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.

The Creative Access team has grown and with so many great new additions, we’re letting you in behind the scenes. We’re excited for you all to know a little bit more about our roles. So, grab a cuppa, sit back and relax while we shine the first CA Spotlight on our brilliant Kickstart Coordinator, Yasmin Hemmings

Can you introduce yourself to us?

I’m Yasmin Hemmings and I am the Kickstart Coordinator at Creative Access.

Could you describe your role in a little more detail?

I lead on Creative Access’s involvement with the Kickstart programme, which is a government-led scheme for 16-24 year-olds who are on Universal Credit. Creative Access is a Kickstart gateway, which means that we take applications on behalf of employers and submit them to the Department for Work & Pensions (DWP). We’re working with a lot of employers and we’ve had just over 200 placements approved across more than 70 employers, including the Whitechapel Gallery, Curtis Brown, Paines Plough and The Young Vic theatre.

My day-to-day role consists of speaking with employers who are interested in applying for a Kickstart role through Creative Access. I also prepare Kickstart applications to be sent to the DWP, and then further down the line I support employers with their Kickstart placements to help make sure that it all goes smoothly, as well as help them liaise with Job Centres. Once employers have informed me about hiring someone, I’ll then register the new starter and get in touch with them about our Kickstart support programme which consists of multiple training sessions at the start, middle and end of their placements.

What’s your favourite thing about your role?

I love it when an employer lets me know that they have found someone for their role. Knowing that this person who has not been in work for a long time now has a role with a really exciting and creative company is so fulfilling. Hopefully, with their Kickstart placement, they’ll be able to find something beyond this too.

Also, because I run the induction programme for the new starters, I get to meet them, and it’s lovely to be able to put a face to the name.

What previous experience do you have?

I am a former Creative Access intern for the London Symphony Orchestra, where I worked in their education team and in-house record label. Since having that opportunity of working for an education team I really wanted to follow that line of work and offer projects to those who may not normally get involved in creative activities.

I then moved to English National Opera and worked in their education team, and after that, I became Learning & Participation Producer at the Philharmonia Orchestra where I looked after projects aimed at schools, universities and music hubs. My previous role to this one at Creative Access was Schools Engagement Manager for the Barbican Centre. It’s always been about connecting people to creative opportunities.

My current role combines my professional experience with my personal experience outside of work, where I’m one of the Directors of a volunteer organisation called Young People in the Arts which is a networking organisation for people taking their first steps into an arts-based career. We run events which allow like-minded people to meet each other and network, as well as panel discussions that are about hot topics in the arts, such as diversity and sustainability.

Can you tell us more about Kickstart and why you’re passionate about it?

So, the pandemic has massively impacted the jobs landscape and I think the Kickstart scheme is a wonderful scheme. It supports people who might not have been able to find a job otherwise and it’s supporting new roles to be created. These jobs wouldn’t exist if it wasn’t for the scheme. It offers 16–24 year-olds the chance to not be so negatively affected by the pandemic.

I was job searching during the pandemic and I can appreciate just how difficult it is. I can only empathise with those coming out of education and trying to get their foot in the door. I think Kickstart definitely helps and I’m really keen to speak to employers and encourage them to sign up. I think a lot of people don’t realise that this scheme is completely free to employers; they can get someone into their organisation and support them in the world of work.

Finally, and totally unrelated to your job, what’s your favourite animal?

My favourite animals are cats. I love them. I grew up with four lovely Birman cats, they’re long hair pedigree cats. However, since I moved out of my parents, I’ve developed an allergy to cats, so despite them being my favourite animal I’m also very allergic to them, so I can never probably own them myself!

To view our Kickstart opportunities click here.

I (Larah Yearwood) was hired by Creative Access in October 2020 and I have been dealing with Imposter Syndrome throughout my employment. Here, I share my experience and some tips to help others navigate through the same issue.

Imposter Syndrome is something a lot of people struggle with. It is the internal belief that you are not good enough to be where you are. That you do not deserve to be where you are and that maybe, other people will realise you are not as good as you say you are. A completely false belief that for many of us can impact on our work, life, and relationships.

My story
As a young black woman, I already face challenges in my life and career for where I want to go. Mixing Imposter Syndrome in with this makes life a little more complex. While Imposter Syndrome can vary with people, the general idea that you are not worthy of being where you are normally stays the same.

Before starting as the Marketing Assistant for Creative Access I was furloughed and then made redundant from my previous job, which was just devastating.

Anyone who has been made redundant will know the feeling, especially during the incredibly difficult year that 2020 was. I was lucky enough to actually be unemployed for only two weeks before finding work again at Creative Access.

Although I wasn’t aware at the time, it was then – on securing a new role – that my Imposter Syndrome started. 2020 was a rough year for us all and many people lost jobs. I felt that others who were still unemployed had more skills than I did; had worked for longer than I had; were older than me. And yet it was me that bounced back quickest. It didn’t feel right to me. It felt strange. I felt like I didn’t deserve to be hired so quickly. I carried these feelings with me into my job at Creative Access.

The struggle
To be clear, I am fully qualified to do my job. I have a degree in English Literature and a master’s degree in Magazine Journalism, as well as lots of work experience. There isn’t a single reason why I can’t do this job. Yet Imposter Syndrome has held me back from achieving my full potential in this role so far. It stopped me from putting ideas forward that I know could and would work. It stopped me from questioning other suggestions. It also stopped me from recognising my own success and achievements in this role.

Instead, I questioned them. I questioned if my ideas were worth listening to and convinced myself that they weren’t. I questioned if I truly deserved the praise I was getting and if the work I’d produced was worthy of any commendation. Some may say I’m naturally hard on myself (and maybe I am) but every time I was praised, I truly felt like I didn’t deserve it. Instead, the praise and acknowledgments that were meant to boost my confidence ended up shattering it.

The realisation
The self-doubt can be crippling. It wasn’t until I opened up to a colleague about how I was feeling that I was first informed about Imposter Syndrome. I then decided to some research and found that it’s very common. According to a report by Medical News Today, up to 82% of employees are impacted by Imposter Syndrome. 6 in 10 women experience it. Although the figures are eye-opening, I admit I was a little relieved to see that I wasn’t on my own and what I was feeling was recognised.

I then decided to attend a training session that Creative Access ran about Imposter Syndrome. During this session, I was able to pinpoint when it first kicked in and what caused it. It allowed me to connect with others who also have similar experiences and realise once again that I’m not alone.

I know this is a journey and I’m gradually learning to let go of these feelings. My hope is that over time they’ll fade completely.

Top tips for anyone struggling with Imposter Syndrome

• If you feel able to, open up about it; Imposter Syndrome is shockingly common, and people will be more understanding than you think
• The more I read about it, the more I related to it and the more I was able to understand that I wasn’t alone.
• Don’t hide away. I thought hiding it and keeping it to myself was the best thing to do. It isn’t.
• Keep track of your success. Having a record will help you to recognise that your achievements are due to your talent and abilities and not just lucky flukes
• Embrace the praise because you deserve it
• Remember no one is perfect. Everyone makes mistakes
• Most importantly, remember your worth. We are not superhuman, but we do have the ability to be great at what we do. You deserve to be where you are.

I still have moments where I question myself and the praise I get, but I’m now able to quickly reassure myself that I do deserve the praise. That I do deserve to where I am today and that I am worthy of this job and what I do. I hope that by reading this, you are able to feel worthy too.

“Being a creative has its ups and downs, but, it can be a really exciting career. It allows you to really push, pull, and stretch your imagination as far as it can go.” Rohit’s dream was to work in advertising and with a bit of help from Creative Access, that dream became a reality…

I work in advertising as a ‘creative’.

My mum will tell you I’m a graphic designer.

My dad will tell you I’m not a doctor.

And my friends will tell you I’m the devil and the reason they all have Ad Blocker.

What the hell is a “creative”?

This rather pretentious sounding title is indeed a real career. The creative’s job is to solve the client’s business problems. Whether it’s creating a TV ad to increase sales or a social campaign for brand awareness, they use imaginative thinking to help the client.

Creatives typically come in a team of two; an Art Director and a Copywriter. Art Directors are responsible for the visuals and overall look and feel of a campaign, whereas the Copywriter concentrates on the written elements like writing the scripts, headlines, etc. From brainstorming ideas to working on shoots, Art Directors and Copywriters work insanely close together. We’re almost joined to the hip, like those twins from The Shining except with nose piercings and the occasional face tattoo.

Working at Ogilvy

I work for Ogilvy London as a Junior Copywriter.

It’s not a bad place to call your office. Situated by the River Thames, the view alone is absolutely gorgeous.

I mean, it’s easily better than my current office, working from home in a house share of six tenants and one working toilet.

But make no mistake, the office can be a very dangerous place. Like Ogilvy, most ad agencies are notorious for being dog friendly so make sure you’re ready for any of these fluffy hounds trying to maul you into a 15-minute belly rub.

Here’s a picture of me next to a dangerous beast I’ve managed to overpower with my bulging muscles and fearfully intimidating energy.

How I got into advertising

Ironically advertising is one of the least advertised careers out there, so it was only once I started my psychology degree at university where I finally stumbled upon it. And by that point, I was in so much student debt it made no sense to drop out.

My journey into advertising was long. Instead of spending more money to go to Ad school, I started a well-balanced diet of poorly paid internships and sleeping on as many friends’ floors and sofas as possible, whilst slowly assembling a portfolio. It was a friend who recommended Creative Access to me and Anoushka from the Creative Access team kindly prepared me for some of the internships I was applying for.

I was desperate to become a creative in advertising because, in all honesty, it’s a very fun career where you are literally daydreaming silly or thrilling ideas and thinking of new innovative ways to get people to listen to you. Here’s an example of some work we created for Argos. We made these Spotify ads that targeted what type of music you were listening to, which fortunately won us an award and got us featured in Campaign Magazine.

Diversity in advertising

Advertising is an amazing industry filled with the most talented people you’ll ever meet. However, when it comes to diversity, particularly within creative departments, we’re very much behind. Luckily the industry has recognised this and now there are more schemes trying to open the doors to people from different backgrounds. One of these is ‘The Pipe’ from Ogilvy, which is a brilliant way to fast track your career into the ad industry.

Getting into advertising

Being a creative has its ups and downs, but, it can be a really exciting career. It allows you to really push, pull, and stretch your imagination as far as it can go.

Your qualifications really don’t matter in this job, what matters is your passion to solve problems with innovative thinking. After all, it definitely beats staring at a spreadsheet all day (ew).

You can follow Rohit on Instagram: @rohittharakan.

Diversity and representation in publishing is something that has long been a topic of conversation. More recently, the representation in children’s books has been reflected on in the media. Creative Access caught up with author and founder, Jasmine Richards, who specialises in children’s publishing, to find out what more can be done to address the issue, as well as discussing Jasmine’s own projects…

Q: What is your current role / tell us a little more about Storymix?

I am an author and the founder of STORYMIX, which is a children’s fiction studio that focuses on inclusive representation and fabulous storytelling. We create young fiction series for publishers and work with authors and illustrators from BME backgrounds to create those books. It is one of the key ambitions of STORYMIX that our writers and illustrators will also go on to secure their own publishing deals and thus meaningfully change the makeup of the publishing landscape.

Q:What is a fiction studio, and how did you get into it?

So you might have heard of book packagers – companies that essentially put together books for publishers by pairing up the right talent with the right ideas. This is essentially what STORYMIX does, but I am not a fan of the word packager. It sounds too manufactured to my ear, when a lot of love and care goes into what is actually created. I really like ‘book incubator’ as a phrase. As the founder of Storymix I come up with a commercial and high-concept idea and then find a writer and/or an illustrator to bring the project to life. Packagers do a lot of younger fiction, so in that 5-7 or 7-9 space, but will also do middle grade and YA (Young Adult fiction).

I come from an IP (intellectual property) development background and my formative editorial years were at a packager called Working Partners, who developed Beast Quest and Rainbow Magic. I learned so much about the craft of editing and story structure there. I also worked for OUP Children’s and ran the in-house development team which was called the Creative Kitchen. For me, the packaging seems like an obvious strategy to bringing more and better representation into children’s books.

Q: Tell us your perceptions of the children’s publishing industry when it comes to diversity of representation in the books themselves?

I would love to see a move away from ‘issues’ books. They are important, but they are only one part of the story. Young people from all backgrounds have the right to see themselves in all kinds of stories!

Mystery stories, horror stories, sci-fi stories, and funny stories.

I think children’s publishing needs to feature books that reflect all parts of our society. A diversity of setting and characters are the fuel needed for really engaging storytelling. I’d love to see more stories in translation or really unusual re-imaginings of traditional tales from around the world.

Ultimately, it’s not just about doing the right thing in celebrating all children – it’s about doing the right thing for storytelling, giving readers the richest possible tapestry of characters, experiences, and places. It’s about encouraging curiosity about the world and the people that live in it.

Q: Do you think that is shifting?

I think children’s publishing has shifted in recent years and there’s been some brilliant, inclusive books that aren’t issues-based, but there’s still a long way to go. I want to see more fun, representative children’s stories at the younger age range, so for 5-7 or 7-9-year-olds, as there really seems to be an aching lack of representation there. We need to focus on giving all children the spotlight from the start, so that they can all see themselves and not feel excluded from reading.

Q: What more needs to be done?

Change needs to start with publishing itself – the staff, at all levels, need to be more representative of the society we live in. I hope Storymix might become an incubator of editorial talent from BME backgrounds as well as writers from these backgrounds as the business evolves and grows. I signed the open letter to the industry as part of the Black Writer’s Guild, where we outlined how publishing needs to give all backgrounds and viewpoints a seat at the table. As we’ve seen from the PRH ethnicity pay gap report, staffing within publishing still has a long way to go to be fully equal, but even the existence of an ethnicity pay gap report is a start.

You can view Jasmine’s STORYMIX website here.

You can also follow Jasmine on Twitter: @storymixstudio or @jrichardsauthor