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

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

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

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

Being a GAD involves a number of tasks… 

Planning  

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

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

Execution  

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

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

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

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

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

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

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

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

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

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

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

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

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

Creative Access development director, Elonka Soros, reflects on our work over the past year and what key diversity and inclusion concepts employers need to know for going into 2023…

As I start the year prepping new projects for 2023, I’ve been reflecting on a busy 2022 Creative Access year of activity.

It’s been a pleasure to meet so many engaged creative industry colleagues over all the training sessions I led last year. In those sessions, I have noticed a shift in levels of understanding about matters of race, sex (and gender identities) social class and disability. That’s not so surprising because these discussions have been at the fore of political and world events, but what is interesting is that perhaps because of the often-polarising nature of the narratives, in many cases, I’ve also noted an increasing sense of urgency to take actions to confront and eliminate exclusions often aligned with these identity characteristics.

Regardless of sector, company size or the level of seniority of those participating in our Creative Access workshops, the key themes emerging out of these discussions have been very similar.

I’ve collated the top five matters that were exercising the minds of creative colleagues in 2022 – I wonder, how do these match your experience and what are you prioritising for 2023?

It’s been refreshing to be part of DE&I conversations that acknowledge that just because someone is included in the team it does not mean that they feel that they belong. Creating equitable and inclusive workplaces with belonging cultures requires action that goes beyond the diversity numbers and the inclusion policies. It takes each one of us to understand the individual roles that we play to create company cultures that are welcoming, respectful, where people feel valued and can thrive. When people thrive, businesses thrive too.

We’ve been working with a global publishing company on their Equity and Belonging programme for line managers. They’ve built strong ERGs (employee resource groups). These safe spaces, celebrating difference have provided a forum for individuals to engage in meaningful dialogue with colleagues. When people feel they belong they are more likely to speak up, be creative and to innovate.

This year Creative Access research has fuelled some insightful discussion with and within our wider creative industries community. Data from our 2022 Thrive Report showed that disabled people who also identify as Black, Asian or from other ethnically diverse backgrounds, are feeling less confident about their careers and progression in the creative sector than any other group. The more ways that a person is minoritised in their workplace – the greater the levels of concern. These more nuanced conversations about disability, race, accent, and social class have brought greater awareness and understanding of the ‘emotional tax’ of people who are minoritised in multiple ways at work. Hence the focus as above, on creating belonging cultures where people don’t have to mask their identity, or “pass” to survive. 

While Creative Access’s industry leading positive action apprenticeships and internships programmes have delivered increased racial, socio-economic, and disabled representation at entry level across the sector, our research and community feedback show it’s still far from a level playing field and there is a lot of work to be done. In all areas of the creative sector, disabled people are seriously underrepresented. Steps to address systemic structural barriers are needed throughout the career cycle and you can read more about these and see the data from our Creative Access Disability Survey 2022 here.

While the Covid19 pandemic is not over yet the forecast is not so bleak as it was back in 2020 when the UK went into lockdown. The toll on our individual and collective national mental health as we adjusted to a new reality is well documented, as is how many workplaces responded by putting in place measures to support employee wellbeing. Creative Access’ team of clinical psychologists, beamed into our homes via zoom and provided our team with tools to support ourselves, our families, and wider communities during the crisis, and many of our employer partners have been accessing these resources too.

Before the pandemic in many people spoke to me about their fears of sharing their mental health status at work, but the psychologists’ sessions have provided a space for people to share and learn that mental health is not static and that we are all always somewhere on a scale. More open conversation about feelings and the impact of day to day working life on our wellbeing has also resulted in a motivation for people to be alert to behaviours and language that could negatively impact their mental health and those of their colleagues. As we get back into more normal routines, the next steps will be to maintain the good practices we have acquired and build them into our new ways of working. 

The 2022 Creative Access Thrive research threw up an interesting aspect that may account for the slower progress towards DE&I aspirations than many creative companies would have hoped – they have no data upon which to build the actions required for change. Increasingly there is a realisation that measuring the diversity numbers is not enough, we also need data on our inclusion impact, and even fewer companies are doing that.

Earlier in this reflection I shared some of the discussion on the concept of belonging and the importance of understanding how now only how colleagues are accessing roles in our teams but also how they are experiencing working with us. It’s not always easy for people to speak up about matters that are concerning them or even articulate some of the impacts of workplace culture on mental health and wellbeing or productivity and ability to innovate. Even giving positive feedback about the things that we love about the places we work and the people we work with can get overlooked as we move form project to project, across time zones and in hybrid spaces. But we do need the information if we are to make the best use of our time and resources.

I think I may have said this before but it’s true, so I’ll say it again… when people thrive, businesses thrive too (and there is a big body of research to back that up).

If you’re interested in discussing what’s at the top of your DE&I agenda for 2023 or finding out more about how we support and partner with organisations, please contact us here.

I look forward to hearing from you.

What a year 2022 was! From celebrating our 10 year anniversary to launching our first career development bursary and steering group, there were lots of reasons to celebrate.

We’re so proud to have recruited new candidates, matched more mentoring partnerships, worked with existing and new employer partners, and continued supporting our ever-growing community in our mission to create a more inclusive and diverse creative economy. But, we know that there’s still so much more to do in 2023.

Here’s some of our highlights from the past year…

• Placed 285 people from under-represented backgrounds in the creative industries in permanent roles or internships
• Trained 4,625 employers in 185 workshops
• 300+ mentoring placements
• 980 people from marginalised groups supported with employability skills
• 2,500 young people and students aspiring to work in the creative industries reached at university and college fairs and community and youth organisation events
• 850 people inspired at 12 masterclasses ranging from how to get into journalism at the Financial Times to working in the TV industry at ITV Leeds (featuring a special tour of the Emmerdale set!)

Creative Access undertook more research into how under-represented communities in the creative industries fare in the workplace this year. See our findings…

• Thrive report
• Covid-19 impact research with University of Manchester)
• Young carers in the workplace
• “Generation post-pandemic”
• Creative Access disability report 2022

This year also marked our 10^th anniversary. Together with our friends at CPL Productions and with director Andrea Speziale-Bagliacca, we made a film highlighting our alumni’s stories and career progression. We hosted three events across the year with our community of interns, alumni and employer partners to thank them for being a part of our journey so far.

For our birthday, our longstanding employer partners across journalism, TV, publishing, music, theatre, art and marketing kindly shared with us the impact that Creative Access has had on their organisations over the past 10 years…

Tom Weldon, CEO at Penguin Random House UK:

Julian Bellamy, MD at ITV Studios:

Alison Phillips, editor at The Mirror:

Jay Jopling, founder of White Cube:

Rufus Norris, artistic director & joint CEO at National Theatre:

Are you an employer looking to create a more inclusive workplace? Find out more about our training and recruitment services.

Candidate searching for your dream role in the creative industires? See our opportunities board and how we can support you.

To mark #WorkinPublishing week we hosted an all-star panel (including four of our very own Creative Access alumni!) from leading publisher Penguin Random House. The panellists talked about their journey into publishing, the day-to-day of their roles, and gave a bucket-load of inspiring advice for those pursuing a career in the book trade. Below are some of their top tips, or you can head over to our YouTube channel to catch up on the full conversation. The panel comprised of:

• Josie Dobrin, Founder & Executive Chair – Creative Access
• Mubarak El Mubarak, Head of Digital Marketing & Brand – Penguin Michael Joseph
• Candy Ikwuwunna, Brand Marketing Manager (Youth Engagement) – Penguin Random House
• Malissa Mistry, Sales Manager – Vintage
• Gaby Puleston-Vaudrey, Editorial Assistant – PRH and BBC Audio
• Priyanka Moorjani, International Communications Assistant – Penguin Random House UK

The panel covered wide-ranging themes from favourite books to top tips for covering letters and interviews. On the subject of CV and applications, Malissa, stressed how important it is to tailor your cover letter to the role in question saying “it will take more time, but applications that aren’t changed across roles are immediately obvious to the reader. Instead, break down the job description into key points and apply your skills and experience to any activities or requirements. Find something you like from the publisher’s output or activities to talk about in the interview or application.”

When moving to interview stage, Gaby cited that she used the STAR method; this stands for situation, task, action, and result. Think outside the box when it comes to your experience, as interviewers will be more interested in your approach to a challenge and how you applied yourself to it.

Gaby described passion for books as ‘the one thing you can’t learn.’ This is something that anyone entering the industry will have but being able to showcase your genuine interest in the current book market when applying or interviewing is key.

There are plenty of ways to show you have your finger on the pulse, whether it’s through knowing the top charts or having a favourite BookTok campaign – something that Candy remembers bringing up in the interview for her current role.

Before he found his internship, Mubarak spent 9 months applying and getting nothing – ‘I had to check if my inbox was working!’ – and said that you don’t need to rule out a career in publishing to justify taking a break from sending applications. No two paths into publishing are the same.

Priyanka also mentioned that gaining publishing ‘adjacent’ experience is still massively worthwhile and sets you up for success even if you aren’t landing the dream job just yet. If you have experience on TikTok, highlight that on your CV. Even if you think it’s just silly videos you’re making from your bedroom, BookTok is now a hugely influential platform and can shape the market.

Gaby advised using transferable skills – such as the ones she gained as a student ambassador – when writing successful applications, and Malissa described how helpful it was to build an understanding about books and current trends by starting out as a Christmas temp at Waterstones.

The panel discussed the ongoing dilemma of whether or not a degree is needed to enter the sector. Whilst acknowledging the benefits of university eduction for those who can access it, the consensus from the panel was that there’s no barrier to entry without it. There are numberous pathways to a career in publishing – such as publishing apprenticeships – and plenty of other things will stand out more on your CV. Of the panel, only Priyanka had completed a Publishing MA; she said that it was a good route to picking up more publishing vocabulary and getting to grips with the process, but that the essentials of what you need to know can be learned and fleshed out through doing the job.

When discussing the skills needed for their individual roles, Gaby (who first worked with an independent publisher before moving to her current role) said that needs will vary between teams. Priyanka – working in communications – communicates with a lot of different people! She encourages individuals in similar roles to think about how to adapt their tone and approach with different people you’re in touch with, from more informal conversations with book bloggers to an attentive and generous approach to relationships with authors. Malissa said that to succeed in sales you don’t need to be an extravert, but you’ll be good at building genuine relationships with external parties, and this is just as valuable as hard data.

Mubarak had a final piece of wisdom on this topic:

The panel also spoke about diversity within industry; Priyanka didn’t shy away from the topic of where the publishing industry can do better when it comes to hiring talent from under-represented backgrounds. However, the diversity (or lack thereof) of larger publishers is becoming increasingly transparent – Penguin Random House has recently published statistics on this. Candy said that since coming back to the industry after a short hiatus, efforts across the board to improve social inclusion is more noticeable with positive action schemes like those run by Creative Access or The Scheme by Penguin Random House.

Candy’s final piece of advice was to not give up!

And don’t feel afraid to reach out to publishing industry experts who are public on social media. ‘I reached out to someone who directly helped me with my application,’ Gaby said. People who are as passionate about publishing as you are often generous with their time in giving feedback.

You can watch the full panel conversation on our YouTube channel here

Follow Penguin Random House on LinkedIn to keep up with the latest news from company news, employee stories, new roles, programme dates etc. or explore publishing roles from the wider industry on the Creative Access opportunities board.

Last year, Zahra Khan was one of the successful recipients of the Creative Access x McLaren Racing Career Development Bursary. With the second round of the bursary just announced, Zahra tells us what she’s used the bursary for over the past year and how its impacted her creative career…

I was working as a barista and waitress in a London cafe when I applied for the Creative Access and McLaren Career Development Bursary. I was completely struggling to pay rent and stay afloat. Needless to say, I did not have the disposable income needed to invest in creative pursuits. When I was awarded the bursary, it opened the door for me to be able to independently produce a radio show and make prints again.

I’ve been presenting a monthly radio show with community-based radio station Dublin Digital Radio for the last two years. My show is a platform to discuss research related to South Asian diasporic identity, culture, and history. I used to present from a studio in Dublin, but in London, I did not have the equipment needed to continue remotely presenting the show. The bursary allowed me to buy a microphone which I have since used to interview guests and record myself, allowing my show to survive.

I’m particularly proud of a show I recorded last February using the bursary. I interviewed the founder of Hungama, a queer Bollywood night in London, and recorded snippets of a discussion in RichMix about brown LGBTQ+ nightlife. I used these recordings to create a radio documentary about queer South Asian nightlife in London. 

The bursary allowed me to purchase equipment for my work as a visual artist. I was able to buy Photoshop and a UV lamp which I’ve since used to produce cyanotype prints on both paper and glass. I would never have been able to experiment with glass printing without the support of this bursary. 

Being awarded the bursary has had a huge impact on my life and work. It gave me a confidence boost to know that someone believed in the value of my work. Trying to make it in the creative world can be frustrating, expensive, and challenging. You’ve got to believe in yourself and your work, and at the beginning of your career, you can feel like an imposter staring in at the work of established creatives. The bursary reminded me that my work can be taken seriously, even in its very early stages.

My portfolio of work continues to build and has landed me opportunities such as creating artwork for local bands and even an internship offer at the Financial Times. I’ve been able to live off my freelance writing career and was recently awarded a bursary by the Arts Council which will allow me the time and opportunity to write a booklet of experimental prose about colonisation in Ireland and South Asia.

None of this would have been possible without the boost that being awarded this bursary gave me. Even just the process of filling out the application has given me the confidence to apply and research for more awards, grants, scholarships, and bursaries. The creative world can still seem like a scary space, but the Creative Access x McLaren bursary has given me some of the tools I need to navigate it.

The next round of the Creative Access x McLaren Racing Career Development Bursary is now open for applications. Find out more and apply here by 7th Novemeber 2022.

On Monday 3rd October, around twenty Creative Access interns and alumni came together for a book club hosted at the independent book shop and wine/coffee bar Bookbar.

Our pick for this month was Babel, a new novel from award-winning author Rebecca F. Kuang about the power of language, the machinations of 19th Century colonialism, and the price of resistance.

But what does this actually look like on the page? A culturally diverse group of students study translation in a fantastical tower in Oxford, begin understanding its roots to the British Empire, and wreak havoc before they can help themselves.

Over the course of an hour we took a deep dive into the book to share our thoughts, covering topics from which characters were well-drawn or sympathetic, how messy racial and nationalistic politics played out, and what exactly did we make of that ending.

Something that consistently came up was Kuang’s approach to altering reality. She writes about a fictional technology that uses silver and massively enriches the European powers. Silver bars are inscribed with the same word in two languages, creating a spell which might do anything from keeping food from going stale to locking a door. By making other languages a key part of the silver bars, Kuang presents cultural difference itself as something that can treated by empire as a material resource.

Many thanks to everyone who attended and HarperCollins for sponsoring the event!

The Creative Access book club is open to Creative Access trainees, those placed by us through the Kickstart scheme, and our alumni. We read soon-to-be or recently published books, always by authors from under-represented backgrounds.

If you’re a publisher who would like to nominate one of your upcoming books, please contact us at info@creativeaccess.org.uk.

If you don’t have many contacts in the creative industries, mentoring is a great way to gain expert advice for getting ahead in your career. Former ITV x Creative Access mentee, Wakai Muganiwah talks about how her mentoring experience shaped her career aspirations and helped her gain confidence and the skills for applying to internships and roles in the TV industry.  

For a very long time I have known my desire to work within the media and communication industry. Yet, as a University of Leeds journalism student, I had been confused on where to start my journey and how to begin filtering towards my dream career.  

While I had known about Creative Access for years prior to my mentorship, I had never truly looked at the incredible opportunities it had to offer. I was slightly lost in an abundance of career aspirations and goals, so when I came across the Creative Access mentoring scheme in the summer of 2021, it felt like a perfect opportunity to get clarity on where I was going in life and when I was allocated Paul Moore, the Group Corporate Affairs and Communications Director at ITV, I was ecstatic. I was surprised at how perfect the pairing seemed. A communications director who had been in a variety of disciplines would be extremely helpful in guiding me towards narrowing down the career I desired.  

Initially, I had been extremely nervous to begin this mentorship scheme, but the ease and the support I received throughout the process, from both my mentor and the Creative Access team alleviated all of my preliminary anxiety. Over the six months of mentoring over zoom, I can truly say the advice and guidance I received was invaluable. We completed a variety of tasks and exercises that helped me begin exploring my passions more in order to compact them into tangible careers.  

• We completed CV workshops, where Paul guided me in improving my CV to entice employers and capitalise on my skills and work experiences. Through these workshops I can truly say my CV improved immensely and helped me acquire some of the incredible placements and internships I have today.  
• Practice/mock interviews were extremely helpful in preparing me for future interviews. We practiced under the guise that I was interviewing for a role in media and communications and my mentor acted as an employer in a well-known media organization. After the exercise I was given constructive feedback on ways to improve my interview techniques.  
• Guidance on how to write a cover letter, something that I can truly say became one of the core elements to the success of my applications. I had previously not recognised the significance of cover letters when submitting job applications, particularly paired with a tailored CV.  

It goes without saying how lucky I was to get this help in the aftermath of the pandemic. Like so many in my position, finding such incredible placements felt intangible because of the socio-economic effect of the pandemic. Several months on, I have two 3-week placements and a year internship with Discovery – a role that I applied to through Creative Access. I would not have had the confidence to apply for the amazing opportunities I got had it not been for my mentor’s encouragement, from his help with my CV and cover letters to the interview exercises.  

I applied for this mentorship with the aim of guiding me into the right direction to begin starting my career and guiding me on what else I can do alongside my studies to begin my career, yet I got so much more. I honestly cannot express how much of an incredible opportunity it was to talk to and get guidance from an industry expert. These schemes are important because they allow students and young people like me the opportunity to be seen!  

Despite applying the scheme on a whim and not expecting too much, I received so much more than I could have asked for. Not only did I acquire an incredible contact, but I gained an extremely enriching experience. I never understood the value of having a mentor to help guide you through the extremely confusing industrial work. It is not easy to start a career in the creative industry, but I was fortunate enough to get such an amazing advisor.  

The Creative Access mentoring schemes have created an enormous difference to my personal and professional life. It has given me insight and advice that I would have otherwise never acquired and it has cemented Creative Access’ determination to help people like me.  

Hi! I’m Adina and I work as an Account Assistant for London Communications Agency (LCA), having started in January. My family is originally from South Africa, however I was born and grew up in North London and ended up studying Media and Communications at the University of Sussex. Graduating in 2019, I was part of the first year hit by the major economic repercussions due to the pandemic. Finding a job proved to be a near impossible task….

After countless applications and soulless rejections (if I was lucky enough to receive a reply at all), I knew I had to go about my job search in a different way. At this stage, nearly all my friends were a part of the Universal Credit scheme, and almost half were now employed through Kickstart – it was time to hop on the band-wagon. Although slightly lengthy, the registration process for this scheme was smoother than expected, and in about a week I was matched with my coach at my local job centre.

Starting my job search afresh with a new sense of hope made this whole process so much easier! I also was pleasantly surprised to see such a large number of companies taking advantage of this scheme, and it then only took me a day or so to come across Creative Access. Although I am somewhat creative, a role in the arts industry wasn’t quite where I had imagined myself. Luckily, the advertised vacancies were not limited to only these, as this is where I spotted my role at LCA!

LCA is a full-service PR consultancy that delivers campaigns, consultations, and content to clients across the built environment sector. My main role within the company is providing practical and logistical support to my client account teams, which includes King’s Cross and a range of developers and architects. Along with daily monitoring and scoping the net for any coverage for our clients, I also research a variety of topics within the built environment when handling client requests and come up with creative ways to pitch my clients’ projects to the media.

Being LCA’s first and only Kickstarter, this was a new realm for all of us. Luckily, everyone on my team made it their main focus to ensure this has been entirely a learning process, allowing me to try all aspects of the business, even those my role wouldn’t usually cross!

On the topic of my team, I have to say this isn’t a normal office. Everybody here has been more than welcoming and supportive throughout my whole journey, but also approachable and just plain lovely (shout-out to my appraiser Phoebe)! It’s a pleasure to be here, and I can thankfully say the feeling seems mutual as I was offered a full-time position just two months in.

In my experience, the Kickstart scheme is literally the sole reason I am where I am today. I was lucky enough to join a thriving agency, but for many other companies, Kickstart helped them to stay afloat through an exceptionally difficult period. Similarly, for myself and so many other young people living through the pandemic, the re-opening of the job market meant we now had a chance to start/continue our careers.

Creative Access allowed my transition into LCA to be as smooth as possible. I have now attended two workshops since starting, giving myself and other Kickstarters key information to take into our roles and further in our careers. This also gave us a chance to connect with those in similar roles and hear about their personal experiences. Those on the Creative Access team have always been warm and welcoming as well as supportive whenever needed.

As my Kickstart journey soon draws to a close (and I became a permanent member of the LCA team!!!), my aim is to continue learning and growing here, soaking up everyone’s knowledge while progressing on my PR path.

Curated by Arlo, trainee communications assistant at Creative Access.

At Creative Access, we believe it’s important to uplift and support the trans people around you. We asked trans people working in the creative industries for their opinions, concerns and advice about being trans in the workplace.

Arlo: Being trans definitely influences my creative side, you will always find references and inspiration to queer culture through my work. I think that’s down to the sense of safety and community I am fortunate enough to have found in queer spaces.

Loke: I definitely think being trans influences my creativity (and vice versa). For me a large element of my creativity is about the making process – which I feel draws parallels to the way being trans is about making yourself.

Arlo: Workplaces can do a lot to support their trans employees such as pronoun pins/email sign offs, gender neutral bathrooms, sanitary products in both men’s and women’s bathrooms, offering legal and preferred name boxes on forms and documentation/systems. Advocating for their employees would be really helpful too in terms of customer/client interactions and educating staff.

Loke: I think a good way to support trans workers is to ask that all staff include their pronouns on email signatures or zoom profiles, so it becomes a normalised thing. It’s also useful to have open space for conversation about being trans (but not asking invasive questions unprompted of course.) Perhaps in some cases if a workplace is in the space to aid a trans person to get corrected documents or other things, that support would be really lovely too.

Arlo: Co-workers can best advocate for their trans colleagues by asking them and checking with them how they’d like to be referred and defending/correcting others even in the absence of their trans colleagues.

Loke: Co-workers specifically both listening to the trans people they work with, and being willing to do their own research, sets a really good basis for allyship. In a customer service front, correcting customers on pronouns can also be really good.

 Arlo: Every trans person navigates the workplace in a different way. Some people choose to go stealth (a person who passes as their desired gender and doesn’t share that they are trans with others) at work and some don’t. I personally would only discuss trans issues with people I know I would be safe to do so with. Having people around me in my work environment that can and do advocate for me in my absence and presence is so important for me as sometimes I do not always have the emotional capacity to continuously correct others when they get my pronouns wrong or misgender me.

Loke: I think it’s good, if you’re confident enough, to actually mention and ask about how being trans will be in the workplace when being interviewed. It can keep you potentially from taking on a job you might not feel safe at. I’d also say take it in small steps once you’re in the workplace. I knew my co-workers were all safe, but I was still reading what level of things I could share.

Arlo: I have found the creative industries to be the largest gathering of queer and trans individuals – so much more so than any other field. The industry, while still dominated by men, is much more saturated with like-minded and open people who create a safe and comfortable environment to flourish in.

Loke: I think the creative industries are a good place because generally speaking it attracts more accepting people/other lgbt+ folk – which just works out to make it a safer place. However, it’s worth keeping in mind that it can be a tough sector in terms of salaries – which I’m acutely aware is a troublesome issue from many for trans folk.

Arlo: Personally, I haven’t encountered many challenges as a trans person, but I have encountered many opportunities for myself and other minorities, such as minority-specific communities/workshops that help people connect with each other and network with others in the industry.

Loke: I think there are definitely opportunities opening up in the creative industries for trans people. People want to see themselves represented more within art and media and it’s better to hire a trans person to make art/content reflecting trans people than asking others to do so. I know some artists who help illustrate for trans-specific educational sources; stuff like that is definitely popping up more and more.

As part of Neurodiversity Celebration Week, we at Creative Access want to highlight the lived experiences of neurodivergent people within the workplace and the strengths and skills they bring to their roles.

We sat down with CA’s employer training trainee Simba, to chat about what adjustments work for her as someone with ADHD, and her top tips for neurodivergent people in the workplace.

As someone with ADHD, one thing that often gets brought up is time management. You can be perceived as lazy, or not prioritising correctly, or in general, your work ethic can be questioned if you’re not coming in on time, or they wonder how serious you are as an employee because you can’t meet certain time expectations. However, I think a strength that neurodiverse people can bring to roles off the back of that misconception is that we have the ability to hyper-focus. That’s a noticeable strength. It’s expected that you’re not necessarily hardworking, or that you can’t apply focus to a task, but you can.

As a person with ADHD, another strength we bring to the table is socialising. We have really good oral abilities; we enjoy socialising, we enjoy networking. Sometimes I feel like we’re like bridges to other people.

And another strength is our visual abilities – neurodiverse people in general share that strength. We tend to be able to see things in big pictures, or mind-map, or visually see things.

On top of that, enthusiasm and optimism. In the general workplace, if you’re used to not being the ‘best’, you have to offer optimism to keep you going. You have to keep that optimism and that drive which is really valuable in the workplace.

You also think outside the box. An opportunity might come where your skills might work well for a task in another department and you can then use that to get closer to your desired career goals.

Finally, I have so many interests and passions. I can put my hand in many different bags! You can take us out of our comfort zone and I think we can seize the challenge and have a level of enthusiasm and problem-solving skills. It might not be approached in the way that’s expected, but we’ll find a way.

More than average regular check-ins with my line manager.

Sometimes I can get lost in a task or the opposite, [and] lose focus on a task. I have a really good relationship with my line manager and it is super helpful. It means that no matter what, I can go to her about a series of things. She also sends me emails after a verbal discussion. I know dyslexic people also have difficulties with taking on verbal conversations and making sure you have all the details relevant to the task.

Avoid glaring lights and find a quiet place to work

It will help you stay focused. I’ve not personally had to do this, but it is ok to ask for a quiet space so that you can focus. In the workplace, you might be prone to anxiety or agitation if there’s a lot of lights and a lot of noise. Lots of neurodivergent people have an issue with sensory overload like glaring lights and overhearing other conversations, so a good adjustment is a quiet room with dim lights.

Fidget spinners and spinny rings!

Alongside this, I have other things, like a lavender bag because I stim off smells. People stim off different things, such as music. I just sniff the lavender bag and it calms me down. Same with my spinny rings, if I’m in a meeting and I need to move, I have my spinny ring. At work, if I’ve been stuck on a task too long, I’ll feel in my body that I need to move.

Make sure that you go on regular walks

Even going on walks around the office, exploring different floors.

Snacks!

Have snacks with you! People with ADHD also crave things that are high in dopamine: foods high in sugar and saturated fats, basically things that give you energy really fast. This is helpful but can ultimately lead to a crash, so you should try to go for nutritious but high complex carbohydrate foods to keep your sugar levels at a decent level.

Nutritious foods like oily fish, nuts, seeds, berries, leafy greens… I also take fish oil tablets which is meant to be really good for focusing. The ways I’ve tried to manage my ADHD is through supplements and snacks, Vitamin D as well.

Set alarms

I set alarms to remind me to eat – sometimes with ADHD and autism, you can forget when you’re hungry. The alarms also remind me when it’s time to focus on something else. They help keep you involved in your day, so you don’t get lost in a task and also can help how long it takes you to do a task.

Considering our strengths in visual mind-mapping skills, an adjustment an employer can make is giving someone 2 computer screens or a large computer screen so that everything is visible and it reduces the burden on your memory. For me in life, it’s out of sight out of mind so I like to have a visual idea of where everything is. Your own personal desk-space is also another reasonable adjustment so you can see your own belongings and what’s available for you.

An employer can also understand that someone with ADHD might need regular movement, and that not being viewed as weird. An adjustment could be giving someone ideas and spaces where they can have those times to release the burden of sensory overload.

I understand that in a business you can’t be late to everything, but having an employer who understands when you might be late reduces the anxiety and that that they might struggle with time management, and are probably very aware of that struggle can be really helpful.

Things like visual prompts and colourful stationary; a visual calendar; a notebook that you colour-code; checklists; notes; traffic light system in terms of things you prioritise in your day and your line manager breaking down tasks can all also be great adjustments. There’s also loads of softwares like Grammarly and text-to-speech softwares.

Another thing to bear in mind is, lots of people with ADHD thrive when they can do a couple of things at once. I’m able to take things more if I’m doing multiple things at once. It can feel a bit limiting to do that in the workplace, as it might look a bit unserious. But if I’m able to use my fidget spinner, for example, whilst in a conversation, I can offer up more ideas. So, a certain level of understanding that not everyone has to sit at a desk to be 100% focused.

Disclosure isn’t necessary. It really depends on the working environment you’re at. It worked well for me but some businesses might not have the structure to support you and your disclosure ends up being redundant. But if you feel like the symptoms of your neurodivergence are pervasive in that they affect you on a day-to-day basis, then disclosure is a safe space. Ultimately, it is better not to mask these things. Don’t have fear that your difficulties are bad personality traits.  

You have strengths and skills to bring forward and it’s ok to say, “this is where I’m strong and this is where I’m not”. We’re all motivated and inspired by different tasks and activities.

Go to someone you trust and raise creating a Wellness Action Plan with them. The way I could disclose my neurodivergence was through my Wellness Action Plan. You discuss what tell-tales sign you give off when you’re upset. I know that according to my ADHD how that would translate. This is relevant for everyone, not just neurodivergent people. 

It has benefitted me in regards to delegating tasks, my line manager knows what tasks are well-fitting for me and which ones I may struggle with so she can assist me in those areas. It makes me feel more comfortable to be myself, to move around, my mannerisms… Everyone should be free to be themselves no matter if you have neurodivergence or whether you’re culturally different, or any of those things. But it gives me a sense of freedom to come as my authentic self – I’m never questioned, or mocked. I feel appreciated for those things.

These things oscillate, even with ADHD symptoms, there’s some weeks where I feel completely neurotypical. For anyone, in regards to mental health or their personal circumstance, these are all things that are constantly oscillating. Someone neurotypical, on a bad mental health month, can show symptoms that might overlap with someone with autism, or ADHD… That’s why I love the idea of Wellness Action Plan – someone who’s struggling with their mental health can disclose and ask for reasonable adjustments. Having those adjustments in the workplace help everyone.

If you are being discriminated against, remember this is illegal. Under the equality act 2010, it’s a legal requirement to have reasonable adjustments made in the workplace. No one can do everything, so have faith in the ability that you have. It’s within your rights to ask for support and support in how you can develop.

Advocacy!

Advocate for your colleagues when they have difficulties. One thing I feel blessed with both my 2 past line managers is that I was shy and nervous to talk about difficulties and sometimes they would send an email on my behalf to explain I was struggling and feeling shy. But it goes both ways.  

Making everyone aware

In your own department, it can be fine as you know the way of working and you have your own style of working, but sometimes someone from the wider team might come in and not know. A colleague explaining to them your style of working and your adjustments can be really helpful.

Ask questions

If you see someone looks agitated, you could say “Hey I’ve noticed this – tell me if I’m wrong – but I wanted to ask you if this is the case?”. That’s how I’ve approached it with colleagues who’ve had bad mental health days before.

Ask if there’s any way you can adjust

If there’s a group project and you can tell someone’s struggling, ask how you can assist or do it differently. Ask if you can adjust your working styles to work better together. Giving the option of being able to have a verbal or written conversation, maybe we could talk on the phone or do a visual mind-map. Give them the option to approach tasks in different ways.

• Plan your journey the day before. Give yourself visual cues, what landmarks might you see on your way there?
• Pack your bag before
• Plan your outfit
• Sleep hygiene is really important: if you struggle with waking up, put your phone far away from your bed so you have to get up to get it in the morning might be helpful
• Body double: it’s not always possible, but if you find having someone present while you do a task helpful, you could find yourself a buddy or just ask someone if you can work together because you find it easier
• Soothing techniques: for me it’s the spinnies, but meditation can also help.
• Eat breakfast!

Creative Access alum, Luke James, shares his thoughts on returning to the office after nearly two years of working from home during the covid-19 pandemic.

I go back to the office full-time this week and honestly everything about it, aside from the return of the office birthday cake, is making me a bit nervous. The pressure is on, with the government and big business screaming for the country to get back into the office. Coincidentally, those that scream the loudest for this have a huge economic interest in making sure that their lucrative office buildings in the centre of the big cities up and down the country are being used. However, as most of us aren’t property tycoons or postcode millionaires, there are a lot of conflicting feelings around returning to the office.

I’ve got good reason to be hesitant to return to the office, I’ve enjoyed a simple life at home not having to worry about things like awkward micro-aggressions – “no I haven’t brought ‘jerk chicken’ in for lunch again, it’s just last night’s dinner”. I, like many others, am really not looking forward to my creeping social anxiety returning right in the middle of an important pitch, and if I could avoid using public toilets for the rest of my life I would. These issues are ultimately trivial compared to the impact that returning to the office will have on my wallet.

Full-time office work can add up very quickly. Commuting, the occasional lunch and, unless pyjamas with holes in the crotch become on trend, new clothes will all cost me money. Whilst I’m experienced and fortunate enough to be able to mitigate these costs, it’s my junior colleagues that will be hit the hardest by this. Aside from the obvious (that they are paid less) often our junior colleagues may feel the pressure to spend money to keep up with senior members of staff – I know I certainly did. Couple this with the skyrocketing cost of living, the coming increase in national insurance and energy prices and I do fear that return to the office means, yet again, excluding those from lower-incomes the opportunity to work in our industry. We risk losing those junior members of staff who do not have the capital to survive returning to the office. It goes without saying that those who struggle with mobility or social issues also stand to lose the most. In some ways a return to work can be seen as a step-back for diversity of thought.

It’s not all doom and gloom and I really am looking forward to returning to my office. I’ve missed those shared experiences of hearing someone’s good news together, I’ve missed going to the pub to discuss a long day at work, I’ve missed the birthday cakes. It’s easy to forget the human aspect of these jobs that have been mostly solo over the last 18 months. Perhaps my rose-tinted glasses need some adjusting, but these days I even yearn to watch a colleague chew with their mouth open. I’m fortunate enough to enjoy my job and love where I work, but I know it’s not the same for everyone. It’s an over-simplification to suggest that you should find a working environment that you love – how do you even do that?

Perhaps we should just be grateful that we even have a choice in the first place. Many workers up and down the country don’t have the luxury of working from home at-all, let alone some form of hybrid working. There are genuine benefits to the office, the socialisation aspects, the growth and learning opportunities, the birthday cake – but is this worth the cost of greater autonomy over our day-to-day lives? Is this a step-back in the fight to have a greater work-life balance? How detrimental will all of this be to increasing the level of diversity of thought in the workplace? I’m not sure, but I do know that sales of birthday cakes will surely rise to pre-pandemic levels.

Originally a guest-blog for the Advertising Association.

People from working-class backgrounds are under-represented in many industries, however the Advertising Association’s All In Census found that, in advertising, they were outnumbered almost two to one by those with a privileged upbringing. The creative industries, specifically advertising, need to do more to represent society as a whole, not just one subset. At Creative Access, we recognise the barriers people from under-represented communities face when entering the creative economy, but there are ways your organisation can attract, support and retain employees from all different walks of life. 

The most fundamental way to improve diversity of social background in your organisation is to pay your employees a fair and living wage. The London Living Wage is now the standard for agencies and organisations based in the capital. This may seem obvious, but too often agencies rely on unpaid or low-paid interns. Most people cannot afford to work for free, so by taking on unpaid labour, you deny a whole host of people a way of gaining access into the industry and limit access to those whose families can afford to subsidise them.

In fact, our recent research shows that financial barriers, such as re-locating, living and commuting costs, have prevented a staggering 77% of our community working in advertising and PR from even applying to jobs. Anecdotally in this research, numerous people from low-income backgrounds explained that they would be unable to live if they took on an unpaid internship and even some paid internships as the salary is so low. Many also said they struggled to find an entry-level salary in the creative industries on which they could survive living in London. 

Paying your employees a fair and living wage is not only a way of attracting a breadth of talent which might not usually be able to join your organisation, but shows potential employees that they are valued. In entry-level positions, this is key for gaining confidence and providing a helping hand into what can be an unknown world. 

Young people from working-class backgrounds cannot afford to make the jump into advertising unless they are offered job stability. Internships or contracts that last only 3 months do not offer this. Yes they provide experience but they make financial and living situations too precarious and people from lower income backgrounds cannot risk taking on a role with such little job security, especially without the promise of being offered something longer-term afterwards. 

Value your employees’ time and work. Are there long-term internships, entry-level training positions, or mentoring opportunities that you can offer them to help them progress? How can you ensure that employees from working-class backgrounds progress into more senior levels? Are you able to provide support with re-locating, living or commuting costs such as the Career Development Bursary, Creative Access offers in partnership with McLaren Racing. 

Analyse your data. Figure out which demographics are under-represented and why and develop specific initiatives or processes to tackle these in the long-term. Stop hiring by word of mouth, which excludes people who do not have networks within advertising. Instead recruit across a range of platforms. 

Ensure your recruiter roster is fit for purpose. Do your recruitment partners have a strong enough network amongst under-represented groups? Are their own teams diverse and representative? Are they incentivised just to ‘close’ a role or to think creatively and look for talent via different networks and communities? And when you do advertise a role, make sure to state the salary. Transparency with contracts and payment is key for potential employees to gain a clear picture of the role. 

There are ways that you can ensure different social backgrounds feel comfortable and confident within your organisation. At Creative Access, we offer a wide-range of employer training that can benefit all staff, from senior to junior levels. We conduct training on unconscious bias, class and inclusive leadership with expert professionals, such as clinical psychologists, lawyers and diversity experts. 

Being outnumbered in a work environment can be a very lonely experience. Employers must instil in their employees that their differences are not a point of contention, but a point of a celebration. Supporting your current staff helps retain them, showing potential employees that your organisation takes diversity seriously.  

Across the advertising industry, not enough is being done to ensure that diversity in social backgrounds, ethnicity and disability is improved. We need to break down the barriers that make any industry difficult to enter, but advertising specifically will improve with a broader range of backgrounds, experiences and ideas. Diversity fuels creativity, and how can you speak to a diverse audience without an inclusive team? 

You can find out more about Creative Access positive-action schemes, paid internships, diverse recruitment and training here.