Earlier this year, Creative Access hosted a session for over thirty former journalists who are now refugees in the UK, on behalf of the Refugee Journalism Project. Two of the participants subsequently spent time here in the CA offices to understand more about what we do and how we work.

Zouhir, who grew up in Syria, wrote about his career journey for Creative Access and his unconventional route into journalism…

I began my journalism career as a civilian reporting on the ground in Aleppo, Syria, my hometown. I didn’t have an education in journalism. On the ground, I learned how to tell the stories of the people of Syria, with a truthful insight into what life was like.

At the time, the media outlets around the world were suffering from a lack of content and news about Syria, which in part was due to a lack of English-speaking journalists on the ground in Aleppo, but also due to the extremely limited internet access and electricity.

My career really began on an international level in 2014/2015 as I started to develop a large network of connections with news editors who were in charge of commissioning stories directly, so I didn’t have to go through other journalists or fixers. I dedicated my attention to covering the humanitarian crises in Syria and what followed afterwards. So, this included the human rights violations by the Syrian government targeting service facilities, as well as violations conducted by local rebel factions against people and activists within the city. Despite the existence of radical groups in the city whom had been targeting journalists – in the same way as Assad’s regime – alongside other reporters, I was determined to focus on covering and exposing the inhuman practices of those factions and their violations.

After leaving the city in December 2016, I moved to Idlib, north Syria where I continued my coverage, this time focusing on the humanitarian crises the refugee camps after the evacuation of Aleppo. This work contributed to raising global awareness about the humanitarian crises. As a freelancer, I believe that it is important to develop a self-promotion strategy, in order to get more editors to get in touch with you seeking help for their stories. But also, promoting our work also helps make an impact and boosts action based on the stories that we publish.

It allowed me to contribute to big media outlets and be featured in online news coverage, conducting live streaming from inside the city for BBC, The Sunday Times, The Telegraph Die Ziet, CNN and many other media agencies. This hugely increased my credibility and the exposure of my story to a large-scale audience. I came to the UK in October 2018. I believe that through being in the UK, which has been quite satisfying so far, I will have the opportunity to further empower and improve my journalistic career by being involved with native English speakers and media organisations who are interested in developing talented young journalists.

For a non-native English speaker, it will be challenging and I will have to work hard to fit in and reach the high standard required to write materials that are suitable for British audiences.

Also, for a Middle Eastern journalist it is overwhelming and hard when you come here and try to find where to start. The diversity and differences between the British media approach and way of working compared to what I have been used to is challenging.

However, I am excited about confronting these challenges and continuing my career in the UK. It’s an uneasy task moving to another part of the world as a journalist. However, the foundation of journalism in the UK with its commitment to free open sources of information and resources, will motivate me to become a successful journalist.

You can follow Zouhir on Twitter

From Parks & Rec to professional publication, our former Creative Access intern at the Royal Shakespeare Company, Mariam Khan, writes about her career journey to date and what led her to releasing her debut book ‘It’s Not About The Burqa’…

After leaving University, I knew I wanted to be involved in publishing but I didn’t have any connections in that field despite being incredibly involved in the young adult fiction community. I was getting to know people who worked in that industry but unsure as to how to make those people into connections or those connections into anything related to a role in publishing. Blindly sending my CV and cover letter out wasn’t working.

I landed a role at the Royal Shakespeare Company through Creative Access and I was more than willing to give it a try. That was my step into working world as a graduate. It was one of the steepest learning curves for me. The lack of diversity in the places I worked after I left University was shocking. There weren’t many people like me working in the spaces I was occupying. But each month there was the Creative Access masterclasses in London, where often people from Black, Asian and ethnically-diverse backgrounds placed across the creative industries talked about their experiences and journeys. Seeing is believing and seeing those people in their respective roles helped me realise that there were spaces being created for people like me, even if it was people like me creating them.

I was making strides into publishing even whilst I worked outside of publishing. As my internship came to an end at the RSC, I decided that moving to London and getting a job in publishing was the way forward. I interned without pay for a few months, slept on friends sofas and beds. It worked out in the end cause I got a job in publishing.

Working in publishing was on of the reasons I was able to say out loud ‘I want to write a book that represents the diversity Muslim Women identity’. I wanted to deconstruct the narrative around Muslim women built by media and culture and make something on our own terms. I wanted to make Muslim women speaking for themselves the norm. In the process I thought about how I’d come to be in the place I was.

I didn’t want to publish a book about Muslim Women all by myself; I wanted to create a shared platform where as many Muslim Women as possible could speak up about their experiences and be heard and in creating It’s Not About The Burqa, I think I’m doing that.

Mariam Khan is a British writer and activist, the editor of It’s Not About the Burqa, an anthology of essays by Muslim women published by Picador. She currently lives in Birmingham and works in education.

Twitter: helloiammariam

Instagram: helloiammariam

You can purchase It’s Not About the Burqa here.

Hear from one of our CA interns English Touring Theatre, Christina McDougall talk about her journey from broker companies & fraud analysis to theatre & creativity…

After 10 years of not working in theatre I am excited to finally get another chance at it.

I always loved performing from a young age in school productions and after school clubs but never had the opportunity growing up to attend theatre shows or be a part of any drama clubs.

I couldn’t see any characters that represented me or my peers — as a child and teenager it can be very intimidating to be among an audience of people who are seemingly completely opposite to you. However, after studying drama at high school it sparked my passion for acting and I found it was a great way for me to express my emotions in a creative way. In college I studied performing arts where we put many of our dance productions on at the Lyric theatre. I remember the feeling of pure happiness when I was finally able to perform on a stage.

I studied performing arts to university level but after a year I decided to leave due to personal reasons. Frustrated with not knowing what to do next on my journey in the arts my old dance teacher advised me to do a one year stage management and costume theatre placement that her friend was running. The placement was located at a variety of theatres including the Royal Court, English Touring Theatre and Polka Theatre.

I spent the year learning how to sew and create costumes as well as shadowing stage managers and making props. This placement allowed me to see beyond acting and allowed me to gain skills that I never dreamed of having. I loved being a part of different theatre companies and being able to watch endless rehearsals and performances.

Once my placement had finished I was so excited to find a job in a theatre but not one theatre company was interested in giving me a chance. It felt as though despite the experience I had gained and my clear passion for theatre, every door was shut. Seeing other interns with less experience than me get the roles I desired made me question so many things — was it because theatres are not ready to meaningfully diverse?

After nearly a year of persisting I decided to take a step away from theatre and try looking for non-creative job.

I spent the next seven years working for a broker company as a sales trainer and compliance officer. I would often use the games I learned in drama classes to help train agents to be more confident on the phones. I then went on to become a fraud analyst for a fashion company.

Over the past three years I have tried to do as many creative things outside of work as possible, including acting (music videos and short sketches), writing plays and teaching myself to play the violin…with the help of YouTube.

After three years as a fraud analyst I finally decided to try again and look for a role in theatre. I was completely petrified at the thought of it as it would be a huge career change plus starting from scratch at my age seemed very daunting. I felt completely out of touch with the arts world which worried me.

Reflections by The Andrew Lloyd Weber foundation stated: ‘… the stage needs to reflect the diversity of the UK population or it risks becoming sidelined. If the situation continues, there is real danger that not only will black and Asian young people stay away from the theatre as a profession, they will stay away as punters. And without them in the audience, theatres will become unsustainable, as they are forced to compete for a dwindling ageing, white, middle-class audience.’

These figures highlight just how important it is for theatres to invest in being more inclusive. Creative Access post vacancies weekly and once I saw there was a job role for a Production Assistant at ETT I couldn’t wait to apply — a full-circle moment having worked here briefly during my placement year. I knew this would be my second chance at getting a job in theatre.

I am so grateful to Creative Access for serving underrepresented communities in theatre. Until theatre’s diversity problem is addressed effectively, organisations like Creative Access will continue to be needed.

I’ve also found that my non-creative work has been useful for my career in the arts. My skills as an analyst required me to be extremely organised and pay great attention to detail which are skills that have been transferable to my current role at ETT.

I am thrilled and excited to be a part of such an exciting and established theatre. ETT as a company have made me feel welcomed and part of the team.

Every day in my job is completely different, which I love. I could be watching a rehearsal one day and sourcing press night gifts the other. Currently we are touring Othello and I have been able to watch the development of the play from rehearsals through to its first press night performance. I get to meet a large variety of people and I feel that I am finally on the right path to my dream career.

This blog update is courtesy of Medium

Aspirational uni grad turned award-winning Web Series Producer, Kashif Boothe gives us an insight into how his Creative Access internship led him to find his perfect role in production, with his growing web series, Nate & Jamie.

My name is Kashif Boothe, I’m 26 years old and I currently work in broadcast at Discovery Channel. This isn’t something I thought I would be doing when I graduated from Roehampton University back in 2013 with a Film degree. My journey within the TV industry hasn’t been a conventional one, when I got my internship with CA at RAW TV in 2014.

I heard about Creative Access when I was desperately seeking a job after graduating from university. I was a recent graduate working lots of overtime at Sainsbury’s and hating it. I would be on the internet for hours applying for work experience and internships and eventually stumbled across an ad for a Runner position at RAW TV.

After my three month internship ended, I worked at RAW TV on off for two years. I went on to work at Jamie Oliver’s production company and spent the remainder of the year working on factual TV shows before moving into scripted. In Spring 2015, I started working as a Production Runner on the ITV period drama Mr Selfridge and the following year as a Development Assistant at Idris Elba’s production company.

It was great working towards my career goals but I felt like I forgot why I wanted to work in television. I took a break from the industry and decided to start making short documentaries that eventually lead to me writing and producing my web series Nate & Jamie.

I self-funded the first season whilst freelancing and working nights in retail on the weekends. I shot the first season with DSLR cameras and with other freelancers who were eager to produce indie content. In January 2018 it won a Screen Nation Award for Favourite Web Series ensemble. The series has led to a spinoff web series entitled ‘Imperfect’ and Season two of Nate & Jamie is premiering on October 11th on my YouTube channel ‘Kashif Boothe Entertainment’. My plans for the show are for it to be picked up by a production company or to receive funding for season three to produce a full-length season.

It’s great having conversations about diversity but without Creative Access I haven’t seen what production companies or networks are actually doing to solve the issue. I’ve worked at production companies where I’ve been told to make a note of all the BAME and LGBT applicants because they failed their diversity report or it was an afterthought to find a BAME producer after a show was picked up by a network.

My family have been supportive of my career in the creative industry especially my Mum. My Dad however, doesn’t understand what I do or that I’m a freelancer. He knows I work within the media industry but never can explain what I do adequately and would prefer I had standard a 9-5 job, but that’s not for me.

That might sound cliché but that’s the best thing I’ve learned. I was told on numerous occasions that I needed to be very chatty or be more of an extrovert to get to where I wanted to be. That’s not me, I’m an introvert and when being myself I am able to bond with the right the people, which will lead to my next opportunity.

Thanks Kashif for sharing your story and advice, we look forward to seeing the next series of Nate & Jamie.

You can follow Kashif on Instagram at @kashifbootheentertainment and check out his webseries Nate & Jamie.

Our former intern, Isher Sahota, current Director of BBC One’s Doctors shares his amazing CA journey with us and reflects on the key steps he made to succeed in TV and film-making…

Bold, diverse and new stories. They’re all the film and television industry says it wants, but the reality of gaining commissions and credits as a writer or director is far from straightforward. The only thing that can prepare you for being a director is directing. It seems so obvious but the only thing producers can go on when considering to hire you is looking at work you’ve directed.

It taught me the craft of working with actors and a production team, and pulling off projects with little to no budget. I met someone through student theatre who wanted to make films. We then started a company and began pitching for commissions to make music videos and online content for brands and companies; with our profits we made short films which were passion projects.

I had had a meeting at Creative Access, and was given great advice on my CV. I was recommended a role in factual development, which is something I never would have thought of myself (I had initially thought my way in would be scripted development) but I loved working at Dragonfly and coming up with documentary ideas for all the major broadcasters.

My job at Dragonfly led to further roles at ITV in factual, but it was always my dream to get into drama. It’s off the basis of my short films that I gained a coveted place on the fantastic New Director’s Scheme which is run by the BBC’s Writersroom. By September this year I will have directed 10 episodes of BBC One’s Doctors, which has been an invaluable experience. The fast paced nature of the show means you gain a lot of experience very quickly in all aspects of the directorial process, from script, casting, pre-production through to shooting and post.

Moreover, the challenging schedule has developed my directorial method, giving me confidence and enabling me to work in an instinctive, decisive way. The support of the production team and various departments around you is magnificent, and I have been lucky enough to collaborate with wonderful guest and regular cast. I am also a writer. I was lucky enough, thanks to a Creative Access introduction, to find a perfect collaborator in the form of an agent at the brilliant Casarotto Ramsay and Associates. My agent has similar tastes to me, gets what I want to do and shares phenomenal contacts and advice. It’s my dream to get an original TV series and a feature film idea in development with a top production company.

What got me noticed by a top agency among countless unsolicited scripts, I think, was my background. I wrote a TV script for an original comedy-drama series about Indian gangsters set in the underground world of the Punjabi-run illegal alcohol trade. I had insights into this unknown world because I grew up in Southall, the little India of West London.

My only advice would be to surround yourself with brilliant people who you respect, and who respect you, and keep making films together.

You can follow Isher on Twitter and Instagram at @ishersahota and check out some of his fantastic work here

In part two of our feature on mentoring, Nicole Gordon, former Creative Access intern and Sales Administrator at Pan Macmillan, writes about her career journey to date and what she has both given to and taken from the mentoring partnership

As a Creative Access alumni with over two years of publishing experience, I was allocated a mentor via the Creative Access Mentoring Scheme in January. The Development Scheme pairs alumni, which total over 150 BAME individuals in publishing, with senior publishing professionals from across the UK. I was thrilled to benefit from the insight and experience of my mentor, who is a Managing Director at Penguin Random House.

Looking back, as a student at The Royal Docks School and later at the University of Leicester, I tenaciously sought experience in the creative industries, completing internships during my summer breaks at The Guardian, and during term time at the University’s Press Office and the local newspaper The Leicester Mercury. When I returned from a study abroad year at the University of Heidelberg, I attended a Creative Access Showcase and it was inspiring to meet an array of current Creative Access interns thoroughly enjoying their placements at media organisations such as ITV, HarperCollins and the BBC among others.

I was subsequently motivated to apply for a publishing internship in 2015 when I was invited to an event at London Book Fair jointly hosted by Creative Access and the Publishers Association. The focus day, during which I met with publishers and publishing interns, introduced me to the array of careers within publishing.

Ahead of my graduation that summer I was elated to secure a six-month placement at Pan Macmillan in International Sales. A highlight of the internship was being invited to attend Frankfurt Book Fair, the world’s largest trade show for books, where I was able to use my German skills! Fortunately, at the end of my internship with Pan Macmillan the position of Sales Administrator arose in UK Sales; a busy, good-natured team that I have enjoyed working with for over two years.

Two years on, having gained fantastic foundational experience in publishing, I felt that a mentor would offer me continued support as I looked toward the next stages of my career.

In particular, I debated whether to continue developing my career in Sales, or broaden my experience by entering an entirely new area of publishing. My mentorship was highly effective. I met with my mentor every month, and we communicated via email in between our catch ups too. To maximise our meetings I set an agenda. The topics I selected depended on which areas of my career I felt that I needed more guidance on, for example, ‘Building A Personal Brand’ and ‘Networking’. Deciding on themes ahead of our meetings provided a springboard for further discussion, and sharing notes with my mentor following our meetings was also key as it helped me to set action points to further my development outside of our catch ups. Another brilliant aspect of the mentoring scheme was the sustained support I received.

When I decided to pursue a career in Rights, the added reassurance and insight provided by mentor strengthened my resolve to pursue an alternative pathway in publishing. Ultimately, having a mentor gave me a dedicated space in which to develop and share ideas and it further motivated me to pursue my career aspirations. Since beginning my mentorship I have secured a new role as a Rights and Media Assistant at The Madeleine Milburn Literary, TV and Film Agency. The insights provided by my mentor encouraged me to articulate what I desired in my next role. Specifically, working more closely with authors and their literature, employing my love of negotiating and rapport building – combined with an international outlook! I am fortunate that I was able to benefit from the guidance of a mentor which has helped me to advance in my career.

A mentoring partnership works both ways and there are a few things you can do to make it a really fruitful relationship. Here are my top tips:

• Set an achievable goal of what you would like to achieve during your mentorship.
• Set out the topics of discussions ahead of your meetings. It will be a good launch pad for discussion and shows you are actively taking responsibility for your development.
• Take notes during or soon after your meetings and share them with your mentor to help track your progress.
• Set action points to work on ahead of your next meeting.
• Communicate with your mentor in between meetings if you would like career advice. Your mentor is most likely best placed to offer advice!
• The above also includes sharing good news, for instance, if your application for a fantastic role has been shortlisted. Sharing feedback throughout your journey will bolster your confidence and can lead to invaluable guidance.
• Enjoy the experience of building a rapport with your mentor. Knowing their career journey may help you reflect on your own pathway.
• Be open minded about your career progression. If your career goals shift during your mentorship it is a good sign as it indicates that you are honing in on your skills, experience and aspirations.

Twitter: @nickysgordon

In part one of our feature on mentoring, Hannah Telfer, a Managing Director at a leading publisher, reflects on what she both takes from and brings to the mentoring partnership…

Somehow, in the formal language of mentors and mentees, we struggle to convey the real value that comes from two people, at different stages of their careers but equally passionate, spending time together and listening to each other.

Chemistry is everything in a successful mentoring relationship and it’s critical to ask at the start if you’re the right match – and to be pragmatic about walking away if the answer is no.

But if you think you can help, do. I’ve been fortunate to be mentored at various stages of my career and every time it’s helped me to think more clearly, to consider a different way forward and to be bolder. And every mentee I’ve worked with has reminded me what it’s like to navigate those first years of your career. It’s made me more empathetic with my own team. And it’s given me invaluable insight into what matters to a generation that does, sometimes, think differently to my own.

Now, as the head of a large team with broad expertise, I can better see the benefits of our differences but also the common ground; the places where we all unite and from which we build.

Let’s face it a little emotional intelligence goes a long way but it can be hard to develop in the maelstrom of the workplace. Conversations between mentors and mentees often path the way for the tough conversations that need to be had at work. They offer the safe space to test out approaches and explore scenarios. These are the places to broaden horizons, check biases and build confidence. A chance to sharpen points and soften delivery, bringing clarity and impact where it’s needed most.

Like every good relationship, it’s worth spending time in the first conversation agreeing what both parties want to achieve. What’s the breakthrough your mentee really wants to make? And to be upfront about the time commitment each can give. Will you meet every month for breakfast? Every 6 weeks for an hour? Perhaps the most valuable question to answer at the outset is how long you’ll work together. Somehow, it’s easier to agree 6 meetings over 6 months, and then to extend for a couple more, than it is to keep your commitment open-ended. Often there is a natural conclusion to your conversations; a mentee comes to their decision that it’s time to move on, they secure their brave next step, or take control of a difficult work situation.

Now, as I celebrate with my current mentee the job offer that will take her on an exciting new path, I’m exhilarated. We’ll work together until she’s settled in her new company and then it will be time to move on. I wonder who I’ll meet next? And what we’ll learn from each other.

Hannah Telfer, Managing Director, Audiences & Audio, Penguin Random House UK

Twitter: @HTelfer1
LinkedIn

If you are interested in becoming a mentor to a Creative Access alumni please follow this link to fill out a partnership form and we will do our best to match you as soon as possible.

Our former intern, Caroline Carpenter, has succeeded in forging a career which combines both her love of writing and love for books. She tells us about her journey to date and gives some sound advice for those wanting to follow in her footsteps…

I have worked at The Bookseller – a trade magazine for the publishing industry – since getting a year-long internship there through Creative Access in 2013. I’m now in the role of Web Editor, which involves carrying out web production duties, including uploading news stories and features to The Bookseller’s website, sending out email newsletters and running the company’s social media channels. I also chair our YA Book Prize, an award for the best book for teenagers by an author from the UK or Ireland. I sometimes write content such as author interviews for our weekly print magazine and website too.

From a very young age, I wanted to be an author. When it came to applying for university, my parents were a little worried about the lack of a clear career path that comes with an English degree (my dad had also studied English at university). They briefly tried to persuade me to continue with Law, which I studied did an A Level in and enjoyed, but were not surprised when I stuck to my guns and they’ve supported my career throughout.

Before landing my internship, I studied English and Creative Writing at Royal Holloway, University of London. When I first graduated, I gained work experience in an administrative role. I then did a few placements at publishing houses and as a result, I had the opportunity to write a book (‘A Guide to the Hunger Games‘). After that, I worked in the advertising department of a newspaper company for a year.

I was attracted to this role because I have always loved reading and writing, which inspired me to want a career in book publishing. Working at The Bookseller offered me the chance to learn a lot about the trade and to write for a living. From the start, my workmates at The Bookseller made me feel a valued part of the team – in fact, many of them didn’t even realise that I was an intern!

The best thing about my job is that it allows me to be at the centre of the publishing industry and to keep up-to-date with the latest news. I get to attend lots of book launches and events, meet authors (interviewing one of my heroes Malorie Blackman was a particular highlight!) and get sent free books before they are released. I’ve also had the opportunity to travel abroad for work and to speak on stage at events such as the Hay Festival and the Southbank Centre’s YA Literature Weekender. Above all, my work on projects such as the YA Book Prize has encouraged more people to be excited about books, which is incredibly rewarding.

In your applications, try to meet the criteria laid out in the job description and reflect the language used in it. Spend time crafting covering letters and proofreading them. Research the company you are applying for thoroughly before an interview.

• Whether it’s applying for work experience placements, building up a writing portfolio, working at a bookshop on the weekend, or writing a blog about the books you love, make sure that you show your passion somehow.
• Consider whether you want to do further study. There are lots of Publishing MA courses available at universities across the country now. For journalism roles, some employers require you to have NCTJ qualification.
• Don’t just apply for editorial jobs! Everyone in publishing starts out wanting to be an editor so these roles are incredibly competitive. Publishing companies have a vast range of roles available from HR to publicity so think about what suits your strengths best and don’t limit your applications.
• Get on Twitter – a lot of publishing people are on here and roles are also advertised here (good accounts to follow are @JobsinBooks, @inspiredselection, @pubinterns and @_CreativeAccess, of course!).

In the future, I’d like to still be working in the book trade in a role where I can use my creativity to help books reach more readers. I don’t have a dream job title in mind – maybe I’ll create my own one!

You can follow Caroline on Twitter at @CarolineC1988

We caught up with former Creative Access intern Olivia Crooks to hear a bit about her journey in the world of advertising, from BBH, to Vice Media, via Google and Grey…

So I am a 24-year-old Londoner – born and bred. I studied English and American studies at the University of Leicester and for those of you that don’t know what that means – it’s English literature, American literature and American history, or in other words a bundle of reading and about a million essays.

Before uni, I’d really wanted to take a gap year because I was exhausted after my A levels. But it was the whole go straight away at £3k or leave it a year and have to pay £9k palava: I went for the £3k option. Anyway, this culminated in me throwing my hands up at the end of the second year and requiring some time out of the ‘lecture – coursework – exam’ hamster wheel. I have to say it was one of the best decisions I could’ve made as it totally shaped my career. Prior to that year out, I was fully on track to become a broadcast journalist. Well, by on track I just mean that that was my ambition.

I don’t know how to say this in any other way than I would totally recommend taking time out of uni – do whatever you fancy but it is the perfect time to do it. You’re already enrolled, you have two years of your degree under your belt but what you do need is work experience. If you have chosen to study humanities like me, I really encourage you to do this as it can be hard to get a job after graduation. I don’t see any justifiable reason why you would not put yourself in the best possible position after university unless of course, you’re worried that you won’t go back. I can assure you that it is not all fun and games in the real world! It will be remarkable just how quickly you want to go back to Wednesday night raving, not having to jump out of bed like some sort of Sim and dash to work or deal with day-to-day work politics … then again, maybe that’s just me!

Because I am a bit of a lunatic when I did get back to Leicester I decided to do an internship at Google whilst battling my dissertation – anybody who knows me understands that I can’t keep still and feel the need to constantly put myself under pressure, I think it’s how I know I am working hard enough. That was a lot of work but I met some amazing people and it allowed me to expand my network.

In fact, the mentor Creative Access matched me with at BBH has had an amazing impact on my career, even going on to help me land another job and being a constant source of advice. I remember meeting him for the first time at the assessment day – gosh it was so scary. I was 19 and there were people aged on average between 24 to 30 also trying to get onto the internship scheme. Nevertheless, I managed to get a spot and he ensured my time there was useful. One thing he did instil in me was that networking equals drinking; what he meant was that you need to find a way to connect with senior members of staff on a social level, a personable level, on a level that they can get to like you and you will feel cool talking to them in a meeting or around the office. By no means do you need to make yourself feel uncomfortable or force yourself to drink if you don’t want to.

Networking as we all know is crucial but as time has gone on I have realised that one of the issues with many ‘networking groups’ is that they are way too lateral or peer-to-peer focused. I get that we are millennials and it’s great to know each other but the truth of the matter is how much can Sophie who is also trying to get her foot in the door help you? The people you really need access to, the mentors, those who are going to progress your career or help you set up that business tend to be older or at the very least, in more senior positions in the workplace; it’s one of the reasons I set up Madland Hack.

It’s funny, there is a huge push to get people into the creative industries but I feel there is little focus on keeping them there! Madland Hack is a Facebook group that I created last year to support BAME talent throughout their time in the industry. I semi got the idea from the Creative Access alumni group. It’s great to know people across publishing and TV production but I wanted to focus on advertising and marketing, hence the pun on adland – Madland. At first, I imagined a nepotistic group where we could post all of those jobs that get sent around on internal company emails or that recruiters share on LinkedIn statuses. But after a while, I shifted focus from relentlessly posting interesting jobs to sharing articles that are relevant to our industry. Importantly, support is not only about helping each other get jobs but also support in the community sense, where people can get feedback on a portfolio, post interesting articles (and debate!) or even just talk to other people about the irritating things that happen or pose questions.

You can find Olivia on LinkedIn here.

Want to know how an internship in music can take you to running your own business? We caught up with former Creative Access intern, Darren Blair to hear about his internship, what he is up to now and what some of his plans are for the future.

Darren was interested in getting into the music industry and in 2015, secured an internship with I’m Not From London in Nottingham. The company promote events, gigs, parties and festivals, run two record labels and are also a registered music publisher.

“It’s sometimes harder when you don’t live in London as well” he tells us, “to find opportunities in the industry, that’s why it was great to find this in the East Midlands.”

We asked Darren to tell us a little about his experience at the record label, “I really enjoyed it. It allowed me to progress and get the good experience on my CV. It was essentially my first foot through the door. Creative Access made the process a lot easier and it was great to have the support from an organisation who genuinely understands the complications and discrimination within the industry.” He continues:

Darren clearly made a great impression on the company too! His line manager from I’m Not From London said: “Darren was an asset to us as I believe he will be wherever he decides to go to next. Creative Access was a great help to our business providing an extra person to help us grow in what was our busiest year so far to also teaching us the skills of man management, HR and how to most effectively teach and utilise an employee’s talents. We couldn’t recommend Creative Access enough to companies wanting to expand both their business and increase skills.”

Since his internship, Darren has not only stayed firmly within music and events, he has also now started his own freelance business. Under the name, ‘Darren Blair – Music Business Management’ he now works for himself in all areas of event management. Darren launched the business last November and by March already had his first major contract.

One of the major things Darren advises to people interested in the music industry is the need to learn as much as possible about as many roles as possible. He says “with events – it isn’t all about qualifications. What you need is experience”.

Darren now works for up to ten companies from Festival stages to arenas such as Wembley and Cardiff and some jobs even involving living on tour buses for long periods of time.

Having come so far already in such a short space of time, we asked what the future holds for Darren, he told us “my main aim is to be a tour manager, whether it is UK, Europe or international. I want to be responsible for the crew”

The fast pace definitely suits him and Darren shows absolutely no signs of wanting it to slow down. Follow Darren on Instagram and Facebook keep up to date with his impressive work!

To mark this year’s World Mental Health Day and hot on the heels of our masterclass at the Wellcome Trust, Dr Victoria Mattison, Clinical Psychologist at Islington CAMHS, gives us some top tips for taking care of ourselves and each other in the workplace…

We all have mental health, and our emotional or mental well-being can fluctuate every day. This means that we can all try to take small steps in our everyday lives to look after our well-being. However, there are certain times in our life when we face transitions and changes, which can mean that our mental well-being may be slipping, and we might need to take actions to boost it. For young adults, the start of working life, financial independence and often lots of uncertainty about which path to take, can be incredibly stressful. Add on possible relationship stresses, a difficult boss, and the onset of winter and it’s not surprising that approximately 1 in 4 people in the UK will experience a mental health problem each year.

Our narrative about mental health is influenced by our culture, religion, gender and politics. Unfortunately, negative thoughts and judgements about mental health or mental illness can be found across our all communities, cultures and generations. Thoughts and logic are often prioritised over feelings and emotions.

These judgemental messages exist in both our thoughts about others (either consciously or unconsciously) and about ourselves ( ‘I should be strong enough to take care of myself). Thanks to the Royals and other campaigns, there has been some improvement, but there continues to be lots of stigma associated with mental health diagnoses. This stigma can make reaching out for help scary and sometimes feel unsafe.

Young people face an enormous amount of pressure to be successful, to be perfect, to excel. When this pressure builds, we need a reliable outlet and a way to cope. If we haven’t yet learned coping skills, the pressure can become overwhelming. Everyday tasks can become difficult because they become linked to that pressure and this can lead to a cycle of negative thoughts and behaviour patterns.

Research shows that we are more ‘connected’ than ever and at the same time, more isolated. Digital technology, including social media and text messaging, increase dopamine, a chemical in the brain linked to pleasure. On social media, it can be easy to project a happy version of ourselves. This can lead others to think we are fine, as well as increase pressure to feel inauthentic happiness. In essence, the technology that gives us a false sense of connection, gives our brains a pleasure boost, making it hard to turn off phones and connect in person. How do we navigate feeling isolated and negotiate better ways to feel support?

There can be a single trigger or event that raises anxiety levels, but generally it‘ll be a number of things that increase anxiety levels e.g. exams, work deadlines, how we think we look, going on a first date or whether we feel safe travelling home late at night.

Anxiety is one of our natural survival responses. It causes our mind and body to speed up to prepare us to respond to an emergency. But it can lead to physical responses like a rapid and/or irregular heartbeat, fast breathing, weakened or tense muscles, sweating, churning stomach or loose bowels, dizziness and dry mouth. It can also lead to psychological impacts including trouble sleeping, lack of concentration, feeling irritable or depressed and a loss of self-confidence.

Feelings of anxiety can be caused by lots of things and vary according to what you’re worried about and how you act when you feel apprehensive. They depend on lots of things including your genes, how you were brought up, your life experiences and the way you learn and cope with things.

Different strategies work for different individuals, but one, some or all of the following may help:

• Facing your fear
• Know yourself
• Relaxation
• Exercise
• Healthy eating
• Avoid alcohol or drink in moderation
• Faith / spirituality
• Talking to someone
• Support groups
• Mindfulness or guided self-help
• Medication
• Deep breathing – which can help to calm us when we are triggered or activated.

If you need help in an emergency there are lots of resources available to you:

• Anxiety UK run a helpline staffed by volunteers with personal experience of anxiety so you will be speaking with someone who has been there. Call them on 08444 775 774 (Monday – Friday 9.30am – 5.30pm).
• The NHS 111 service is staffed by a team of fully trained advisers, supported by experienced nurses and paramedics. They will ask you questions to assess your symptoms, then give you the healthcare advice you need or direct you straightaway to the local service that can help you best. That could be A&E, an out-of-hours doctor, an urgent care centre or a walk-in centre, a community nurse, an emergency dentist or a late-opening chemist.
• The Samaritans have trained volunteers able to listen to you any time of the day or night. They can help you talk through whatever is troubling you, find the answers that are right for you, and offer support. You don’t have to give your real name or any personal information if you don’t want to. Call them on 08457 909090 or email jo@samaritans.org

There are also lots of other great resources on the web:

• Stress and relaxation: quick fix breathing exercise
• How to overcome fear and anxiety…top tips
• Mind and Young Minds
• Rethink
• Your local GP or IAPT service

Your mental health and your physical health go hand in hand and it’s just as important to look after both elements. And don’t forget, you’re not alone.

Will Robinson, Managing Director of I’m not from London tells us his recipe for a successful career in the music industry…

There are far too many egos in music already and if you’re in the industry side you may have to deal with a lot of artist’s expectations and demands. You need to be able to get on with people and keep yourself grounded. You can be assertive without being a bully, you can be confident without being arrogant and you can be relaxed without being slack. You never know who the person you are talking to is connected to or where they will be in the future.

The more experience you can gain in this industry the better. The good people will stay in the industry a long time, so knowing and having worked with people in the past means your network will be all the bigger for starting earlier. Like many other creative industries, people prefer to work with people they know.

Jump in feet first, you’ll learn by your mistakes and if those mistakes are spent with your own money, you’ll learn incredibly quickly and hopefully you won’t repeat the mistake! If you have no connections, get stuck in and show you’re not afraid of hard work and getting your hands dirty and doors will start opening for you.

The industry has so many jobs attached to it, lawyers, labels, artists, sound techs, publishers, DJ’s, producers, roadies, tour managers, promoters, publicists, accountants, make up artists, stylists, video directors, drivers etc. The more of these skills you can learn the better. Sometimes one income stream may slow down for some reason, so being able to turn your hand to something else which is still linked to your industry means you are not reliant on that one way of making money.

Listen to people and take in what they are saying, it might give you a fresh perspective on a situation. People naturally like to pass their wisdom on and it’s good to have a few “mentors”: people ahead of you in the game that you can call on for advice.

If you plan for the worst, you won’t be disappointed or taken by surprise when disaster strikes. Festival and concert/gig planning for example rely on so many different groups of people and sets of circumstances and there’s always something that may go wrong. Having a contingency plan and a back up will give you some peace of mind that you have a strategy should things go awry. The same goes for budgeting; it’s best to leave some over for costs that you didn’t plan for needing.

If you’re serious about a career in the music business, understand that it will be hard, competitive and for a while may be financially less than your ideal wage. You may have to volunteer your services for free until professionals value you enough to pay you. Think of it as a long game and concentrate on building your contacts, knowledge and reputation.

Despite what they say, business is personal. Sometimes it’s better to take a walk around the block than reply to someone with a furious ranty email which could take the situation to a place where a problem can’t be resolved. Try not to hold too much of a grudge for the simple reason that you may need to call on that person again. If you can try and stay above all the negativity in these situations you can come out the bigger person.

If you’re about to start work with someone, or partner on a new project, try and make it official. Time is precious and working on a project for an extended period of time without commitment from the other party can be stressful. It’s good to approach these conversations as partnership contracts or agreements, laying out what you all agree on and expect from each other. The earlier you can get things agreed on legally and financially in writing, the sooner you can get on with the fun creative stuff as a team.

Confucious said “Choose a job you love, and you will never have to work a day in your life”.

If you’re making headway in your career, remember to enjoy it.

If you’re not happy, you’re probably not as productive as you could be so work hard of course but remember to be able to switch off every now and again. Consider yourself lucky and stay positive.

A love of music and community lead Will to become a music promoter. He chose the name I’m not from London as a reaction to the then London-centric nature of the industry. INFL’s continuing mission is to educate, nurture and champion the talents of those involved in the business & art of music on either side of the microphone.