the tools that underpin the industry is crucial. A key takeaway from our webinar with Penguin Random House is the importance of tech proficiency, especially tools like Biblio, which streamline workflows and manage content efficiently. Demonstrating an understanding of publishing software and how it enhances the publishing process can set you apart in an interview. Watch the full webinar here.

Publishing rights play a pivotal role in protecting and distributing intellectual property. For interviewees, knowing the ins and outs of these rights—such as the difference between territorial rights and subsidiary rights—can show you have a strong grasp of industry fundamentals. As Penguin Random House UK experts point out, a solid understanding of how publishing rights impact book sales and international deals will make you a standout candidate. Read more on publishing rights here.

Thinking about a career switch? If you’re coming from another field, focus on the transferable skills you bring to publishing. Key advice from industry professionals shows that whether you’re coming from marketing, sales, or another creative industry, skills like project management, communication, and adaptability are highly valued. Be ready to articulate how these skills can be leveraged in publishing. Learn more about pivoting into publishing here.

Landing your first job in publishing requires preparation, and knowing what to expect is key. A helpful tip from our webinar with Penguin Random House is to highlight your passion for books, but also demonstrate awareness of the practical aspects of the industry. Understanding the various roles—whether editorial, marketing, or rights—will showcase your broad interest and enthusiasm for the field. Watch the webinar for more insights here.

Publishing isn’t just about writing books—it’s about telling stories in many formats. If you’re interviewing for a role outside of traditional editorial, be prepared to discuss how you can contribute to storytelling through marketing, design, or digital platforms. An essential piece of advice is to showcase your creativity in how you communicate narratives, whether in print or online. This can be a great way to stand out for roles in marketing, sales, or even digital content creation. Explore storytelling careers here.

If you’re interviewing for a sales role, understanding the intersection between sales, marketing, and editorial departments is crucial. The key takeaway from this “Career in Focus” article is to show an understanding of how sales drive the success of a book. Be ready to discuss how you can effectively pitch books, build relationships with booksellers, and manage accounts to boost sales. These insights demonstrate that you understand the business side of publishing as well as the creative side. Get tips on publishing sales here.

With these insights and resources, you’ll be better equipped to ace any interview in publishing. Whether you’re transitioning from another industry or diving into publishing for the first time, these pearls of wisdom will help you confidently navigate the interview process. Explore these resources and more to continue developing your understanding of the industry and strengthen your career trajectory.

Head to our opportunities board to see live publishing roles, internships and opportunities!

Creative Access’ executive chair & co-founder Josie Dobrin OBE talks to The Bookseller’s Matilda Battersby about the prevailing use of the term ‘BAME’ in publishing, despite UK government research by the Race Disparity Unit finding it ‘unhelpful’. Josie discusses Creative Access’ decision to ditch the term years ago.

Since 2022, Creative Access’ partnership with Bloomsbury Publishing Plc has strengthened. This is down to a combination of Creative Access’ involvement in senior level recruitment in the form of Bloomsbury Publishing’s Diversity and Inclusion Manager, via the Creative Access opportunities board, as well as Bloomsbury Publishing’s commitment to elevating and developing under-represented staff. Our joint aim is to empower under-represented staff, facilitating career advancement and professional development opportunities.

Creative Access’ partnership with Bloomsbury Publishing is all about practical steps and smart resource use. Thanks to our opportunities board, Bloomsbury was able to bring in fantastic diverse talent, including a new Diversity & Inclusion Manager. This has really paid off, with 10 times more staff joining initiatives like the Springboard entry-level career support program, enabling these historically under-represented individuals to build skills and networks. The involvement of key team members shows how effective our collaboration is in driving positive change.

Since 2022, Creative Access’ partnership with Bloomsbury Publishing has driven significant Diversity Equity & Inclusion progress. Bloomsbury has leveraged Creative Access’ opportunities board to recruit diverse talent and has actively engaged staff in Creative Access’ career support programs for entry and mid-level under-represented talent. Key achievements include the recruitment of a Diversity and Inclusion Manager in 2022 via Creative Access, as well as enrolling ten staff members in Creative Access career development programmes in 2023 and planning further participation in Thrive the mid-level career development programme in 2024. This collaboration has effectively promoted diversity and professional development within Bloomsbury, supporting the career advancement of under-represented staff.

By the Writers’ & Artists’ Yearbook (W&A) Website Team

If you’re looking for a job in publishing, then the chances are that your passion for books is already in the bag. This passion is one thing that you can’t learn, but fortunately every other skill required for publishing roles are ones that you can!  
Pivoting into a career in publishing from a previous industry might feel overwhelming, which is why it’s important for you to know that all the skills you’ll need are likely ones you already have. And these can come from any part of your life, not just your current, or previous, jobs.   

We spoke to a handful of our colleagues at Bloomsbury Publishing PLC, across different departments, to find out more about the different type of transferrable skills they use in their day-to-day roles.   

‘Publishing is a highly collaborative industry, and every day I engage with people from my team, other departments and externally. As well as adapting to the people I’m interacting with, I also need to think about the purpose of my communication – Am I sending minutes to a large group of publishing professionals from different departments? Am I pitching a book I’m really excited about to my team? Am I emailing a debut author with no publishing experience whatsoever? Am I writing customer or consumer-facing copy with the aim of garnering interest in a title? Being able to communicate clearly, passionately and flexibly will be key in helping you develop within this industry.’ Jadene Squires, Children’s Fiction Editorial Assistant  

  

‘We publish a lot of books, very close together and my role includes creating my campaigns, but also supporting others with their campaigns. This is alongside managing all our team meetings and admin, therefore the role requires organisation and time management to stay on top of all tasks.’ Anastasia Boama-Aboagye, Publicity & Marketing Assistant  

  

‘There is never a dull day in digital marketing, but you have to be able to multi-task and work to tight deadlines whilst keeping a high energy. Enthusiasm for lots of books, new ideas and working with different members of the team is so important, as it keeps a good flow of creativity and communication which is how big campaigns are pulled together and executed to a high standard.’ Kate Molyneux, Digital Marketing Manager  

  

‘It’s so important to be a support for your colleagues, authors and even empathise with external stakeholder who you may not work with on a daily basis. In the publishing industry, we’re drastically trying to diversify both our publishing and our workforce, and I don’t think this could be achieved without empathy.’ Grace Ball, Children’s Publicity Executive  

‘You are responsible for finding the best places for that author to be reviewed, featured, interviewed or do a bookshop event. I recommend immersing yourself in the kinds of publications your books would appear in as much as possible, so you get a sense of how they cover books. This information can then be used to inform your work.’  Ayo Okojie, Publicity Executive at Head of Zeus  

  

‘This means paying attention to both the finer details, such as an errant punctuation mark and the bigger picture, such as text flowing too closely to an illustration. I use this skill every day, for example when proofreading copy, checking that an ebook has been converted properly from a print file and, for illustrated books, ensuring that the illustrations are appropriate and match the text. The main purpose of an editor is to make the reading process as easy and enjoyable as possible.’ Jadene Squires, Children’s Fiction Editorial Assistant  

  

‘Sometimes, things don’t always go to plan. You could be building a page and a bug could cause an issue, which means referring it to the developers and waiting for them to add a fix before you can return to your task. You might realise that a page is not working as you’d hoped, so you need a break from it and return to it later.’  Heenali Odedra, Deputy Website Editor  

If you’re interested in a career in publishing, head to Bloomsbury Publishing’s Work With Us page to find out more about current vacancies and apprenticeships. For more interviews and advice articles, check out the Careers in Publishing area at writersandartists.co.uk.  You can also search Creative Access’ publishing opportunities here.

About writersandartists.co.uk  

The site is a dynamic, free-to-join community platform that’s home to over 70,000 subscribers. We feature hundreds of free-to-view articles and resources that offer essential practical guidance on both the creative and publishing process, as well as insight into careers within the publishing industry itself. On top of being a digital space for like-minded creatives to connect, the site hosts free writing competitions, and provides opportunities to pitch blog posts or upload writing calendar entries. Exclusive discounts, reward point incentives, and information about industry initiatives (such as work placements or financial assistance) are regularly uploaded to the site.  

The Creative Access Book Club has come together to read and discuss eight books in 2023. These events – open to our community of mentees, interns, and alumni – have been a unique way to start conversations about new writing by authors from backgrounds that are historically under-represented in publishing.  

Here are all the books we read in 2023:  

• Lemon by Kwon Yeo-sun. Head of Zeus.  
• Just Sayin‘ by Malorie Blackman. Merky Books Penguin Random House.   
• Hungry Ghosts by Kevin Jared Hosein. Bloomsbury Publishing.  
• All the Houses I’ve Ever Lived In by Kieran Yates. Simon & Schuster.  
• Close to Home by Michael Magee. Hamilton Hamilton Penguin Random House.  
• Pulling the Chariot of the Sun by Shane McCrae. Canongate.   
• Dispatches from the Diaspora by Gary Younge. Faber.   
• Edge of Here by Kelechi Okafor. Orion, Hachette.  

This year: 

• 194 people were sent books and attended our meetings 
• We interviewed 2 authors about their new books: Kevin Jared Hosein (who dialled in from Trinidad to talk about his novel Hungry Ghosts!) and journalist Kieran Yates who joined our book club to discuss her debut book on housing.  
• Our book picks spanned the world with authors of 5 nationalities including Nigerian, Korean, Trinidadian, USA and British authors from under-represented backgrounds.  
• We worked with 8 different publishers or imprints, including independent publishers like Canongate and Faber alongside Penguin Random House, Bloomsbury, HarperCollins, and Simon & Schuster.  

A standout moment of the year has been a live interview with author and journalist Kieran Yates, before our discussion on All the Houses I’ve Ever Lived In, her urgent but often joyful book on homes and the housing crisis. This was our first collaboration with Simon & Schuster, and being among the first readers to speak to Kieran directly about her book was an amazing experience.  

A calendar of events that includes virtual meetings has continued to be the best way to make sure the book clubs can reach people outside of London and suit different access requirements, while in-person events are a fantastic opportunity for our community of creative industry professionals or those aspiring to be to meet and connect with peers.  

‘Brilliantly run – such a thoughtful and creative space to share our reflections on the book. I learned lots from everyone’s takes!’ – Book club attendee.  

Finally, we want to give a massive thank you to the publishers who have made the Creative Access book club possible and to the readers who came and provoked thoughtful conversation with their opinions and impressions. We’re looking forward to another book club-packed year in 2024.  

We’re always looking for new book club partners. As well as discussing the book, we’ll run a giveaway across our socials and make sure you get plenty of coverage across our community. So if you’d like to nominate a title by an author from an historically under-represented community (and you can post out 20-30 copies to attendees) please get in touch at theo@creativeaccess.org.uk.  

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! 

The Mo Siewcharran Fund has awarded its latest round of grants to four innovative, creative organisations in Leeds, London and Brighton, across publishing, theatre, music and art: Blast Theory, World Book Day, Come Play with Me and Arcola Theatre.

The Fund was set up five years ago in memory of Nielsen Books’ former director of marketing and communications, Mo Siewcharran, by her husband, John Seaton and is administered by leading diversity and inclusion social enterprise, Creative Access. 

Mo Siewcharran was passionate about ensuring theatre and publishing were accessible to all and the grant funds internships for talent from Black, Asian and other ethnically diverse backgrounds to improve accessibility and representation in the creative industries.  

Impact of the Fund

Since the Fund started in 2018, it has supported 36 Black, Asian and ethnically-diverse trainees in publishing, theatre and music across the UK. Its impact can be clearly seen across each sector: last year Creative Access found that two-thirds (63%) of interns supported by the Fund stayed on at their host organisation at the end of their traineeship, whilst 9 out of 10 (89%) trainees continued to work in the same sector. 

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

“If I say I have recently felt personal sadness you will think I am giving the wrong quote. But, hear me out. The personal sadness was occasioned by the sixth anniversary of Mo’s death at the end of June. Thank goodness therefore for this vibrantly good news. It is a supreme pleasure for the Mo Siewcharran Fund to be assisting these four wonderful companies, diverse in both purpose and location, but united in their desire to create working communities where there are no barriers.”

The grants contribute to the salary of an intern for a six-month traineeship, and trainees benefit from a full programme of support from Creative Access to ensure that they thrive in their new role.  

Brighton-based recipient Blast Theory make interactive art – including performance and theatre – to explore social and political questions. The group’s work places the public at the centre of unusual and sometimes unsettling experiences, to create new perspectives and open up the possibility of change. On being awarded the Fund, Business Director Anne Rupert said: 

“We are thrilled to receive support from the Mo Siewcharran Fund and Creative Access. Our paid internships offer a great opportunity for learning and skills development: building confidence and opening up career prospects. Working with Creative Access will enable us to offer a longer placement and reach people who are often excluded from these types of opportunities.” 

Recipient World Book Day is a small charity with big ambitions, committed to improving diversity and inclusivity in children’s literacy and reading. Its vision as a charity is to see more children, from all backgrounds, developing a life-long habit of reading for pleasure, benefiting from the improved life chances this brings them​. Chief Executive, Cassie Chadderton said:

“Funding from the Mo Siewcharran fund will provide a supported entry route to a charity playing a vital role in encouraging more children, particularly those from disadvantaged backgrounds, to experience the life-changing benefits of reading for pleasure.” 

The Fund was also granted to Arcola Theatre, one of the UK’s only theatres founded and run by first-generation migrants. Over 20+ years, they have consistently created responsive, high-quality theatre by and about the lived-experience of people of marginalised backgrounds. Leyla Nazli, Executive producer said:

“As a diverse led organisation, Arcola is always looking for ways to develop the next generation of theatre makers from the Global Majority. We are proud to be partnering with Creative Access and grateful for the support of the Mo Siewcharran Fund.”

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

Those interested in applying should contact lucy@creativeaccess.org.uk. The deadline for the next round of applications is Friday 1^st December 2023.  

To mark #WorkinPublishing week we hosted an all-star panel (including four of our very own Creative Access alumni!) from leading publisher Penguin Random House. The panellists talked about their journey into publishing, the day-to-day of their roles, and gave a bucket-load of inspiring advice for those pursuing a career in the book trade. Below are some of their top tips, or you can head over to our YouTube channel to catch up on the full conversation. The panel comprised of:

• Josie Dobrin, Founder & Executive Chair – Creative Access
• Mubarak El Mubarak, Head of Digital Marketing & Brand – Penguin Michael Joseph
• Candy Ikwuwunna, Brand Marketing Manager (Youth Engagement) – Penguin Random House
• Malissa Mistry, Sales Manager – Vintage
• Gaby Puleston-Vaudrey, Editorial Assistant – PRH and BBC Audio
• Priyanka Moorjani, International Communications Assistant – Penguin Random House UK

The panel covered wide-ranging themes from favourite books to top tips for covering letters and interviews. On the subject of CV and applications, Malissa, stressed how important it is to tailor your cover letter to the role in question saying “it will take more time, but applications that aren’t changed across roles are immediately obvious to the reader. Instead, break down the job description into key points and apply your skills and experience to any activities or requirements. Find something you like from the publisher’s output or activities to talk about in the interview or application.”

When moving to interview stage, Gaby cited that she used the STAR method; this stands for situation, task, action, and result. Think outside the box when it comes to your experience, as interviewers will be more interested in your approach to a challenge and how you applied yourself to it.

Gaby described passion for books as ‘the one thing you can’t learn.’ This is something that anyone entering the industry will have but being able to showcase your genuine interest in the current book market when applying or interviewing is key.

There are plenty of ways to show you have your finger on the pulse, whether it’s through knowing the top charts or having a favourite BookTok campaign – something that Candy remembers bringing up in the interview for her current role.

Before he found his internship, Mubarak spent 9 months applying and getting nothing – ‘I had to check if my inbox was working!’ – and said that you don’t need to rule out a career in publishing to justify taking a break from sending applications. No two paths into publishing are the same.

Priyanka also mentioned that gaining publishing ‘adjacent’ experience is still massively worthwhile and sets you up for success even if you aren’t landing the dream job just yet. If you have experience on TikTok, highlight that on your CV. Even if you think it’s just silly videos you’re making from your bedroom, BookTok is now a hugely influential platform and can shape the market.

Gaby advised using transferable skills – such as the ones she gained as a student ambassador – when writing successful applications, and Malissa described how helpful it was to build an understanding about books and current trends by starting out as a Christmas temp at Waterstones.

The panel discussed the ongoing dilemma of whether or not a degree is needed to enter the sector. Whilst acknowledging the benefits of university eduction for those who can access it, the consensus from the panel was that there’s no barrier to entry without it. There are numberous pathways to a career in publishing – such as publishing apprenticeships – and plenty of other things will stand out more on your CV. Of the panel, only Priyanka had completed a Publishing MA; she said that it was a good route to picking up more publishing vocabulary and getting to grips with the process, but that the essentials of what you need to know can be learned and fleshed out through doing the job.

When discussing the skills needed for their individual roles, Gaby (who first worked with an independent publisher before moving to her current role) said that needs will vary between teams. Priyanka – working in communications – communicates with a lot of different people! She encourages individuals in similar roles to think about how to adapt their tone and approach with different people you’re in touch with, from more informal conversations with book bloggers to an attentive and generous approach to relationships with authors. Malissa said that to succeed in sales you don’t need to be an extravert, but you’ll be good at building genuine relationships with external parties, and this is just as valuable as hard data.

Mubarak had a final piece of wisdom on this topic:

The panel also spoke about diversity within industry; Priyanka didn’t shy away from the topic of where the publishing industry can do better when it comes to hiring talent from under-represented backgrounds. However, the diversity (or lack thereof) of larger publishers is becoming increasingly transparent – Penguin Random House has recently published statistics on this. Candy said that since coming back to the industry after a short hiatus, efforts across the board to improve social inclusion is more noticeable with positive action schemes like those run by Creative Access or The Scheme by Penguin Random House.

Candy’s final piece of advice was to not give up!

And don’t feel afraid to reach out to publishing industry experts who are public on social media. ‘I reached out to someone who directly helped me with my application,’ Gaby said. People who are as passionate about publishing as you are often generous with their time in giving feedback.

You can watch the full panel conversation on our YouTube channel here

Follow Penguin Random House on LinkedIn to keep up with the latest news from company news, employee stories, new roles, programme dates etc. or explore publishing roles from the wider industry on the Creative Access opportunities board.

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!

The Mo Siewcharran Fund has announced the latest four grant awards; to charity The Poetry Society, Worcester-based Vamos Theatre, inclusive children’s fiction studio Storymix, and independent publishers, Oneworld. In its fourth year, the Mo Siewcharran Fund continues to support a unique breadth of organisations within the creative industries in its mission to enable young people from Black, Asian and ethnically-diverse backgrounds to break into publishing, theatre and music.

The Fund was set up in memory of Nielsen Books’ former Director of Marketing and Communications, Mo Siewcharran by her husband, John Seaton and is administered by Creative Access – a leading social enterprise specialising in diversity and inclusion. The grants contribute to the salary of an intern for a six-month traineeship and a full programme of support from Creative Access to ensure the trainee thrives in their new role.

Since the Mo Siewcharran Fund started in 2018, it has supported 27 ethnically-diverse trainees in publishing, theatre and music across the UK. A recent report into the impact of the Fund by Creative Access found that two-thirds (63%) of interns supported by the Fund stayed on at their host organisation at the end of their traineeship and 9 out of 10 (89%) trainees continued to work in the same sector where they did their traineeship.

Speaking on the Fund’s impact and the latest round of recipients, John Seaton said:

“In its fourth year the Mo Siewcharran Fund continues to do its bit to make workforces in the arts more ethnically diverse, representative and fairer.  It is thrilling to be associated with four such vibrant and en rapport companies as these. I am sure the interns will all have a wonderful and beneficial experience and will be supported via Creative Access to thrive in their careers”.

The Poetry Society is a charitable organisation which champions poetry for all ages. It is looking for a publishing & participation trainee to join the team. On receiving the Fund, Judith Palmer, Director at The Poetry Society says: “With the support of the Mo Siewcharran Fund, The Poetry Society is delighted to be able to work with Creative Access to offer a new dedicated publishing and participation trainee. The Poetry Society has a long history of working with young poets to transform their confidence and creative skills, and of widening access to poetry. We’re excited by the new opportunity this presents to make positive change to strength and diversify the arts sector workforce.”

The second recipient, Vamos Theatre is the UK’s leading full-mask theatre company. Vamos is seeking a learning and participation trainee to learn about the power and connection of mask theatre based on real life stories. Executive Producer at Vamos, Claire Morton comments: “We are thrilled to have been awarded funding from the Mo Siewcharran Fund. The grant will enable us to offer an internship within our Learning & Participation department to a young person from an under-represented community and we are delighted by the prospect of positive change this will bring to us as a company and to the young person’s future career. Support from Creative Access will help us take important steps in developing Vamos Theatre as a more representative arts organisation, impacting on our planning, our processes and working towards a more diverse future workforce. We look forward to offering our intern the best possible experience and a valuable stepping stone to the next stage of their career”

Storymix Studio – a fiction production company focusing on Black, Asian and ethnically-diverse voices in children’s fiction – have also been awarded the Fund. Jasmine Richards, Founder of Storymix states: “Finding and supporting BME talent is fundamental to Storymix’s mission of improving representation in the children’s book industry – both on the page and behind the scenes. We are a relatively new venture. The Mo Siewcharran grant from Creative Access will give us a much-needed intern to support our ever-growing book list and an opportunity to share our knowledge and expertise with a BME professional at the start of what we hope will be a long career in publishing.”

Finally, this is the second time that London-based independent publishers, Oneworld Publications, have received a grant from the Mo Siewcharran Fund. On receiving funding again Publisher and founder Juliet Mabey says: “We are thrilled to be partnering with Creative Access once again. They have made, and are continuing to make, such an important contribution to the campaign to increase diversity and inclusivity in the creative industries. We are especially grateful to the Mo Siewcharran Fund for their financial support in this work, which is facilitating publishers in their efforts to transform our industry so that it more truly represents the readers we serve.”

It was brilliant for the Creative Access team to be back in one of our favourite UK cities Leeds for our northern careers showcase at ITV Yorkshire, with a fantastic panel of speakers including Rawan Elsa, archivist and publishing assistant at Peepal Tree Press, Rhianne Deans, editorial/clearance co-ordinator at Emmerdale, Shamima Noor, communications co-ordinator at Fuel Theatre, Sonny Hanley, controller of content services at ITV and Ayodele Ogunshakin, story liner at Coronation Street, hosted by Ian Cottrell, director of channel operations at ITV.  

Ian introduced sharing how he started out at ITV in 1999 with a degree in IT and was the first person in his family to go to university but didn’t know what to do next. Fast forward to 22 years later and he is now in a senior position at ITV Yorkshire.  

Meanwhile, Sonny knew what he wanted to do from the age of 9 – he wanted to grow up and make films. Luckily, he grew up in Leeds and felt that pursuing a career with ITV Yorkshire was a perfect fit for him. He shared how he started out making programmes and then switched into technology before moving into operations. He’s had three careers at ITV and has been at the organisation almost as long as Ian, for 18 years!  

Rhianne works on Emmerdale, one of ITV’s flagship shows filmed at ITV Leeds. The show has been going for over 50 years and we were even lucky enough to have a tour of the studio after the event. Rhianne’s role includes writing synopses of the scenes for press or for actors, collaborating with script editors and making script changes to ensure the scripts fit within allotted time. She got into the industry through an internship at Arrow Media through Creative Access, and before joining Emmerdale, she worked on Channel 4’s All Creatures Great and Small.  

Leeds local, Shamima works within theatre communications. She has been working in theatre for 5 years after starting her career with a traineeship through Creative Access in 2017 at Leeds Playhouse, after which she then worked for a few dance and theatre companies. Shamima grew up in Leeds, studied there and stayed on in the area to develop her career, proving that you can live outside London and develop a rich career in the creative industries. She works for a London based company and goes down to London about twice a month.  

Rawan is currently undertaking a PhD, alongside her work as an archivist and publishing assistant. She has a fascinating role and has spent the last few years archiving letters, documents and manuscripts for Peepal, an independent publishing specialising in African literature. She describes herself as wearing many hats, as she also runs an online book club making literature accessible to people beyond the UK.  

Ayodele worked at a summer camp in the US after university. She initially thought it was a bad decision, but the experience of working with children proved critical in her getting a role at Blue Peter. From there she moved up to studio assistant and after going to a Creative Access workshop on how to become a storyliner, she got her first break as an assistant storyliner on Coronation Street. She describes being a storyliner as an “odd position”. She works in a team of other storyliners, answering to the producer.  

“What have you done that’s outside the box? Utilise that!” – Rawan  

Our panel all cited the importance of transferable skills and experiences when trying to break into the creative industries. Shamima explained that in her first internship at Leeds Playhouse, they were mostly looking for passion for theatre and good personal skills. She’d worked on her student paper, been a student outreach officer, written a lot outside her degree, and handled the social media channels for societies she was a part of at university. She was able to marshal these skills into a CV and cover letter, which then got her the role.  

Rawan echoed this explaining: “experience is invaluable”. Even though her degrees are important and she’s enjoyed her academic journey, it was the internships and volunteering at places like Elizabeth Gaskell’s House that displayed her passion for history. Alongside this, she states that she identified people she admired and spoke to them on twitter, went to careers fairs and networking evets – all of which helped her land her roles.  

When it comes to specific roles, such as storylining, Ayo recommended watching lots of TV as ‘research’. She took on a runner role to expose her to the innerworkings of the TV industry, but she says: “Don’t discount the non-TV experience you have”. Lots of TV work is about teamwork and that can come from university, volunteering and roles outside the sector.  

“When people are open to a chat, they might be open to helping you find work, so take those chats seriously” – Ayo  

Networking is a key skill for finding work, mentors and even likeminded peers within the creative industry. Rhianne empathised that networking can be awkward, admitting that she used to be really bad at it, but she told our audience that they’d be surprised by how many people want to share their knowledge. People are busy so you shouldn’t feel worried about following up and reminding them. She also advised the audience to not confuse being formal with being professional – you can be jokey and show your personality which can then engage people and make you stand out.  

Shamima agreed explaining that these events are nerve-wracking, but you find your own rhythm. “Ffrom the start it was clear to me taking part in events was going to be key. After-parties after each event you should go to show you’re committed.”  Similarly, Ayo recommended thinking of networking as ‘connecting’ with people instead, which takes the pressure off the interaction.  

“You’re not just there because of luck. You’re there because you’ve excelled. If you trip up, pick yourself back up again” – Rawan 

On this note, our panel then began to discuss how imposter syndrome can manifest itself and how they overcome it. Rawan had some wonderful advice for our audience, she explained that she looks in the mirror and recites positive affirmations about herself to reassure herself. She suggested writing them down and even sticking them around your room when you’re feeling low.  

Rhianne and Sonny both work at ITV and have both found their networks within the organisation a great source of comfort when they have been feeling insecure in their positions or have had a bad day at work. Sonny told our audience to remember: “They chose you! If you don’t believe that, just go ask your manager.” 

Ayo actually did do this once during a period of low self-confidence at work. Her line manager told her that she was doing well, despite thinking otherwise. She told the audience to remember that that’s what your line manager is there for.  

“The perfect candidate doesn’t exist” – Sonny  

As for moving up in your creative career, Sonny said it is vital to step outside your comfort zone. “No one knows their job 100%, I’ve been here for 18 years and I still don’t know anything”, he said. He continued that therefore, when he’s hiring, he always hires 80% – he knows that no one is going to have every single skill needed but if the confidence and passion is there that will see you through.  

Rhianne agreed and explained that of course knowledge and skills are important, but the most important thing is how you fit into a team. If you work within an organisation that has many teams and you want to take a sideways step, Rhianne recommended utilising the network you have within the company and getting to know the roles and the team dynamics to help you. 

“There’s no set time frame! If you want to do it, it’ll happen” – Rhianne 

Finally, our audience asked our panel about the age-old problem of rejection. Rhianne stated that unfortunately, rejection is part of the industry and you do have to grow a thick skin however, she continued, there are lots of people who want to help you so make sure you keep making those connections. While Rawan suggested that “rejection can help you take a step back and reassess what you really want.” 

Thank you so much to our wonderful panel for their insights into their respective fields and highlighting the breadth of roles on offer in the creative industries in the North, as well as to our audience for coming along and asking such important questions!  

Hachette UK has announced its 2022 traineeship programme, partnering for the second year with literary agency Curtis Brown and booksellers Waterstones. It will open for applications today, with 10 trainees joining Hachette UK at the end of October for the year-long programme. Hachette UK will again be working with Creative Access, the leading social enterprise in progressive career development and support, to recruit exceptional talent from under-represented groups, with all applications for the traineeship being made via the Creative Access website.

The trainees will spend the year within one of Hachette UK’s publishing divisions, the central function teams or the education business, specialising in either editorial, digital marketing, publicity, audio, operations, sales, communications, production or rights. Those specialising in editorial will spend a month of their traineeship at Curtis Brown to learn how to represent authors and matchmake them with publishers. All the trainees will spend a month at Waterstones to learn the art of bookselling and to understand consumer buying behaviour and will also participate in a bespoke learning and development programme, with the opportunity to learn about the journey of publishing a book from pitch to production.

This will be Hachette UK’s fifth intake of trainees and the programme will continue to focus on making publishing more accessible to under-represented groups, as part of the publisher’s ‘Changing the Story’ vision for diversity and inclusion. It is actively seeking applications from candidates from Black, Asian and Minority Ethnic backgrounds, applicants from lower socio-economic backgrounds and particularly men from both of these backgrounds, to improve the representation of these groups in Hachette UK’s staff base.

Lisa Waterman, Group HR Director at Hachette UK, commented: “Our traineeship in partnership with Curtis Brown and Waterstones has been such a successful initiative as part of our Changing the Story programme and further strengthens our ongoing commitment to inclusion. This innovative scheme, originally conceived by Sharmaine Lovegrove, patron of Changing the Story, gives our trainees direct contact with our publishers, authors, agents and ultimately our readers to give them an incredible introduction to the industry. Our 2021-22 cohort of trainees have been such a success and we hope this experience has given them the broad knowledge to build brilliant careers in publishing. It demonstrates that when we work together as an industry, we can make a lasting and positive change.”

Josie Dobrin, CEO at Creative Access, commented: “We are delighted to once again be partnering with Hachette UK to offer 10 incredible paid traineeships across its divisions for talent from groups under-represented in the creative industries. The placements will give the successful applicants a year of experience working in publishing across different areas of the industry, providing them with the ideal foundation to thrive in a long-term publishing career.”

Kate Skipper, Chief Operating Officer at Waterstones, commented: “We are thrilled to be partnering with Hachette UK for the second intake of their industry-leading trainee programme, which provides such a vital new route into the industry. We can’t wait to welcome this year’s trainees into our shops, with the aim of providing a behind-the-scenes look at what makes a bookshop tick and allowing trainees to experience the thrill of putting a book into a customer’s hands. We hope the experience will prove invaluable for those at the start of exciting publishing careers, offering a glimpse of bookshop magic and some understanding of the passion which drives booksellers.”

Felicity Blunt, Literary Agent at Curtis Brown, commented: “It is an honour to get to continue to work with Hachette UK for the second year of their traineeship scheme. The candidates they placed with us in year one were singularly impressive and dynamic, with so much to offer the industry. Curtis Brown places each candidate with an agent and office that is aligned with their reading interests. The trainees are exposed to a variety of deal-making, client care and editorial process. As this element sits alongside the experience of working for a publishing house and a bookseller, we believe the Hachette UK traineeship scheme offers individuals a deep understanding of the publishing ecosystem as a whole, allowing them to zero in on the facet that most appeals to them.”