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. 

Former Creative Access intern, Nimra Shahid talks us through her role as an investigative journalist and why the environmental sector is such an interesting space to be working in right now…

Who are you?

I’m an investigator at Global Witness, an NGO specialising in hard-hitting investigations and advocacy relating to climate and the environment. My team’s work focuses on deforestation and subsequent human rights abuses happening in Brazil, the Democratic Republic of Congo and Papua New Guinea, as highlighted by our recent investigation, The True Price of Palm Oil. This was broadcast on Channel 4 News and the Washington Post. I also assist with data-led investigative journalism including our latest analysis, which revealed on BBC News that over 500 fossil fuel lobbyists have been attending COP26.

How did you get into your role?

While completing my journalism training, I started freelancing as a news reporter at the Guardian and became interested in digging a bit deeper into stories beyond the fast daily output. Around the same time, I started to learn about data journalism and how powerful it is for storytelling and investigations. So I applied for the Google News Initiative fellowship for a few months at the Bureau of Investigative Journalism, to learn about data led-investigations. I really admired their focus on creating impact and making the world a slightly better place with their reporting. After completing my fellowship, I came across an insight day hosted by Creative Access and Bloomberg about financial journalism. That opened my eyes to how markets underline so many events in our day to day lives ranging from Brexit and Covid to what really peaked my interest – the environment, inequality and the role capitalism plays.

I started a 3 month internship at Bloomberg in January and with support from Creative Access, I’ve received mentoring since from some fantastic journalists including fellow CA alumni, Lizzy Burden. The newsroom’s motto of “following the money” and climate coverage got me interested in the role banks and financiers play in the crisis, through their choice of investments in big fossil fuel companies and agribusinesses. I’d always understood the climate crisis from an individual perspective i.e. being more conscious of recycling, so Bloomberg’s output exposed me to some of the big players involved.

One day, I was sent an ad by a former colleague about my current role at Global Witness, which seeks to break the links between deforestation and harmful investment through investigation and advocacy. I knew I had to apply and here I am now!

Why is it an interesting time to work in this space?

Of many possible answers, working here during COP is the most obvious one! Seeing how our investigations and advocacy are creating impact and directly influencing coverage makes me hopeful that change is possible. COP is only for two weeks though and countering the climate crisis will be a long work in progress. Communities in the Global South continue to be directly affected by deforestation and our overheating planet. There may never not be an important time to work in this space, as much as I would like to hope otherwise for the sake of our future.

What is your response to COP?

There are vital conversations happening about our world inside and outside the summit and it’s crucial that those who are most affected by the climate crisis are well represented and have seats at the policy-making tables. The Runnymede Trust stated that people of colour in the UK will be disproportionately affected along with those in the Global South. Unfortunately, our own investigation at Global Witness has shown that fossil fuel lobbyists at COP outnumber the UN’s own official indigenous delegation by around two to one, while a number of activists from diverse backgrounds have expressed that they have felt excluded from key decision-making processes. Without their voices, pledges will not go far enough in tackling the climate crisis. We have already seen the final agreement fall short on fossil fuels, by only calling for an accelerated phase out of coal when emissions from coal are less than half the problem. And while it’s great that world leaders have pledged $19 billion to ending deforestation by 2030, we need strong and binding legislation to stop banks from funding the destruction of our forests.

Do you have any thoughts about diversity and sustainability?

My thoughts build on my sentiments around COP. Climate will continue to dominate our news cycles after the UN summit finishes in Glasgow and it’s essential that those leading the coverage, whether they are journalists or campaigners, come from a range of different backgrounds and experiences. There are stories waiting to be told in the UK and across the globe that will best come from those with direct lived experiences of some of the issues at hand. But they will also need resources to ensure their voices are effectively heard. I’m incredibly lucky at Global Witness that investigative journalism is well funded and seen as a core part of the organisation. However, I rarely see grants generally in the UK for journalists of colour to specialise in areas such as climate, data and investigative journalism. I would love to see initiatives similar to the Ida B. Wells Society and IRE & NICAR fellowships in the US being offered here as well to undertake important reporting that holds those in power to account.

I’m Sunita Ramani, and I work at Greenhouse, a specialist green communications agency focused on delivering positive social and environmental impact. I found Greenhouse through Creative Access in November 2020 when I was hired as a Trainee Administrative Assistant, and I have since progressed to Senior Account Executive, opening up a whole range of opportunities – including most recently, being involved in several exciting initiatives around the COP26 climate conference.

Why does diversity matter at COP26?

This summit is significant for all of us – the future of our planet rests on the commitments being made in Glasgow at this very moment, and the steps that world leaders take to meet them. But as with any global disaster (the Covid19 pandemic being a prime example), not everyone is equally affected, and people of colour worldwide are suffering some of the worst impacts of the climate crisis, despite contributing the least to its causes.

How communications can help to achieve climate justice

For me, getting to work with organisations fighting for climate justice is what I love most about my work at Greenhouse. In the lead up to COP26, I supported the international charity ActionAid with their EarthWalk campaign which highlighted the unequal representation at the climate conference. In particular, many invitees from the Global South have missed out on attending the negotiations due to vaccine inequalities or a lack of funding.

By supporting ActionAid with their PR and digital communications, we encouraged thousands of people across the world to take part in EarthWalk, collectively marching over 43,000km to call on world leaders to Step Up for Climate Justice. On the third day of the summit, ActionAid projected videos from people across the world taking part in the campaign in central Glasgow, as a way to bring their voices to COP26 and remind negotiators of their duty to listen to those on the front lines of the crisis.

I have also been supporting the work of the Just Rural Transition, an initiative bringing together food producers, governments, businesses, civil society, rural and Indigenous peoples to champion people-centered solutions to our food and land-use crises. Providing nutritious, affordable food for a growing population in a way which is both just and sustainable is an enormous challenge, and it is essential that we centre the food producers and rural communities who hold the knowledge and experience to tackle these issues.

By amplifying the JRT’s messages through PR and social media during COP26, we’re helping to increase awareness and understanding of a ‘just rural transition’ and ensure it is on the agenda as world leaders discuss how to transform our food systems for the better.

Going to Glasgow

Whilst I’ve been able to do all my work remotely, COP26 being only a train ride away is a once-in-a-lifetime opportunity, so I decided to head up to Glasgow over the weekend for the Global Day of Action – a day for people everywhere to come together in support of climate justice, and to centre marginalised voices who have largely been excluded from the official negotiations.

Marching on the streets alongside nearly 100,000 people, and hearing the firsthand stories of those who have experienced the devastating realities of the climate crisis were a powerful reminder of why it is so important to do this work. At the rally on Glasgow Green, I listened to Indigenous leaders, trade unionists, and activists from the Global South all describing their fears for their future, and calling on us to unite and stand with them in demanding a better one.

I’ve come away from Glasgow reminded of how essential it is that people of colour bring our voices, perspectives and stories to every aspect of environmental justice work, from campaigning on the frontlines to re-telling the stories of our communities behind the scenes. Each one of us is needed in the fight for a better planet, as there is no climate action without climate justice.

If you’re interested in working for a sustainability organisation, keep an eye on our Opportunities page for our latest roles.

We’re back with another Spotlight Series blog post! Under the spotlight, this time is our super hard-working Copywriter, Theo Perrin.

Can you introduce yourself?

I’m Theo! I’m a Copywriter and CRM Assistant at Creative Access.

Could you describe your role in a little more detail?

My job involves populating our opportunities page with the hundreds of internships and jobs that we advertise through our networks, hopefully making them as informative and appealing to potential candidates as possible.

Part of my work is also making sure that these roles find their audience; I contribute to our Twitter page and put together our fortnightly email newsletter to candidates, offering a bitesize roundup of live roles in the creative industries to those who have signed up with us. I also liaise with our many employer partners to make sure we have all the right details for them.

What’s your favourite thing about your role?

With a background in creative writing, I’m always going to enjoy a chance to create or edit something so that it reads well for an audience. Hopefully telling them everything they need to know without putting them to sleep!

But beyond this, I find a lot of satisfaction in discovering better ways to work. I’ve joined the organisation at a time when it’s busier than ever and there is plenty of thinking about our approach to what we do behind the scenes. Finding even tiny solutions by myself or in conversation with colleagues is secretly my favourite part of the job.

Talk to us about your writing background, please, Theo.

I’ve been writing in my own time, mainly pieces of fiction, since I was 13. I also wrote a 50,000-word fantasy-crime novel with my friend back in sixth form. Although I didn’t think it would lead to anything, I knew I didn’t want to give up writing, so I went and studied English and Creative Writing at the University of Nottingham and kept pulling at that thread.

I would love to be able to expand and grow my skill set and put it to use across a broader range of mediums, like blog posts or video scripts. It’s hard to find the time to write for myself at the moment, but I make space in my life outside work to keep my hand in writing whenever I can.

Tell me more about why you joined CA. How do you feel connected to the company?

To expand on an earlier question, a big part of what makes my role enjoyable is that I’m invested in the success of CA’s work on a deep level and want to see the organisation keep growing. It was a priority for me when searching for a job that I would be in an organisation where I didn’t feel alienated from its goals.

This is also hopefully what Creative Access can offer to those who find new roles through them too. There is often a lot of focus on your specific daily tasks when searching for jobs, but I think ideally the bigger picture is also compelling and drives you forward.

But it’s not as straightforward to find that connection to your labour in an era of hyper-specialised work. When your ancestor fashioned a tool to make farming crops easier a few thousand years ago, they knew exactly how this was going to help their community. So, the chance to help a wider range of people find work they care about in the creative industries was really special to me and something I didn’t want to miss.

It feels strange to put it so bluntly considering what I look back on as a really positive and varied upbringing, but I was raised in a low-income household. This absolutely shaped my perspective on what opportunities different people can access.

Then growing up through the past decade, watching funding being squeezed from creative education and extracurricular activities, knowing that fewer people than ever are financially equipped to enter industries that were already known to be very insular and difficult for newcomers. All these things have a big impact if you value the arts and cultural sectors, and happen to feel a little edgy about your financial security.

And finally, if you could travel anywhere in the world, where would you go and why?

This is quite a poignant question considering the past year and a half isn’t it! I would love to repeat a past holiday and go back to the south of Spain and spend more time looking at Moorish architecture. So Cordoba, Seville, Granada. Lots of very intricate and geometric Islamic art we don’t always think of when we talk about Europe.

Having said this, I think my most memorable travel experiences have been finding myself in unexpected places, doing things that aren’t necessarily on the itinerary. Like I once spent 30 hours sat on a train going through Canada because a freight train broke down on the same line. It wasn’t a sleeper train, so I spent 30 hours more or less sat upright, trying to read a book. The food carriage started running out of things that weren’t snacks. I was very bored and tired but these irritating details disappear when you’re looking back on dull experiences; memory smooths them over. I was staring at mountains and endless forests I’d never seen before. It was very peaceful in a way.

In response to COVID-19, Kickstart placements have given young people the opportunity to work in a range of creative industries, bridging the gap of unemployment that the pandemic has caused. Annabella Costantino, recent MA Publishing Media graduate from Oxford Brookes University, is a current Kickstart placement holder at inclusive children’s fiction studio, Storymix.

Can you tell us a little bit about yourself?

Hi! I’m Annabella and I work as a General Assistant to the Founder at Storymix. I also volunteer for The Publishing Post as a Contributing Writer and Copyeditor, and am growing my skills as a freelancer editor. I grewup in the East Midlands and moved to Guildford in 2016, where I studied BA English Literature with Creative Writing at the University of Surrey, graduating in 2019. Later that same year, I moved to Oxford to study MA Publishing Media at Oxford Brookes University. This was where I learnt about the publishing industry and it solidified my interest in children’s books.

How have you found the role at Storymix?

I’ve learnt so much! It has been great to see the internal processes of a publication and how different departments work together, in-house and with freelancers. The team is very friendly, quick to help and fun to work with. I have particularly loved to see how editorial and marketing work for creative projects in development and how to pitch a book to publishers. As it’s a remote position, I haven’t met any of my colleagues in-person though, which is common in the COVID-19 climate.

What does your role there involve?

My job is varied, which is why I love it. First and foremost, I offer administrative support to Jasmine Richards, founder of Storymix, by liaising with her professional network. I support ongoing projects by storylining and editing, as well as creating articles, blogs and social media content on behalf of Storymix, supporting marketing and PR strategy. Some examples are a set of inclusive book recommendations and a blog post for Black Books Matter, covering the publishing processes for Aziza’s Secret Fairy Door. I am also a reader and reviewer for prizes, providing feedback for Jasmine. It’s a very creative job where I have developed my attention to detail and organisation skills – and all in just a few months!

Why is Kickstart a good initiative by the government?

The Kickstart scheme has really helped young people whose careers have been negatively impacted by the pandemic. COVID-19 has significantly affected recruitment processes for recent graduates, with less job availability and opportunities to network with new people. The Kickstart scheme has connected companies with gateway organisations such as Creative Access, who in turn, have offered support to candidates and increased opportunities in a highly competitive job market.

How has Creative Access supported you during your placement?

Creative Access has offered training and workshops throughout my placement, specifically for the Kickstart cohort. This included an induction, where I got the chance to meet other Kickstarters and set SMART goals. This helped me to suggest ways of monitoring my progress at Storymix, taking the experience to the next level. Creative Access also offer several online masterclasses, in addition to our workshop schedule.

What are your hopes and ambitions career-wise?

My ambitions are that I can take my experience and work in a children’s publishing house, preferably in editorial. I would also love to return to the publishing scene in Oxford, if possible. My passion for words is what has taken me this far, and the chance to continue working on inclusive publications that positively impact readers would be amazing. Reading makes a difference, and I can’t wait to work on more books that I am passionate about. Publishing is an exciting industry and I have already met so many talented people. I have high hopes for the future and it’s great to see progress – one book at a time!

When Annabella isn’t at Storymix, you can find her portfolio on LinkedIn, including her interviews with publishing professionals and upskilling tips on The Publishing Post website. You can also find her on Twitter.

To explore Kickstart Scheme opportunities via Creative Access see here.

As part of Creative Access’ ongoing partnership with Aardman Animations, Izzy Thomson, was offered a complimentary place on this coveted world-class stop motion course. Here she tells us what she learned and her plans for the future…

I am a painter from the Highlands of Scotland. I grew up in a place called Cromarty, an old fishing town nestled between the hills and sea. I went to Aberdeen, where I gained my BA (Hons) in Painting from Gray’s School of Art. After graduating with a first-class degree, I then went on to complete the Graduate Residency in Leith School of Art, in Edinburgh. After spending time in Aberdeen and Edinburgh, I have since returned to the Highlands and I am currently based in Wasps Studios, Inverness.

My work derives from a love of wild landscapes and storytelling. I have always been captivated by animation and I have had a growing desire to explore the use of one-stop animation within my painting practice since my degree. I am drawn to animation, as a way to make my paintings move and to see how the characters within them might journey through their worlds.

With funding from Creative Access, I was given the chance to undergo the Aardman Academy’s Stop Motion 1 course and finally explore this curiosity. The course took place online, over a 12-week period and was about one-stop, performance-based animation. It guided us through the principles of animation, each week giving us a progressively harder task to complete, to cleverly build up our skill-base and confidence. These ranged from penny slides to animated idles. This prepared us for making a final film for the graduation screening.

The overall ethos was welcoming and relaxed, yet it encouraged a passion for dedication and hard work. This provided the perfect environment to learn from. There was also an online community, which formed a platform for the students and tutors to chat, get to know each other and share ideas. It is a great feeling when you find likeminded people!

The course allowed me to deepen my practice as a visual narrator by further developing my use of one-stop animation within my work and my final project was derived from a painting I had made a couple of years ago.

The access to the use of Dragonframe (the animating software) and the armature by Animation Toolkit (the skeleton that you build up the puppet on) that came with the course, allowed me to immediately put into practice the principles of animation I was taught each week, without having to find the tools to do so.

This opportunity has been challenging, fun and a huge learning curve. I will certainly apply the skills and knowledge I have gained to future projects and continue to develop my use of animation as an extension to my painting practice. I have an upcoming exhibition, for which I am planning to make animations that coexist alongside my paintings – to help me tell stories and bring my world to life.

In the future, I would love to use my animations and storytelling to educate people about ecology, biodiversity loss and the importance of the natural world. Using animation and painting to visually engage and inspire, it is a dream of mine to make work for nature-based charities, to help them promote and rekindle a love for the living world and help to protect it.

For any of you out there at the beginning of your animation journey, I would advise you get a lump of plasticine and a cheap/free app on your mobile (such as Stop Motion Studio) and have a good old play around and make the plasticine move! I would also highly recommend getting your hands on a copy of “The Animator’s Survival Kit” by Richard Williams.

I wouldn’t have been able to complete this course without the help from Creative Access. So, I thank you very much for this marvellous opportunity to grow my creative practice.

You can view Izzy’s animation work here including her final short film The Constant Gardener, created for Aardman on the course.

We are shining the spotlight on our amazing staff once again. This time it’s the turn of our fabulous Employer Training & Operations Assistant, Ayesha Ali. Grab a cuppa as we talk all things creative (and Wales!).

Please introduce yourself!

I’m Ayesha and I am the Employer Training & Operations Assistant for Creative Access.

What were your motivations for joining CA? 

I knew that I wanted to work for a mission-based organisation, somewhere where my work would help change society for the better. I always thought I’d work in the third sector – helping fill the gaps and give support the Government have missed. Since university, I have had a big interest in diversity and inclusion and mental health, so when I saw a role advertised by Creative Access, I knew I had to apply.

Since working for CA, I’ve learnt so much about the creative industries and the different types of roles in the creative sector and where creative industries can take you in your career – working here has opened my eyes to the creative world.

Which creative sector are you most passionate about?

If you know me, you’ll know I am someone who has a lot of different interests so this question is quite difficult for me to answer. I am an avid reader and I adore musicals; so aligning with my hobbies, I’d say publishing and theatre. I love stories and being transported to different worlds and places. I am a big history nerd and I love learning more about different periods of history through musicals and books.

Can you tell me more about the creative industries in Wales? Have they improved in terms of diversity and inclusion over the years, and if so, how? 

The creative industries in Wales are growing and becoming more established, especially journalism and TV. Historically, Wales is known for being the place where Doctor Who was filmed, but there have been so many great newer productions filmed and produced in Wales in the last couple of years. For example, last year I watched His Dark Materials which was a Bad Wolf Studios production and was filmed in Cardiff. Early this year I watched The Pembrokeshire Murders which I enjoyed, it was starring Luke Evans (who was also Gaston in Disney’s Beauty and the Beast) and through the show, I discovered new Welsh talent such as Alexandria Riley.

In terms of Diversity and Inclusion, I think so much more needs to be done in Wales. I remember a few years ago, a theatre production of The Golden Dragon was criticised for its lack of diversity in casting South East Asian actors. More recently the BBC did a report a few weeks ago on Welsh musicians of colour, which covered similar themes of lack of representation of people of colour. I think the general trend is that young people who are interested in the creative industries are more likely to move to London, which is a shame.

What else can be done to help the progression of the creative industries in Wales? 

At the moment, there isn’t a well-developed infrastructure in Wales yet to support young people of colour who are interested in the Arts and creative industries. The talent is here – but we need to support young people by investing money in the industry and investing in grassroots organisations like organisations including Ladies of Rage who I discovered when I was protesting with the Cardiff & Vale Black Lives Matter march. Ladies of Rage are an organisation that support female and non-binary musicians in Wales and they have such a great sense of community. Culture is one of the areas where the Welsh government have more control and independence over and I think more needs to be done in terms of showcasing the diversity in Wales.

What do you love most about being from Wales? 

I love the community; Welsh people are known for being friendly and it really is true. I also appreciate the beautiful landscapes; I am such a beach person and love being in nature – and Wales is full of nature! Most importantly I love the familiarity, I’ve moved around a little for travelling, work and university so I love the familiarity and comfort I feel being back at home in Wales. I am proud to be Welsh – it plays a big part in my identity.

Finally, what’s your favourite Welsh saying? 

Ych-a-fi!

It means “that’s disgusting”. It just rolls off the tongue! I often find myself using it more than the English phrase (which is a bit more of a mouthful!).

It’s time for our Spotlight Series blog post once again! Creative Access Chair and Executive Chair of Faber Books, Stephen Page OBE talks to our Marketing Assistant Larah Yearwood about all things publishing and Creative Access…

You began your career in bookselling, how did you get into that?

I grew up near Birmingham and I actually never thought of working with books or in publishing. I didn’t read very much, and I was very content with playing catch with my brother and playing the drums in my band. I then went to Bristol to study History but truly in my mind, my future was coming back home to the band and then going to London and becoming rockstars. Fortunately, that didn’t happen. So, to pay the rent I got a job in a bookshop with my twin brother, and at that time (1987) I wrote to all the major bookshops during a period of expansion. Essentially, I got a job in publishing to support my errant desire to be a rockstar. I quickly realised I loved the book world in a way that rock and roll hadn’t proved to quite as enjoyable as I imagined.

You moved to Faber in 2001, why was this the company for you?

When I was a bookseller, I began my self-education in reading, and it just turned out that so many of the books I was reading were published by Faber & Faber. I grew up in a house of music. My dad was a teacher, but his real love was classical music and putting on concerts and my mum’s love was reading – so there were plenty of books in the house. Alongside Penguin Books, Faber was very present, so it became an identity for me.

Faber then went through an extraordinary period in the 1980s where the double F was born and there were iconic book covers that were born with black and white backgrounds with small images and were highly branded. Because of this Faber was imitated by other publishers. So, I had quite a branded version of publishing in my head, but Faber carried the writers I absolutely love, such as Seamus Heaney, Milan Kundera, and Lorrie Moore. They were writers that made me feel like a reader, like an adult. I did also work at an independent start-up called Fourth Estate and I loved working in the independent sector. But when the chance of working for Faber came about, I knew I had to take it.

If you could name your favourite book or author, who or what would it be?

It changes with the seasons for me! I’m passionate about 19th-century books and I love Russian writers such as Leo Tolstoy and Anton Chekov along with novels by Charles Dickens. Bleak House is for me one of the greatest books ever written in my opinion. One of the things I really love about the publishing industry today is that there are so many strong up-and-coming writers. I just read a wonderful novel by Claire Louise Bennett, and it’s called Checkout 19 and I was as excited about that novel as I am reading Chekov, to be honest.

What were your motivations for joining the Creative Access board back in 2020?

When I came into publishing, coming from the Midlands, it felt very counterculture. A lot of publishing was very Oxford/Cambridge and south of England. So, given that over the last 20 years publishing had been trying to make itself more for everybody, I felt rather uncomfortable – as a middle-class white man – knowing that the industry didn’t appear to be for everyone.

Our staffing was looking homogenous, and questions about what was being published and why, were being asked. The sad truth is that without Creative Access we made very little headway as an industry in creating change. It was with Creative Access, while I was at Faber, that we found a partner with who we could really make a palpable change and find wonderful cohorts of potential employees to bring through on internships.

So, I wanted to support Josie and Creative Access and their brilliant team in any way I could. It wasn’t just about publishing, it was about managing to give a really practical partner to the whole of the creative industries, all of which have the same problem, that there’s too much expectation that people will be willing to work for not very much money for quite a long time and people coming from particular university backgrounds. I wanted to do more than I could do at Faber, and I just really admire what Josie and her team achieve.

If I can bring some of the things I’ve learned, help grow the organisation, and chair it while speaking up on behalf of the issues that Creative Access represents, then it would be a very proud thing for me. It’s fantastic work and it’s not about me, it’s about creating positive change. Last summer the BLM protests really highlighted the upset and hurt over the lack of change my generation of leaders had made. If we leave the creative industries anywhere near the approximation of what they are it would be a total failure and that felt truly awful.

What’s next for you as Chair for Creative Access?

As Chair, it’s a supporting role and a role to give the Creative Access team confidence to have the maximum impact and that’s what the board is about, to give Creative Access the backing to really be ambitious about making change. What Creative Access has been able to achieve has been extraordinary for quite a small-scale organisation. I think we’re in the foothills of this change and if we can build Creative Access to become an even more impactful organisation, the industries themselves will have a partner they can transform themselves with more quickly. That’s what I’m after. I’m always motivated by making things work and Creative Access works.

Final question, what do you love doing when you’re not reading?

Playing the drums! During the pandemic, one of the things I really missed during lockdown was playing music with other people. I also decided to learn something new, and I love Jazz, so I decided to learn how to play the drums with brushes. There are limits to me being a musician. I’m not terrible but I’m not brilliant. Playing music for me is like a wordless version of reading literature. It’s a way of experiencing the mysteries and wonders of life. The language of music is the language I grew up with really.

You can follow Stephen on Twitter here.

Pride month 2021 may be coming to an end but that doesn’t mean we should stop celebrating the wonderful LGBTQIA+ community and sharing the love with them. Have a read of our latest blog post featuring our Creative Access colleagues Jade and Asha. In it, they explain how the creative industries have progressed with acceptance and they share just what Pride means to them.

How have the creative industries progressed with inclusion for the LGBTQIA+ community?

Jade: As someone who identifies as queer, growing up, I didn’t really see same-sex couples on TV. The same applies to other media – like books and video games – they weren’t as inclusive as they are now. The way industries are writing their characters these days and looking to diversify their content as well, as their audiences is fantastic. You don’t have to look very far.

You can also see this very clearly in children’s shows; with the emergence of Steven Universe as well as the Disney show The Owl House. The directors are openly able to say their characters are part of the LGBTQIA+ community and the relationships feature same-sex couples. It’s great to have something so overt which everyone can enjoy. Seeing these characters as a part of everyday life is super important as well.

Asha: There’s definitely been an increase in LGBTQIA+ representation in the media and I’ve noticed a growing awareness of intersectionality and with things like race and class. I’ve also seen an even greater understanding of the range of gender identities. A good example of this is seeing people state their pronouns in their email signatures, which is very encouraging.

What more can be done to help with the progression?

Jade: When companies speak about people from under-represented groups, I think it would be helpful to specify the LGBTQIA+ community as well. Visibility on-screen should really reflect visibility off-screen, as that’s where it starts. It’s just as important to have LGBTQIA+ characters, as it is to have queer writers, queer artists, and queer novelists who can help bring worlds to light in a way that reflects experiences. It’s different when you’re viewing LGBTQIA+ identities through the lens of somebody who is perhaps cis and heterosexual, because they might not have an understanding of experiencing homophobia within family and friendship groups.

It’s really important for audiences to relate to the characters they are watching or reading about and making sure it isn’t just a typecast or a stereotype of their identities. To really help with progression you need to make sure everyone is being cast correctly at pre-production and onwards from there.

Asha: Don’t get me wrong, I am super encouraged about the progress that has been made over the past decade, but there is

still quite a lot of work to do. It’s great that we are seeing more and more LGBTQIA+ characters on screen but it’s important that this is reflective behind the scenes and across the creative industries as well. It’s also important that more LGBTQIA+ people are creating things and are paid fairly for what they create. We need to make sure that representation is reflective and it pushes the community forwards. Just listening to others, colleagues friends, family members, and not expecting other people to always educate you is key too.

Can you tell us what it’s like being women of colour and part of the LGBTQIA+ community in the creative sectors?

Jade: I’ve always felt really proud of it and something I have realised over time is that when you’re trying to find your place in the world and when you’re realising your identity, it can stir up a feeling of loneliness. You may not have others around you who can fully understand you and you may also have not come out to anyone yet.

Being a woman of colour is a pride I have been able to share with my family and learning about my heritage is part of my identity and helps me relate to my community around me.

When you’re queer, you spend a lot of time figuring out who you are and what your understanding of the world is. Then comes expressing your identity and telling people around you. For me, that happened quite young. I knew I was LGBT when I was 12, but being so young and not having a lot of inclusive media that reflected my experience made me feel like an outsider. So, for kids growing up today, I hope they have a different experience. This is the motivation for me with whatever work I do: I work to make sure what I do is reflective of different groups.

Asha: I’ve only been in the creative sectors for a few months, but I’ve had a really positive experience. I know this isn’t the case for everyone and again, improvements still need to be made. But, compared to other sectors I’ve worked in, there is a greater understanding of accepting people and being more approachable. People seem to be more willing to listen in the creative sectors and hear what you’re saying.

Who do you look up to for inspiration in the creative sectors and beyond?

Jade: I have so many inspirations, to be honest. I adore Indya Moore, who identifies as non-binary and transgender. They’re an actor and they play a character called Agnel in the TV show Pose, which is just an amazing project as it explores the impact of HIV/Aids and how a community can be a family and celebrate each other’s creativity. Everybody who plays a part in that TV show is aware of just how important it is to still be an activist now as there will always be room for improvement. Especially for gaining more LGBTQIA+ rights in other countries as well as overcoming discrimination in workplaces and other environments and Indya Moore is very on the ball with that.

A sector I’m passionate about is animation and Rebecca Sugar is leading the way in that field for me. Rebecca is a bisexual and non-binary American animator and they helped create Steven Universe as well as Adventure Time and other shows. Steven Universe was a huge landmark for TV because you have two female characters getting married and that was the first time it had been done on Cartoon Network, so it was huge.

How long have you been with your girlfriends and when did you know they were the ones?

Jade: I’ve been with my partner since last summer and everyone jokes that it’s a ‘covid romance’. We’d actually known each other for a few years prior to that and we studied the same course, but we were in different year groups until the final year. She moved into a house with some friends of mine and I got to know her. The most important thing for me is that everything feels natural. It’s very easy to feel a little afraid in relationships at the beginning but if there’s no hesitancy, you get along well, you’re excited and happy and everything falls into place, then you can’t really ask for anything else.

Asha: We’ve been together for four and a half years and I knew she was the one for me around two months into our relationship. We were living together, that’s how we met and I’ve been extremely happy ever since.

And finally, what does Pride mean to you?

Jade: To me, Pride is an opportunity to acknowledge that there comes a great joy in gathering around others who have shared the same or similar experiences with you with their sexualities, identities, and genders. Having so many people around openly celebrating – despite circumstances that may have made them feel excluded – feels like a chance to fully embrace yourself and just acknowledge that despite anything and everything, you didn’t let yourself stop being you. I think that’s the most important part.

Asha: For me, Pride is the past, the present, and the future together as one. It is a celebration of history, optimism of what’s to come and celebrating the here and now.