Welcome to Meet the CA Team, our latest series where we delve into our team’s career journeys – from what their roles look like day-to-day to what led them to Creative Access. To kick things off, we sat down to chat with our recruitment assistant, Evie, over a cuppa. 

Evie Prince-Hodges joined CA as a trainee in our Access team in 2025, supporting individuals into roles across the creative industries. Since graduating with a degree in Neuroscience in 2024, Evie’s used her STEM background to build a successful hospitality career, before taking everything she learned to career-switch into recruitment, talent management and DE&I. In our chat, Evie reflected on how to make an application stand out, what it’s taken to see herself as a creative, and the confidence she’s built along the way. 

CA: How would you describe your traineeship in three words?

Evie: People-focused, engaging and enriching.

Let’s start by looking back. What first sparked your interest in inclusive recruitment and DE&I? 

I fell into recruitment. I started in hospitality after university, where I studied Neuroscience, then worked my way up into roles where I ended up taking on more recruitment and training activities. I realised that I really loved those people-centred roles. Being able to help candidates through the recruitment process, learn more about them and help them thrive in their workplace really, really interested me. This led me towards my current role and Creative Access in particular.

What I enjoy about working in DE&I is that it’s more than just a term. It’s about being really active and recognising that people have different backgrounds and lived experiences that they bring to work. Being able to work in a sector that actively supports people and celebrates those differences is really important to me.

You started at Creative Access as a trainee in the Access team last year. What skills did you develop the most during your traineeship? 
I would say probably my confidence.
When I first joined Creative Access, I sometimes struggled to trust my intuition or be confident in my decisions.  
It wasn’t necessarily because I didn’t know the answer to things; it was oftentimes because I was scared to make mistakes, or I was worried that people wouldn’t think I was capable. But I think I’ve learnt that making mistakes is a really common thing, and there’s always something that you can learn from them.

I think the working environment has really enabled me to trust my intuition and be encouraged to ask questions and learn as much as I can. I’ve gained a lot of confidence both in myself and my work through being here. 

Huge congratulations on your new role! Now that you’re an assistant, what does a typical workday look like for you in the Access team? 

I have a lot more autonomy in my role now that I’m an assistant and feel a lot more confident running all parts of the recruitment process. I’d say, what I like about my role is it’s really varied, so whether that is helping organise interviews, jumping on calls with new employer partners to hear about what they’re looking for in a trainee, helping answer candidate queries and questions, the main parts are all really people-centred.  

Normally in the afternoon, I’m heads down with a cup of tea, reading lots of applications, which is still really nice to hear about people’s experiences and backgrounds. But I think that’s what I like, while it’s quite different varied tasks, they’ve all got people at the centre of them. 

What’s your favourite part of working in recruitment or with candidates? 

My favourite part is when I read a job application or I meet a candidate in the process and I just think, wow, your values and your experiences and your interests align so well with a specific role. Then, seeing their application progressed to being the person that actually lands that role – getting to be part of that process is great. Identifying and finding the match, and then also hearing, not only from the candidate, but from the employer, how well they’ve gone on to do in their organisation and how they’re just really thriving. It’s really nice to know that you can be a small part of that person’s journey. 

What is something that you found challenging at first, but you’ve grown more confident in? 

To be honest, I’d say coming from a hospitality background, it was just adjusting. I was used to working somewhere that was fast-paced and reactive and had late-night shifts. Moving into more of a structured office environment, I had to get used to those small things, like waking up early.  

But also, as someone with ADHD, having to be more proactive about planning and structuring my workload is something I had to adjust to. I’ve learnt to be really honest with myself about what I’m able to do in a day, only taking as much as I can handle and not over-promising. That was a bit tricky to wrap my head round at first, but I think I’ve gotten the hang of it now.   

Now that you know all the behind-the-scenes tips and tricks for putting together CVs and applications, what is one thing job applicants often overlook that can make a big difference? 

I think people often will tailor their cover letter, but they forget to tailor their CV. 

Sometimes people will have a little ‘about me’ bio, and it might be that they’re applying for a marketing role, but the bio says they’re looking for a role in finance. And it’s those little things – especially if you’re saying that one of your skills is attention to detail, then it’s about actually having that eye for the things that might feel small but make a big difference in such a competitive job market. 

Another bit of advice would be to keep your CV up to date. I think it’s very common to forget to update your CV, and then when you come to make one, you have no idea what to put on it. So, it’s useful to be proactive. 

Also, highlight the impact of your achievements in your cover letter. It’s great to list experiences and responsibilities, but highlighting the impact you’ve actually had and the difference you made to the project or team can help you stand out. 

Coming back to you and your journey, how would you say this role has shaped your future career goals? 

I’d say this role has really made me a lot more aware of the different roles that exist. I think coming in from a STEM background, I kind of had no idea of the depth of the different roles that exist within the creative industries, especially behind the scenes. It’s really solidified that this is an industry I want to work in, specifically within the DE&I space. 

Why is it important for you to support people from under-represented backgrounds into the creative industries? 

I actually think this is something I spoke about in my interview. 

Creative work reflects people’s lived experiences and their background, so having diverse and under-represented people in these spaces is so important, because then you get work that actually reflects society. 

I think it can be easy to assume you don’t fit somewhere when you don’t see people like you represented, which is why having diverse perspectives in the industry is so meaningful.  

And, not only can people see themselves represented, but also be exposed to different experiences and perspectives that they might not interact with day-to-day.  

What would you say to someone who feels like the creative industries might not be for them? 

I think that’s quite a common feeling that I resonate with strongly. I remember when I was younger, a teacher said to my parents at parent’s evening, “Evie has no imagination.” 

That stayed with me. Even being younger, my creativity didn’t show up in a typical way, so I think I assumed being creative and working the creative industries meant you have to be “the maker” or the person creating “the work”, which meant that I didn’t see myself as someone who possibly could build a career in the creative industries. 

Being able to explore different roles and learning that there’s not one linear path into the creative industries was so important for me. 

Like I said, it’s hard to see yourself in a place where you’re not represented, but I think that are so many good organisations that are working to create spaces to open up access and really advocate for people. So, I think finding those organisations, reaching out and getting involved in the work they’re doing is key. 

The whole team has hugely enjoyed working with you and being part of your career journey. How has it felt being part of the Creative Access team? 

Oh, it’s been great. Everyone here has been so welcoming from day one and I’ve made some amazing friends here.  

Something that really stands out to me is just how supportive people are – pushing you outside of your comfort zone, recommending opportunities you haven’t thought of for yourself, pushing you to do things and just believing in what you can do. It’s just been amazing to be part of something like that.  

For people applying for roles in inclusive recruitment or talent management, what skills do you think are most important? 

You have to be organised. You might be looking after lots of different roles at the same time, so you also need good attention to detail. Especially for recruitment in the DE&I space, you have to care about people. Be genuinely invested in the people you’re supporting and finding roles for. 

You’ve had this incredible journey from STEM to hospitality to the creative industries. What’s one thing you wish you knew before starting your traineeship? 

It’s okay not to know everything.
To ask questions, to take more opportunities. Say yes to things. There are some things I look back on and think, oh, it would have been great to get involved in that. Looking back, it probably came from a lack of confidence, so now I’m willing to put my hand up for more things.  

Especially in a traineeship, it’s all a learning opportunity. It’s all a chance for you to be involved in different things and figure out what really you want to do. 

What does thriving in your career look like to you? 

To me, thriving in my career looks like being in a role that’s really aligned with my values, passions and interests. Being in a role where I feel fulfilled, whether that is through the work that I’m doing or the environment that I’m working in is really important to me. Also, knowing the work I do makes a meaningful difference is something that signifies thriving to me. 

Finally, we’d love to know your three favourites. What’s your favourite musical, film and book? 

I always find this so hard. 

My favourite musical is probably A Chorus Line. It’s about people auditioning to be in a show, and you get to see the individual experiences. 

I think my favourite film would have to be Little Miss Sunshine. It’s a great film about family dynamics. Or Pride & Prejudice (2005), which I know is a very basic answer but it’s such a good film and definitely my comfort movie.  

What’s my favourite book? It might also be Pride and Prejudice by Jane Austen, so I’m doubling up on that. 

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

Stay in touch with Evie and follow her work on LinkedIn. 

You know that question, “So, tell me about your career and how you got to where you are now?” 

Yeah… that one. 

The one that makes your mind go completely blank, like, “uhhh… from last week?” Even though you know you’ve done things, your brain just refuses to cooperate at the moment. That’s exactly how I feel right now but I’m going to give it a go and tell you how I ended up being a creative producer. 

Before graduating, I was applying to jobs every single day . Laptop, phone – honestly, probably carrier pigeon if I could. Then one very normal day, I came across an assistant producer traineeship at Sky Creative, advertised by Creative Access. 

Fast forward two years, and I was an official assistant producer, working across campaigns and productions I’d only dreamed about being part of. My biggest flex? Working with Danny Dyer on two separate projects and him actually remembering me. I mean, maybe a big round afro helps, but I’m claiming it anyway. 

After an incredible run at Sky building my skills across sports, news, and entertainment, I felt the itch. Time for a rebrand. And really, when better to do that than in your 20s? 

Leaving wasn’t easy. Great team, elite snack breaks and freebies… the works. But I knew it was time. So, I did what any reasonable person would do, I booked a one-month trip across the Kurdish region of Iraq and explored more of Egypt. Side note: fun fact – did you know the first Neanderthal population was discovered in Iraq? You’re welcome. 

When I came back to London, I started looking at different opportunities across the creative industries to reignite my spark. Luckily, my good pals at Creative Access always have great masterclasses and free access to theatres and events lined up, so it made it easier to re-connect with people and get back into the flow. Thinking about it, Creative Access has always been there for me, even throughout my time at Sky. From the monthly book club sessions to regular check-ins, you’ll always feel motivated to keep exploring and putting yourself out there. It can be scary, but it definitely doesn’t have to be lonely when you’re first starting out. 

I think this is the perfect time to mention that I’ve been directing and producing my documentary, Scared to Be a Mother: The Black Maternal Experience, which focuses on Black women and the mortality rate in the UK, throughout my last months at Sky and up until now. Because I had this ongoing project, I was introduced to different communities and people across multiple fields, including the health and film industries. When I came back to London, I attended a free film screening hosted by The New Black Film Collective, who work to make the creative community accessible to everyone at no cost. I ended up connecting with the organisers over a passionate conversation about film and our shared interests, and later volunteered with them as a project assistant. During my time with them, I tapped into the world of festival programming and even hosted Q&A screenings and events. A new interest was unlocked in my mind. 

Months rolled on, and I am now working on multiple independent projects and expanding my network – from curating my first art exhibition featuring 17 amazing women artists back in March, to now doing a short course on furniture and spatial design with the V&A. I am continuing to explore and really figure out my creative practice, because one thing I’ve learned from my many adventures is that you don’t have to be limited to the industry you first started out in. It’s okay to jump around and figure it out at the same time.

I have many career aspirations and just as many creative interests. One day, I’ll build my own studio. I’ll produce for children’s television. I’ll keep telling important stories through documentaries, and I’ll step into the world of museums and public programming – creating experiences that bring people together.

Because for me, it’s never been about choosing one path. It’s about building a career expansive enough to hold all of them. That’s what makes me a creative producer.

So be bold. Be brave. Be daring.

Your creativity is there for a reason…So why not use it?

Stay in touch with Suda and follow her work:

Instagram

LinkedIn

Portfolio

Independent Publishers Guild was pleased to welcome several participants in Creative Access’ Springboard and Thrive career development programmes to its Spring Conference on 11 February. Want to know what our community took from the day? Read the full piece on IPG’s website.

Our latest industry insights event brought the Creative Access community to Which? HQ for an evening exploring careers in consumer journalism, content and product testing. The panel featured:

• Jenni Allen, content director
• Jon Barroa, head of product testing
• Joanna Pearl, head of investigative research and service analysis
• Natalie Hitchins, head of home tech and lifestyle content
• Chaired by Creative Access CEO, Mel Rodrigues

From editorial and investigations to product testing and digital content, the conversation offered a behind-the-scenes look at the many pathways into the organisation and the skills needed to succeed.

Each panellist shared their journey into Which?, highlighting that there is no single route in.

Joanna started out as a social worker before moving into the NHS, then research, and eventually into her current role. Jon began in research and joined Which? in a junior position, progressing over time to lead product testing across thousands of products each year. Natalie studied journalism and applied widely for entry-level roles, building experience in smaller organisations before joining Which?. Jenni’s career also reflects progression within the organisation, showing how roles can evolve over time.

The common thread was not a perfect plan, but a willingness to explore, adapt and keep moving forward.

Across all areas of the business, our panellists agreed that mindset is just as important as experience. Curiosity, enthusiasm, authenticity and a willingness to learn were highlighted as key qualities.

For editorial roles, Natalie spoke about the importance of writing with personality and clarity, not just technical accuracy. Strong candidates show a clear motivation for the role and a genuine interest in the work.

Jenni encouraged attendees to think about what makes them stand out. Being able to articulate your strengths and perspective can make a real difference in an application. Fresh ideas and lived experience are valuable and can help shape the direction of the organisation.

For those looking to move into new areas, the panel emphasised the importance of transferable skills.

Joanna spoke about the value of combining research and communication skills, even if you are still developing both. Jon highlighted that technical expertise is not always required at the start. Instead, skills like analysis, organisation and attention to detail are often more important.

Project management and the ability to work across teams also play a key role, particularly in product testing, where coordination is essential.

The message was clear: you may already have more relevant experience than you think – the key is learning how to present it.

Progression at Which? is not always about moving up into the next role. It can also mean moving across teams, taking on new projects and building a wider set of skills.

Jenni highlighted the importance of relationship building and collaboration. Working well with others and contributing to a positive team environment helps build trust and credibility. Taking initiative, staying open to opportunities and bringing new ideas were all seen as valuable ways to grow within the organisation.

AI is changing the way content is created and managed, particularly by reducing repetitive tasks and allowing teams to focus more on creative work. At the same time, originality and trust are becoming even more important. With so much content available online, Which? continues to focus on producing reliable, evidence-based information that helps consumers make informed decisions. From investigating scams to testing products, the organisation’s work is rooted in cutting through misinformation and offering something genuinely useful.

Writing a strong, natural cover letter can make a big difference. Natalie encouraged candidates to sound like themselves and clearly explain why they want the role.

Jon emphasised the importance of making it easy for employers to understand your skills and how they relate to the job. Drawing clear links between your experience and the role requirements is key.

Joanna reminded attendees that applications are assessed against specific criteria, so addressing the job description directly is essential. While tools like AI can be helpful, your own voice and effort should come through.

After the panel, attendees took part in hands-on product testing activities. These included demonstrations such as testing a robot vacuum and comparing products across a range of categories. The evening ended with an open networking session, giving attendees the chance to speak directly with Which? teams.

To everyone who joined us, and to our partners at Which?, thank you for an engaging and insightful event.

If you are interested in hosting an industry insights and talent pool event with Creative Access, contact Stef Hall, our director of talent and outreach, today: stephanie@creativeaccess.org.uk

If someone came up to me in my final year of university and told me that I’d be working in the Film and TV industry just two weeks after I graduate, I genuinely would have thought they were just messing with me!!

But that is exactly what happened. Let me explain how…

Pursuing a career in the creative industries always felt like a far-off dream. Something fun to yap about. As news headlines highlight job shortages, freezes in funding, AI takeovers, and corporate monopolies, creative careers have never seemed less possible. I chased ‘safe’ career paths for most of my teenage years because I didn’t know better, and those alternative opportunities were not readily available to me. We hate under-representation over here.

Lacking in proper guidance or knowledge about navigating this industry (schools listen up please), I followed the crowd and went to uni, studying English Literature and History in Edinburgh. Going there completelyyyy changed my life.

There are creative people at every street corner in Edinburgh and countless university societies itching for students to join. I plunged myself into the theatre and filmmaking societies. Yes it was embarrassing at first and yes there were a lot of rejections. Through these societies I got the chance to perform in, and assistant produce, a play at the Edinburgh Fringe Festival, which is the world’s biggest performing arts festival. It was a wild time.

However, this was all a just hobby to me. I was still applying to corporate opportunities because I was worried about financial security (freeeee us from capitalism).

After applying to – and swiftly getting rejected by – some law internships at the beginning of my third year, my mindset changed. I barely flinched at these rejections, but I would feel borderline melancholic at the thought of not being able to work in film. Dramatic I know, but it’s true. In one of my frenzied journal entries, I literally wrote down my decision to take this seriously. And that really was a huge turning point…

The mental decision that this is what I was going to do.

After that I spent a few months researching – following industry news outlets, finding arts councils, arts charities, funding bodies, listening to podcasts, watching YouTube and TikTok videos about how to get started in the industry. These rabbit-holes pointed me in the direction of trainee positions as a first step into the industry. I tried applying to all the trainee schemes I could find online, but most of them had the caveat that you couldn’t be a student. Cue an even more frustrated Noor.

So, after much time wasted banging my head against a wall and crying to my friends about the fact that I was already too behind (at 20???) to start a career in film/TV, I wrote out a realistic list of things I could do in two years. I wanted to prepare myself for freedom from student shackles. Making my own films, networking, doing work experience, reading scripts, watching everything, and shadowing were featured on this behemoth list.

Cut to a year and a half later, I had founded a women-led production company with a friend of mine; we produced 10 short films – one of which premiered at a BAFTA-qualifying film festival. I’m still not over that, actually. I landed a place on ITV’s work experience programme, secured my first job as a production assistant for an NFTS short film (I literally got this job through an Instagram story advert), and I volunteered at Glasgow Film Festival. I also received the amazing Creative Access Career Development Bursary. As a writer with no formal training, it’s enabled me to join an NFTS lab which has been transformative.

Fuelling my procrastination, I signed up for a free 2-day production training course run by NFTS, Screenskills, and BECTU Vision two weeks before my dissertation was due. Co-incidentally my future boss was hiring production trainees for a new ITV show specifically from this course. I was recommended for an interview by my lovely tutor. Whilst luck was definitely on my side, all the work I’d done at university prepared me – my CV couldn’t have been more ready. I was approached, did the interview, and then got the job!

Six months later and I’ve had the most amazing experience working for ITV and Poison Pen on a new HETV scripted drama.

I hope my journey so far is somewhat inspiring and encourages other young people, especially those from under-represented backgrounds, to see themselves in this industry.

Good luck legends,

Noor x

Stay in touch and follow Noor on Instagram

Last month, Creative Access and Lee & Thompson hosted an insightful workshop for freelance creatives exploring copyright, AI, employment law, and getting paid. The session brought together legal experts and freelancers across film, TV, and digital media to discuss practical ways to protect creative work, navigate emerging technologies, and manage client relationships effectively. 

Our expert panel from Lee & Thompson included:  

• Andy Moseby, partner and head of digital & tech 

• Will Everitt, partner specialising in music 

• Martin Tynan, senior associate in employment law 

• Fi Tudur, senior associate, TV & film 

• Simon Boyden, chief financial & operations officer 

Each shared insights drawn from their experience supporting creatives across the media landscape. 

Fi opened the discussion on copyright and IP, explaining that copyright arises automatically when a work is created and must be both original and recorded. Classic copyright protects literary, dramatic, musical, and artistic works, securing the expression of ideas rather than the ideas themselves. Entrepreneurial copyright applies to sound recordings and broadcasts, where ownership usually belongs to the producer or broadcaster. Fi emphasised that transferring copyright (or any part of it) requires written and signed documentation; informal or verbal agreements do not confer exclusive rights.

Andy explored AI and its implications for creatives. He described the internet as a large copying machine, noting that anything uploaded online is copied. AI networks scrape data at such scale that opting out is almost impossible, especially as new AI companies emerge every day. He clarified that there is no legal uncertainty around copyright: current laws already protect creative work. 

Andy outlined the policy options under review for 2026. Option 0 is to do nothing, leaving copyright laws as they are. Option 1 would strengthen copyright, requiring licensing in all cases. Option 2 proposes a broad data-mining exception, while Option 3 (currently the government’s preferred approach) allows right holders to reserve their rights under transparent rules. He highlighted that most creatives favour enforcing current law and strengthening copyright through licensing rather than allowing broad exceptions. 

Martin provided an in-depth look at employment and tax considerations. Freelancers may be classified as employees, workers, or self-employed. Employees receive full legal protection, workers have partial rights such as holiday pay and minimum wage, and self-employed individuals have limited statutory protections. These distinctions also affect tax obligations, including PAYE for employees versus self-assessment and IR35 for contractors. 

Martin emphasised that long-form agreements are essential. They should clearly define the scope of services, intellectual property, confidentiality, credits, termination, exclusivity, and post-termination restrictions. Clear agreements protect both freelancers and clients and provide clarity in case of disputes. He encouraged open dialogue with clients and accountants to ensure alignment and compliance, particularly in sectors such as film, TV, and music. 

Simon shared practical advice on managing invoices and payments. Freelancers were encouraged to set clear payment terms, obtain purchase orders early, request upfront or staged payments, and follow up consistently. Escalation internally or externally, union support (e.g. BECTU), or legal advice may be necessary if payments are late or clients become insolvent. 

Audience questions raised common challenges, including: “What if a client goes bankrupt?” Martin explained that freelancers become unsecured creditors, with recovery dependent on the administrator and remaining assets. This underscores the importance of issuing invoices promptly and knowing who controls the company. Other tips included negotiating discounts to incentivise early payment, using accounting tools or automated invoicing, considering invoice factoring, and, as a last resort, working with debt collection agencies. Above all, freelancers were reminded to have confidence in the value of their work: quality output justifies the fees charged, and assertive communication is key when chasing payments. 

The workshop concluded with a lively Q&A covering copyright, AI, employment, agreements, and payment challenges. Freelancers left equipped with practical tools to protect their creative work, manage client relationships, and make informed decisions in a rapidly evolving creative landscape. 

Thank you to our brilliant panellists, to Lee & Thompson for hosting us, and to everyone who joined us for an energising and thoughtful conversation. 

To stay connected with future Creative Access events and opportunities across the creative industries, make sure you are registered with us and keep an eye on our Opportunities Board. 

With 2025 drawing to a close, we’re turning the page on another year of the Creative Access book club. Our community of mentees, interns and alumni came together to discuss five books this year, spanning fiction, non-fiction, and memoir. In 2025, we sent out 158 copies across genres: from coming of age in the city streets of Oslo to hunting demons in late 19th-century Singapore. All in all, that’s 217,408 pages read by the CA community in 2025, all by authors from backgrounds historically under-represented in publishing. As ever, a huge thank you goes to our partners in publishing for supporting our book club, whether that’s supplying copies or providing spaces to host our community! 

Here’s everything we read in 2025:  

• The Formidable Miss Cassidy by Meihan Boey (Pushkin Press)  

• Back in the Day by Oliver Lovrenski (Penguin Random House)  

• Saraswati by Gurnaik Johal (Serpent’s Tail, Profile Books)  

• The Quiet Ear by Raymond Antrobus (Orion Publishing, Hachette UK)  

• Every Day I Read by Hwang Bo-reum (Bloomsbury Publishing)  

This year, we worked with five different independent and major publishers – from Pushkin Press, Profile Books and Bloomsbury Publishing to Penguin Random House and Hachette UK – to provide copies for those who attended across the year. Our tea-fuelled Zoom sessions brought together our community from across the UK, getting us through slow summer nights and cosy winter evenings – while discussions hosted in sparkling publishing offices were made complete by the smell of books and a much-appreciated snack selection.  

The Creative Access book club met in December to share thoughts on Every Day I Read by Hwang Bo-reum at the Bloomsbury offices.

In October, we gathered on Zoom to discuss The Quiet Ear by Raymond Antrobus.

“It’s a raw, beautiful and poetic piece,” one attendee told us after our chat at Penguin Random House about Lovrenski’s brutal yet tender coming of age, Back in the Day. Intimate, winding discussions of Saraswati, the debut novel by Creative Access alum Gurnaik Johal covered identity, romance and oral storytelling with qisse or Punjabi folktales. Raymond Antrobus’ transformative memoir, The Quiet Ear, opened up discussions on D/deafness and class, culture and education; while The Formidable Miss Cassidy by Meihan Boey had us battling mystery, mythology, and misadventure in turn-of-the-century Singapore. Last but certainly not least, Hwang Bo-reum’s Every Day I Read offered a reflective, slightly meta, deep dive into the vital importance of reading for pleasure (spoiler: the Creative Access cat community couldn’t agree more!).   

And finally, a huge thank you goes to our publishing partners! Providing copies, spaces to gather, and stories to celebrate makes the Creative Access book club possible, so a big shoutout is very much deserved. The same, of course, goes for our Creative Access community of readers, who always come ready to chat and bring the stories to life beyond the page. We can’t wait to see what 2026 will bring.

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.  

2025 was the year I turned 30 and became a trainee. When I was younger, I thought I would have it all figured out by now, but I’ve learnt life isn’t like that. My career path has been unconventional and amazing; I wouldn’t change it at all!  

After my A-Levels, I did what everyone was told to do: go to university. I had struggled with my mental health during my A-Levels and was told to ‘get through it and uni will be better’. So that’s what I did, I chose a subject I enjoyed and applied to universities based on the grades I was getting. But all I was doing was delaying the inevitable of deciding what I wanted to do when I was older.   

University went as well as you can expect with someone who was masking neurodivergence and struggling with their mental health. Now, I’m not saying you can’t go to university with neurodivergence and mental health issues, but you do need support that wasn’t in place for me. After a year of studying and things not getting better, I decided to take a year off. During this time, I volunteered with a couple of different charities, getting experience in a variety of departments, including PR and events.

At the end of the year, I decided academia wasn’t for me and carried on volunteering. I knew I needed to get a job but had no idea where to start. Through volunteering, I was given helpful advice, training and experience that I could add to my skill set.  

I happened to come across an opportunity to work in a school library. I loved reading, needed a job and wanted to encourage students to read. I spent 2 years as a library assistant still not understanding what I wanted to do as a career. Teaching didn’t appeal to me, and the school environment was not one I enjoyed working in.  

In a turn of fate, a role opened with a different employment service for the same charity. I worked as a customer coordinator and built my experience in employability, copywriting and DE and I. I loved this role and finally felt like I belonged somewhere and I was helping people who were in a similar position to me when looking for work. I was here for almost 3 years before I heartbreakingly realised there was no longer anything left for me to learn in that role. My choice was to take a risk and find something new that would allow me to grow or stay safe in a stable job . Making the decision to find a new opportunity where I would be able to progress in my career was a difficult one, but ultimately the best one. As much as I loved my role as a customer coordinator, I wanted to learn and focus on an intersectional approach to employability. As someone who is from multiple underrepresented backgrounds, I know how hard it is to have a few things stacked against you. 

So, at 29 years old, I applied for multiple roles and was given the chance to interview for a traineeship with Creative Access. Some of you might be thinking ‘why I would step backward in my career?’ which I was also asked at my interview, but in a subtle way! The truth is, it’s not a step back. It’s a step forward, it’s an opportunity to grow and learn and, personally, that will never be a step back.  

I am now a community and partnerships trainee, supporting our outreach team and Springboard programme. Working alongside some amazing people, I am learning all about copy and content writing, events planning, session facilitation and, most importantly, supporting Creative Access’ vision to make the creative industries a more diverse and inclusive place. 

Now I am thirty, thriving and loving my non-linear and non-traditional career and I can’t wait to see where it goes next. Remember: it’s not too late to change careers and it’s ok to not know what you want to do. 

Last month, Creative Access partnered with leading media law firm, Simons Muirhead Burton to host an inspiring evening of conversation exploring what it means to build a career on your own terms. Bringing together founders, CEOs and creative leaders from across the cultural and media landscape, the event delved into the realities of moving away from traditional employment and creating businesses shaped by purpose, community and creativity. The discussion offered an honest look at risk-taking, pivot points and the growing number of ways to build a life in the creative industries.

Our trailblazing panel included:

• Alex Zepherin, founder, Don Dada Studios and Creative Access alum
• Dhanny Joshi, co-founder and managing director, Big Deal Films
• Laura Tannenbaum, CEO, Fabric Social, founder, That Lot and Creative Access non-executive director
• Peter Weiss, partner and head of corporate and commercial teams at SMB
• Rami Kadri, founder, Two Tabs Social and Creative Access alum
• Mel Rodrigues, CEO, Creative Access and founder, Gritty Talent (chair)

The conversation began with the question that connected all of our speakers: what inspires someone to step away from stability and build something of their own?

Dhanny shared that his journey started with ambition and a determination to carve out space in the music industry after spotting gaps he felt compelled to fill.

Rami, on the other hand, described a very different path, one that began with studying criminology before unexpectedly moving into digital campaigns. Working on Little Mix, then on award-winning projects, gave her the confidence to shape her own future and respond to the lack of senior representation she saw around her.
For Alex, her first Creative Access internship highlighted the desire to take more ownership over her creative work. Freelancing with Tate and the BBC helped her build momentum until she eventually launched Don Dada Studios.
Laura spoke about progressing through senior marketing roles before co-founding That Lot. Early partnerships with Virgin Media and Channel 4 showed her the potential of building an agency rooted in strong ideas and strong relationships.
Peter, meanwhile, reflected on the guiding role of purpose in his career, shaped early on by his work with the Death Penalty Project and the importance of being surrounded by people who challenge and support you.

The panel explored the first steps of building a business, a stage often marked by uncertainty and experimentation.

For Dhanny, not having money became a strange advantage because it forced him to be creative, unafraid and deeply resourceful.
Laura explained how converting early clients into retainer relationships brought stability and made it easier to plan month by month.
Rami highlighted the importance of industry networks. Her work on Burna Boy’s album created trust and visibility, while grants such as PRS and Time to Power Up helped fuel the next phase of her work.
Alex credited a strong support system and the unexpected rise in freelance opportunities during the pandemic, which enabled her to build her studio more quickly than expected.

The discussion then turned to internal culture and the environments each founder aims to create.

Peter reminded us that strong values are inseparable from good business and that a clear vision guides decisions at every stage.
Alex described how her own lived experiences shaped the culture at her studio, especially the importance of trust, creative freedom and learning from both positive and difficult moments.
Laura spoke about the need for psychological safety and flexibility and how important it is for teams to show up as their full selves without fear of judgement.
Dhanny reflected on representation in the TV industry and how the experiences behind Dreaming Whilst Black informed his approach to access, progression and preparing under-represented creatives for real challenges. The growth of the Big Deal Films alumni network is a testament to the lasting impact of this focus.

The evening ended with an open Q&A that touched on long-term planning, confidence building and the unpredictable but rewarding nature of creative entrepreneurship.

Thank you to our brilliant panellists, to SMB for hosting us, and to everyone who joined us for an energising and thoughtful conversation.

To stay connected with future Creative Access events and opportunities across the creative industries, make sure you are registered with us and keep an eye on our Opportunities Board.

Jordan John founded Underscore Studios, a London and South West based social enterprise working between film, events and education and committed to increasing accessibility in the arts. Recently awarded the Creative Access Career Development bursary towards his own short film, These Streets, John shares his experiences as a working-class founder and writer, and top tips for like-minded creatives. 

The dream. Every creative defines it differently. For some, it’s becoming a storyteller, for others, it’s bringing ideas to reality.  

The creative industries are often portrayed as accessible; a platform where anyone can be recognised and appreciated. However, for many, those dreams of creative success are buried by the weight of limited networks, financial barriers, and classism. How accessible are creative opportunities within sectors such as TV and film when identity is often intertwined with class? This was the primary question I wanted to explore on founding my non-profit company; Underscore Studios. 

When starting out as a young creative, I did what many filmmakers tend to do; I made films with my mates. I knew I wanted to be a writer, so this period was less about learning the technicalities of filmmaking, and more about creating scripts that evoked emotion. I wrote what I knew could be translated easily on to screen but also what allowed people to feel things. This was a period of experimenting with language and story structure; something I’m still experimenting with today.  

On founding Underscore Studios, I imagined accessibility. I envisioned a platform that provided support and access to resources, aimed specifically at working-class creatives. What initially housed my individual projects soon became a platform to champion like-minded, working-class individuals.  

Underscore Studios has been able to support working-class creatives by providing a multitude of free or affordable services. Free script reports to over 250 working-class writers, access to educational workshops held by industry professionals, and hosting Underscore Cinema; one of the few London-based film festivals exclusively for working-class creatives. For Underscore Studios, supplying free and affordable opportunities is an essential step in breaking the creative industry open to working class creatives. 

This has only been possible by strengthening relationships with larger organisations, such as Creative Access, Film London and the BFI. Being awarded the Creative Access Career Development bursary made it possible for my own short film, These Streets, to circulate.  

Creative Access played a huge role in allowing more people to interact with and witness that project. The response that followed reaffirmed that creatives are looking for organisations to sit up and listen to their creative needs. We need organisations that stand by us.  

8%* is the percentage of creatives in the TV and film industry that identify as being from a working-class background. Working-class can often looks like families growing up on low-income. It looks like financial obstacles, free school meals, and limited access to higher education**.

In my short film, These Streets, the story of a young woman navigating her creative dream is depicted as she faces the challenges presented to her resulting from her working-class background. The film wrestles with a core concept: opportunity. This project marked the first time I embraced spoken word as an art form, and I wanted to ensure that the protagonist’s poetry vibrated with determination and grit, with an overpowering sense of hope and commitment in her passion. This is where a working-class voice is heard. This is where a working-class creative audience is spoken to. 

I would advise understanding and embracing your social class and background. I’m at the stage of my career where I can recognise class is an undercurrent within my writing, but it doesn’t define how I write. As it is my experience of life, it feels organic to include in my projects and storytelling; I work with it now like a valued tool.  

Embracing your resourcefulness as a working-class creative is an essential part of progressing in the industry. This can look like reaching out to local theatre organisations to see how they can help you. Becoming familiar with contacts like Creative Access can open doors to support and will prove to be beneficial in the long term. It’s essential to expose your work to the resources available, as it shows that there is an undeniable demand for similar platforms to exist. 

Platforms like Underscore Cinema, can only be maintained when working class creatives share the same mantra. A high demand means more success. More success for the film festival means more opportunity for working-class artists. As this cycle begins to stabilise, better bonds are created between Underscore and organisations like Creative Access, offering more opportunities for support and collaboration. 

* https://www.equity.org.uk/news/2024/working-class-creatives-at-lowest-level-in-a-decade

** https://post.parliament.uk/education-inequalities-and-attainment-gaps

Stay in touch with Underscore Studios & follow Jordan’s work on Instagram

When Lucia Aide describes her Creative Access internship as ‘aligned, insightful and encouraging’, it’s clear she’s found her stride. Her journey to this point hasn’t been straightforward – shaped by loss, reflection, and a renewed sense of purpose – but it’s led her to a career rooted in creativity, connection and community. 

From starting her own platform, theConn3ct at 21, to bringing fresh ideas to Creative Access working across our career development programmes Springboard and Thrive, Lucia is full of ambition. We spoke about her path so far, the power of pausing, and what it means to take up space as your authentic self in this latest instalment of Diary of a CA Intern. 

CA: How would you describe your internship so far in three words? 

Lucia: Aligned, insightful and encouraging. 

You really stood out in your interview for being sure of how this internship will fit into your career goals. How did you get to that point? 

It’s so interesting that was felt! I’ve experienced a lot of loss, which has had a big impact on me and my career too. This year, I’ve spent a lot of time reflecting on what I’ve done and the skills I have, and figuring out where they could be applied. That process really helped me understand what I want and where I could go next.  

I also was able to connect with a mentor through the Creative Mentor Network this year. That helped me do some deep thinking about what I value when it comes to a job. 

Sorry to hear you’ve experienced a lot of loss and it affected so much of your life and career at that point. Do you think that you made you more aware of how useful career development is? 

Yeah, I’m very invested in the idea of being a part of people’s journeys and helping them realise the greatness that lives within them. 

And I do think because of my experiences, I have a perspective on what’s needed for people in these spaces. I know as a young person, people sometimes misguidedly make programmes that don’t serve the community they are trying to, because of a lack of understanding. Then that doesn’t make the intended impact.  

So, I do think having lived experience is valuable, as well as just being passionate about helping people. 

Creative Access holds very closely the ethos: ‘By under-represented people, for under-represented people’. Are you bursting with ideas for how Creative Access can improve or develop its work with people like ourselves now you’ve been here a little while?  

One thing, I’ve realised is that I enjoy developing things. I’m always thinking about how we can improve or make an even bigger impact. 

Creative Access is doing really amazing work. Even the first week I was like, ‘Wow. If I wasn’t working here, I would want to be able to get onto the Thrive or Springboard programme.’ I can see how access is being created.  

I also think there’s always room for improvement and that’s why it’s important that there’s a role like mine that can bring in people with fresh ideas from various backgrounds. Whether it’s who they are, what they’ve done or the experiences that they’ve had, I feel those are the things that really shape businesses like this. 

You’ve squeezed in going to university, setting up your own platform, theConn3ct, and getting this internship into a pretty short amount of time… I think the CA community would love to know about how you did it?

A lot of the things that I’ve done have stemmed from poetry. I discovered George the Poet through my English teacher when I was young and I thought wow – he was speaking about important topics, but he sounded like my brothers or my cousins that used to rap. Then I started writing, and it gave me a way to express myself.  

So, when I was 15, I started a platform and we did events in London that consisted of speakers, poets, musicians, and panel discussions. I was running it with my friends and negotiating with venues. I was just passionate about gathering people! 

But then a loss in 2019 forced me to pause. I took some time out of university after my first year. When I went back to university a year later, I found the courage to get back up again. 

I came up with an idea that would get creatives connecting – theConn3ct. It’s a platform that’s dedicated to curating experiences and creative projects that are rooted in community, connection and creativity. 

In 2023, we had our first event that was funded in Kent at my university, and then we did our first event in London. From there we’ve been curating these creative spaces with people who just value community and connection.  

I truly believe that no matter who you are or what you do, you’re going to need us creatives. Whether it’s a photographer, or your heart just needs that music to your ears, you’re going to need us. 

You said you found the courage to pick yourself back up again after something terrible happened. What advice you would give to someone who has gone through something painful and is trying to get their creative momentum back? 

I’m very big on sharing my story because I think about the times where I’ve wanted to hear someone open up about something that they’ve gone through just so that I wouldn’t feel alone.  

Having to take time to pause has been important for me. Sometimes we think that if we pause, everyone else is going to keep moving and we’re just going to stay still, but pausing is probably going to have an important effect on how you move forward. So, don’t be scared to just take time. 

The second thing I’d say is ask for help. One thing that I made use of at university was anything offered to me to do with well-being.  

Because of the taboos related to mental health, it’s scary to tap into that kind of support, but whoever you feel safe with, I encourage you to talk to them.  

Our life experiences, especially the difficult ones that you’re discussing, can be so relevant to who we are, and even sometimes where our strengths come from. How closely do you feel these challenges are part of who you are as a professional? 

It’s hard to know me and understand my strengths and my skills, without a certain understanding of my story – that’s just how I work. So, I may not tell you the whole spiel but theConn3ct isn’t theConn3ct without you understanding the person that’s behind it.  

That doesn’t mean I don’t feel embarrassed sometimes, thinking “Maybe I shouldn’t have said that!” But I know that all I’ve gone through has made me who I am, and I can’t run away from it. 

We take inspiration from your confidence! Where does it comes from?  

Growing up as a kid, I was a very shy but when I started performing and singing it built my confidence.  

Self-doubt has lived with me for a while, but I do the inner work – reminding myself that I am a gifted person and I am deserving of being in the spaces that I want to be and desire to be. 

One of my goals coming into this traineeship was that I wanted to take up space and I wanted to use my voice. If I have something to say, I want to say it, if I don’t, I won’t.  

I think coming from an under-represented background, one of my fears has been like – whatever space I’m going into – I might be too much or I might not be enough, or the way I speak isn’t professional enough or who I am isn’t a professional enough. I think over the years, life has taught me that is better to stay you. Yes, be professional. Yes, be this this or be that, but do it in your way. It’s gotten me to where I am. 

What was it about the thrive traineeship at Creative Access that caught your eye? 

That it was a 12-month contract and a ‘let’s see how much you can develop in this time’. I’ve never been in a position where people have said ‘Let’s see how we can support these natural gifts things you have and help you develop’.  

Working with the community and partnerships manager was also exciting to me because I’m passionate about relationship building. Through Conn3ct events, I’ve been able to gain some experience but there’s room for development. I have my way of doing things without anyone telling me to, which I’ve winged it up until now! But I wanted to know how Creative Access produces events from the concept to the end goal. 

I think the values that Creative Access hold are very dear to me, and it’s what I’ve always been passionate about; creating access for creatives and to each other and to opportunities. Those are things that really get me going. 

Another big passion of mine is my identity and this idea of belonging; letting people know that no matter where you’re from or how you identify, you deserve to be in the spaces you want to be in and you can belong. Also, employers need to create safe spaces for people to feel like they can belong and that their identity matters.  

Sometimes landing a CA internship can make you feel like a fish out of water at first! How has the adjustment been and what do you wish employers knew? 

Being an intern is hard, and doing the Springboard induction really showed me that it’s hard to go into anything when you haven’t had that much experience. You’re entry level and no one’s really taught you how to navigate these spaces and you come from a background where you don’t even know people who would have even ever gotten this type of opportunity. It’s so difficult but it’s also really rewarding, because I did this. I got to this point. I brought myself to the table. 

However, a message I have for employers is: really ensure that there’s great structures [in place for interns]. I think Creative Access is doing a great job at trying to ensure that trainees and interns are getting a smooth onboarding process.  

What can we expect from you after you complete your traineeship?  

I’m excited to look back at where I was now and think that I showed up, did my best, made an impact on others as well as on myself. 

I also look forward to tapping more into my creative side! I’m passionate about storytelling and there’s pictures that I’ve taken over the years as I’ve travelled back to Uganda which I plan to tie that into an essay about identity and belonging. 

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

Stay in touch with Lucia and follow her work on:

• Lucia’s LinkedIn 🔗
• The Conn3ct’s Instagram 🔗

“It’s super important for us as an employer, for our internal culture and outwardly for us to be guardians of best practice for the industries we support. I want Creative Access to attract the best talent into our team, and to support them to thrive and progress in their roles. To do this we need to be competitive in the market and offer not just fair and transparent pay, but also share our training and development opportunities.” – Mel Rodrigues, CEO, Creative Access. Read more on how Creative Access show the salary on We Show the Salary’s website.