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!  

Are your finances affecting your wellbeing? Do you know how to budget? What’s the best way to pay off debt? For our July 2022 Creative Access masterclass on finance, we were joined by two brilliant panellists to tackle these questions and more.

Peter Komolafe is a financial expert and a content creator. Peter has been on a journey from foster care and being homeless to the executive team of a multinational Fortune 100 company in Canary Wharf. He is qualified as a Financial Adviser and a Mortgage Adviser, and has held key roles at numerous financial institutions.  Peter’s passion for the financial markets and his mission to demystify the unnecessarily complicated world of investing has led him to create Conversation of Money, a cross-channel platform with over a million viewers and listeners globally.

Interviewing Peter and bringing her own wisdom to each topic is Emma Munbodh, the Deputy Editor for The Times Money Mentor. Emma started out in the field as a Creative Access intern for MoneySavingExpert.com founded by Martin Lewis and has since been a journalist for more than a decade. Emma was formerly a money editor at the Daily Mirror, and has worked at The Independent, London Evening Standard, and Closer Magazine.

As Peter kicks off, he outlines what got him interested in talking and thinking money. His first motivation was experience, he says; at different stages of in his life, he has experienced poverty, homelessness, and massive debt. Now that his circumstances have changed, he wants to bring pragmatic information about personal finance that have helped him get to where he is to a wider audience. So what are the key points to take away?

Goals are a starting place, not just something to work up to. Peter encourages anyone who wants to gain better control over their finances to firstly identify a clear goal. Maybe this means paying off credit card debt, creating an emergency fund (3+ months of income to fall back on if needed) or maybe it’s saving to buy a house. The more specific the goal the better, as this allows you to set the figure you want to save and a realistic timeline to get there. Then it’s about working backwards to understand what balance you need to strike between spending and saving to get there.

Asked about what can be realistically achieved on a lower income, Peter says that you shouldn’t be put off planning for the future but it will take more time, and require discipline around spending. He quickly illustrates the way that income can be broken into three chunks: essential, discretionary, and savings. This is a simple way to visualise where your money is going and what you can afford to spend in your day to day while keeping faithful to long-term goals.

Find the right tools for you and start using them. The benefits of the digital age shouldn’t be overlooked, Peter points out. There are a lot of free resources out there, including on social media platforms, sites like MoneySavingExpert.com or Times Money Mentor, and video content like Peter’s own YouTube channel. Some banking services – including Monzo and Lloyd’s – offer the possibility of a ‘rounding up pot’ feature that brings all your transactions to the next pound above and automatically deposits the extra into your savings account. There are tonnes of useful tools out there and Peter stresses that it’s important to do your research and find out which products suit you.

Open up the conversation. The panellists agree that money can be a taboo conversation. But Emma is very direct in saying that, economically speaking, we’re in very strange times and this requires tackling the conversation head on. ‘Talking about money has never been so important; we’ll all be impacted by inflation and the cost of living.’ One approach for more honest and productive relationships when it comes to talking money is the idea of an ‘accountability buddy’. If you’re feeling overwhelmed at the thought of managing your personal finance, why not get someone else involved? Sharing your goals and checking in on your progress can be a great way to alleviate anxiety and form solidarity with someone who’s in a similar boat. Peter adds that your savings aspirations in themselves can be motivating and improve your relationship with money, because they allow you to look towards the future in a positive way.

Peter and Emma cover an enormous amount of ground in their conversation not covered in this article. What exactly is an emergency fund? How do you stay on top of your different income channels if you’re a freelancer? To side hustle or not to side hustle?

Watch the full discussion on our YouTube channel here to catch up on the whole conversation, including live questions from the audience.

A huge thanks to both Emma and Peter for joining us and sharing their financial wisdom!

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!  

This Wednesday Creative Access partnered up with the one and only National Theatre to deliver a masterclass discussing how to navigate a career in theatre and the future of theatre both on and off stage. We were joined by Juliet Gilkes Romero, writer in residence at the National Theatre, Sara Bakhaty, Deputy Director of Marketing and Sales at the National Theatre and Ola Animashawun, who is a National Theatre associate, as well as connections dramaturg and co-founder and creative director of playwriting consultancy, Euphoric Ink. We were spoilt by their wealth of knowledge! The discussion, chaired by Lisa Jonas, assistant director of Business Planning and governance, provided an insight into a career within theatre and how the industry is growing from strength to strength after a long, hard two years of stagnation. 

We began by exploring the various routes our panel took into the sector, and with all members, this journey was not a linear one. Juliet came from a journalism background and maintained her love of writing by also joining writers’ groups, completing a masters and surrounding herself with like-minded people who were just as passionate about writing as she was. “There’s no straight line to this,” she says as she encouraged our audience to build resilience, “and there’s nowhere to hide on stage.” The importance of remaining true to yourself is a theme that continued through this masterclass, as we learnt just how your integrity can act as a magnet, or a beacon, shining to those who are willing to take a chance on your work. As a dramaturg, Ola’s role is vital in the process of bringing a script from paper to stage play. They are experts in the study of plays, musicals or operas and it is their job to provide the cast and crew with vital knowledge, research and interpretation for their works. He also sits on a board that discusses the wider programming at the theatre and is vocal about creating a strategy to address diversity within the sector. Having started out as an actor, Ola eventually found the right role for him, becoming an advisor, instead of being on stage. Sara also struggled to find the right fit, moving from a career in retail, initially into advertising agencies and latterly into theatre marketing. “It became apparent I had no passion for the things I was selling”, she told our audience, “then this role came up and it felt like a real natural transition.”  It is truly never too late to begin that change, and with the rise of the squiggly career, the working journey is no longer a straight line; instead, it’s quite common to change role, company and even career to find something that fits just right.  

Juliet shared an inspiring story about a play she wrote “At the Gates of Gaza”, which took seven years to go into production. She went on to talk about the play’s first bad review. “I wanted to shave my head and hide under the covers” she continued but stressed the importance of remembering the people who did support her and the impact her play had. She then shared a poignant quote from author Hilary Mantel; “The most helpful quality a writer can cultivate is self-confidence – arrogance if you can manage it,” finishing on the note that you may have to believe in yourself way before the world does. Ola agreed, encouraging us to “keep the faith”, especially with freelancing and the issues that can sometimes arise. The instability means it’s necessary to have a fallback option, but this shouldn’t deter you from theatre if it’s truly your passion. Juliet adds “get serious about your finances” as there may be times when work is a little quieter, and you will still have bills to pay. Both Ola and Juliet wouldn’t change their careers though, as their love of culture, theatre and playwriting allows a richness, and pride that almost jumps off them as they speak. 

When asked about marketing in theatre, Sara had lots of gems to share. “The fundamentals are the same” she begins, “as you still identify your market and create a campaign, but it begins to get a little more complex.” The hardest thing, she admits, is capturing the essence of a 90-minute play into a short Instagram advert or a poster you might see on the tube. A marketing campaign not only has to incite interest but pique it enough so that seats are filled at the play. When the average attention span is 8.5 seconds (a goldfish’s is 9!) this can take a little work. Sara also says it’s important to think about the existing experiences, and how they can be used and translated for new work. Marketing in theatre is a fantastic opportunity for those who don’t want to be on stage or write, but are still passionate about the sector, and creative enough to find new and innovative ways to share and spread their excitement. Its career trajectory is wide, with many entry positions. Although it’s competitive, Sara tells us not to give up! If you can’t find a direct marketing role within the theatre, find a marketing role in another adjacent sector. “Sometimes it’s the sidesteps which are the most interesting”. She finishes by telling us “It’s never too late” as she made her career change at 30 and is now super excited to come to work as she is surrounded by culture, music and art that she finds interesting.  

We finished our evening by touching on the future of theatre, the still very present issues surrounding diversity and the moves that need to be made to create an industry that reflects our society. Sara openly admitted that theatre needs to do better, especially surrounding progression. She’s passionate about “continuing to nurture the talent” as there are a few entry-level roles, but this means nothing if retention is poor. Ola agrees, advising us to look at the organisations and hold them accountable. If you walk into a room where no one looks like you, be prepared to ask why, and question any answers you aren’t content with. If we aren’t prepared to ask uncomfortable questions, diversity may take a lot longer than necessary. “It’s never over till it’s over” Juliet adds, “we are always on the verge of having improvements taken away.” Theatre has made strides, but the walk is long, and we must be prepared to fight to make space in places where we too can belong.  

We’d like to give a special thanks to Lisa Jonas and the National Theatre for hosting our first in-person masterclass in two years since the pandemic. We’d also like to extend a special thank you to our amazing panel and all of you who attended. We hope you enjoyed it, and we’ll soon be back with some more in-person masterclasses – hope to see you there!   

19^th June marks World Sickle Cell Day, a day that aims to raise awareness of sickle cell across the world. In this resource, admin & recruitment assistant, Courteney, shares her tips on handling sickle cell in the workplace so you can find the support you need. 

I have been diagnosed with sickle cell anaemia since birth, it’s classified as a long-term health condition that in essence means your red blood cells are shaped differently. This means they can get ‘stuck’ in blood vessels, which causes a lot of pain and many other complex issues with the body. 

Having sickle cell can be quite unpredictable and it can impact people in a variety of ways. Some of the symptoms that occur for me include anaemia, fatigue, jaundice (in the eyes), and sometimes full-blown sickle cell crisis.  

A sickle cell crisis can appear anywhere in the body from aggravating joint pain to not being able to walk. 

Communication is key when handling sickle cell at work. I’ve been very open with my team about my condition and the needs that come with that and I always ask for help when need be. Having an understanding team and a supportive work environment is how I’m able to work at my best, and when I’m at my worst I know that I have reliable people to lean on. 

Living with the condition for so long, you tend to build up practices and learn the signs of an incoming sickle attack, learn how to pay attention to your body and prepare the best you can. 

The main practices I’ve learnt to implement in the office are: 

• Keeping blankets in my bag and layering up when cold (even when something small like the aircon is switched on). 
• Always having a drink on hand to remain hydrated. 
• Worst case scenario carrying around my medical card to be my voice when I’m unable to speak and to give those around me a clear understanding of what I need. 

For more support and resources, visit the Sickle Cell Society website: https://www.sicklecellsociety.org/  

Did you know: 

Approximately 15,000 people in the UK have sickle cell disorder, and this year Creative Access has teamed up with the Sickle Cell Society to support their latest blood drive campaign, Give Blood Spread Love: https://www.sicklecellsociety.org/blooddonation/  

There is a growing demand for better-matched blood types within the UK to provide life-saving transfusions for people with sickle cell. NHSBT estimate that 40,000 new black-heritage donors are required this year to meet the needs of sickle cell patients across England. Please share this link with friends and family members so we can increase blood donations for people with sickle cell and save lives today: bit.ly/scsgiveblood 

By April Brown – programmes manager, Creative Access

For Carers Week 2022 we want to remind our community about the findings of our Young Carers research and encourage employers to support carers in the workforce. April Brown who is both a carer and programmes manager here at Creative Access shares the benefits carers can bring to the creative workforce and the steps employers can take to make it more inclusive for them.

Have you ever cared for a friend or family member who, due to illness, disability, a mental health problem or an addiction cannot cope without your support? There are over one million young people in the UK who are trying to navigate their personal, academic and/or professional lives while facing the daily pressures of caring for someone who cannot look after themselves. Many of these young people are now doing so with increased pressure due to the impacts of the coronavirus pandemic.

Since 2012, Creative Access has been working to enable people from communities that are under-represented in the creative industries, to access careers, progress and reach leadership. We’re aware of the numerous barriers people face when working in the sector and we wanted to raise awareness today of the young carers and young adult carers in our community who deserve to be supported.

• 58% of young carers are caring for longer as a result of the pandemic and lockdown and are spending on average an additional ten hours a week or more on their caring role
• 78% of young adult carers aged 18 to 25 were experiencing an increased concern for their futures since Coronavirus

Our Young Carers survey and focus group was conducted to coincide with Young Carers Action Day on 14^th March to help understand the impacts of caring responsibilities on emerging creative professionals who identify as carers and how we can better support their needs in the workplace.

This year, many creatives have started to transition to hybrid or in-person working practices after working in isolation for the last two years. Since 2020 we have had to adapt to social distancing, support bubbles and numerous lockdowns juggling domestic life with remote work and/or learning simultaneously. This exceptional period initially allowed us to slow down, reflect and shift our approaches to work and life, with some beneficial side effects. In December, we released our updated research highlighting the impact of covid-19 on under-represented communities with 26% of participants citing flexible working as a positive outcome of the pandemic, something that the majority of our young carers also identified as a huge help. It is important to remember that for many employees and freelancers this flexibility is still an integral factor towards being able to cope with work and caring responsibilities and that many of the people being cared for are still vulnerable and shielding. The pandemic isn’t over yet. It’s also important for employers to be aware of their duties under the Equality Act 2010 which states that a carer cannot be discriminated against on the basis of their association with a disabled person.  

In the same vein, industry events have been adapted over the last two years to accommodate virtual audiences which allowed for greater opportunities to engage with local, national, and global communities. It would be a great disservice to those who aren’t physically able to participate if this wasn’t continued; especially as we have all become so familiar with virtual platforms like Zoom. 80% of the carers we surveyed felt like they had missed out on opportunities in their career due to caring responsibilities and 60% said they were unable to network or attend industry events.

Our findings also highlighted the unique skills and attributes that young carers can bring to the workplace with participants stating their empathy, time management, awareness of accessibility, patience, and crisis management abilities, as well as practical skills such as first aid training and Covid awareness. 

Unlike parents, many carers are invisible in the workforce, reluctant to discuss their personal situation due to stigma and unaware of the support available to them. 30% of our respondents felt like they weren’t supported in the workplace and 10% couldn’t work due to their caring responsibilities. Caring is often less predictable than child-care. Flexible working policies need to include the flexibility to change arrangements as caring responsibilities change. They also need to recognise the possibility of emergencies arising.

• Implement flexible working policies compliant with the current law, and allow as much flexibility for change as is consistent with business needs
• Review all your employment policies to ensure they are ‘carer friendly’
• Quote carers specifically in policies and other documentation or create a policy specifically for carers
• Nominate a key contact in the workplace
• Set up an internal carers group or forum – to allow carers to meet together occasionally

Michael Irwin – Co-Chair of Tate’s Parents & Carers Network upholds the value of an internal carers group:

They can tell you what will really make a difference to their ability to do a good job for you and keep up with their caring responsibilities at the same time. There are often small and inexpensive things employers can do to help – such as:

• Allowing carers to leave mobile telephones on in meetings in case of emergencies
• Flexing start and finish times to help people deal with caring commitments before and after work
• Allowing carers time and access to a telephone to check on the person they care for from time to time during work hours

Surveys, focus groups and employee carer groups are all useful ways to find out what the carers you employ would value.

For more employer advice and ways to get involved in Carers Week 2022 visit:

Carers Week: https://www.carersweek.org/ways-to-get-involved/for-employers/

Employers For Carers: https://www.employersforcarers.org/

Carers UK: https://carers.org/working-and-learning/how-employers-can-support-carers