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! 

By Elonka Soros, Diversity & inclusion consultant and Creative Access trainer 

Whether it’s sparked by the personal impact of the cost-of-living crisis, reflections on high profile cases of bullying at work, or discussion about global conflicts, diversity, equity and inclusion (DE&I) conversations will continue to top workplace agendas into 2024. Supporting managers and colleagues to navigate these complex issues in a culture of respect and inclusion might take a little planning by HR professionals, but the beneficial impacts will be worth it, says Creative Access inclusion consultant Elonka Soros.  

We did not leave 2023 quietly. World events, political and economic uncertainties, and another round of nasty winter colds and flu are giving us all something to be concerned about. With post-pandemic work life still yet to find its rhythm, it’s no wonder many colleagues across the creative economy have been telling me they are finding it hard to keep going as ‘normal’.  

Senior leadership colleagues talk about the tensions of managing the economic impacts of a tough year for business, alongside the social and emotional fall-out in the workplace. While everyone else, from team leaders to interns, have been sharing the anxieties of working in an era of volatility and uncertainty.   

But 2023 wasn’t all about the troubling news and unease. Throughout last year, co-workers have also expressed a greater awareness of their diversity and acknowledgment that we won’t all be feeling the impacts of external events in the same way. More nuanced understanding of gendered, racialised or socio-economic experiences has in part been prompted by better workplace conversations – often facilitated by inclusion specialists – and the genuine desire of businesses and team-mates to support and accommodate talented colleagues during difficult times.  

“If only I knew what to say or do” 

Motivation doesn’t always lead to action. Feedback from over 200 hours of Creative Access DE&I workshops points to people’s fear of getting things wrong, with inappropriate actions or outdated terminology. This is where HR professionals can help colleagues by providing the tools and a framework to build inclusion competency, and to instil confidence in those leading and supporting a respectful and inclusive team culture.  

At Creative Access, we facilitate discussion, reflection and develop actions that lead to workplace culture change. Our DE&I workshops, mental health and wellbeing awareness sessions, and leadership trainings, are safe spaces where colleagues explore topics and learn strategies, tips and techniques that allow businesses to harness the added value of the diversity of their people, and in their teams.  

As we’re entering 2024, HR professionals will be thinking about what the training needs of your team will be and what will make the most impact. Whether it’s ways of opening up recruitment to a wider talent pool, addressing culture change or developing policies that dial up your inclusion aspirations, here are three tips to help you optimise your next investment in DE&I. 

Prepare for success   

Benjamin Franklin is credited with coining the phrase: “By failing to prepare, you prepare to fail” and in the context of booking your next DE&I training or consultancy, putting a little preparation in at the start not only ensures successful outcomes but saves time and money down the line.  

Online modules and off the shelf training sessions might look financially inviting but can leave participants frustrated as the current context can be overlooked. No two companies are the same and it stands to reason that the training needs of delegates, will also differ too.  At Creative Access, whether you’re engaging on one of our core courses or online briefings, we advise a planning call with the trainer so that your specific challenges are understood, and the workshop can be tailored accordingly. The world is changing very rapidly, and with it, the events that may trigger a need for team reflection and collective learning too. At time of writing, I have just finished another call with HR colleagues asking for my support with frameworks for having constructive conversations around religion, race and community in light of ongoing global conflict.  The Creative Access team is agile and alert to current affairs and best practice. All trainers have personal and professional lived experience across the full scope of the DE&I opportunity for the creative economy. 

You can also prepare for success by letting your team know what’s ahead. Be clear with colleagues about the expected outcomes of the training and share the agenda early on, allowing colleagues time to process the sensitivity of certain topics and share any access requirements.   

Plan-in for the next steps 

Very often the success of training is measured in participant engagement, but the purpose of a DE&I workshop is to effect tangible culture change. One way to ensure a legacy from the training is to plan in the next steps for delegate participation. Successful companies have held facilitated all hands meetings at the end of a suite of workshops where key insights are shared, and actions communicated. Others have provided colleagues with the opportunity to take part in a reflective session a few months after the initial workshop where themes and outcomes of the first workshop are shared and there is space to consolidate learning, share progress and recap to ensure staff have confidence and tools to lead the inclusion agenda.   

Equity and inclusion are the outcomes of ongoing actions. As sure as the world turns, there will always be more we can do or learn, and we will make mistakes – it’s how we respond to them that matters. HR professionals can generate momentum after DE&I training by scheduling in the spaces where colleagues continue their learning, feedback, and collaborate with each other.  

Whether your team needs to have more courageous conversations, manage bullying or harassment, set up and run employee resource groups, or develop the skills of allyship, Creative Access has a bank of ideas for formal, informal, internally generated, or externally facilitated next steps. All of our courses come with exclusive access to further resources, which are shared with all participants, and for HR colleagues there are additional invitations to update at regular free subject webinars. 

Practise makes perfect

A successful programme of training will deliver an inspired and motivated team eager and energised to engage with your DE&I action plans. It may surprise you therefore that at this point, my final tip is a heads-up to ‘curb your enthusiasm’. It can be tempting to rush into a flurry of activity, especially if you feel you’ve been battling to get DE&I seriously on the company agenda, but it could be easy to get very busy with initiatives and still get to the end of 2024 unclear about what you’ve achieved.  

A DE&I consultancy session can help those responsible for leading the change to take stock and identify the best course of post-training action. Taking an honest look at any in-training feedback about where your company is now and helping you plan for where you want to be by the end of the year. You won’t be able to do everything in twelve months, so don’t set yourself up to fail by promising to do so. Colleagues are less forgiving of pledges and statements that are not followed through.  

That’s not to say that you can’t be ambitious, far from it – but four or five priorities, with specific and measurable actions, communicated with transparency, and clear lines of accountability will deliver far more impact than 100 pages of strategy and a thousand flowers blooming.  

At Creative Access we’re ambitious – our mission is sector wide. Like many of the companies we work with, Creative Access is values-led, and data driven – our internal DE&I is as important to us, as supporting you with yours. We developed our Annual Thrive Survey to help us ensure that we’re actively living our DE&I aspirations.  In it we monitor the diversity of our workforce, check for equity in progression and pay, document the richness of our workplace culture, and measure the impact of our training and consultancy.  We have the data and are certain that we’re practicing what we preach so that we can help your business to Thrive too.  

Whatever 2024 brings politically, socially and for our businesses, we can be certain that it will involve more change. Restructurings, new hirings, new business and new people. If you want to know how to navigate business sentiment around DE&I with your team, check out the annual Thrive pulse report by Creative Access which outlines best and current practice for employers around the structures needed to support employees and build inclusive workplace cultures.  

At Creative Access, we have over 10 years’ experience in the diversity, equity and inclusion (DE&I) space, pioneering bespoke programmes so that people from under-represented backgrounds in the creative sectors can thrive. We also help employers ensure that not only does their company reflect society, but that they are able to provide the best support for all employees by building inclusive cultures. 

This is all to say, we’ve seen a lot of trends, discussions, debates and movements over the past 11 years. Here are our expert and data-backed predictions about the future direction/priorities of DE&I in 2024. 

Between spending cuts and the increasing cost of living, lots of creative organisations are having to tighten their purse strings. However, it would be unwise to put vital diversity and inclusion services on the backburner.  

A recent McKinsey report (Diversity Matters Even More, McKinsey & Company, Nov 2023) found that companies in top quartile for ethnic diversity do 27% financially better than their competitors. Similarly, they also found that good gender and ethnic representation in executive teams makes organisations more likely to outperform their peers.  

Meanwhile, our own data shows that only 38% of employers admit to having a DE&I strategy in place. This means the vast majority do not, and we’re seeing the knock-on impact by way of increased poor mental health and a lack of career progression optimism from under-represented groups without support. This data shows that employers need to take action to invest in the most impactful areas to acquire, develop & retain diverse talent.  

In 2024, employers will have to look at their mental wellbeing, reasonable adjustments and support policies.  

Whilst delivering training across the UK in 2023, we saw an increase in the need for mental health and wellbeing sessions. We also observed a significant uptake in employers requiring neurodiversity training, with our Embracing Neurodiversity session being the most popular workshop in 2023.   

Why? With NHS diagnosis waiting lists up to 24 months long, a shortage of ADHD medication, and increasing awareness of neurodivergent conditions in the UK, people are more likely than ever to self-diagnose or identify as neurodivergent in 2024. Employers that receive training on how to navigate these issues and best support their staff will hugely benefit. 

You can read more about how to best support an employee with reasonable adjustments here, and a guide on disclosure here.  

Much like during the pandemic and the Black Lives Matter movement, crises happening across the globe in 2023 have highlighted a lot of collective pain. 2024 will bring about continued global conversations around these issues and the workplace will have to find ways to respond and prioritise employees’ emotional wellbeing.  

These conversations need to be taken seriously and handled with empathy, and there is no quick fix to complex problems around the world and within the UK. As an employer, it’s not your job to change the world, but you can help your employees feel supported as they navigate it.  

Our trainer and diversity consultant Elonka Soros, says: “A DE&I consultancy session can help those responsible for leading the change to take stock and identify the best course of post-training action.  

Taking an honest look at any in-training feedback about where your company is now and helping you plan for where you want to be by the end of the year. You won’t be able to do everything in twelve months, so don’t set yourself up to fail by promising to do so. Colleagues are less forgiving of pledges and statements that are not followed through. “ 

It wouldn’t be a trend piece without us touching on AI. Much has been debated in the past year since the rapid rise of programmes such as Chat GPT. With think-pieces proclaiming the end of creativity, bolstering the very scary threat to jobs.  

However, despite this threat, we can use AI to help us work smarter through optimising writing or content creation and helping us save time. In the next year, we’ll see an increase in job roles dedicated to harnessing the convenience of AI and embedding it into creative practices in the creative industries.  

However, it’s important to recognise that AI doesn’t account for representation and has its own biases. Programmes like Chat GPT draw its answers from existing information on the internet which – you guessed it – is heavily skewed towards a white, male, privileged voice. This therefore means there are ultimately gaps in how ‘diverse’ or ‘inclusive’, or well-balanced, its conclusions are.  

If you’re interested in prioritising diversity and inclusion in 2024, you can find out more about our services here. 

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

Here are all the books we read in 2023:  

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

This year: 

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

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

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

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

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

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

Can you imagine what it feels like to direct, produce and edit your first hour of TV? Well, that was the reality for Creative Access alumni Salomè-Dior Williams who was handpicked by ITV to be one of a handful of producer directors in their successful Fresh Cuts series. Salomè’s episode examines Black British fashion trailblazers, and this is how it went...

Can you tell us any more about how this episode idea came together?

I was lucky enough to work across the development process for ITV’s Fresh Cuts concept at the beginning of the year.

For the uninitiated, Fresh Cuts debuted in 2022. It’s a Diversity Commission Fund initiative from ITV & ITV Studios which scouts first-time producer directors to achieve their first single factual non-scripted film for ITV. Picture: Adessy Akerele (researcher), Mohamed Shalaby (shooting producer), Salomé-Dior Williams (producer/director), Jason Ferguson (Director of Photography – DOP)

I created a slate of areas that had enough depth & history that could be mined across the series. When I left, the company was considering whether to give applicants fully formed ideas from the slate, which would have ruled me out of the scheme for fairness. Thankfully they opened the project out to people pitching with or without an idea. Months later I decided to apply for the scheme and thankfully got it. In my interview I was asked which ideas were my top three to make, and Fashion was top of that list.

I found my main story through social media and with the help of a friend. I watched the GUAP gala last year through the stories and posts of all my favourite creatives. The theme and red carpet blew me away.

GUAP Gala extends from GUAP Magazine, founded by Ibrahim Kamara & Jide Adetunji, is a youth-led new media platform dedicated to discovering, showcasing and nurturing emerging & underrepresented creatives & communities. The Gala exists to recognise underrepresented figures across the arts and culture sectors.

Unfortunately, last year it was in October so I assumed I wouldn’t be able to shoot it in time. Thankfully a good friend r helped put me in contact with the team. Last year was scheduled for September but unfortunately due to the tragic loss of the late Queen Elizabeth, it was delayed. This year however was scheduled for their original date to coincide with fashion week, and the rest was history.

1Xtra DJ Remi Burgz was a natural choice for a narrator. Not only is she a close friend of the GUAP team but also featured naturally in the film, from start to finish.

For my master interviews (the history of black Britons in fashion) I really wanted to get a collection of people who have affected and changed British fashion in some capacity. Thankfully the community were super open to help and I had a mix of designers, curators, stylists, and authors who contributed to the evaluation and documentation of British fashion.

Unfortunately, I was filming until the 11th hour, which meant my turnaround time was insane, to say the least. 

What drew you to the topic?

Fashion is a far cry from what you usually see on TV during Black History Month. It’s a much lighter topic that is a reflection of what I really wanted this film to capture. The film is about black excellence, despite adversity and how the people who came before us paved the way for a new generation who in turn are paying it forward. Black people are not a monolith, and with the film we manage to explore inequality without dwelling on it; it sees young CEOs, designers, master tailors, creatives demonstrate that being Black and British is limitless.

Photo: Gus Casely-Hayford OBE British curator, cultural historian, broadcaster & lecturer

Overall highlights?

I loved working within a team with such a diverse range of talented people. I also, really enjoyed morning meetings and brainstorms when my team would come together and discuss editorial.

What advice would you give to people on how to boost their hiring potential in this industry?

It’s okay to want to do more than one thing. When I started in the industry, many people told me I couldn’t do development & production. But now, nearly 10 years later I’m glad I followed my passion. I wouldn’t have got this opportunity without working in development, and without working in development I wouldn’t have my first one hour documentary commissioned on ITV1 & ITVX.  Go for what you want, be diligent and trust your creative voice.

You’re a proud Creative Access alumni. Do you have any comments for anyone else about to start a relationship with CA?

Creative Access is a one-of-a-kind organisation. Without CA I wouldn’t have got my first two paid jobs in TV & film. In an industry that previously was extremely exclusive and nepotistic, it helped me, a young black woman from a working-class background, to get a foot in the door whilst giving me a community that supported my growth.

I know Creative Access has helped so many other amazing creatives to break through and I can’t wait to see all the talent to come. If you haven’t already signed up let this be your sign.

You can catch Salomè’s Fresh Cuts episode Black in Fashion here on ITVX.

If you haven’t already you can register with Creative Access at this link. It means you’ll be among the first to hear about our latest offers bursary funds, events and job or career opportunity highlights direct to your inbox.

Don’t pause for the menopause

By Dr Victoria Mattison, consultant clinical psychologist and Creative Access trainer

This #WorldMenopauseDay, we’re focusing on the impact of the menopause upon working women and how the workplace can create as inclusive environment as possible. Dr Victoria Mattison, consultant clinical psychologist and Creative Access trainer explores the stigma of menopause and how we can demystify it…

For many women, the menopause can be a taboo subject leading to isolation, silence and stigma surrounding what is an important life stage. Far too many feel unsupported at work and are burdened by feelings of shame, or even guilt, when raising their menopause and perimenopause symptoms with managers and colleagues. As a team at Creative Access, we believe that even a small amount of awareness and education could have widespread impact on staff retention, welfare and engagement and, therefore, should be on everyone’s agenda.

Becky Smith, director of digital & impact at Creative Access, tells us:

Menopause awareness is not just about women of a certain age! It remains an unspoken inclusion challenge in the workplace. Menopause is guaranteed to directly impact 51 % of the population, and indirectly impacts everyone, and we need a collective approach to ‘putting menopause on the map’ in our working lives.

According to Amelia Hill in The Guardian, women over 50 are the fastest growing sector, with 80% of menopausal women at work. They are likely to work beyond their menopause transition and well into their 60s and 70s. Still, valuable female talent exit the workplace prematurely every day. More than 60% of women experience menopausal symptoms such as sweats; physical health challenges; poor sleep; anxiety; low mood; low self-esteem; memory struggles; and ‘brain fog’. Despite the multitude of symptoms, the Department of Work and Pensions indicate (2022) that currently one in four women with serious menopause symptoms are forced to leave work. Furthermore, with most workplaces offering no training policies whatsoever, it is estimated that more than one million women in the UK could be forced out of their jobs entirely because their employers are ‘failing to support and include them’ as they go through their menopause.

There is currently no national legislation on menopause, but it is covered under the Equality Act as a protective characteristic, alongside age, sex and any disability, which could be affected by direct and indirect discrimination. So, how can we improve menopause education and raise awareness to reduce stigma?

We have developed our own menopause training for teams to start raising awareness within the workplace so that all employers have guidelines in place to support women experiencing symptoms. A recent survey of 2000 women aged 45 – 67 across the UK experiencing menopause symptoms found that this lack of support is having a direct impact on their capacity to work. This demonstrates how urgently we need prevent harassment, such as unwanted comments and jokes regarding symptoms of the menopause, in the workplace. We must ensure that rather than being a hostile environment, workplaces are safe, empathetic and supportive spaces. At Creative Access, we believe that women who are supported through menopause will remain in the workplace and achieve their full potential, meanwhile employers will retain valuable members of their team. It’s a ‘win-win situation’ for everyone.

If we can break the silence around this subject by creating an open and inclusive culture, we can guarantee that those struggling with symptoms can access the support they deserve to survive and thrive at work. As the Minister for Employment, Mims David MP suggests: “we are losing too many talented and experienced women from our workforce too early”. Employers and sectors with better support and clearer understanding are able to keep female talent and boost inclusivity. And, ultimately, women who have worked hard throughout their careers and are at the peak of their experience and skill will not be forced to curtail their careers due to the impact of menopause or the biases of others within the office.

We have training dedicated to destigmatising menopause in the workplace…

Menopause at work

• Menopause – symptoms, awareness and misconceptions
• Talent retention and employee engagement
• Developing support networks and organisational awareness; what line managers and colleagues can do
• Where help and support are available: in and out of work
• Legal considerations concerning discrimination, reasonable adjustments and sickness absence

Enquire here.

All workshops will provide a safe space in which to raise questions and practice responses and a supportive environment for learning, reflection and relaxed conversation.