In our latest edition of creative industry trailblazers, we’re speaking to Creative Access alumni and member of our Steering Group Nitin Rishi! Nitin started off as a technical runner for TV and radio production company, Somethin Else in 2015 and now works as a freelance producer and director. He work has been broadcast across all major UK broadcasters and he’s produced programmes at major global events like the FIFA World Cup Final, as well as directed commercials for brands such as Porsche, D&G and Christies.

Here he gives his advice on the skills you need to break into the role of producer/director, and how you can move up the career ladder in TV and film too, as well as what inspires him creatively…

My first foot in the door was working as a technical runner for TV and radio production company, Somethin’ Else. This was through the Creative Access paid internship scheme, and it provided an invaluable foundation to build my skills and network.  

I tried to learn as much as I could about cameras and post-production and eventually progressed to in-house camera operator and editor.  

After two years full time, I went freelance as a shooting assistant producer to get more experience in the editorial aspect of production. I jumped between various editorial and crew roles to eventually work my way up to a producer / director in TV, whilst also maintaining an active presence in lighting, shooting and editing for both independent and commercial productions. 

A solid understanding of filming and post-production processes and techniques is essential. This includes a certain degree of technical knowledge so you can clearly communicate with your crew to ensure a seamless production process and a polished-looking finished product. 

Treat everyone you work with or alongside with respect and kindness and don’t burn bridges. You never know where your next project might come from. For example, the runner on your set today might be the executive on a show hiring you later down the road, so be a nice person and stay in people’s good books. 

When I first started freelancing, I was one of the camera operators on Sky Art’s ‘Brian Johnson’s Life on the Road’ I got to work with rock legends such as Led Zeppelin’s Robert Plant, Pink Floyd’s Nick Mason and, of course, AC/DC’s Brian Johnson himself. I’m a huge fan of rock music so this was a special project for me to be involved with.  

If you want to have a dynamic, varied career where you get to travel the world, work creatively to tell stories through pictures and sound, and temporarily immerse yourself in different worlds and subcultures, then you’ll be really well suited to this line of work.  

There are a few things I’d recommend: 

1. Make sure you always nurture and focus on your passion for filmmaking; always be learning and upskilling. Whether it’s refining your soft skills, like leadership and organisation or your hard skills, like learning how to use new cameras and mastering editing software.   

2. Ensure everything you do is executed punctually, properly and enthusiastically, no matter how menial the task. People will take notice and begin entrusting you with greater responsibilities.  

3. When you’re starting out always be prepared to go the extra mile. Work on as many different projects as you can but be conscious about taking on more than you can handle.  

4. Build and maintain a strong network in the industry; be sociable, helpful and be that person that connects people.  

Filmmaker and director Asif Kapadia: Every generation has a filmmaker that is able to bring documentaries to the mainstream and Asif Kapadia has been able to do this with his exceptional films like Senna, Amy & Diego Maradona. 

His films are accessible and meticulously put together, but also have a raw authenticity to them.   

We are also both British South Asians from North London so for me to see him break through the glass ceiling to become one of the most celebrated directors of his generation is very inspiring. 

Read more of our creative industry trailblazer series here.

Love literature? TV addict? Crazy about the sound of music? So, how do you actually make a career out of it? So whether you’re a fresh-faced graduate or a seasoned professional looking to make a career-changing move, make sure you check out our tips on how to create an outstanding CV and cover letter…

Composing your CV

1. Step out of your shoes… and into the recruiters: Ask yourself whether you’re making it as easy as possible for the recruiter to determine that you’re a strong candidate for this specific job? What makes your application stand out from the countless other applications they are skim-reading?
   
2. Length: Keep it to a maximum of two sides of A4 (ideally one) and include bullet points so you’re concise and to the point
   
3. Format: Choose a font that’s simple and easy to read. Include clear headings, and leave enough white space so that the reader can easily jump to what they need to find
   
4. Start with contact details: name, phone number, and email. No need for a photo or a full address but you could include your city or region and whether or not you’re open to relocating
   
5. Add a short profile; maximum of two sentences about you, what you’re doing at the moment, and what you’re interested in pursuing
   
6. List your:
   
   • Education: Your most recent qualification first. Include key modules and dissertation title (if relevant to the role) and any awards or professional memberships
     
   • Employment experience: List it in reverse chronological order and include all experience, whether relevant to the role of note. Separate into voluntary/paid employment. Include the role title, the company, and employment start and end dates
     
   • Skills: IT, systems, languages and, soft skills e.g. team working skills
     
   • Interests and hobbies: Include involvement with clubs and societies and anything quirky that makes you stand out from the crowd
     
7. Social media: Include links to your accounts (especially if you’re going for a marketing role) but make sure your feed is current and appropriate; many employers do check
   
8. Blog or portfolio: Include links to these, but only if they’re up to date
   
9. References: Include two full reference contact details (one employment, one academic). If not, write ‘References available upon request’
   
10. Proofread: Yourself first and then get someone else to.
    

Crafting your cover letter

1. Less is more. Your letter doesn’t need to exceed one page. Keep it succinct and to the point
   
2. Always tailor your letter to fit the specific organisation and role you’re applying for. It’s obvious which candidates have put in the work to craft a thoughtful cover letter
   
3. Show why you want to work for this particular organisation; write about the company and what appeals to you; reference the authors they publish, the shows they produce, the content they create, etc
   
4. Don’t repeat your CV, but use this as a chance to explain why you’re applying for the role
   
5. Explain and evidence how you meet the job’s criteria. Don’t just say you can do the job, show them! Include links to relevant content that you have created that demonstrates your ability
   
6. Refer to transferable skills: If you don’t have direct experience in the areas outlined, think about what skills you’ve acquired through study or other jobs and how you might be able to translate them into this role
   
7. Your chance to shine …Sell yourself by including keywords that will credit your attributes and skills; using phrases like ‘was involved in’ and ‘assisted’ implies that you were more of a bystander than an instigator. Consider using strong action verbs such as ‘chaired’ and ‘coordinated’.
   
8. Show enthusiasm: More than anything, an organisation wants to know that you’re passionate
   
9. Ensure your spelling and grammar is accurate. Print out your letter if you can to proofread it; it’s easier than doing so on a screen
   
10. Don’t forget, the perfect CV and cover letter is not an exact science. Stay positive, keep refining your CV and cover letter, and your moment will come. Good luck!

If you want more advice about entering the creative industries, stay in touch with Creative Access:

Instagram: https://www.instagram.com/_creativeaccess/

Twitter: https://twitter.com/_creativeaccess

LinkedIn: https://www.linkedin.com/company/creative-access/

Facebook: https://www.facebook.com/CreativeAccessUK

Register with us at: creativeaccess.org.uk

Our newest series, Creative Industry Trailblazers, highlights some of the best and brightest working across the creative industries – in TV, film, music, marketing, theatre, journalism, design and beyond. At Creative Access we support individuals at all stages of their career cycle. And we’re excited for you to read about the experiences and lessons from our impressive mid-senior CA community. 

Who better to start with than a former CA intern and current member of our Steering Group, Arshdeep Kaur? Arshdeep kicked off her career via Creative Access as a talent assistant intern at TV production company Arrow International Media and CPL Productions in 2016 and now works as a product lead at Sky. 

I project managed the creation of an internal employee website from scratch for a campaign I was working on and loved it! I realised there was a whole career path within product and technology doing these kinds of roles. I started to book in chats with product owners, heads of departments and directors at Sky to get advice and slowly transitioned over to product and tech. 

Stakeholder management – being a people person is so crucial in a role where you rely on relationships to help get things done. 

I constantly had imposter syndrome. Sometimes women feel the need to fulfil 100% of a job description prior to applying, but the best advice I received was: “When entering a new role, you should actually feel incompetent. Once you feel competent it’s time to move on to your next role or challenge!” 

Building an automated, international volunteering portal for our employees from scratch. There are so many moving parts to a project like this, it’s a challenge of many competencies, namely project management.  

It’s constantly challenging, but just as equally rewarding. You also get to work with super smart people who you learn something new from every day.  

Get networking and book in a coffee with a colleague or friend who works in product or technology! 

All the female leaders I’ve worked with or have been kind enough to mentor me. Many didn’t actually come from science, technology, engineering or mathematics (STEM) backgrounds, so they gave me confidence that I could succeed in this area without a technical background or qualification.  

If you’re interested in switching career industries like Arshdeep did, check out our top tips on how to do so here. 

Ever wondered how activists stay motivated? In her role as an activist engagement intern at Greenpeace, Creative Access intern Salomé Revault d’Allonnes empowers and brings activists together in their fight against the climate crisis…

I work at the intersection of activist engagement and collective care training.  

A lot of my work revolves around designing and facilitating workshops with different groups of activists. I’m also supporting the Activist Development team in coordinating logistical and welfare support for activists before, during and after an action.  

In terms of digital communications and storytelling, I also co-edit the quarterly activist newsletter, regular email updates, website copy and I presented a social media video for our recruitment campaign. 

Collective care: programmes and practices which support the mental wellbeing of people who are part of causes and movements.  

I really enjoy how varied my role is. It combines many of my interests from my research and tutoring background to my more creative and storytelling side and, last but not least, my passion for social and climate justice and transformative organising. 

No week looks the same and that’s something I really value. 

I graduated from university in September 2021. I was initially looking to work in the documentary film sector, which I did for a bit, but the lack of security required me to work part-time in jobs outside the industry which didn’t work for me. I knew I wanted to tell stories that matter, speak truth to power and contribute to transformative change. 

I am grateful to Creative Access for allowing me to even consider such a well-known organisation in the environmental and NGO sector. I remember seeing the vacancy in a newsletter and thinking why not give it a try without realising that I could potentially be successful. It felt too big and unattainable. 

Creative Access were really helpful during the application process by giving feedback on a first application draft and organising a call with shortlisted applicants. That feedback really helped me refine my application and make it to the interview stage. I couldn’t quite believe it when I was offered the job! 

There were other internships being advertised at Greenpeace at the time I applied, but the reason I applied for this role in particular was its focus around building a culture of collective care in the activist network.  

With previous experiences around migrant justice and feminist organising, the concept of collective care really resonated with me, and I’ve been given quite a lot of freedom in designing that programme.  

I’ve been designing and delivering workshops to develop a culture of collective care with an anti-oppression lens with different groups of activists, volunteers and artists. 

My proudest achievement was when someone who applied to our new activist training programme mentioned a collective care session I had run in a previous volunteer gathering as one of the reasons why they were motivated to take action with Greenpeace! 

My advice would be what I keep trying to tell myself every day: your opinion and experience matter and have value. You have a unique perspective and even if you feel like you don’t have enough relevant experience, you have many transferable skills and there’s no way you’ll know everything about a job before you do it.  

Stay true to yourself and put forward all the things you’ve done and created, including in unpaid contexts. If you want to break into this sector, it means you are creative and passionate, and these are very powerful tools. 

Want to learn more about how you can pair a passion for sustainability with a career in the creative industries like Salomé? Sign up here for our upcoming masterclass on Thursday 30th March.  

A new press announcement from Creative Access on freelancers in the creative industries reveals that freelance talent demands change from creative organisations. Although freelancers are broadly happy with their career path, there is a breakdown in the relationship between freelancers and employers within the creative economy as 1 in 2 freelancers say they ‘don’t feel supported by employers’ they work with. 

Although demand for freelance workforce support in the creative industries shows no signs of shrinking, overall satisfaction is waning among the self-employed.

• Freelancers ask for reasonable adjustments & employer training to thrive 
• 50% of freelancers don’t feel supported by the employers they work with  
• 1 in 5 (22%) became a freelancer due to negative experiences in a perm role  
• Disabled individuals 30% more likely freelancing after negative perm role experience 
• 54% say they’re offered a day rate or salary below their level 

However, the research also showed that freelancers are overall pleased with their career path, pointing to several positive aspects about being self-employed, suggesting their job gives them satisfaction, namely around:  

• remote work (62%) 
• project diversity (61%) 
• independence (61%) 
• it being beneficial to their health & wellbeing (42%)  
• and freedom to select clients (32%) 

Read the full report: Freedom or working for free? Freelancers in the creative economy 2023

Read Creative Access’ employer resource here: How employers can better support freelancers

Want to know what’s it like working for an immersive theatre company? Did you even know that you could? In the latest blog for our series ‘jobs you didn’t know existed’, former #CAIntern Jessie Francis talks us through her very exciting role as a creative assistant at the trailblazers of immersive experiences, Secret Cinema…

This is always a fun question, to answer. I am a creative assistant at Secret Cinema – an immersive theatre company that brings beloved films, television franchises and even occasionally music to life. In our shows, the audience are not passively watching the narrative unfold, but actively find themselves in the story, uncovering deeper layers of character motives, backstories, mysteries and secrets. Essentially, it’s a bunch of people creating the most elaborate fan-fiction you have ever witnessed.  

Being in the creative team, we are responsible for ensuring our shows encompass cohesive and innovative storytelling or world-building across the narrative structure, the set, the performances and some marketing assets. I also bring additional skills to the role through my illustration and video editing skills – so it’s wonderful being able to contribute to the creation of our shows through my many multi-hyphenate interests. 

Any part where I get to dive into story, or a character, or world development. I adore how research can inform a narrative and create a story that audiences can logically follow and understand; which then enables us to push the boundaries of surrealism and theatricality. So, whether you’re faced with Regency Lady Gaga performances, epic scale alien battle sequences or intimate conversations with characters in rooms, where you have no idea how you entered (or even where they are), the roots of the story and world are always grounding you and driving your experience.  

I will always be grateful to Creative Access for pushing job roles and careers that I never knew existed, because I didn’t go looking for this job at all. I didn’t even know to look for this job.  

I graduated from university in 2019 with a first in animation, and when asked what I wanted to do, I didn’t have a specific vision; but I knew I wanted to work in a story department, or in a writers room, or in story or character development. I was like Lily Allen in the beginning of her LDN music video: ‘Um I’m just wondering have you got any like sort of punky electronica grime kind of like new wave grime but kind of like maybe more broken beats like kinda dubby broken beats but a little bit kind of soulful… do you know what I mean?’. No one knew what I meant (I don’t think I did either.)  

I started off in 4Creative – Channel 4’s in-house creative team – on a 3-month traineeship (courtesy of Creative Access) where I edited and wrote scripts for trailers. I then went on to work as a scene build and prop design artist for Blink Industries x Netflix’s charming, spooky, queer animation series Dead End: Paranormal Park. I was job hunting for my next role prior to my contract ending, and on a whim, I applied to a Secret Cinema creative assistant role that was advertised on the Creative Access opportunities page. It turned out that many of the skills I possessed, and was interested in pursuing, made me the perfect fit for a company where everybody wears many different hats and brings so many varying abilities to their roles.  

It would have to be Secret Cinema presents Bridgerton. It was my first show, and I remember sitting in the writers room surrounded by talented creative directors, performance directors, actors and writers and just wanting to absorb all the knowledge everyone had, whilst simultaneously wondering how the hell I had got there. It was surreal and amazing.  

My only real advice would be to not limit yourself to what you believe you are qualified for. I read somewhere once that men apply for jobs even when they are underqualified, but women only apply if they believe they are overqualified. This has stuck with me, and so I applied for anything that caught my interest and didn’t get caught up in the details of what I had studied or been trained for. Skills can be transferable, softwares can be taught – YouTube and google are your best friends.  

At my core, I knew I wanted to be a storyteller and artist, and so although editing trailers, designing props for animation and creating immersive theatre all seem vastly different, they all share the core function of visual storytelling. So don’t limit yourself, and don’t feel embarrassed or flaky for career or industry pivoting. Everything you try and everything you learn will inform and equip you for whatever you do in the future – no matter how disparate it may seem from where you came from. I still adore animation, and would love to return to it one day, but I’m thoroughly enjoying my time in theatre – a medium I was so interested in as a child, and never thought I was talented enough for. And who knows, there’s probably a world in which both can be combined. 

Check out Jessie’s illustration and editing work here, and her blog here.

Sign up to our opportunities board and find your creative role here.

In this series, Creative Access is focusing on the amazing jobs happening behind-the-scenes in the creative industries to hopefully inspire you to think about some roles and career paths that you might not have heard about before!

Former Creative Access intern Kaler Wong tells us all about his career journey from curatorial and artist administrator at White Cube to gallery assistant at East London-based contemporary gallery, Kate MacGarry…

I work as a Gallery Assistant at Kate MacGarry, a contemporary art gallery in East London. We put on six exhibitions a year and support the artists we work with in external shows, commissions and lots of different projects.  

I work as a Gallery Assistant at Kate MacGarry, a contemporary art gallery in East London. We put on six exhibitions a year and support the artists we work with in external shows, commissions and lots of different projects.  

We’re a very small team of six so the job is really varied and involves things like assisting with exhibitions and art fairs, administration, marketing, front of house, organising events and even condition checking works of art (below: check out Kaler and colleagues checking some prints, and take the time to appreciate ‘our beautiful bookshelves which took a whole day to arrange’). I’ve done everything from shopping for purple hydrangeas for an artist’s work to model-making miniature booths for art fairs. 

Spending time learning about an artist’s practice and then having the chance to meet them and work with them on an exhibition. We work with 21 contemporary artists (and two artist estates) who work with all sorts of media and are inspired by so many different things. I’ve learnt about ornithology, carpentry, prehistoric archaeology and Malawian history to name a few areas. I enjoy hearing artists speak about their own work and what they are trying to achieve. As an artist myself, I really enjoy seeing the development of the ideas of others, as they form something physical and concrete, and overseeing the whole exhibition process.  

I also enjoy talking to guests about art as we get a lot of different people who visit the gallery. We often have groups of students from art schools who visit with varying levels of enthusiasm (occasionally students look bored out of their mind but thankfully they’re an exception). It’s good public speaking practice and ensures I’m knowledgeable and on message on the show itself. (See image of Kaler below giving a talk to a group from Kingston School of Art). We usually have the artist give a short talk to staff about the show before the opening which is invaluable for more personal insights and interesting details. 

I got into this role after a year-long traineeship at White Cube gallery, an opportunity I got through Creative Access. Honestly, I really didn’t think I would get the role, after having applied and then been rejected for a number of similar junior positions at other galleries. That was a really great experience in learning how the gallery system works and opening my eyes to the number of different roles and people that come together to put on an exhibition and support artists. 

White Cube is a mega-gallery which represents some renowned international artists, so I tried to make the most of the learning opportunities. I was lucky to have a really helpful manager as well as an amazing mentor who made me feel well supported and comfortable asking stupid questions. It also taught me a lot about how to work with people and the importance of communication, from observing how my colleagues dealt with different pressures, to dealing with demanding or temperamental artists (which I saw a fair amount of). 

Previously to that I did an undergrad degree in history and a master’s in art history. The art industry in general is really overqualified – I didn’t need the master’s degree to do the job, but I probably needed it to secure the role. I had previously volunteered at a couple of arts organisations and have always enjoyed making my own art @kqhuangart – which also gave me marketing skills.  

Something that has really helped in my roles so far has been making an effort to see exhibitions and writing about what I’ve seen. When I moved to London for my master’s degree, I was visiting at least three exhibitions a week (admittedly quite easy in London, it may be harder elsewhere). The more you see, the more you can contextualise things and learn what you like. Being able to speak coherently about an exhibition I’ve seen or about artists I like has been very useful in interviews and more generally. It’s easy to be discouraged when things are not going your way and you’re applying for jobs and not getting anything back. But, if you’re passionate about art, don’t stop attending exhibitions and reading about them.

Looking to enter the museum and gallery sector? Find opportunities here!

Ever heard someone’s job title and thought: “Wait, you can do that as a job?!”… This month, we’re highlighting all the coolest jobs happening behind-the-scenes in the creative industries that you never knew existed. In today’s blog former Creative Access intern, Ayodele Ogunshakin fills us in on her time working as a storyliner on one of the UK’s longest-running soaps, Coronation Street.

As a storyliner, I worked as part of the Coronation Street story team to pitch, develop and write storylines. The team comprised of an assistant storyliner, storyliners, senior storyliners, story editors and a story producer.  

I really enjoyed attending story conferences; as nerve-wracking as it was, I loved pitching my ideas and writing them. It was also great to work with such a talented and encouraging team, and I always found it surreal to see plot lines we talked about and developed just months earlier, brought to life on screen by the editorial teams and the fabulous cast and crew.  

What is a story conference? This is a space to meet and network with other storyliners, script writers and editors AKA any roles involved with story and script developments on soaps. They usually consist of workshops where writers can work on pitching, testing out and sharing ideas to ultimately help them create and develop their skills.  
 

The team at the famous British soap, Emmerdale, organised a storylining workshop in Media City and I was really curious because I had never heard of the role before. After attending the session, I realised it was the job I had always wanted but didn’t know existed. We were all given storylines to write after the session and I received helpful feedback.  

Years later when Creative Access advertised a storylining workshop being run by Coronation Street I went along with a better understanding of what a storyliner does. Having learnt from my experience attending the Emmerdale workshop, I put the feedback I received into practice and secured an interview which led to a role as an assistant storyliner, and eventually a promotion to the position of storyliner. 

If anyone is interested in becoming a storyliner, I would encourage them to look out for workshop opportunities as they provide incredible insight into the role and what you can expect when working as part of a story team.  

I recently moved to Canada and have been learning a lot about how the industry works here. I love writing and creating characters, so I plan to continue doing that and I hope to have my personal projects and scripts produced soon too.    
 

Read more of Ayo’s advice from when she was a panelist at our creative industries showcase in Leeds here. 

Looking for your next role in TV? Check out our opportunities here.  

This month, Creative Access is focusing on the jobs you didn’t know existed. That means all the amazing jobs happening behind-the-scenes in the creative industries to hopefully inspire you to think about some of the career paths you might not have considered or known how to access before. This week former Creative Access intern and current guest artistic director at the Kings Head Theatre, Isabel Adomakoh Young tells us all about her new role…

I’m an actor, writer and voice artist so I do a lot of different projects, but my main role at the moment is Guest Artistic Director (GAD) of the Kings Head Theatre in Islington. I am programming a season in spring for them, which means I choose what shows will perform at the theatre during that time. 

The role is a newly invented one as the theatre doesn’t have anyone currently doing the job of Artistic Director, so they’ve chosen to invite four theatre artists to do it in the interim as part of a project called ‘The Takeover’. Usually, being Artistic Director (AD) of a theatre company or theatre involves other elements beyond programming too.  

I’ve called my season ‘Sight Unseen’ and I’m asking the questions: “Who should finally get their turn in the limelight?”, “How can we take a fresh look at old narratives?” and, “What have we taken as read without ever asking ourselves why?”.  

Being a GAD involves a number of tasks… 

Planning  

• Designing my season, writing some text that explains my vision and what type of work I’d like to see 
• Researching and contacting artists I like to see if they’d like to propose a show  
• Reading applications from the public ‘open call’ and opening a conversation with projects I like the look of. Most projects will be headed up by a producer and will have a writer (whose script I’ll read) and possibly a director and cast also attached, though that can also be arranged later.  
• With the information they provide about their productions, deciding how many performances the show should do and what time it should go on. Alongside our ‘main’ shows that do 6 performances a week, we have shorter slots and late-night ones that better suit comedy or cabaret. 

• Most slots require a refundable deposit from the production, but for the latest evening slot we simply divide box office takings between the theatre and the company. 
• Working through the financial, time and production requirements the theatre has with the producers and negotiating how those can work for each project.  
• Drafting and issuing ‘Deal Memos’ which act as a contract, once all points are agreed.  

Execution  

• Handing over to the theatre’s in-house producers to see the show through to opening night.   

• Promoting the season, creatively supporting the artists I’ve booked, fostering networks between them, and being a vocal champion of the work.  
• Us GADs also receive skill development and mentoring as part of the role, so we attend workshops, one-to-ones and networking events.   

It’s very exciting thinking and researching who might fit my season. Despite the somewhat uncertain outlook in theatre, there are always amazing artists full of ideas and determination out there. I love finding new theatre companies or writers and thinking: “I have an opportunity that could help you grow and succeed”. It’s an interesting challenge navigating what the Kings Head audience might be interested in, what I think might sell, and how to achieve a balance of different types of work and topics across the season. The best moment is when you’ve made a formal offer and they reply saying “Yes please!”.  

Part of the invention of The Takeover at the Kings Head was because the existing path to becoming an Artistic Director is very opaque. There’s no specifically required skillset or professional background, and the way people achieve it is not clearly set out; it’s often based on ‘relationships’ with theatres and powerful people. The exciting thing, though, is that one can come at it from different directions – you don’t have to have been a theatre director, for instance. As an actor, my experience has been more on the making shows side rather than running a company or building. The Takeover means I’ll be better prepared if I ever choose to pursue becoming an AD.  

As for how I attained the role – full transparency – I was asked by simple invitation. While I was invited to take on this role, the theatre has assured me they will look at making the process much more accessible – so keep an eye out for that!  

Reflecting more broadly on what got me the offer, I’d say every job, from my internship via Creative Access with a literary agency, to being in a drag collective, to running my own arts festival on a shoestring, brought me experience and insight that I’m using now. It’s not always obvious how, as the industries ostensibly differ a lot, but knowing how to handle artists, or familiarity with contracting, or simply an appreciation of an art form, can prove useful in unexpected ways in this sector.   

And importantly, courage and a bit of self-belief helped. I nearly turned this opportunity down, feeling inadequate, but my mum told me “Say yes, and figure out how to do it later”, which is exactly what the Kings Head were inviting us to do!  

I can’t talk yet about what’s on in my season but performing at the Kings Head in 2021 was an amazing experience. They ran a season called ‘Barstools to Broadway’, about their 50-year history as a fringe theatre nurturing shows and writers that went on to huge things in the industry, and I loved reading an early play by a writer I love and respect, Stephen Jeffreys, as part of that. I’m actually using his book on playwriting to help me write my first play now!  
 

1. Don’t be shy! Shout about your work and your achievements, because you can trust that other people will be shouting about theirs. Put the effort into presenting yourself well, as well as your work; for better or worse in the arts, opportunities come when people perceive you to have potential. 

2. But alongside that, create relationships where you back one another. It can be a lonely industry and a boost from someone you rate will keep morale high and hopefully get you both some work/ audiences. 

3. See other people’s work and think critically about what you liked, what you’d do differently. Also, keep abreast of opportunities like grants, workshops and networking events. There’s so much out there that people just don’t know about, and these can be a great start to a relationship with an institution too. Think of yourself as part of an industry you can both benefit from and change for the better.  

Keep up to date with Isabel’s projects by following her on Twitter here, or visiting her website here.

If you’re feeling inspired to find a new role in theatre, you can see our opportunities here.

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.

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.

For Creative Access’ latest masterclass, Warner Music UK hosted a stellar panel of speakers working in different arms of the organisation to discuss the rich variety of roles on offer behind-the-scenes in the music industry. 

Our chair Jeremiah Gogo is the head of data & A&R analytics at Atlantic. He delivers research and analysis projects to help inform marketing, A&R and streaming decisions.  

Arina Logacheva is the senior A&R Manager at Parlophone. She was previously the first female A&R at Sony Publishing Scandinavia.  

Maláika Carr-Haji is a marketing manager, Warner Records, where she has worked since 2019. Maláika is also a content creator and tastemaker.  

Priya Jaspal is the head of streaming & digital at Warner’s distribution arm, ADA, working across multiple platforms including Spotify and TikTok.  

Rotimi Skyers is digital and marketing at Warner Music Group’s Rhino label and formerly he was at Universal Music Group. 

Different paths – how can you land a role in the industry? 

When asked about how they got into the industry, each of our panellists had differing career journeys but agreed that networking and demonstrating your passion for music will get you far. Both Jeremiah and Priya went down the more ‘traditional’ routes of getting internships at record labels (coincidentally – both at Universal at around the same time!) and then worked their way up from there. Jeremiah and Priya emphasised the importance of being ‘in the room’ and embracing every opportunity you’re given. Priya built on this to explain: “Put your hand up to every task. Learn and do as much as you can. Spot gaps in what you think people need – how can you make somebody’s life easier?” 

Meanwhile, Arina has been in the industry for 10 years and said she had spent time volunteering at music festivals, working in radio and taking part in mentoring programmes, before getting told her opinionated nature would be perfect in an A&R role. She said that if you want to work in A&R, the best thing to do is start yourself: this could look like going out there and managing an artist or putting on club nights. “You need to speak the same language as the artist”, she says. The most important part of being in A&R is being able to connect with people at every different level.  

Both Maláika and Rotimi didn’t start off working in the music industry at all. Maláika had always worked in retail, but she spent time outside of work talking about music online and establishing herself as a tastemaker. This led to her applying for an internship at Warner, and despite not having the ‘work experience’, her passion for music meant she was offered an assistant role instead. She advised to think about what you’re currently doing that shows you actually have an interest in the industry you’re coming into. “When I turned up for my internship interview, I spoke about things I was currently doing – I had a playlist, I was on a show on Linkup TV, I was also trying to get a show on Rinse FM – even though my CV was just retail and I don’t have a degree, the things I was doing in music were what got me the job,” she said. 

Rotimi who studied architecture at university, stated that he “didn’t take the standard path”, explaining that he did “everything under the sun” from working at McDonalds, to carpentry, to doing exhibitions. He then fell into his data analyst role and applied for an internship at Universal. Similarly to Maláika, they said he was applying for the wrong job and they offered him a job in digital marketing instead proving the importance of putting yourself forward for opportunities even if you might not be considered the right “fit”. Rotimi explained that it is vital that if you haven’t got the experience, do your research before an interview: “You get one shot, go for it”.  

Researching your role and the industry is something Jeremiah agrees with. He says that you should “get to know the tools that the industry is using”, stating that in data, Chart Metric is a great tool, sign up for a free trial and play around. This can help you stand out amongst other candidates.  

“It all comes down to the human element” – what’s it like working in music? 

Our speakers all agreed that data and new technology such as streaming and TikTok is playing a huge part in the ever-changing landscape of the industry. Jeremiah and Arina noted how important data is for A&R and marketing, but they insisted that while data helps, you still need to use your gut and emotional intelligence to discover new artists and get the deal signed.  

As for marketing artists now with the rise of TikTok, Maláika explained that whilst there is an over-saturation of new music and you’re competing for everyone’s attention, her job is to “champion the artist and their story, and their music”. For example, with Pa Salieu, Coventry was integral to his campaign and she had to ensure that came across, as well as ensuring that they used photographers and videographers who could capture black skin. “We work in a business, but we work with artists every day. Once they’re at a place where their happy to bring out music, my job is to support them in any way I can,” she said.  

Like Jeremiah’s role, Priya’s job is pretty new and only came about in 2014 post the growth of streaming. While she’s aware that people don’t really understand what her job is, she describes its 3 different pillars:  

1. Sales pitch – trying to sell the artists to Spotify, telling the story in an authentic way and getting them on playlists 

2. Marketing – pitching for billboards and campaigns  

3. Data – you don’t have to be a data expert but you need to understand trends in data and think about what the artist needs in their campaign to feed into their streaming story  

She explains that her role bleeds into data and marketing, highlighting the collaborative nature of working in the music industry. Similarly to Maláika’s story about Pa Salieu and the importance of understanding your artist, when Priya led streaming on Central Cee she stated that it “all comes down to the human element”. She went on to say, “we have to lean into what he wants and just advise him on what’s currently happening in the industry.” 

Rotimi works on historical artists: his job is to repackage and retell these stories. Much like Maláika and Priya, he says that the “beautiful” part of his job is to “make sure the stories are still being told with love and care”. He works on everything from big artists like David Bowie’s catalogue, to Kate Bush’s syncing with Strangers Things, to Warner’s Black British catalogue who weren’t supported enough in the first run, explaining that now he can give these hidden gems a second life.  

What challenges have you faced in your career? 

As with any job, there are challenges. Maláika explains that being from an under-represented background in music can be difficult at times: “There’s being a woman, there’s being a Black woman. Also depending on your class, that factors in.” She states that it’s harder as a junior being around men as “your voice might not be heard”, but she highlights the importance of seeing female role models in leadership positions in giving you hope of what you can achieve.  

Rotimi said: “Being Black and where I’m from, you get pigeon-holed because you’re in an office with people who aren’t like you.” He continued that he’s had people question his vocabulary, but he advised the importance of utilising your knowledge and recommended networking – “there will be people in the building who can relate to you”. This partners with Maláika’s advice of finding the power of your voice and knowing the importance of it so that no matter what room you’re in, you’re adding value. 

Overall, our panel agreed that in the music industry you have to have confidence in your own opinion and trust yourself, but that this can be built upon simply by having a passion and love for music and telling stories. 

A massive thanks to our panel for their honesty, advice and for sharing their inspirational career journeys with us. Keep an eye out for details on our next masterclass on 5^th December 2022 which is being hosted by the Financial Times!