Creative Access is super excited to collaborate with Carolyn; a 25 year old freelance copywriter and founder of Word Tonic. Carolyn spends her days crafting carefully curated lines for ads (like the kind you read on billboards), blog posts (just like this one!), and even funny little captions on social media.

Like most of us, she wasn’t told about this career at school and went on a tipsy topsy journey to get to where she is today. So if you want to find out what a day in the life of an actual copywriter looks like – and get a few tips along the way –  just read on!

Ok, but who am I and what is copywriting?

Helllllllo! Carolyn here. I thought it kind of made sense to tell you a bit about my journey into copywriting.

But first…what is copywriting?

I get asked this question a lot but in a nutshell; it’s writing stuff for brands. It’s marketing material. It’s that blog post you just read on how to make banana bread. It’s that ad you saw on the tube that made you giggle. Even the funny writing on the side of Oatly cartons is copywriting:

Now I never even knew that this career existed at school. And I kinda feel like that’s a canon moment for most of us. The kids who were good at science and STEM subjects had THE WORLD ahead of them but us English Lit kids? Nah. We either had to write a best-selling book or become a journalist. And if that didn’t work out, maybe get into teaching. I still remember going to my ‘careers advisor’ and telling them I loved writing. 

Their response?

“Honey, do you really want to become an English teacher? Because that’s the most viable option.”

Thanks for nothing Mrs Smith.

ANYWAY.

With basically no help from school, I decided I’d just go to uni. Because that’s what everyone else was doing and well…it would buy me time to figure out the rest of my life.

So, I went to study English (surprise) at Queen Mary University of London but…I just didn’t love it. I hated analysing why a door was blue and to be totally honest, I couldn’t afford it. My dad’s a postman and my mum was a nanny –  and they were both alcoholics. I love them, but it made juggling studies really difficult.

So, I decided to quit. But luckily within the last few months of making that decision, I found out about freelance copywriting and realised I’d finally found a career that made me excited.

I could write for a living. I could be creative. And best of all – since it was freelance – I could travel. Be my own boss. Have autonomy.

And that’s how it all started.

Now? I’ve been a copywriter for eight years and I’m also the founder of Word Tonic; a community of 2500+ gen-z copywriters.

What is Word Tonic?

Word Tonic is basically an online learning platform and community for young people to learn about copywriting and level up with lots of resources.

I created it because I was tired of always being the youngest one in other copywriting communities and I wanted to create a more accessible route into the industry. Especially for people who maybe don’ t have degrees or don’t look ‘great’ on paper.

Now we do weekly copywriting masterclasses with brands like Marvel, briefs to help build up your portfolio, live writing challenges with brands, and host live networking events across London.

What does a day in my life look like?

Freelance copywriting is very different from a normal 9-5. I don’t have a ‘boss’ breathing down my neck asking where my work is. I’m not clocking in or logging my hours. I don’t even go to the office. And the best part? I can travel while I’m working-  as long as I get the job done. So I thought it would be cool to give you a peek at what a normal day in my life looks like. No sugar-coating whatsoever.

8.30am; wake up, snooze, repeat

I used to be a barista for exactly one week and a half (I couldn’t take the pressure) and I remember having to wake up AT 6AM to be there for the store opening. And that’s one thing I love about freelance copywriting; no set work hours!

Since I work for MYSELF, I can decide when I get up. And I’ll be honest, some days are rough. Some days I’m feeling a lil bit low. Other days I might have woken up feeling like death after scrolling on Instagram until 4am. And on those occasions, I’ll sleep in. Sometimes even till 10am.

But most days I get up at 8.30am and start my day.

OH and this will be my ‘work outfit’ for the day:

LIL FREELANCE COPYWRITING TIP: I won’t lie – having this freedom is great but you do need to have a certain level of willpower and ambition to get stuff done. Because yes, you can wake up when you want and work when you feel like it –  but only to a point if you actually want to get paid. 

So my best piece of advice for those days when you’re feeling uninspired and totally ready to just veg with your Nintendo Switch? Have a reward set up for later in the day. I literally tell myself, ‘Carolyn, you’re gonna get to watch Real Housewives and eat chocolate.’ It sounds SO dumb, but it honestly does get me out of bed.

9.00am; breakfast (and by breakfast I mean coffee)

Again, I’m just being honest here. I tend to just grab a coffee and start working right away. I’ll usually look through my emails, catch up with any client comms and get my head straight for the day with some sort of to-do-list.

9.15am – 11am; client briefing 

After putting on a semi-decent shirt (I’m still wearing my boyfriend’s boxers but they’ll never know) I hop on a call with one of my clients. Some people think copywriting is just WRITING and that no human interaction is needed. Not true. Even if you’re an introvert, you’ll still need to attend meetings – especially if a new brief comes through. 

So on this call, I was given a brief to write my client’s monthly newsletter and to write a blog post on sales psychology. After the call, I spent about an hour dissecting the brief to make sure I understood what was being asked of me and started planning my work!

LIL FREELANCE COPYWRITING TIP: Freelance copywriting isn’t just about writing; how you interact with your clients is also A HUGE part of it. So you need to make sure you’re on top of emails and responding to stuff in a timely manner, and that you’re getting work sent in on time. BUT…and I found this out the hard way…never set the expectation super, super high. I remember at the start of my career, I was eager to please please PLEASE. So as soon as I got a brief, I’d aim to get the work done within 2 days. Even if the deadline was in a week.

 I just wanted my clients to think, ‘wow, she’s fast!” And they did love it. But soon, it became something they expected. So as soon as I started handing work in on the deadline date, they were disappointed. So instead of being eager-beaver, just get your work in one day ahead of the deadline – max.

11am-12pm; work and blank Google Doc syndrome

And now it’s time to workkkkkkkkk. I put on some music and I spend the next hour trying to come up with words and ideas related to the brief. About half my time is spent looking at a blank Google doc.

LIL FREELANCE COPYWRITING TIP: Writer’s block sucks and it never really goes away. You just get better at handling it and coaxing the creativity out. One way I like to do this is by ‘getting the gunk out.’ AKA, writing the worst way first. Let’s say I get given a brief to write a headline about chocolate. What I’ll do is spend at least 10 minutes purposefully coming up with as many bad ideas as possible- and writing them down. Sounds weird, but I find it a nice way of clearing out my brain before I get to work seriously.

12pm-1pm; lunch at my local

This is literally the only time I will make an effort (when food is involved).

1pm-2pm; Google deep dives and research rabbit holes

When I get back, I switch gears to work on a DIFFERENT COPYWRITING PROJECT. Because as a freelancer, I can have many different clients – all at once. Which in some ways is really nice; having the variety can be exciting. But it can also be a bit draining to switch between two briefs.

Part of my work with this particular project involves doing A LOT of research so I spend most of my time on Google Scholar trying to find sources to better understand the topic I’m writing about.

LIL FREELANCE COPYWRITING TIP: You’ll pretty much always need to do some kind of research for a copywriting project. But it will come especially handy when you’re writing about something you don’t 100% understand – or for a target audience you don’t relate to. Take me. The brief I got was to do with writing up a headline for an ad about football for male fans between the ages of 50-60. 

I don’t mind football but I definitely don’t know what being a 50-60 year old bloke who loves footie feels like, and it’s important that I do – or else my copy will come out sounding strange. If you ever get into this problem, I recommend using Reddit. Sounds crazy but it’s a great way to people-watch (safely, online) on different groups of people with particular hobbies and interests. You can even ask them questions.

2.15-3pm; final push through

And then I have one final hour of pushing through because I’m working to a tight deadline. 

Now, this day was quite filled up but it’s important to remember that it’s not ALWAYS that way. And a lot of the time YOU’RE dictating when you work and how long for. Some weeks are slow. Some weeks you’re not inspired, no matter how many walks you do or how many times you reward yourself with limitless supplies of chocolate. 

And that’s okay. That’s the great thing about freelancing. If you wake up one day feeling 100% totally out of it, you can drop it for the day and do something entirely unrelated.

2.15-3pm; learning and development

Once my work is wrapped up, I usually like to spend 30 or so minutes trying to learn some new skills in marketing. It’s always a good idea to stay fresh in this field. 

And remember how I said I was also the founder of Word Tonic? Well, we do weekly copywriting masterclasses in the community and on this day, we actually had a workshop with a Pokemon copywriter (yes, really).

 So I came along to facilitate and lead the call and…wow. I learnt so much! Even though I’m not getting into games writing, sometimes stepping outside your immediate field can help you become more creative.

5pm; a bit of a surf

THAT’S THAT! I end most of my working days between 3pm to 5pm and today I decided to head to the beach (I live in Portugal so it’s right around the corner!) to surf. I’m not good at surfing. Never have and never will be but it’s SO MUCH FUN.

And that’s my day in a nutshell as a freelance copywriter!

Did you know that springtime is the best time to land a new role?

Whether it’s because budgets are renewing or simply because the sun is shining, we’re seeing A LOT more opportunities come through right now. Our data shows a consistent spike in job listings between the months of March and May – and this is trend we’re seeing continue in 2025!

If you’ve been job hunting for a while and are having no luck, we’re here to tell you to keep the faith. Here’s how…

This is your sign to update your CV with all your latest achievements, job responsibilities and the new skills you’ve acquired recently. Aim to refresh your CV and portfolio as regularly as you can – it makes applying for jobs so much easier when you don’t have to spend ages listing new responsibilities

or updating the format!

Whether you’re just starting out or looking to take the next step on the career ladder, read our advice on updating your CV.

Along with giving your CV a spring clean, this is the perfect chance to level up your professional social media channels. Make sure your job title is up to date on LinkedIn. If you use Instagram as a portfolio, pin your post of your latest project. Or, share a TikTok about a recent networking event you’ve attended.

Whatever platform you’re using, make sure you’re shouting about all the amazing work you’re doing!

List your skills and qualifications, then identify gaps you can build on whilst you’re job hunting. Make your goals SMART (specific, measurable, achievable, realistic, timely). If you’re unemployed, it could be a free online course to gain a qualification, or if you’re in work, you could ask to spearhead a new project that reflects your goals.

Here’s some advice from Aki Schilz, director of The Literary Consultancy, who recently hosted a masterclass with us. Take a holistic approach to career planning, using a self-reflective SWOT analysis:

• What are your superpowers?
• What sparks your curiosity?
• What do you value most?
• What impact do you want to have?

Remember, it’s quality over quantity. We often think of applying for jobs as a numbers game – but recruiters can tell when you’ve completely copy and pasted a cover letter or haven’t tailored your CV to the skills in the job description. We know it takes a bit longer, but trust us it’s worth it!

We read 100s of applications a week and the ones that show clear passion for the role and company stand out the most.

Level up your career. Register for opportunities with Creative Access.

At Creative Access, we’ve been thinking about all the ways that AI will impact inclusion, skills and recruitment in the creative economy.  

Technological change is nothing new for creatives – we’re always seeking new tools to do innovative and imaginative things. The mass adoption of creative tools like ChatGPT, Gemini, Runway or Midjourney presents a huge creative opportunity, but it also opens the door to a host of complex cultural, ethical and editorial challenges for anyone using these tools in their daily workflows. 

With this challenge in mind, the Creative Access team has spent the last few months getting curious about the inclusivity and accessibility of AI. Our AI task force meets regularly to review case studies, concerns and to ask ourselves the question: ‘How can we use AI as a force of good in the creative and cultural sectors?’ 

We’ve boiled it down to three main areas of focus for creatives and their employers: 

Access & inclusion: How can the industry ensure that creatives from under-represented backgrounds – who may have less access to this technology – gain the training and digital fluency needed to future-proof their careers? 

Knowledge & skills: What must employers consider when integrating AI into workflows, and how can biases and errors be mitigated? 

Leadership & good governance: What best practices are emerging, and how can leaders navigate legal and editorial frameworks to adopt AI responsibly and inclusively? 

Read on for our insights and find out how our new Inclusive AI training can support you…  

We’ve been talking to creatives about how they use Generative AI (GenAI) to understand where they’re at on their skills journey, and what support they need from both their employers and Creative Access. 

In a recent snap survey with our community, we asked… 

What do you most commonly use GenAI for? 

• Idea generation – 38% 

• Copywriting – 23% 

• Research – 38%  

• Picture & video generation – 0% 

Are you having open discussions about GenAI at work? 

• Informal chats between peers – 33%  

• Managers and senior team members are leading the GenAI conversation – 29% 

• Not at all – 38% 

Have you had any GenAI training in your workplace? 

• Yes – 15% 

• No – 80% 

• It’s in the works – 5% 

Even though our findings show that the majority of workplaces aren’t yet having formal discussions or delivering training on GenAI, insights from our jobs board tell us that employers are increasingly asking for AI skills:  

• We’ve seen spike in the demand for ‘creative AI skills’ between 2022 to 2024 on job adverts – with 13 adverts asking for AI skills in the first 2 months of 2025 alone 

• The most common theme is the ability to use AI to innovate workflows such as in data analysis or creative productions 

• Mentions of AI in job postings vary across industries – with music, theatre, dance and visual arts ranking significantly lower than the likes of publishing, TV and marketing 

As AI reshapes job roles, it also raises critical questions about ownership and fair compensation for creative work. 

A major concern is how AI uses copyrighted material. In February, UK newspapers and creative organisations united for the Make It Fair campaign, pushing for stronger protections. In response, the government pledged to review AI legislation, though concerns remain. 

Just last week, ChatGPT announced a new AI model that is ‘good at creative writing’ fuelling further tensions between tech firms and creatives over the use of copyrighted material to train AI models. 

For creatives from under-represented backgrounds – who already face barriers to fair pay and career progression – AI’s unchecked expansion could deepen inequalities. The industry must act now to safeguard fair creative opportunities through training and ethical AI adoption, rather than waiting for government intervention.  

As ‘off the shelf’ AI tools become more valuable, a lack of workplace training on utilising the technology could widen inequalities. The accessibility of these tools delivers the potential to break down previous barriers to inclusion, but without investment and planning, access could remain limited to a privileged few. 

The risk of biases and propensity for hallucinations in AI tools are also well documented, and its use in recruitment could pose risks to diversity. In 2024, 7 in 10 companies said they planned to use AI in the hiring process, despite most acknowledging its bias. With figures like this bound to grow, it’s vital that employers manage these biases, or risk further marginalising high potential talent from under-represented groups.  

The inclusion of everyone needs to be a priority when designing and adopting AI tools. Therefore, the creative industries must enact proactive measures so that AI’s benefits are shared equitably across the industry. That’s why Creative Access has designed a bespoke AI training workshop to help you harness these new technologies and upskill employees from all backgrounds, disciplines and career stages. 

At Creative Access, we have over a decade’s worth of expertise in breaking down barriers and championing inclusive workplaces. Our training will equip employers, team leaders, and hiring managers with the tools they need to integrate AI fairly, responsibly and effectively. 

Whether in recruitment or creative workflows, AI should elevate rather than exclude talent. From image creation to CV scanning, AI is becoming an essential professional tool. Let’s make sure it’s used ethically, effectively, and inclusively. 

Future-proof your workforce and ensure AI works for everyone. Find out more and sign up for Creative Access’s Inclusive AI training today.

Meet Sophie, a valued member of the Thrive team at Creative Access. Since joining in April 2024, she has played a key role in supporting our community and creative employers, assisting with the running and delivery of a range of programmes, mentoring programmes and employer training sessions. Making the career switch from hospitality to DE&I, Sophie brings years of dynamic experience and a unique skill set that enriches our work. In this Creative Access spotlight blog, she reflects on her career switch, the insights she’s gained along the way and her advice for prospective candidates.

I felt connected to this role as soon as I read the job description. I could tell that running our mentoring programmes would require a lot of empathy, resourcefulness and interpersonal skills, which I gained from years of working in hospitality and interacting with peers, junior staff and guests. On the other hand, helping to deliver and plan our employer training requires in-depth knowledge of diversity and inclusion practices, as well as an ability to contextualise the lived experiences of others within social structures and handle their stories sensitively. I had completed my MA in sociology the year before and was keeping an eye out for a role that would integrate my research experience on race, gender and culture with my passion for working with people. When I read about the Thrive traineeship on the Creative Access website, I couldn’t believe how perfectly it fit my criteria. I knew I wanted to do it – I just had to hope I fit their criteria too (and luckily, I did). 

Until I saw this role, I’d been struggling to find an employer who would take me on as an entry-level employee with my work experience. I worked in hospitality for 9 years, starting part-time at 18 years old alongside my undergraduate degree. I loved so many things about restaurant life: seeing my friends every day, making strangers happy by finding an act of service or piece of knowledge to really elevate their visit, and working with other staff of all ages and backgrounds. I especially loved teaching my junior peers how to assert themselves and take charge of guests’ experiences – and celebrating with them as they became more confident! The problem was that when I became ready for a career change, all the entry-level jobs I looked at required a minimum amount of prior experience in an admin-based role. It was frustrating – I knew I could learn those elements quickly but couldn’t seem to get my foot in the door. 

Over the years I became trusted with handling bookings, responding to reservation enquiries and helping to coordinate private events. For these efforts I was offered a management role and finally had the means to illustrate my communication and interpersonal skills in a tangible way. More importantly, I had emerged from all those years of service equipped with the capability to connect with a vast range of people, including managers, chefs, guests, stakeholders, students and artists. 

Administrative skills can be taught, so prospective employers would be wise not to underestimate candidates with hospitality experience! Restaurants are dynamic environments where every little detail and interaction needs to be dealt with calmly and creatively, so hospitality workers often become quick problem-solvers, highly resilient and judicious as a result – all skills which are valuable to creative industries and translate perfectly well to digital or remote work. 

If you’re reading this, currently working in hospitality and wondering how to sell your transferable skillset for a creative role, I’d recommend drawing on an aspect of service that you’re really good at. Give an example of something YOU took the initiative to improve about your workplace, for guests and/or staff. It’s tempting to pick out teamwork as a key skill from hospitality – which it is! – but you shine as an individual too and that’s what will make you a memorable candidate. 

If you’re wondering what it’s like once you do transition into a creative role, mine was made easier by the support of my wonderful line managers and team members. But truthfully, some habits were hard to pick up in those first weeks. Waking up early when I was accustomed to late shifts, navigating Microsoft Outlook… even just learning how to manage the sheer amount of digital clutter that comes with administrative work. It was funny because I felt equipped to approach the blue-sky thinking and client relationships that went hand in hand with my new role but still needed to ask lots of questions before diarising calendar events. Luckily, the benefit of working at Creative Access is that you’re surrounded by people who champion career development, and they’ve all been adamant that sometimes the best way to learn is to make mistakes and carry on.  

I’m so happy to have graduated from thrive trainee to thrive assistant and proud of the small, significant habits I established to arrive at this stage of my development. And I’m especially proud that working so hard in restaurants with such great colleagues over the years has only ever enhanced my willingness to take on challenges and try new things – all with my own unique style!  

At the Creative Access book club, we’ve closed the final chapter on 2024 having turned an incredible 2,941 pages along the way. We’ve welcomed our community of mentees, interns and alumni to eight chatty meetings to cover an incredible range of new fiction and non-fiction by authors from historically under-represented backgrounds. As always, a huge thank you goes to our partners in the publishing industry for providing book copies and, often, a place to talk about them over the year! 

Here’s what we read in 2024: 

• My Friends by Hisham Matar (Penguin Viking) 

• The Five Sorrowful Mysteries of Andy Africa by Stephen Buoro (Bloomsbury Publishing) 

• Manny & the Baby by Varaidzo (Scribe UK) 

• We Were Girls Once by Aiwanose Odafen (Simon & Schuster) 

• Yellowface by Rebecca F Kuang (HarperCollins) 

• Mongrel by Hanako Footman (Footnote Press, Bonnier Books) 

• Where We Come From: Rap, Home & Hope in Modern Britain by Aniefiok Ekpoudom (Faber) 

• Happiness Falls by Angie Kim (Faber) 

This year we sat down to interview three authors about their new books: Stephen Buoro, Hanako Footman and Aniefiok Ekpoudom (who also happens to be a Creative Access alumnus himself!). We worked with seven different publishers – from independent publishers Faber, Scribe, Bloomsbury Publishing and Bonnier Books to major publishers Simon & Schuster, HarperCollins, and Penguin Random House – to provide 260 copies of books to read who then came to talk about the book as a group. 

“Loved it. The book really made me think about how oral history is collected.” – one reader on Where We Come From: Rap, Home & Hope in Modern Britain by Aniefiok Ekpoudom (pictured above). 

As always, our book picks spanned many genres united by the common theme of being written by authors from marginalised backgrounds. Highlights included finally getting our hands on the hooky and relentless thriller Yellowface by Rebecca F. Kuang (someone at the event said “this book made me fall in love with reading again”) and diving into the social history of British rap and grime with Aniefiok Ekpoudom with his non-fiction book Where We Come From: Rap, Home & Hope in Modern Britain. 

And a special shoutout to Hanako Footman for filling us in about her Waterstones Debut Prize-nominated Mongrel on a Zoom call in September. The novel shifts between three women Mei, Yuki and Haruka as they navigate life across different countries and generations. “I loved the book!” one book club attendee told us. “The characters were compelling, and the interwoven narratives were so lyrically written that it sometimes felt like reading poetry.” 

Our cosy Q&A Zoom call with author and actor extraordinaire Hanako Footman, discussing her first novel Mongrel.  

The Creative Access book club is possible because of our publishing partners that provide copies and often a space to talk about the book, so a huge shout out to both them and our wonderful community of readers who brought these discussions to life. We’re excited for more page turners in 2025! 

We’re always looking for new book club partners. As well as discussing the book, we can organise a giveaway across our socials and make sure you get plenty of coverage across our community. If you’d like to nominate a title by an author from an historically under-represented community (and you can post out 25-35 copies to attendees) please get in touch at theo@creativeaccess.org.uk.  

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

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

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

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

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

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

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

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

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

Ever wondered what it’s like to be on the front lines of live sports broadcasting?  

Our Diary of a CA Intern series uncovers the career journeys of the latest entrants in the creative industries, placed by Creative Access. This week we’re joined by the talented trainee technical assistant Lanna Cowles. 

In 2023, a new traineeship was launched in memory of the late ITV Sport technical director Roger Pearce. That trainee is Lanna, a drama graduate from Northampton, who smiles for the entirety of our conversation and is soaking up every minute of her technical traineeship. 

Lanna joined the call with us from a hotel room in Norwich before she dashed to work on the Women’s Euro Qualifiers.  

Keep reading to find out her insights into why live TV is so exciting, why the lifestyle isn’t for everyone, and her advice for those aspiring to work in the sports TV industry. 

CA: Hi Lanna, we are so excited to be chatting with you! Can you give us an intro to your industry and where you’re placed? 

Lanna: It’s titled technical assistant, but I get to go around all of the technical departments within sports television, including cameras, sounds, VT (videotape) and vision. At the start of the traineeship, I was seeing everything and then as the year’s gone on, I’ve chosen the areas that I’m more interested in which are sound and VT. 

Whether it’s football, rugby or horse racing, I experience a real variety of different sports and it’s been great seeing stuff like the touring cars and the Euros! 

My role is to shadow and learn, to ask lots of questions and get to know lots of people. It’s just great. I get great behind the scenes insight and then also get to learn it all. There’s absolutely no pressure on my part; my role doesn’t have any direct responsibility which is good because that’s what the scheme is. 

CA: What’s VT? And why do you love it? 

Lanna: VT deals with any of the pre-recorded content. For example, it could be an interview with Gareth Southgate that has been filmed prior, or a highlights reel at the end of the show. Then they have the exciting part where they clip up any of the exciting action happening live! So when you see a replay of that goal or injury, that’s the VT department working very efficiently to get these straight to the director. I enjoy its fast-paced nature and I like that the department feels at the centre of it all, where vision and sound come together. 

CA: What’s the sports industry like to work in? Especially as somebody starting their career? 

Lanna: It’s definitely a certain lifestyle that you have to get used to – I’m in a hotel room right now! 

There’s a lot of moving around the country, being away from home, and the days can be 10+ hours. They do compensate and give me study days where I can just recap everything I’ve learnt. I love it, it just feels weird being part of something so big like the Euros, because I’m not actually that much of a football fan… It’s just so odd seeing my friends posting on their stories about the Euros and I’m like, ‘Ah, it is actually really cool that I work on this!’ 

CA: Has there been anything that surprised you? 

Lanna: It amazes me how resilient each person who works in this industry is. Whether it’s raining or freezing cold outside, whether there is a 12-hour day ahead of them –  everyone I have spoken to loves their job and they are always so enthusiastic about this industry. I never expected the job to feel so rewarding. 

CA: Have you always been interested in this industry? 

Lanna: I was always drawn to cameras and came from a photography background. Then at university, I joined the student-run TV society, where we had a similar kind of setup that was just more amateur. I just loved it so much. 

I was a runner on a few factual entertainment shows for about a year and a half and I did some production work alongside that, which I absolutely hated. I realised I didn’t want to go down that side of it at all! 

I always knew I wanted a technical role. I wanted to stop being a runner and get that step up, and I wanted to get back into live TV but I didn’t know how, and then I saw this role. It felt like all my experience and my interests aligned because I’d worked on the commonwealth games and had my first taste of sports broadcast which I really enjoyed. It felt like it was the role for me. 

CA: You mentioned that networking is a big part of your experience… How have you found making professional connections so far? 

Lanna: Like with anything at the start, it was really daunting. Everyone knows each other and at each OB (outside broadcast) I’d go to there would be new faces all the time. But once you break the barrier and ask someone what their role is or how their day is going, it’s easy from there on and I’m always interested in what they’re up to! 

Everyone is so welcoming, and they know about the scheme so I’m hoping that it will all help me in the future after this. One of the best things about this traineeship is that, after this, people will recognise me and I’ll be a familiar face, and that – networking – is a huge part of this job. I have good faith that I will continue working in this industry! 

CA: So being ‘good to work with’ is just as important as being good at what you do in TV? 

Lanna: Yeah, it’s such a ‘people-person’ job. You’re working with and talking to people all the time and they are long days, so everyone wants someone who’s got a smile on their face. 

CA: What would you say is the heart of working in the technical side of TV sport? 

Lanna: I think what I love so much, specifically for live TV, is that things can go wrong. 

Weirdly enough – I mean it’s not fallen on me obviously – but it’s quite fun to troubleshoot and solve problems. Touch wood, I’ve never seen anything go wrong while it’s live, but I do hear stories all the time of things going wrong, and it is quite fun having to think on your feet knowing that there is that pressure on you. 

People at home wouldn’t even know when there’s something wrong because there’s backups for everything. The amount that goes into it is insane, I could never have imagined the time and effort that goes into it just to get onto our screens; going up to the satellites and back. I can’t get my head around it. It’s a lot of work and a lot of money is in it too, which is why there’s so much pressure to get it live and faultless. So yeah, I love that it has to be perfect, but also if things go wrong, that’s kind of what makes it exciting. 

CA: You’re a successful young woman in an industry where female representation is quite low, do you have any advice for someone wanting to get in? 

Lanna: It’s so difficult because I’ve always said ‘I just got lucky’, but you have to want it. 

What I did was join loads and loads of Facebook groups for TV, and even if I didn’t think I was capable of a job, I still applied for it. 

Sometimes I got them on LinkedIn, or if you’re looking at the credits of a show you really love, you can find someone’s name or find the production that worked on it and search them on LinkedIn, add them and then message them if they add you back. 

It is really difficult and I do think a lot of it is who you know unfortunately, but do what you can to make connections. I was really desperate for it; I was looking every day, always on my phone refreshing those runner Facebook groups, constantly being the first to apply, because a lot of them are first come first serve, so if you don’t see it within 15 minutes, twenty people have already applied and you’ve missed your chance. 

Something that has helped me get this job was being a part of my TV society at university. I spent more time there than I did with my own degree because that’s what I loved more. If you have the opportunity to join online courses in camera, or workshops, or attending film festivals – even if you aren’t that interested – I say just get stuck in, because it’s the people there that will help you get the job and giving yourself that exposure will increase your chances.  

CA: How long had you been looking at Creative Access for opportunities? 

Lanna: Since I finished university, because I was freelance running and never really had a stable job. I was always looking on Creative Access, it’s always been one of the websites I’ve always looked on. I was on a mentoring scheme through Creative Access at university too. l knew I could get frequent opportunities from it and there’s always stuff on there, I literally love Creative Access. 

CA: Final question: how would you describe your internship in three words? 

Lanna: Thrilling. Fast-paced. Fascinating.  

CA: Thank you so much for your time, we can’t wait to see what you do next! 

Stay in touch with Lanna and follow her work on: 

LinkedIn: Lanna Cowles

YouTube

Instagram: @lannacowles 

Welcome to Diary of a CA Intern, the series where we dive into the career journeys of the newest talents in the creative industries, placed in internships by Creative Access. We’re delighted to be spending time with Lauren Warner, a marketing and development intern at the Royal Philharmonic Orchestra (RPO)!

Lauren started her 6-month internship at the symphony orchestra in April this year. After graduating in 2021 with a degree in Psychology, she spent the last few years working as a teaching assistant in schools and volunteering at music organisation Kente Club. At 26-years-old, she said “I can’t do this no more!” and applied for new roles, including RPO’s internship through Creative Access which she is now over halfway through. In our chat, Lauren reflected on her memorable moments so far, how she’s learning to say ‘no’, and how proud her Granddad, who belonged to the Windrush generation, would be of her now. 

CA: Hey Lauren! How would you describe your internship in three words? 

Lauren: Concerts. Challenges. Laughter.

CA: Laughter’s a great one.

Lauren: Everyone in the office is hilarious. There’s a group of young women in the office and we all have that sort of, ‘I’m just a girl moment’ so it’s good vibes. For the longest time, I thought I’d never be able to work in an office.

CA: How has the internship shifted your perspective of working in an office?

Lauren: The flexibility of being able to work from home has opened up so much for my mental health. And I’ve adjusted to the office space culture now. At first I didn’t know what to wear, how many cups of tea I could make in an hour, silly stuff like that. But now I know you just do your job and go home. 

CA: If you could go back to March and say to yourself, ‘Don’t worry. Wear the clothes you want to wear and drink however many cups of tea you want to drink.’ Is that what you’d say to yourself? 

Lauren: I’d say, relax into it. When you are changing environments and you are making a transition like that, you feel very on edge. But relax, because you’ve earned your space. Just take it, don’t overthink it, and enjoy your cups of tea. 

CA: So did you always have your eye on the creative industries while you were working in schools? 

Lauren: I’d been working with a collective called the Kente Club; writing their press releases, helping with creative content and photo shoots. I wanted to segue into something creative, and I saw this opportunity and thought, it’s different but it’s music, marketing, content creation and it’s all the skills that I already sort of do, so why not just try!

CA: Do you think your previous experience is what made you stand out as a candidate?

Lauren: Not to toot my own horn, but I think they liked that I have a lot of experience! I’m a more mature intern at 26. I’ve worked in restaurants, I’ve worked in kitchens, I’ve worked in schools. I’ve also been doing voluntary creative stuff around work for the last four years so I’d used Canva and editing tools before. 

I also did a lot of research on RPO as a brand. I think when you hear ‘classical music’, you might think of stuffy, posh people who don’t really connect with outside society at all, but I researched RPO and saw how much outreach they do, and whether it’s with their education programmes or their music with stroke survivors, they’re actually amazing. 

CA: Hospitality, retail and education gives you so many transferable skills for the creative industries!

Lauren: Exactly.

CA: For those of us who don’t know what a marketing and development intern gets up to day-to-day, what’s a typical day like?

Lauren: Within the marketing team, our main goal is to sell the tickets for concerts. That could mean making promotional content (programmes, flyers, brochures), reaching out to people, video editing, copywriting, proofing and scheduling social media content.

As for development, that’s all to do with fundraising. RPO is a registered charity so we have different schemes and levels of giving to encourage donations. That could look like talking a potential benefactor through the process, their benefits, and how we can incorporate them into the culture of the orchestra. So I work across both teams which is fun. 

CA: How do you find being in a training opportunity across not one, but two teams? 

Lauren: I think it’s amazing, I’m having a chance to learn so much. I was already interested in a marketing career but fundraising and business development is an area I didn’t know much about. I’ve gone from being sure I wanted to do marketing for a charity or NGO I really care about, to thinking that these places obviously have staff and need to be funded somehow, so perhaps I’ll work in fundraising. 

I actually had the opportunity to make a partnership proposal between RPO and a donor and I managed to secure funds, which I’m still sort of processing! I thought, I’m actually doing this job! It felt really good.

CA: Sounds like one of those special moments in an internship where your self-belief grows a little more.

Lauren: Honestly, I went home and said to my Mum, ‘I don’t know how to feel.’ She was asking what was wrong and repeating that I’d done a really good thing, but I thought ‘It doesn’t feel real?’. My brain was really struggling with it and I think it’s because previously in my work, I was often underpaid and underappreciated, just by way of the public sector being the way it is. So when I was sat down and told, “Well done! This thing went through. You did really well. It felt surreal. [she gasps]. But I’m still passionate about education – I tutor English at the weekends and run a classical literature club.

CA: It’s giving: high achiever. Do you think being such a hard worker is why you are where you are?

Lauren: It’s fulfilling, and I have a very hard-working mum and family, period. This internship will open up so many opportunities for me, to say that I’ve worked in this organisation and to have done the things that I have done already in such a short period of time. So that’s just what it needs to be right now. Working hard until I don’t need to work so hard!

CA: Have you come across any challenges or hurdles in your internship so far?

Lauren: Yes. Saying ‘No’. 

I’m trying to cram in as many experiences as I can because I want to soak it all up. I’m also learning to say I don’t have capacity to complete something because I’ve got other things on my to-do list. You know, high achieving kids don’t really like saying, ‘No I can’t do that’. 

I remember that I don’t have to do every single thing that they ask, because they’re not expecting me to, they’ll only ask me if I can because they need it done, not because I have to be the one that gets it done.

CA: What’s your most memorable moment so far?

Lauren: Every concert that RPO has, we get two free tickets, so being able to take my mum to her first ever orchestral show was the cutest thing. She said, ‘I don’t know when to clap!’ And I said, ‘Just follow my lead.’ She got to meet the managing director and it was a wow moment, because it’s not just a dream come true for me, it’s a dream come true for her. 

Nothing that I do is just about me – which is even the nature of working in a team – but me being here is not just about my own personal career development, it’s also about my family who are mad proud, which is a great thing to feel. 

Even my Gran back in Barbados, she says “You’re working where?!”

CA: What does your Gran in Barbados think about your internship?

Lauren: She loves it, but I think because she’s of that generation, if you say ‘royal’ she gasps. But I will not be meeting the King anytime soon. 

CA: On the topic of your family, did you get your love of music from them? How deep does the music gene run? 

Lauren: Funny story! I told this in my RPO interview which may also have been a selling point. 

When I was born, my parents were in that pop-psychology time around the late 90s, and child development was big (praises, fads, that sort of stuff). So my parents used to play me a lot of baby Mozart and baby Beethoven music videos when I was fresh out of the womb, and now that I look back, that was some weird stuff to be playing to a kid! I later asked my mum what she was thinking, and she said they said it’s meant to stimulate parts of the brain… And I sometimes recognise a piece.

CA: Do you ever announce “This was my favourite sonata when I was 2 weeks old”?

Lauren: Yeah I’m like, ‘This is my jam’. [laughs]  We used to listen to them up until I was like three or four, and then it seemed so insignificant, but now I’m here.

CA: You’ve talked about how you made yourself stand out, but have you got tips for others trying to land an internship?

Lauren: I’ve been telling everyone I know that is looking for work to go to Creative Access. I didn’t know that you could get a job like this. It changes people’s lives and I don’t think there’s enough recruitment organisations that are actually moving the needle in the direction that it needs to be moved, but you guys are. 

As for advice for future interns, you have to learn to sell yourself. Not through an AI-produced CV or cover letter, but through authentically being yourself. That means taking your life experiences and making them into something that someone should care about, because we all have a story. Those stories need to relate to a role, even if it’s something as far away as relating working in a kitchen to working in classical music. Working in a kitchen teaches you how to work under pressure and how to have a quick turnaround of orders and checks. Things like that do make you stand out because you’re able to think about how you can use what you’ve learnt in something that is completely different. And if they can see that your mind works like that, they’ll probably think you know what you’re doing.

CA: At Creative Access, we know that everyone has a unique perspective to bring to the table. Have you had any learnings, so far, on how your identity intersects with your creativity and work, now you’re in the industry?

Lauren: My grandparents came here in the 50s in the Windrush generation. My Granddad was working at the railways, and if he was alive and could see me now, and see the leaps that generationally my family have made, just through work – because that’s all it’s really been – it would make him very proud. The thing about being working class is, even though now the postcode I’m working in is very middle-upper, the home that I live in now would be considered middle-upper, I don’t feel middle-upper, because I’ve still got to work my butt off to get where I want to go. 

So as for my place in the world, how I feel like I identify; I’m a working-class girlie living middle-class lifestyle.

But I know where I came from, and I know where the people who helped get me here came from too. 

CA: Thank you so much for sharing that with us, it’s a pleasure to hear your story. Final question, do you have any plans, projects or career hopes on the horizon? 

Lauren: At the moment, I’m still working with the Kente Club so I’m shouting them out. I write poetry as well and my poetry project will be out in October. In Jesus’ name, it will be amazing! I am also helping to develop a series of events with a lovely lady called Cherise under the name shadeINDIGO and we will be supporting up and coming artists who make interesting and unique music.

Stay in touch with Lauren’s career and follow her work on:

LinkedIn: Lauren Warner

Instagram: @chezlaurenn

Welcome to the latest instalment of our series, Diary of a CA Intern, where we dive into the career journeys of the newest talents in the creative industries, placed in internships by Creative Access. We’re thrilled to be catching up with self-professed shark nerd, Finnegan Crouch, an adventurous intern making waves at BBC Studios Natural History Unit.

Dialling in from a tent in Dorset, Finn was in the midst of researching and filming rare animal behaviour as part of the acclaimed series The Watches (Springwatch, Winterwatch) when we caught up. We discussed their favourite ‘wow’ moments working in conservation at such a historic point in time, and how they tackle hurdles as an intern new to the industry bursting with ideas. 

We also discussed how being from an under-represented background has shaped Finn’s creativity and work. When you grow up facing the horrifying reality of having to choose between heating and food, it’s not easy to map out a smooth journey to your dream job; but read on to see how Finn navigated this with their Grandad’s sailing mantra of ‘velocity made good’. We also touch on their professional experiences as an ADHDer (“I might be emailing while I’m talking if that’s okay, I’ve got raving ADHD so I can do a bajillion things at once”).

Dive into Finn’s incredible journey so far, shedding light on the invaluable insights and lessons learned along the way…This is a story you won’t want to miss!

CA: Hi Finn, we are so excited to be chatting with you! Let’s start with: How would you describe your internship in three words?

Finn: Fuelling my passion. 

CA: As a trainee researcher on The Watches at BBC Studios, you get to do some very cool stuff. What’s a typical day like?

Finn: We’ll rock up and have a whole production script runthrough with the presenters, wildlife team and production, then on to a researcher’s brainstorm. We go through endless story ideas and animal stories. It might be things that we’ve read, seen, filmed or experienced on location or around the UK. We’ll share footage that we’ve found online on rare animal behaviour across the British Isles, and keep an eye out for cool research and science stories from around the globe. 

Then, I’ll be tasked with writing up some bullet points on a story. So let’s say the story is on Spotted Catshark camouflage, I will have to write up three intriguing story beats about their camouflage and behaviour, then make sure that’s all linked to research from the real scientists. I’ll talk to others; emailing connections I’ve made so far or reach out to people who have written scientific papers in order to delve into their work. I’ll also write up scripts and detailed research documents to pitch to the researcher or producer that I work alongside. They’ll then pitch that to the series producers and once a week we put those forward to the entire team and we decide whether to develop further or drop them. I’ve done some filming for the show too, getting out into the wild. It’s not technically a part of the job but I do it outside of this work and so I said to my colleagues, “I could do this, so use me if you want to!”

I find it vitally important to work impactful conservation messages into our stories too. I think we should do that with all our work, rather than just making it purely on natural history behaviour and animal behaviour. We need to acknowledge the other side of the story.

CA: Do you ever receive pushback when you’re trying to put in a message about a larger conservation problem? 

Finn: Yes, more than I expected, which is something that has upset me in the past and still does, because there’s such a room for it and such a need for it. The world of conservation and climate research is one of the most oversubscribed job markets in the world but for good reason. We need to do all we can, while we can. That doesn’t mean that there’s any reason for us to not keep talking about it. If anything, because there’s more people talking about it, we should keep doing even more. 

CA: Do you wonder if it’s a generational thing? Do you think your generation [Gen Z] is more vocal about wanting to confront global issues within our work?

Finn: Yes, I feel like a lot of people are outraged. A lot of the people that will be facing the brunt of the situation are very vocal about it, or at least understand the platforms to be able to be more vocal about it, rather than people who find it difficult to utilise these platforms perhaps. It’s a symptom of the shifting baseline syndrome, where you view whatever state the world is as the norm, and once it gets worse, the people who grow with that see it as the norm.

There’s always been awesome people who push back like Steve Irwin, Sylvia Earle, Steve Backshall, David Attenborough, and all the people that I share this room with [in the workplace], but I feel there’s definitely a generational charge, which is very exciting. Learning from those who came before.

CA: What were your initial thoughts going into the internship? Was there anything that you were particularly hesitant about? Or most excited to learn?

Finn: I was shocked I got it. I thought um, okay, amazing, someone believes that I can do this. This is awesome. Then, once I started to get into it, I was absolutely terrified. I had such a complete lack of confidence, major imposter syndrome. I would sit down in front of the mirror and say: right, someone believes that you can do this – you may not – but somebody else does. So just go with it and make loads of mistakes, but do it all the same.

I also felt very proud of myself. Really, really proud of myself. Proud that I could do it.

CA: We’re proud of you! A lot of interns and readers will appreciate hearing your honesty, because it’s a very common feeling in our community, and challenges are part of any learning experience. Would you say that you’ve faced any hurdles during your internship and if so, how did you overcome them?

Finn: One is trying to separate my passion from the facts. I’ve learnt that just because I’m really, really, really excited about something, doesn’t mean somebody else is going to be. Spending lots of time on a project and story, going for it, and then it getting shut down – that’s hard. You have to build a thick skin, as my producer Christina said to me recently. You put a lot of yourself, your heart and a lot of passion into your work, and if somebody else doesn’t reciprocate that same thing, it can be crushing.

I sometimes get so passionate and excited about something, I keep nattering on and then don’t deliver the right words. And then I go home and think, ‘I could have done so much better than that’. 

Yet, there are highs and lows. You can’t have one without the other. You have to try and recognise the nine wins against the one loss. 

CA: We understand that that’s so much of the intern experience. You’re trying to do everything for the first time, all the while thinking I know I could do this better.

Finn: But then again, it can also really push you, which is quite cool. It is a lesson every day.

CA: Has there been a moment during your internship that stood out as a highlight? Something that made you think ‘This is why I’m here’?

Finn: One moment was filming puffins on Skomer Island, and telling the story of their conservation and the most recent sandeel ban, from ideation to release. This was a story that I pitched, wrote, developed and filmed, alongside a great team that helped along the way. Actually being there on the island, surrounded by the animals, filming them and talking about behaviour with researchers, I thought, ‘Yeah, this is what I wanted to do, this is what I trained to do.’

It was a unique moment and absolute pleasure to be there surrounded by such quirky, interesting, little birds. And also to learn about everything else – the threats that they face, the threats that we’ve imposed upon them, and also the endless hope and passion that people have to rescue these animals from the brink that is just so inspiring. 

Puffins on Skomer Island – all images by Finnegan James Crouch

CA: Many of our readers are looking to break into the creative industries through internships. What advice would you give to them?

Finn: Be proud of what you know, be proud of what you want to know, and when people try to push you down, just use that to fuel yourself. Keep pushing but learn how to slow down and appreciate where you are. If someone says I can’t do something, I have to show them that I can. Reach out to people to help you, because people are actually really, really kind. As long as you are kind back to them, they’ll have a lot of time for you.

I would also say, you have to deliver. If you promise something, then you must deliver it. Keep yourself to your own word, whether that’s with your goals and aspirations or waking up in the morning and going for a walk or a stretch. It can be such little things, but keep yourself to your word. 

Something that my Granddad always said to me, and it really helped me when I was young, is a sailing phrase: ‘velocity made good.’ If you have an end goal – mine is to be an underwater cameraman or a self-shooting producer or even a conservationist of sharks or whales – it doesn’t matter if you have to tack and go to the right, or left, or around the other side and zigzag through, just keep moving towards your goal. That goal can change, and that’s fine, being amenable to change is really important. But don’t stop trying and don’t stop looking, and be kind to yourself and be kind to other people.

CA: How is your internship at BBC Studios influencing your creative aspirations?

Finn: It’s informed how I need to practise my skills, it’s helped me make connections, and taught me how to be professional. It’s allowed me to get a taste of how the world actually works, rather than observing it from the outside.

I wouldn’t be sitting here, being able to have a conversation with you if it wasn’t for that, I’d be in a pretty bad spot. So it’s definitely given me the direction of, right, that’s the career angle I want to go down. That is the kind of life I want to live.  

CA: At Creative Access, we know that everyone has a unique perspective to bring to the table. Have you had any reflections, so far, on how your identity intersects with your creativity and work, now you’re in the industry?

Finn: That’s something that gets missed a lot of time I think, and it’s such an important dynamic of every person that you meet. There are a few different angles to this for me that have really impacted my work; neurodivergence, gender and socio-economic background.

My time at the BBC has really put my brain and heart to the test. I have, and am extremely proud of having, ADHD. I’ve had to think deeply on how it affects my workflow, both positively and negatively. From time to time, it can mean that I feel overly emotional about my work, about the state of the industry, and when I’m feeling invested I can go down deep holes of research. However, I find that this is also one of my greatest strengths. I’ve been told by colleagues that my ability to hone in on a story, character or species so much that I fall in love with it, gets them just as invested. It makes me think from a different perspective, perhaps from an angle that hasn’t been seen before. 

I have spoken with many others from Creative Access at neurodiversity meetings, NHU [Natural History Unit] Inclusion chats and with colleagues, and every time people are wanting to learn, share their thoughts and grow. I’m proud of my ADHD; the drive it gives me and the passion it helps to fuel. I do sometimes forget to slow down, but wow, I wouldn’t have it any other way. 

As a non-binary person, working at the BBC has actually been a great experience. As a member of the NHU Inclusion group, I have been connecting with people like myself and not all across the industry. Many people are eager to learn and understand. It has been a really pleasant experience. 

I have also experienced living on the streets for a time to now being in my own home with an amazing job and living my childhood dream. This industry is known to be very hard to break into with only around 8% of people being from a low socioeconomic background (Channel 4). Growing up with having to choose between heating and food didn’t allow for much time to think about exploring my dreams. However, this didn’t seem to stop my fascination with nature and my obsession with animals.

CA: You’ll complete your internship this summer. It’s a while away but do you have any exciting plans or projects on the horizon?

Finn: These past months have been a blast and have indeed, blasted past. So, the post-internship plans are coming round sooner rather than later. Currently I am open and looking for more work both within and outside this field, behind, in front and working the camera, within conservation, design or anything TV/film related. 

I am also a part of an awesome research team of UK shark species, helping to create a vital film project with an NGO named Kai, alongside Liberty Denman and many others. It is a real grass roots project but I couldn’t be more proud so far. Sharing an insight to one of our most underappreciated shark species, due to be released and tour the UK later this year. Also, I will be releasing a passion project of mine in November, which is a series of magazines and a short film about the conservation hero, Chris Hines MBE. Other than that, I am open and free to start exploring what comes next and always keen to hear from people from many sides of the creative, scientific or both.

CA: Thank you so much for your time, we can’t wait to see what you do next!

Stay in touch with Finn and follow their work on:

• LinkedIn: Finnegan James Crouch
• YouTube: Sharkfin Finnegan
• Instagram: @sharkfin_finnegan
• X: @finneganjcrouch

Today’s interns are tomorrow’s future! In Diary of a CA Intern, we get to hear from the next generation of creatives to watch, who have been placed in an internship via Creative Access. Read on as we dive into their incredible career journeys so far, shedding light on the invaluable insights and lessons learned along the way…

Meet Nandi, a visual artist based in South London who loves to dabble with different art mediums, from clay and illustrative work to creative campaigns. She completed her 15-week internship as ‘creative IGNITE intern’ at award-winning communications agency McCann Health in April 2024 via Creative Access. For those who aren’t familiar, McCann Health is a multi-service comms agency combining science, creativity and strategy, serving clients across the therapeutic space. Passionate about digital marketing and content creation, Nandi’s now well on her way to forging an incredible career in the creative industries. Let’s get to know her!

CA: Hi Nandi, it’s great to connect! Let’s start with something fun: How would you describe your internship in three words?

Nandi: Fun, insightful and challenging.

CA: What were your initial thoughts going into the role? 

Nandi: I was excited to be part of a set team for a long period of time! Although, I was a bit unsure of what to expect coming into a health agency. However, this just sparked up more curiosity – I was excited to gain industry experience regardless of the work being in the pharmaceutical industry. 

CA: Could you tell us about the projects you worked on during your creative internship? What sort of work does a Creative IGNITE intern get up to?

Nandi: The projects I worked on were categorised as either being billable or non-billable (non-billable hours are the work hours you spend which are not going to be directly charged to the client). One of my billable favourites was coming up with cool activations people can engage with when they are out and about (social out of home marketing, which is advertising that takes place out of the home, such as on billboards and posters on transport). The reason why I loved working on this was because we wanted consumers to associate these concepts with feeling a sense of calmness. I always love working on projects that are centred around people and how work can evoke certain emotions! 

On occasion the IGNITE interns were called upon to help other internal teams in the agency. I loved coming up with concepts for client booths to attract healthcare care professionals to engage with health congress or simply brainstorming names for what medical events could possibly be called. 

CA: Take us through a typical day as an IGNITE intern at McCann Health. What did your daily routine look like?

Nandi: Myself and the three other interns gelled extremely well so, speaking to them at any time during the day was strongly integrated into our working culture. Each day would entail a catch up between us interns and when we were put on new work, it was a standard procedure for it to begin with a discussion. 

For a bit more context, my working style beforehand was very much independent. Making that shift to teamwork was something new that I didn’t consciously practice. I say this all to say that my daily routine was great – I got to meet such talented, creative peers who I can strongly say are now friends for life.

CA: How did your internship within the comms industry at McCann Health impact your career trajectory or influence your creative aspirations?

Nandi: The name ‘McCann Health’ holds a lot of prestige – it has won several awards and is recognised on a global scale! I’m happy that I fully immersed myself in the workplace for a long time (15 weeks)! Although my time has come to a close, I was proactive and made great connections. I definitely feel as though I left a Nandi-shaped mark in the London office and will be sure to keep my past colleagues in the loop. 

CA: Challenges are part of any learning experience. Did you face any hurdles during your internship and if so, how did you overcome them?

Nandi: Oh 100%! I was coming in as a very entry-level creative with a very commercial based ‘passion project’ portfolio. It’s definitely fair to say I got a shock entering the Pharma world. All sorts of acronyms and phrases are used by the pros in the Pharma world, that’s just the lingo used. It is understandable that one would forget that the newcomers may have no clue as to what may have just been said! One thing about me is if I don’t know what’s going on or I’m unfamiliar with something – expect me to ask multiple times… So, that’s how I overcame that particular hurdle.

CA: Many of our readers are looking to break into the creative industries through internships. What advice would you give your younger self in 2023 when you were applying for opportunities?

Nandi: One bit of advice I would give to anybody looking to apply for opportunities is to literally just keep going! As cliche as it sounds it honestly is the truth. I know how annoying and disappointing it is when you don’t hear back from places or get hit with emails starting with, “we regret to inform you” or “unfortunately on this occasion we haven’t been able to”. I’ve had to learn to accept rejections and take on the mindset that what is meant for me will not pass me! 

CA: Let’s talk about your *beautiful* illustrations – they’re fantastic and really enhance your storytelling. Who or what inspires you? Any advice for aspiring illustrators and content creators?

Nandi: Ah, thanks so much! My digital illustration to storytelling takes on the form of childlike drawings – they’re so fun to draw! The reason it takes on a youthful style is purely because I was hitting a rough patch. I somehow was convinced that more refined art is greatly appreciated and ‘proper art’. 

‘Proper’ realistic art took ages to produce and I didn’t haven’t fun producing art this way at all. To any illustrators and makers out there experiencing art block or self-doubt, honestly try and see if there are alternative routes or approaches to expressing your talent. At the end of the day, you should do what makes you happy! Find that solution and hopefully you’ll feel happy, both on the inside and outside! 

CA: Finally, what’s next for you? Any exciting plans or projects on the horizon?

Nandi: A shoutout is definitely needed for Good Nugget – who describe themselves as a positive impact agency. I started their kickstarter programme last October and have been able to gain so much experience and knowledge about the creative industry. There’s possibly something very exciting in the works and I’m keeping everything crossed! You can also definitely expect more video-based art content on my social media accounts as I’ve been posting a lot more consistently this year and the engagement seems to be doing well too!

Stay in touch with Nandi and follow her work on:

Instagram: @theartofnandi

LinkedIn: https://www.linkedin.com/in/nandi-elewa-gidado-2272a4290/

TikTok: @theartofnandi

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

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

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

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

  

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

  

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

  

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

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

  

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

  

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

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

About writersandartists.co.uk  

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

Creative Access took a deep dive into publishing rights this January. We wanted to unveil the mystery behind the department; what is rights? How is different from editorial or sales? Is it all spreadsheets and contracts?  

Who better to demystify rights than the experts at Penguin Random House. The rights team shared incredible insight with the publishing enthusiasts in our community during both in-person and virtual events and we’ve collated the best advice, top tips, and biggest lessons we took away. Our brilliant panellists included: 

• Ella Darlington, Head of comms and marketing, Creative Access (chair) 
• Chloe Traynor, CA alumni & Rights assistant, Penguin Random House UK
• Maeve Banham, Senior rights manager Children’s, Penguin Random House UK
• Monique Corless, Head of translation Adult, Penguin Random House UK
• Jonathan Herbert, Rights executive Adult, Penguin Random House UK
• Claudia Mair, Senior recruitment business partner, Penguin Random House UK

We learnt that the word ‘rights’ might be misleading: it’s not as contracts-based as it sounds. The rights team sell the rights of a book to foreign publishers around the world so they can sell their own editions in those languages. It’s their job to maximise the success of a book outside of the UK, which means a lot of collaboration with other departments, a lot of sales and a lot of travel too! 

Those working in rights will have set ‘markets’ or ‘territories’ that they are responsible for researching and knowing. For example, one of our panellists sells in France, the Netherlands, Portugal and Brazil. And it’s not only selling the rights for books to be translated, as some team members sell books to feature in newspapers and magazines.  

As for responsibilities, the deal-making is largely made by territory managers and executives. As for those at an entry to junior level, we heard from rights assistant Chloe that it’s a cool job where you can see a deal right through to the physical product. You could be sorting out the production elements, the delivery, the shipping, the approvals, and all the general and vital administration. 

There are so many exciting areas that publishing rights involves day to day; working on translations, publicity, pitching books to publishers, negotiating offers, and helping plan events like book festivals.  

But they don’t just sell the rights after a book has been published. The rights team are there right from the start of a book’s journey, particularly with the editorial team.  

All the panellists spoke passionately about collaboration, communication and teamwork as key components when working in rights. Our main takeaways were to evidence in these qualities in your CV, cover letter and interview, and to express genuine curiosity and knowledge of rights.  

The team acknowledged that doing an MA is publishing is expensive and emphasised that it’s not important for them when looking at a CV; they want to see that you’re hands-on, take initiative and are interested in rights.  

Chloe had a lot of great advice for applicants, having been in their shoes only a year and a half ago. She said that since working in the industry she’s realised that no one feels like they’re too important to have a conversation with you, so reach out to professionals in the industry and make connections. Other tips included demonstrating passion through whatever experience you have, whether that be through TikToks or retail experience for a bookseller. 

‘You need to have studied a language or literature degree.’ You don’t! In fact, PRH is very open to hearing from candidates who haven’t been to university. 

‘You need to have an MA in publishing.’ Nope, read above. 

‘A successful book in the UK will definitely be success internationally.’ The rights team must consider whether they can launch the author internationally and what hurdles they might face. At times they are battling the strength of the English language when trying to sell the rights to translate.  

We at Creative Access know publishing is a sought-after industry and it can take a while before you land a role. Our panellists had experienced setbacks, career breaks and industry switches before getting their foot in the door. They agreed that you can’t compare your journey to anyone else’s, and perseverance is key.  

Thank you so much to everyone that attended these events and to our amazing panel from Penguin Random House!