In our latest masterclass, we were joined by Aki Schilz, director of The Literary Consultancy – the UK’s longest-standing editorial consultancy. A writer, businesswoman and creative facilitator, alongside her role at TLC, Aki set up the Rebecca Swift Foundation, is the co-founder of Being a Writer, and launched the #BookJobTransparency campaign.

Aki led an interactive session on how to build a career that centres equity. Read on to find out about her career journey and how to create work that makes an impact…  

Feeling adrift in your career? It’s a sign that something isn’t quite aligning. Aki encouraged our audience to take a holistic approach to career planning, using a self-reflective SWOT analysis. Instead of just looking at career opportunities, she advised participants to ask themselves four key questions: 

• What are your superpowers? 

• What sparks your curiosity? 

• What do you value most? 

• What impact do you want to have? 

By considering these factors, creatives can carve out careers that feel both purposeful and fulfilling. 

Aki shared her personal career trajectory, demonstrating that there’s no single path into the literary world. Coming from a family of teachers and avid library-goers, books were a natural part of her life. She studied languages at university before pursuing a master’s in creative writing. 

However, after she graduated, she entered the workforce during a recession and found that her degrees hadn’t equipped her with practical career skills. She worked temp jobs as a secretary and PA in the NHS, transitioning into SEO copywriting and internships before landing a role as an acquisitions assistant at Jessica Kingsley Publishers. 

While working, Aki continued to engage with the arts, writing dance reviews through a youth arts charity. She later came across Free Word and proactively reached out to every company based in their building. The only person to reply was Rebecca Swift – who she would later go on to work with at The Literary Consultancy.

Aki encouraged attendees to look for common threads in their past work to help understand what role or career would be a good fit for them. For her, it was creativity, literature, access, culture, change, and, more recently, wellbeing.  

She also emphasised that failures are not discussed enough in the creative industries, saying: “Some of my failures haven’t made me stronger – they’ve just been challenging. It’s important to acknowledge this candidly.” Failures can include job rejections, unsuccessful funding applications, bias in the industry, burnout, or projects not going to plan. The key, she said, is learning from these moments while recognising that they are an inevitable part of a creative career. 

However, when looking to progress your career, Aki said: “Empower yourself to ask for promotions and bring proof to those meetings!” 

Aki highlighted how gatekeepers often present small, incremental changes as major progress: “Gatekeepers like to feed breadcrumbs and tell you that it’s change.” 

True change, she argued, requires more than just representation – it demands structural transformation, co-ownership of ideas without exploitation, and continuous evaluation. 

She also challenged the literary world to rethink the idea of the ‘default reader’, examine unconscious biases, and practice radical empathy. At the heart of her work is the principle of literary citizenship – a commitment to making the industry more equitable for everyone. 

Aki shared her own manifesto for working ethically in the creative industries: 

• Transparency 

• Accountability 

• Curiosity  

• True and equitable collaboration 

• Creativity and risk-taking 

She then asked the audience to consider their own vision for creative citizenship by reflecting on four key questions: 

1. What makes you feel safe in the workplace? 

2. What makes you feel valued in the workplace? 

3. What makes you feel confident in the workplace? 

4. What lasting change are you committed to making? 

Aki recommended: 

• Exploring job boards like Creative Access, Arts Jobs and Arts Professional

• Researching organisations that receive funding from bodies like Arts Council England, Creative Scotland, and Arts Council Northern Ireland to identify potential employers 

• Knowing your employment rights, including ensuring you are paid fairly 

• Gaining experience wherever possible, such as taking on a role in university societies or volunteering  

“Sometimes we’re asked to be a bit of an avatar of ourselves,” Aki noted. She shared these practical tips for interviews: 

• Prepare thoroughly and don’t be afraid to bring notes 

• Take a moment before answering questions – it’s okay to ask for clarification 

• Remember that nerves are normal and won’t count against you 

For those nervous about re-entering the creative industries or disclosing a disability after a career break, Aki reassured attendees: 

• Legally, there is no obligation to disclose anything 

• If you choose to disclose, you are entitled to reasonable adjustments 

• Instead of focusing on gaps, reframe your experience: “What are the assets I’m bringing?” 

• Identify your fundamental needs, especially if you require flexibility or specific workplace accommodations 

Aki encouraged career changers to rethink how they present their CVs: 

• Instead of chronological order, highlight three key skills at the top 

• Use a personal statement to explain your career transition 

• Provide specific examples of the impact you’ve made in previous roles 

• Identify light-touch ways to fill any skill gaps – such as online courses or volunteer work 

Huge thanks to Aki for sharing her time with us and prompting our audience to better understand their career paths, and of course thank you to our audience for bringing their unique perspectives to the session! Looking for some more career inspiration? Head to our opportunites board to find your next role and join us at our next event.

It was a lively and informative Creative Access virtual masterclass, bringing together aspiring, junior and mid-level creatives from across the UK. Chaired by our marketing & communications manager, Rochelle Chinn, the panel featured seasoned industry pros at various career stages in music, PR, TV & film, and comms. They explored how to overcome geographical barriers in the London-centric creative industries, covering everything from how to find opportunities to the importance of networking in a shifting creative landscape! 

Read on for invaluable insights on building a thriving creative career outside of London… 

The panel: 

• Rochelle Chinn, marketing & comms manager, Creative Access 

• Ash Sodawala, account exec, Citypress 

• Luke Oliveira-Davies, creative producer & founder, Polari 

• Will Marshall, freelance composer 

The biggest misconception about a creative career outside of London is that it’s not possible to have one! There’s thriving scenes and hubs all over the UK, particularly in cities like Manchester, where Ash grew up, studied and now works thanks to Citypress locating its headquarters there.  

An excellent way to virtually network is through WhatsApp groups. Luke says, “I know they can be overwhelming for some people and for that reason I do have them all muted, but I browse in my own time. Look at what people are talking about and engage when you can.” 

Be prepared to impress someone with a great portfolio. Will recommends showcasing your best work on a website through SquareSpace or WordPress – and Instagram is great too. And, if you haven’t got any professional experience to showcase yet, just showcase work you’ve done voluntarily, at college, university or passion projects. 

Will’s top tip for perfecting your portfolio is get someone who knows you and your work to give you feedback.  

Your regional location can be an advantage if you use your lived experience to enhance your work. Ash says, “Growing up in Manchester and going to university here makes me an expert of the area, which I use all the time when I’m advising my clients on the cultural landscape and what will land.” 

Increase your chance of success with cold emailing by making it warm. Rochelle says, “When you’re reaching out to someone and asking for their time, be specific with what you’re looking for. Instead of saying ‘Can I pick your brains?’ Say ‘I loved your work on this campaign and would love to learn more about how you did it.’” 

When opportunities in your career are scarce, don’t wait for one, go create one, Will says. And if you’re not yet comfortable getting yourself out there, acknowledge that self-promotion is a skill within itself, and it’s something you can practise. 

If you’re feeling uninspired where you are, Luke advises listening to podcasts on how people built their careers, attending online events, and watching videos of masterclasses. This way you can connect with peers online who you can talk about your craft with. Rochelle echoed this, saying it’s important to consume other mediums outside your craft to find inspiration. As a writer, she finds films the most inspiring way to get her to pick up the pen. 

If you’re having trouble staying motivated when you’re receiving rejections, keep going. Know that you are improving all the time, and with enough practise you’re going to be the best version of yourself in an interview. 

Something you may be surprised by is that you might not end up in the career you thought you would be in. You’ll have more success if you stay open to alternative routes or even industries. Ash originally wanted to get into the publishing industry, and thought PR would be a good way to sidestep, but now, really sees herself building a career in PR. 

A very transferable retail skill for the TV & film industry is confidence. Luke says, “I gained more skills working in Wetherspoons and River Island that I bring to the TV industry than I got in my degree. Working in TV is all about people, and being adaptable, so retail is a brilliant place to start.”  

One common mistake that entry-level individuals make is basing where they live entirely on their career prospects, with the assumption they will only get a role there. Ash advised thinking about where you want to live, finding out what’s going on locally and focusing on establishing your base there.  

Don’t underestimate the power of making connections because creative work is often based on referrals. Will came from Fife, a village in Scotland with a population of hundred or so people, and as a working musician he says, “Do what you can as well as you can, because people will want to work with you again and word of mouth is key.” 

Thank you to everyone that attended and asked such brilliant questions in the Q&A, as well as our fantastic panellists who shared so much wisdom. See you at the next one! 

You can watch the full video here.

Are you a budding creative looking to secure your first role? Do you want the opportunity to expand your skills in admin, research and more? Have you got an exciting new experience to add to your next application? Sign up now to attend our next online group CV consultation happening online on the 27^th March. 

PR – it’s an arguably misunderstood profession in the creative industries, having long been portrayed in sitcoms as the job for extroverts and glamorous party-goers keen for media coverage. But what do we really know about the public relations industry? 

Perhaps this mischaracterisation is partly to blame for the industry’s lack of diversity:  9 in 10 UK PR practitioners are white and 25% are privately educated (CIPR). We know that if you don’t see yourself represented in an industry, you’re much less likely to consider it as a career path.  

However the industry is changing, and it seemed fitting to host our first Creative Access masterclass of 2025 with our fantastic employer partner Teamspirit, and spotlight the world of PR and marketing through all the unique ways in. With an engaging panel of industry pros at Teamspirit and Harvard, they helped break down the barriers and illuminated the pathways into the exciting but sometimes misunderstood industry of PR. Read on for our panellists’ top 5 tips for breaking into the PR industry… 

We were joined by: 

• Sandy Downs, account director and head of DEI, Teamspirit 

• Alex Waring, junior strategist, Teamspirit 

• Sofia Cerchiai, senior PR account executive, Teamspirit 

• James Drinkall, creative services project managerTeamspirit 

• Joanne Oni-Awoyinka, account executive, Harvard 

• Sophie Wesley, account manager, Harvard 

Top 5 tips for breaking into the PR industry: 

1. Emphasise your transferable skills 
   PR thrives on diverse experiences, so whether you’ve worked in retail, customer service, or managed creative projects like TikTok videos or a blog, you have something valuable to offer. Highlight moments where you communicated effectively, solved problems, or led a team. For example, a part-time job in customer service or managing your university’s social media can be a huge asset. 

2. Showcase creativity in your applications 
   Stand out with a CV or portfolio that reflects your personality and creativity. Think PowerPoints that tell your story or an Instagram account that highlights your design skills. Tailoring your application to the company’s work and showing genuine enthusiasm can make all the difference. Creativity shows initiative and a passion for the industry – qualities PR agencies value deeply. 

3. Network strategically 
   Networking is key! Use platforms like LinkedIn to connect with industry professionals, reach out with genuine interest, and don’t be discouraged if you don’t hear back right away. Building relationships with PR professionals and journalists can open doors to internships and job opportunities while keeping you in the loop on industry trends. 

4. Learn and keep learning! 
   Many PR professionals got their start through internships or by diving into online courses. These experiences build knowledge and demonstrate your commitment to the field. Stay curious and proactive by exploring free resources and tools to expand your expertise. Mention these in interviews to highlight your eagerness to learn and grow. Check out PRCA and CIPRfor further resources and learning! 

5. Adapt and stand out with AI and creativity 
   As AI transforms industries, focus on the human skills that make PR unique – empathy, storytelling, and connection. Use AI tools to streamline tasks but let your creativity shine in building relationships and designing campaigns that resonate on a personal level. Being tech-savvy and innovative will set you apart. 

The evening was a testament to the power of creativity, resilience, and connection of our brilliant panel and community, and the night continued with networking.  A huge thank you to Teamspirit for hosting us in their offices! 

If you’re an employer and want to collaborate on a future career-in-focus event, we’d love to hear from you.

If you loved learning these top tips, why not take a deep dive into other Creative Access masterclasses!

South Korean survival horror show Squid Game captivated audiences worldwide on its release back in 2021, featuring a dramatic contest between regular people it felt ready to be adapted for reality TV. Fast forward to 2023 when Studio Lambert brought the idea to life with Squid Game: The Challenge, featuring the largest cast in reality TV history and a record-breaking single cash prize of $4.56 million USD (now showing on Netflix). 

At the Creative Access masterclass in December 2024, we heard from experts at Studio Lambert, the very production company that had a hand in its making. The panel shared what it took to bring Squid Game: The Challenge to the screen, insights about working in unscripted TV, and nuggets of wisdom from their own career journeys so far. 

• Stephen Yemoh, executive producer: Responsible for overseeing the creative vision, from selecting games to driving casting decisions. 

• Anna Wood, line producer: Managing logistics, ensuring that over 800 crew members and nearly 500 contestants were housed, fed & moved safely across the sprawling set. 

• Esme Holliday, games researcher: Designing and testing games that would balance playability with visual and dramatic impact. 

Bringing the tension and drama of Squid Game to reality TV is no mean feat. Executive producer Stephen nicely summed up the production’s all-in approach when it came to staying true to the original: “Be bold. Don’t try and cheapen it; do everything you can to make it feel exactly like what people have seen in the drama.” 

In practice, this meant implementing an incredible level of attention to detail across all elements of production. Games researcher Esme remembers this forensic creative process well: “We counted thousands of marbles used in one of the games to ensure consistency. “We tested cookies to make sure they were the right level of brittle and would stay that way over the day.” In terms of designing games, there was a level of direction from the drama’s visuals, but a core focus of Esme’s role was to make these into fair and entertaining games that people could actually play. On two occasions they ran games tests with 456 supporting artists! 

The ‘squid’ technology (a pun on the usual ‘squibs’ designed to imitate blood) that provided a clear visual cue for when contestants were eliminated was another element that had to be iterated again and again. The nozzle designed to deliver the ink was redesigned at least thirty times before it behaved exactly as needed on set. Even choosing t-shirts that the ink would easily show through was essential in making this element look right. Stephen points out that the ‘squid technology’ was one of the many things that made the drama feel real for contestants, a key part of creating highly watchable reality TV. Unlike their actor counterparts in the drama, contestants reacted with shock to eliminations because of a sudden effect, versus post-production VFX added after in the editing suite. 

Esme spoke about both intense pressure and memorable fun moments on the show, like adjudicating the Red Light, Green Light game: “I remember telling creative director Tim Harcourt and Stephen Lambert himself to be quiet when we were doing Red Light, Green Light because I was logging eliminations from the game in real time which production were then using to book people’s flights home! I said, everyone in this room please be quiet, I’m trying to concentrate! Of course, not realising our creative director and owner of the company were behind me.”

The masterclass underscored how varied and unconventional career paths can lead to TV. Anna Wood was candid about sharing her snakes and ladders career path prior to TV: “I’ve had six jobs before TV – from hospitality to corporate work – but every experience taught me something useful.” Starting later than many of her peers, she leveraged her transferable skills to build a successful career. 

Esme echoed this adaptability, describing her early roles in production: “I’ve done eight researcher jobs now, and every one taught me something different. Keep sending your CV out, take opportunities, and nestle into companies that help you grow.” Esme grew up in a tiny village in Cumbria and always knew she wanted to work in media but didn’t always know what that meant. Now she feels like she’s done almost every role there is to do at Studio Lambert. 

For executive producer Stephen, TV started with a dream of becoming a footballer as a younger teenager. After it was clear his talents on the pitch wouldn’t give him his career, he started thinking: why not work on football instead? He was at a Sky Sports live recording where someone on the production team joked to the audience that “we’ll get the work experience to do a dance for you” during an ad break, and later worked right into the production office and asked: “How do I become the dancing work experience person?” Amazingly, this became his entry point into the industry. 

The key is in the name – it’s unscripted! Producing unscripted TV is unique because the cast behind its drama will behave in unplanned and unexpected ways, which sometimes makes character development a moving target. Stephen spoke about the way that his team mapped out every contestant onto a board, reacting to the evolving game to focus on characters that made for the most compelling television. They would receive a call that certain characters were eliminated and then shift their editorial focus. “It’s really annoying!” Stephen admitted. “As a producer, the one thing you want is control – but this show gave you no control.” Some of the most promising contestants were knocked out almost immediately, failing to survive tasks. On the other hand, new protagonists rose up from seemingly nowhere as the show reached its closing stages. The twists and turns of the game led to genuinely gripping drama. In Stephen’s words, “sometimes the reality gods fall in your favour.” 

Another unique part of a reality TV show like Squid Game: The Challenge is the inclusion of hundreds of supporting actors that are not trained and professional talent. The enormous cast are ultimately the ones responsible for creating the human drama that makes the show compelling. Anna described how the show was an immersive experience even for the contestants. From sleeping in shared dormitories to dining under the watchful eyes of masked guards in pink, players living in the Squid Game world for the duration of filming.  

There were casting teams in the USA and UK to find potential participants, starting with an open call for applications before a lengthy screening process that included mental health assessments and physical evaluations; given the high-pressure environment of the show and the high cash prize, it was important to watch out for people who would be particularly vulnerable. Care extended beyond the filming, with an aftercare structure to support participants based on their needs. “We had a really big system that we put in place – with a lot of time, effort, money and people to make sure that everyone who is in the show was looked after as much as possible.” 

• Leverage transferable skills: Anna’s experiences in hospitality and corporate roles honed skills like organisation, teamwork, and problem-solving, all of which proved invaluable in her TV career. She encouraged attendees to think broadly about how their experiences could apply to production. 

• We’re stronger together: The panel agreed on the importance of finding like-minded people to help you in your career Esme highlighted the importance of finding mentors and supportive teams: “You’ll meet people who believe in you, and those connections can lead to future opportunities.” Stephen pointed out that most people working in TV production started as a runner and know what it means to be starting out. 

• Be persistent and flexible: Esme shared her own ups and downs: “Even as an experienced researcher, I’ve had weeks off between jobs. It’s part of the industry, but if you keep pushing, opportunities will come.” She also shared how useful it has been to turn to other work like hospitality to fill in those gaps and keep herself going. 

• Rejection is part of everyone’s career journey: Stephen had sage advice on the topic of rejections: “Don’t fear hearing ‘no.’ It’s rarely personal, and often just a matter of timing.” 

We continued the evening with networking! Thank you so much to the Studio Lambert team for having us and sharing incredible insight into the world of TV. See you in 2025!

Where better to visit for a Creative Access masterclass about tech than global tech company Meta? There’s something so exciting about being immersed in the world of tech at the Meta building – and it’s not just the pictures and crayons they leave out for waiting visitors in reception. Meta is the parent company of Facebook, Instagram and WhatsApp, and it’s the building in which innovations in social media, artificial intelligence, virtual reality, and the metaverse happen serving billions of users worldwide.   

The masterclass panelists were experts from the team at Meta, and they shared insights into their careers, industry trends, and advice for aspiring professionals. 

So, whether you’re a creative looking to break into tech or a creator wanting to stand out, here’s a recap of the brilliant discussion and some brilliant tips from them to the Creative Access community! 

• Lauren Whilby: strategic partnership manager who works with internet personalities and beauty creators. Focuses on relationship-building with talent and helping creators develop their content, and Creative Access alumni! 

• Dan Moller: head of creative shop UK, working on creative strategy, partnering with global brands. Specialises in storytelling, trend forecasting, and project management. 

• Djeme Mahamat: solutions architect who transitioned from quantum physics and engineering to consulting and now solves tech challenges at Meta. 

• Natalie Kelly: client solutions manager, entertainment. Supports TV and streaming brands with advertising and media, and shares expertise in collaboration and adaptability. 

• Mel Rodrigues: chair of panel and CEO of Creative Access, advocating for individuals from underrepresented groups in the creative industries through recruitment, training, mentoring and more.  

A key theme of our discussion was the journey into tech for individuals without ‘traditional technical experience’. Each panelist shared how they leveraged transferable skills and passion to navigate their career paths. 

Lauren Whilby began her career ten years ago via a Creative Access internship at a digital marketing agency, managing social media for music artists like RAYE and Craig David. She leveraged her transferable experience in talent management to transfer to the tech industry and advised the audience that although the jargon in job descriptions can be intimidating, it’s crucial to focus on the key skills listed and demonstrate how that applies to you. She reassured attendees that many in her team at Meta don’t have technical backgrounds, making it clear that being adaptable and showcasing your strengths are more important! 

Whilst Djeme Mahamat has more of a scientific background, he still had to adapt for his role at Meta. Djeme shared a unique transition from studying quantum physics to building cloud platforms and solving technical challenges. He noted that his problem-solving mindset and ability to collaborate with tech teams became invaluable in his current role as a solutions architect. 

Natalie Kelly shared her journey from an internship at Google to managing major TV and streaming accounts at Meta. She said that people skills and learning agility were crucial for her success, stating that adaptability in a fast-changing tech landscape makes all the difference. “It feels like I have a different job every year,” she shared, reflecting on the constant development of her role in an ever-evolving industry. 

Dan Moller brought a creative edge from his previous experience in visual effects and university departments. He highlighted the importance of storytelling, communication, and project management – skills that carried him into his role as a creative strategist. At Meta’s creative shop, he combines data insights with creative strategies to craft impactful campaigns for global brands. 

Top Tip: Many companies, including Meta, offer free training programmes like Blueprint to help individuals gain a foothold in the industry. Experimenting with AI tools and staying curious about emerging technologies were also highlighted as ways to stay ahead. 

For aspiring content creators, the panelists provided practical tips to navigate the challenges of building a distinctive personal brand. 

Lauren stressed that personality is key. In crowded niches like fashion and beauty, creators need to showcase their authentic selves. The shift from polished, filter-perfect content to relatable, low-fi storytelling reflects changing audience preferences. Lauren encouraged creators to tag brands they use and not hesitate to reach out for collaborations. 

Natalie echoed this sentiment, noting a “huge shift” in what audiences want. Brands need to move away from overly polished content and embrace a more authentic, accessible aesthetic. Creators who can adapt to this trend will have a better chance of standing out. 

For those building a social media presence, Lauren advised starting without delay. “Film yourself often, get comfortable speaking to the camera, and learn basic editing skills,” she suggested. Consistency is vital – whether that means posting regularly or setting a content creation schedule. Importantly, she clarified that the quality of your content and confidence in storytelling matter more than follower counts. 

In an industry shaped by rapid technological advancements – particularly AI – the panelists emphasised four critical skills that professionals and creators should develop: 

1. Storytelling: Crafting compelling narratives remains a timeless skill. At Meta, data is often used to tell stories that resonate with specific audiences, from analysing trends to adapting formats like reels or stories. 

2. Critical thinking: Tackling challenges creatively and solving problems are essential for navigating an ever-evolving landscape. 

3. Communication: In large organisations like Meta, clear and effective communication ensures alignment across teams and projects. 

4. Curiosity: Staying informed about industry trends and being open to experimenting with new tools are vital for long-term success. 

As Dan pointed out, resilience and adaptability are equally important, especially as AI reshapes industries. Learning to work with AI, such as experimenting with Meta’s tools, can provide unexpected insights and opportunities. 

The panelists celebrated how technology and platforms like Meta are breaking down barriers. Lauren spoke about working with creators from under-represented communities, including Disabled influencers, while Mel highlighted how remote work is democratising the industry to embrace talent from across the country (or world!). The rise of virtual collaboration has reduced geographical barriers, ensuring talent from regions outside major creative and tech hubs like London can still thrive. 

The panel also answered questions from the audience about personality and experience levels: 

• For introverts who don’t enjoy maintaining their own social media, Lauren reassured that a personal online presence isn’t a requirement. Instead, focus on building one-on-one connections and developing niche expertise. 

• Natalie added that there are countless roles in tech for those who prefer data and measurement over client-facing tasks. 

For mature applicants, Dan emphasised letting skills and experience shine, without worrying about age: “If you have a story to tell, be proud to tell it.” 

The session closed with memorable words of wisdom from each speaker who were asked for the best advice they’ve ever received: 

• Natalie: “Closed mouths don’t get fed. Take the risk – getting a no isn’t the end of the world.” 

• Djeme: “Don’t ask for permission; ask for forgiveness!” 

• Dan: “Done is better than perfect.” 

• Lauren: “If you’re a woman, don’t wait for a job where you can do everything – go for it.” 

• Mel: “Nothing is wasted. Every experience, even the unsuccessful ones, teaches you something.” 

After the panel concluded, the panelists and attendees headed for the snacks and drinks to network the night away! 

Interested in a role in tech or another creative industry? Check out our opportunities board. 

In our latest masterclass we headed down to WME’s offices for a masterclass from three of our talented alumni and former recipients of our Career Development Bursary plus a member of WME’s brand partnerships team…  

Alice Kemp-Habib, Features Editor at The World of Interiors 

Yolanda Lee, Story Consultant & Development Producer  

Ama Ofori-Darko, Head of Development at Park Theatre 

Zayanne Bako, Brand Partnerships Assistant at WME and creative careers content creator 

These creative powerhouses provided insights into their career journeys across theatre, journalism and media, sharing how they use storytelling to shape narratives across platforms and gave advice on everything from handling rejection to freelancing.  

For Zayanne running a creative careers TikTok is intrinsically linked to her full-time gig at WME where she connects influencers with brand opportunties working with the likes of Candice Brathwaite and Uma from Love Island. The two roles lend nicely to each other: both require her to work alongside creatives during the messy and unpredictable journey to creating a finished product. She says, “Brand partnerships is all about building authentic relationships through creators and brands; you’re not just facilitating deals you’re watching them create something that lasts.” 

Development producer Yolanda says that although the ‘thing’ that makes good TV and film is a bit ineffable, she is always looking for a voice, someone with something to say and a unique take on the world. She says it’s vital to stay true to your own perspective in storytelling, “it’s not quantifiable but it’s obvious if someone is doing something just to make money or following trends.” 

Ama originally trained to be an opera singer and after graduating found herself working at the Royal Opera House as an usher. This exposed her to the concept of arts fundraising and development. Theatre is her biggest passion and she had a full circle moment when she went back to work as a fundraising manager at Royal Opera House in 2023. Now Ama freelances with artists and helps weave their stories into fundraising applications.  

Meanwhile, Alice is a former freelance journalist turned luxury magazine editor. Previously she was the one being commissioned, now she’s the one doing the commissioning. She says being a magazine editor means you have to develop a visual literacy because the copy and the imagery has so much synergy; you don’t have that say as a freelancer on the full visual story, but on a magazine team you do.  

As a recent freelancer, Yolanda is honest explaining that whilst it’s not the best time to be a freelancer in TV, she says, “you have to be brave and take calculated risks – I also work for Film Wales, so I wasn’t stepping in without a safety net”. She continues that 8 years into her career, she’s spent time building relationships and checking in on people and now has people approaching me about opportunities rather than the other way round.  

Similarly, Ama says she has made a lot of connections throughout her career so far. She encouraged our audience to reach out to people and not feel embarrassed – people love to talk about what they do! “I’ve spent a lot of time networking and reaching out to people to tell them I enjoy their work and would be up for working with them”. Echoing Yolanda, she said: “It’s really tough right now so I would recommend doing something like having a part-time perm job alongside your freelance gigs.” 

Alice says she was able to live at her family home whilst freelancing and says that whatever you decide – whether you go freelance or stay in permanent work – it’s a deeply personal decision. You have to weigh up your finances, your networks and assess what you need from your career to decide. Depending on your situation, it might not always make sense to go freelance. 

Echoing this, Yolanda emphasised that you can do a job that’s completely unrelated to your creative passion! It doesn’t take away from your creative pursuits.  

On her TikTok channel, Zayanne helps creative discover new creatives. “It’s not for me, so I was confused when I started to get traction from brands; I never viewed how much value the content until people said I found my role through your page and then that made me realise it could be important to monetise it.” She said that whilst monetising your creative side hustle is great, it’s helpful for her to have her permanent role at WME. It means that the money isn’t the ‘main focus’ and she can only promote brands and opportunities that align with her and her audience. 

All of our panellists agreed that they were putting in the work for a while before things finally aligned.  

Although Zayanne is all about providing others with the hottest opportunities on TikTok, she says, “it’s important to create your own opportunities too – it’s hard to find roles. If you have the capacity to create something, then do it”. She explained that she wouldn’t have got her current role at WME if it wasn’t for showcasing her brand partnership skills on her TikTok channel: “You don’t know the value of the work you have sometimes until you go for an opportunity and get it because you’re already doing the work!” 

Yolanda recommends: “Do whatever you can to be an expert in your field until the right door opens… it might not always be the door that you’re expecting”. She told our audience to have everything ready to go for when it, for example, your portfolio and CV for when that moment comes.  

Ama is also an advocate for researching –: “if you know what end goal you want, research! Get books on the topic, speak to people in those roles, send emails to people you admire and want to work with, find out what experience you need to get to get there.” She says, she is always looking at the next step once she’s settled into a role.  

For Alice, mentorship has been essential at every point of her career: “Every significant experience I’ve had has come through a mentor recommending me for an opportunity”. (Find out about our mentoring schemes!) 

Unfortunately, getting a no is going to happen at some point in your creative career. So how can you handle these knockbacks? 

Yolanda gave frank advice to the audience: “Realise that your value doesn’t come from your career”. It’s important not to take it to heart, she says. Rejection can also just be redirection, sometimes you have to take the scenic route! “It’s only when you look back that you realise you were being led down a path that was necessary, that gig might not have been good for you and maybe you dodged a bullet.”

Ama stressed the importance of have a strong network who you can vent to. Zayanne backed this up by saying having a network or mentor can help put language to what sort of jobs/industries you should be applying for. She echoed Yolanda’s point that “you’re more than what you do” and encouraged people to find a way to get feedback so you can use that for your next application.  

First things first, we asked Ama (who writes funding applications for her *literal job*) on her top tips for creatives applying for funding…  

• A lot of the time you really need to align with what the funder wants to fund – make sure you specifically state this 

• Get multiple people to read the applications – does what the funding would mean to you come across? 

• Stick to word counts!  

Our former recipients had some words of wisdom when it came to our Career Development Bursary in particular…  

• Yolanda was travelling a lot for work and living out of suitcases, so she applied for a high-quality suitcase! Her top tip was to give evidence in your application give evidence – ‘you don’t have to apply for the full amount and I had very specific links and evidence on the durability’. 

• Alice was still freelancing at the time and was struggling to progress or get a pay rise. She used the funding for a training course; “it equipped me with tangible editing skills and training looks like you’re taking yourself seriously on your cv”. She also says this is the reason she got her current job.  

• Ama had taken a pay cut during COVID and was living at home. She used the funding to support paying for a deposit to help her move out. Her advice? “Be very clear about why you’re applying, how it aligns with career goals, and get someone else to look over it to see it makes sense” 

Apply for the Bursary by 4^th November!

We learnt so much from these absolute creative industry superstars! Don’t miss out on our next event and register with our opportunities board here. 

Last week we headed to Publicis Groupe in White City for a masterclass on all things advertising featuring our friends from ad agency powerhouse Publicis London. We touched on everything from a day in the life of an account manager, to why being a strategist is a bit like being a detective, as well as understanding why TikTok can help you become a better creative, and what it takes to thrive as a producer! 

Panel: 

🎤 Guergana Stoytcheva, account director 
🎤 Prianka Ramlugun, strategist  
🎤 Pierre Lavenir, content creative  
🎤 Bea Icke, production assistant  
🎤 Ella Darlington, head of comms at Creative Access (chair) 

Want to know what really goes on behind-the-scenes in advertising? You’re in luck. Here’s the breakdown of the four key parts of an advertising agency… 

Think of the account management team as representing the client within the agency and the agency with the client. They’re responsible for the day-to-day client contact, they help sell in the work to the client and oversee budget, timelines and delivery.  

Account director at Publicis London, Guergana, has been working in the advertising agency for three years with a background in travel and tourism (talk about career-switcher inspo!). Here’s what she had to say about working on the accounts team…  

The stakeholders when you’re in a role like this are everyone – we’re talking finance, clients, SLT, creative, strategy, and production. It is vital that you are able to build and maintain trust with both the clients and everyone at the agency.  

• Understand the client’s business challenges and personal goals (you’re their champion and they become yours) 

• The agency team need to know they can depend on you: if they have a different strategy idea to what the client wants, your team needs to know you’ll have their back.  

• You’re not just the yes person for the client! You’re there to help them see the vision. 

• Good communication skills 

• Empathy 

• The ability to read between the lines 

• Detail oriented 

• Presenting skills 

If you have zero experience in the field but want to get in, Guergana’s been there. Her advice for getting in without the industry experience is…  

“Be honest and highlight your transferable skills – the things that make the best account management people are rarely taught, everything technical can be learnt” 

Our very own Creative Access alumni Prianka started off as an account & strategy intern at Publicis London and three years later, she is now a strategist at the agency. She said she always wanted to do everything and admitted to ‘applying for every positive action scheme that Creative Access had’ when she finished uni. But realised, after finding the internship, that advertising and the creative element wasn’t just something she’d like but it was a space where she could actually use the skills she had: her research abilities from her history degree and her ability to chat to people from her Saturday job.  

Brands come to strategist with business problem; it’s the strategist’s job to find the gap in the market and think about the people to help solve this problem. 

• Immerse yourself in news; polls and surveys; you’ll use market research platforms like Mintel (which Prianka calls a strategist’s best friend); you’ll analyse other products on market; and good news for those immersed in internet culture, you’ll constantly be researching on platforms like TikTok and Reddit – “if you’re going to talk to people, speak their language”, Prianka says 

• You’ll have to research how the client can stand out in a crowded space. Some good examples are products and campaigns like Liquid Death, Heinz and CeraVe’s Michael Cera ads  

• Working closely with the creative team, you’ll distill all your research into one line to help them bring the vision to life  

Here’s how strategy comes to life:  

Garnier came to Publicis London with the launch of a new Vitamin C daily UV. Prianka and the team of strategists found out that 9/10 brits admit to never wearing spy on their face. They realised that the SPF category is constantly talking about sun and, unfortunately, Britain isn’t the sunniest of climates. So, their strategy to help Garnier stand out in the market was to make SPF an everyday habit for British people: ‘phone, keys, wallet.. SPF’. The campaign hinged upon the idea of wearing every single day versus every SUNNY day. 

• Be like a detective: find the insights  

• Be like an architect: curate a plan of what story you want to tell and what you want them to feel 

• Be like a presenter: zoom out and tell everyone the one thing you want to create based on all your research 

Strategy is all about storytelling. She told the audience: “Remember in your applications that you’re talking to strategists so present your career journey and story for them to showcase your storytelling skills!” 

The creative team are the ideas people. They use imagination to produce the work, turning a product into memorable ideas, campaigns and activations.  

Pierre was working in marketing before he started as a content creative at Publicis London. One day he saw a beautiful Gucci x North Face ad with Francis Bourgeois that stopped him in his tracks. He felt inspired and wanted to work on bigger campaigns. He joined Publicis a year later on accounts team and then made the switch into the creative team.  

• The creative teams focus a lot on the concept  

• You’ll work lots with strategists, account team and producers, as well as ‘the makers’: designer, video editors, film directors, photographers 

• It’s a really varied role! Pierre says from his own experience, “one day you might work on an idea for LFW and the next you’re doing social content for Renault and the next you’re working on OOH campaigns” 

• On that, a recent campaign for Thayer’s skincare, Publicis London honed in on a Gen Z audience who love their phones but can find them overwhelming and launched a campaign called: “Tone it down”. The campaign was a play on the fact the product is a toner and the team even got the Bimini to wear a life-size version of the bottle’s red lid at London Fashion Week.  

• The best part of the job for Pierre?  “Sometimes you come up with really crazy ideas and sometimes they really do happen!” 

• You’ve got to be a conceptual thinker! 

• A trend lover with your finger on the pulse. Pierre says, “I watch TikToks to get inspired – that’s part of my job and I get paid for it!” 

• You need to be able to build trust with your client to help sell in the more ‘crazy’ ideas and prove to them you have the knowledge it will succeed 

Pierre says your portfolio is most important thing as a creative, it shows your taste and what you’re all about so get building it! He also recommends competitions and awards such as the D&AD New Blood Awards to get some practice working on campaigns, and you might even win!  

Production assistant Bea always knew she wanted to do something creative and cites the Coca Cola Christmas adverts as her biggest source of inspiration to enter the advertising world.  

The production team brings it all together. They’re there for the whole ride that is a campaign: Before, during and after the shoot. 

Before an advertising shoot/campaign… 

You’ll be working within the agency, as well as exterrnally with casting, locations, art department and wardrobe and – vitally – making sure everything is within budget!  

During an advertising shoot/campaign… 

You’ll be there on shoot, making sure everyone is sticking to storyboard and that everyone is happy 

Post-advertising shoot/campaign…  

You’ll work with post-production, this includes sorting out titles and working with legal too to ensure that everything meets the brief and fulfils any legal requirements, as well as working on all the final touches with experts such as colourists 

• Organisation is KEY! There are so many moving parts, there’s lots of meetings with different people and emails to keep on top of 

• And on that note, it helps if you’re a people person with good communication skills and you’ll be meeting people with all sorts of different jobs and approaches 

• Good time management skills 

• Project management skills 

Bea says that in production you’re the middleman. “Sometimes it is a really tight window and managing everyone’s expectation can be difficult… You’ve got to learn how to do this.” 

Thanks so much to the wonderful panel at Publicis London for shedding light on how everything works behind-the-scenes at an advertising agency – we definitely left feeling inspired!  

If you’ve not already registered with us, do it here. You’ll be the first to know about the hottest paid internships and jobs in the creative industries, as well as FREE events and masterclasses like these! 

From the increasing digitalisation of the industry, to environmental and financial sustainability, what the future of theatre looks like was up for discussion at our last masterclass of the summer. We were captivated by an incredible panel made up of industry heavyweights like the National Theatre (NT)’s artistic director Rufus Norris and award-winning playwright Roy Williams, whose work and influence has had much involvement in what theatre has looked like for the past twenty years.  

Equally impressive was Creative Access alumni Atri Banerjee, theatre director currently directing Look Back In Anger at the Almedia, and Minoli De Silva, production coordinator at the NT; two trailblazers in the industry who have a lot to say about the future of theatre and how to make one’s mark in it. Chairing the panel was the fantastic Rachel Twigg, head of studio at NT, who guided the panel and room through the big questions with ease (and some swearing).  

What excites me the most is the range of storytelling, of what’s already been told and what’s still to be told. Specifically, what it means to be British.  As a Black man, it’s a question I’ve been asking myself in my work for many years, and no doubt will continue to as I get older and hopefully wiser. 

So it’s those stories; the new generation of playwrights expressing how they feel about what it means to be British, whatever ethnicity, class, sexuality, and then bringing it to the stage. Those questions are important. The last few years have been uncertain and scary for all of us, so it’s interesting to see where we go from here.” 
 

“It’s fair to say that there’s been a lot of worry and preoccupation of the future of theatre.  

I do feel heartened by the prospect of a new government and what it might mean to have a culture secretary who tweets about the Oldham Coliseum and actually seems like she goes to the theatre.  

The great Brazilian theatre practitioner Augusto Boal says, ‘It should not just reflect reality but try to transform it’ and theatre has always been a space to reimagine and reconsider the future.  

We’ve been through such cultural upheaval and immense global struggle and conflict, but I’m heartened by the commitment of people towards new ethical working practices, the value of community, peer support and peer groups, rather than old hierarchical models.” 

“The first thing I ever saw from the NT was a recording of Frankenstein for my A level. I didn’t step foot in and physically watch a show there until mid-pandemic. 

But the balance with live performance is really important.  

In my previous job, the show was an improv comedy show in-person at a theatre, but during lockdown it was adapted to a live streaming model. Those artists were then socially distancing in a room performing live comedy to nobody but cameramen. They’re brilliant and made it work, and so many people contacted us to say how much it meant to them and enabled them to connect with people they loved across the world watching it. 

But I do always think of that when discussing how we balance live performance with digital, and how we preserve that theatre is a live art form and the beauty of it is the connection that you have in the room.” 

“There are three areas to look at: the work you make on stage, the buildings that you make the work within, and touring.  

I’ll talk about making the work. We’re signed up to the Theatre Green Book baseline standard, so from this year onwards, in every show you see on our stage, 50% of it has had a former life and 60% has to have a future life.  

Allow it to be a useful restriction – it makes you work earlier and that is never a bad idea. Any of you that have made a theatre show, tell me of a show where you didn’t run out of time… it just what happens. 

I think it makes the production better, because most shows, the simpler they are, the better they are.” 

…And that was just a snippet of the riveting panel discussion! It was followed by networking between the panellists, the National Theatre team and the Creative Access community.  

Thank you to everyone that joined us, we’re taking a short break for the summer and will see you in September. 

Did you know that 89% of people listen to the radio each week? And it’s a growing sector with podcasts and smart speakers rapidly gaining in popularity. In our latest masterclass, we headed up to the BBC MediaCity offices in sunny Salford to dive into the world of audio, hearing all about the wealth of roles on offer and the skills you need to succeed in the industry!  

Panel: 

• Dean McCullough (host) – radio presenter, BBC Radio 1 
• Priya Matharu- assistant producer, Hits Radio  
• Rohan Sethi – producer, BBC Sport (Creative Access alumni)  
• Rebecca Gaskell – head of production, Reform Radio  

Our panelists all stressed that the best place to start is by gaining some experience though community or student radio, after all, this is how they all cut their teeth in the industry!  

For Rebecca and Priya, they both fell in love with radio at university. Whereas Rohan had been volunteering at community radio from the age of 14 before he broke into the industry via a Creative Access internship, and Dean has been a presenter everywhere from Riverside Radio in London to Gaydio in Manchester.  

Priya’s biggest tip is to always follow up with any connections you make. She works at Hits Radio’ local breakfast shows across the West Midlands, Staffordshire and Cheshire and has covered on BBC West Midlands and BBC Radio 1. Her route into her job at Bauer (Hits’ parent company) came after taking part in Kiss Summer School, when she contacted the person who ran the summer school and said, “I’m based in Birmingham, do you have any roles coming up in the area?” and they had positions at Hits. Priya assured our audience: “There’s no harm in asking – the answer is always no if you don’t ask”. 

Dean couldn’t agree more explaining that he literally knocked on the door of Gaydio’s offices when he first moved to Manchester in 2018 whilst in the building to meet a friend working on a different floor. He told our audience that if you are going to try this method, make sure you research before you approach the organisation, but ultimately, he said the most important thing is to: “Believe that you deserve to be sat at that table” 

Rohan is currently a producer at BBC Sport but has worked in different departments at BBC, including 1xtra, since he started as a Creative Access intern at Five Live in 2015. He loves his job because it’s so varied, telling us that just a couple of weeks ago he was in Saudi Arabia at the Fury vs Usyk on the ground chasing current and former boxers getting social media content. His focus has always been on social media and the digital world and advised our audience to think about what their strengths are when pursuing a career in radio; “There’s so many more jobs than just presenters and producers and you can always switch once you’ve got your foot in your door”. 

Dean echoes this point and tells our audience that his boss and current head of Radio 1, Aled Haydn Jones, started out as the tea boy for Chris Moyles!  

Speaking with over 15 years’ experience in specialist radio, Rebecca said that what really matters is that the employer can see you’re trying to build these skills versus necessarily having direct radio production experience. She said: “You want evidence that people are dedicated and have demonstrable experience in content creation, even if it’s making Instagram videos, it shows me they can edit and they can tell a story – both of which are transferable skills” 

Priya also added that there’s a misconception that you must be ‘naturally creative’ to work in the creative industries, “it’s a learnt skill!”. She said nowadays it’s easier than ever to learn the skills you need to be a producer. You can literally use your mobile phone to record and edit a radio show, or practice editing on TikTok, she advised.  

With news dropping recently that only 8% of people working in TV, film & radio are from working-class backgrounds, our audience were keenly aware of how tough it is right now to break into the industry if you’re from an under-represented background. Our panelists were honest about their own struggles juggling full-time paid work and volunteering at community radio stations to gain experience. Whilst breaking into and succeeding in the radio industry takes hard work, our panelists all agreed that it’s worth it once you get there and there are creative ways to navigate the more difficult parts of the industry. 

Rohan had a word of warning about short-term contacts, which are really common in the media industry. He said personally he hadn’t been expecting that when he started out, but on a positive note he said, “it did force me into other jobs and now my CV is so varied.” He recommended to always apply for jobs before your current contract has finished and said that you can learn so much from interviews, so don’t be afraid to put yourself out there and apply.  

And because the industry is competitive, it pays to be kind to your colleagues! Priya emphasised that radio is a small world explaining that someone she knew from student radio is now in the office at Hits with her. Dean told our audience: “Make friends with the production team and editors as they’re going to help you get your next job!”.  

Rebecca chimed in from the perspective of working at the independent Reform Radio: “Indies are on tight budget sand don’t have loads of time to look for new people. So, if you’re there sticking your hand up a lot and saying you can help that’s going to get you a shift and then, hopefully, more regular work”.  

Priya also had an amazing tip for anyone who’s feeling frustrated during the job hunt. She told our audience write down all your achievements so “you can reflect whenever you feel down or like you’ve not achieved enough, and you’ll realise you’ve actually done so much”.  

All of our panel are based outside London and it felt fitting to emphasise to our audience in Salford that this a really exciting time for the audio industry across the UK and there are some incredible opportunities in other cities like Birmingham, Manchester and Leeds. Dean wanted our audience to know that “you don’t have to move to London… it’s not the be all and end all”.  

While regional and accent representation was certainly on the agenda for a panel, they also told us why it’s so vital to make audio more diverse and inclusive of different audiences. Rohan summed it perfectly: “The mainstream needs diverse content because diverse content is authentic and entertaining. It’s lacking in mainstream but isn’t lacking on social media. The content is stronger if you’ve got a diverse team… So, back yourself if you’re going into these rooms, they need you!” 

Meanwhile, Priya said that whilst there’s currently not enough South Asian voices on air and behind-the-scenes, she’s hopeful that change is coming. She said: “You go where you feel seen… if you’re not reflecting, you’re cutting out a big portion of listeners. The big thing with radio is to think about how you can be real and engage new listeners”.  

For Dean being a white gay man on radio, he’s aware of his privilege but said it’s his mission to ‘uplift other folk in my community that really need it’.  

All of our panel wanted to express to our audience that they deserve to feel confident about their careers and encouraged them to harness their unique skills and experiences. Rebecca ended the conversation by explaining: “The next generation of people coming through are going to shape the future of radio, I’m absolutely listening to what young people have to say so don’t be afraid to tell us what you think”.  

A massive thank you goes to our amazing panel for all their honesty and insights into navigating the world of radio! And of course, a big shout out goes to BBC and Radiocentre for hosting us and our audience in Salford for being so engaged and bringing such great questions and stories to the conversation.  

Keep your eyes peeled on our opportunities board for our next masterclass! 

For May’s masterclass, we visited the book-lined London offices of Pan Macmillan, tucked away down a charming side street of Farringdon. Pan Macmillan is the publisher responsible for literary works by the likes of Tennyson, Hardy, H.G. Wells, and contemporaries such as Adeyemi and Donaldson. Unveiling the innerworkings of publishing and how to get into the industry was top of the agenda for our incredible panel featuring professionals from Pan Macmillan who shared their career journeys and advice. We learnt about the realities of their roles, the importance of persistence in forging a path in publishing, and the biggest mistake you can make when writing an application.   

Chaired by Ella Darlington, head of comms & marketing, Creative Access 

Andy Joannou, audience development director 

When the breadwinner in Andy’s family was no longer in the picture, he was 17 and needed a job – fast. Andy skipped university and went straight into the working world in magazine publishing. He shared how his early experience as a community manager there – before the age of social media – helped him develop crucial people skills. “People are scared of the digital sphere, they don’t understand it or are frightened of it. Sitting people down and explaining the reason why we do something or the benefit of it is crucial,” Andy explained. His role now involves overseeing Pan Macmillan’s digital media, ensuring their books reach as many hands as possible. 

Samia Gundkalli, CA alumni and editor (Macmillan Children’s Books) 

With a history degree and initial aspirations for journalism, Samia found her way into publishing through a Creative Access internship at Society of Authors. Now, she develops novelty books for children aged 0-5, from ideation to print. She’s noticed a major shift in right direction of representation in recent years: “Part of the reason that I’m in this industry is because I wanted to make the books I didn’t have growing up. Books from creators of colour that explores race and culture, and looking ahead, the goal is for people to just be writing their own stories.” 

Laura Marlow, senior audio editor 

Laura shared her journey from a third-year student at Goldsmiths to her current role. It was the initial setback of not securing an editorial assistant position (the most in demand of all the divisions), that led her to finding a place in the audio department. “I advise being as open-minded as possible because there are so many areas of publishing,” Laura noted. Her daily tasks include casting and production for audiobooks, one of the fastest growing parts of publishing, and a great way to meet stars like Olivia Coleman and Bill Nye.  

All three panellists offered their experience and valuable advice on making your application stand out in such a competitive industry, and we heard what the red and green flags in an application are! 

Number one red flag? Andy cautioned against using ChatGPT for writing applications. “No.1, don’t use ChatGPT. We can read straight through it; it doesn’t convey the sense of passion and desire to work here,” he said. Instead, he named his green flag; applicants showcasing their love for books in their cover letters. 

Laura highlighted the importance of transferable skills over direct publishing experience: “I’m more interested in your transferable skills, whether that be running a university newsletter or working in hospitality. Make your application really specific for the role, because it stands out when a candidate has put a lot of effort into it.” 

Samia advised applicants to let their personality shine through: “Don’t be afraid to put your personality into your cover letter. Publishing is a really fun place to be, so put your sense of humour and self into it.”  

Networking and mentorship were two key points brought up when discussing how individuals can advance their publishing career.  

Samia emphasised the value of mentorship, recounting her own positive experience with a mentor assigned through Creative Access: “Find your personal cheerleaders. I really valued having a mentor and I still remember the advice she gave me”. 

Andy pointed out the importance of asking questions and building a network: “The industry is not very transparent, and there’s lots of acronyms and confusing terms, so asking questions is crucial. I’m in a lot of Facebook groups of people that want to enter publishing and you can ask questions that way”, he shared. 

Laura echoed this, noting that chance conversations at events significantly contributed to her career progression: “Building your network at events, that’s how I progressed.”  

“The dream is always to be in editorial, it’s the most in-demand. But don’t be tied to one particular team. If you have skills in audio, sales, marketing, use those to get your foot in the door”, Andy advised.  

Samia agreed, telling the audience about colleagues who had side-stepped in the publishing industry having tried sales or rights and moved laterally to editorial or marketing. If you want insight into what someone’s role is like, Samia said: “Don’t be afraid to reach out to someone already in that role and ask for a coffee.” 

Laura pointed out that audio production often intersects with other fields, such as music and sound editing. “Look at what skills you can bring to the business that someone might not have if they’re already in,” she recommended. 

In recent years, technological change has altered the publishing industry forever; with BookTok and audiobooks on Spotify we’re observing the power that digital has to dramatically boost sales of books and whole genres. What does our panel have to say about this transformative digital age and the publishing industry? 

Laura’s particularly excited about the potential changes in the audio market with platforms like Spotify entering the publishing space: “It’s going to change a lot of things in audio and open up audiobooks to non-traditional book buyers… The experience of listening to an author or celebrity reading their own book is a separate experience to reading it. Both here in-house and industry is very excited about it.” 

Andy described how social media channels are used to test marketing strategies and reach broader audiences. “We can test shout lines on social media. I don’t think anyone can question the impact of digital when there’s BookTok. TikTok has helped people that were always there find their voice,” he said. 

Wow! Another successful masterclass! We couldn’t have done without the fantastic team at Pan Macmillan and our amazing community, who asked brilliant questions and networked after. See you at the next one! 

Feeling like you missed out? Click here to watch the video of the whole panel discussion!

In our latest masterclass, we were joined by a panel of three talented writers from our own alumni community who have pursued different types of careers across the creative industries. From journalists to screenwriters to novelists and copywriters for advertising campaigns, here’s what they had to say about navigating a writing career and finding your voice…  

The panel: 

• Aniefiok ‘Neef’ Ekpoudom, a freelance writer & storyteller who has just released his first book, ‘Where We Come From: Rap, Home and Hope in Modern Britain’ 
• Isabella Silvers, a freelance lifestyle journalist who has written for the likes of Cosmo, Elle, Women’s Health and Digital Spy 
• Katrina Smith-Jackson, screenwriter and lecturer, who has written for Hollyoaks and Waterloo Road and is also part of the Regional Breakthrough Writers programme 

“Be discerning and set intention about what kind of writer you want to be” – Neef 

Izzy who, alongside freelance writing, writes her own newsletter Mixed Messages, emphasised that you have to be proactive: “You need to actively put yourself in those places”. You can use social media to your advantage and join Facebook groups such as No. 1 Female Media Women and Lightbulb; follow commissioning editors on X (formerly Twitter) and Instagram; sign up to Sian Meades’ & Jem Collins newsletters; and use platforms like JournoResources. Following on from this, Izzy said “I post a lot about what I’m doing because you never know who’s looking.” But her top piece of advice? “Aim for rejection – if you aim for one ‘no’ a week, at least you’re putting yourself out there, and one day that ‘no’ will be a ‘yes’.” 

For Neef, it’s all about being intentional from the outset. He told our audience to think about: What kind of opportunities do you want? What are you looking to write about and where do you want to write it, and what style do you want to write it in? What editors and places can help you best communicate what you want to write? He recommends checking out the landscape first and to read *a lot* to “find the places your work can exist in”.  

Neef also told our audience: “Don’t be afraid to be annoying! I emailed The Guardian every week to follow up on a pitch and about 3 months later, an opportunity to interview came about from it. It’s never personal if someone hasn’t responded right away, they’ve probably just received 100 emails that day. So be persistent”. This persistence is vital and Neef also recommends emailing your favourite writers to ask them for advice on landing a piece; they might even introduce you to the editor! 

As a scriptwriter, Katrina mainly finds her opportunities through her agent, but prior to that she echoes Izzy’s recommendation of being active on social media. She often finds opportunities via WhatsApp groups like Black Women in Scripted and the Creative Access TV groups, and especially on X (formerly Twitter),but, she said, you have to be following the right people! Because so much of the industry and finding work is from word of mouth, Katrina explained it’s vital to make short films or web series to get your name out there: “It’s about connections. When people know your name, they’re going to bring it into the room”.  

“Be annoying, chase up and follow up on all the recent connections you’ve made and see what projects they’re working on and if they have any work going.” – Katrina 

We all know that freelancing right now is especially tough, however within the media, TV and writing industries freelancing is a career choice that you often can’t escape. And while our panel have varying levels of experience in full-time freelancing, they have all been doing it long enough to have picked up some valuable tips for others as they navigate the world of self-employment.  

Izzy is a full-time freelancer as of six weeks ago, having worked in branded content at Hearst for eight years alongside freelance journalism. Branded content wasn’t the route she thought her career was going to take, she knew that she’d be working with the editors at Hearst Magazines such as Cosmo and Elle and her attitude was to “take the opportunity as you never know what you’re going to get”. She did her job part-time alongside freelance journalism to satisfy her creative side and explains that going full-time freelance wasn’t like “jumping off a cliff” because she’s been planning it for two and a half years.  

Whilst Izzy planned her jump, Neef decided to go freelance on a whim. However, he did advise that people should analyse their situation and see what needs to be covered first; for him he was living at home and was able to take the risk. “It’s difficult to make all of your money just via journalism”, Neef said and explained that he does a lot of work to supplement the book writing and his journalism, such as working with agencies writing on campaigns for the likes of Nike and Adidas. He shouts out his Creative Access internship at The Marketing Store for introducing him to agency land. He continued, “Doing other work gives me the freedom to write what I want to write about rather than having to write about everything anything”.  

With this, Neef suggested: “Don’t feel like all your income has to come from freelance writing, often it involves doing other work on the side.” Our panel wanted to reassure aspiring writers that lots of people do work that’s completely unrelated to writing to supplement their creative work and that it’s important to keep hold of your dream and your reasons for writing.  

Katrina continued the conversation by telling our audience: “We all have rent and bills to pay” so it’s best to get prepared before you make the jump She said that while you’re never ready, you can assess your situation, which may involve working a salaried job and saving a few years to get into the right financial position to make the leap. This financial cushion can also prepare you for low commissioning months. Katrina also emphasised that you have to remember why you’re pursuing writing as a career; “always hold on to why you’re doing what you’re doing, I know there’s nothing else I’d rather do than writing.”  

“Find your people who can be there for you” – Izzy 

On the theme of staying motivated, our panel had some incredible practical advice on structures and routines that keep them going. Having reached out to the author Paul Canter for advice, Neef was told take time out of his day and copy inspiring writing into a word document. He explained that this process “gets you used to technical details that you’ll almost absorb the practices through osmosis”. And the proof that it improves your writing is there: “I did this every day and within 6 months, my writing shot up to a different level. This helps a lot with writer’s block; once you get into a routine with writing it almost becomes like a faucet of a tap that you can turn on and off.” 

Katrina suggested that you need to find out how you work best whether that’s your work environment or the time of day where you produce your best work. For her, distractions become too much in her flat, so she heads to her local library. For other people it might be a cafe or working with a friend. She also made clear the importance of a balance between ‘work and play’: “If I work on a script all week, I’ll be miserable. I have to find time to see a friend for lunch or go to the cinema.” 

For Izzy, staying motivated is all about having a clear vision with good people around you to pick you up when rejections happen. She says that she can visualise her book on the shelves of Waterstones and has broken down the steps she needs to get there. In moments of feeling frustrated that things aren’t moving quickly enough in your career, she recommended that the audience “keep hold of any moments of praise and be proud of yourself, even just by going to events like this, you’re taking more steps than others might.” 

For even more pearls of wisdom from our panel, watch the masterclass in full: 

Thanks so much to Izzy, Neef and Katrina for joining us and sharing their stellar advice and a big thanks also to our audience for being so engaged and asking brilliant questions! Keep your eyes peeled on our opportunities board for our next masterclass. 

Have you ever wondered who chooses the music for Love Island or how an artist gets noticed by A&R? Or how you could jump from a career in accountancy to looking after new business and strategy in music? Creative Access found out just that as it joined forces with Warner Music Group for its latest masterclass, delving into the dynamic careers available and sharing advice on how to navigate the music industry maze. 

Spanning recorded music, music publishing and artist services, Warner Music Group is a global entertainment powerhouse representing artists and songwriters including Burna Boy, Fred Again, Mahalia, Dua Lipa and many, many more. Beneath the white-tiled wall which replicated the Pink Floyd’s iconic ‘The Wall’ album cover, was a stellar line-up of speakers from across the business whose expertise covers areas including A&R (artist & repertoire), sync (more on that below), business development and marketing. They shared what’s involved in nurturing musical talent, why going viral on TikTok doesn’t mean everything, and the variety of ways you can kickstart your career in the music industry! 

Panel: 

• Marcia Fray (chair) – head of diversity, equity and inclusion for EMEA and Emerging Markets at Warner Music Group 
• Wuraola Atanda – creative & licensing executive at Warner Chappell Music 
• Josh Gunston – junior marketing manager (dance marketing) 
• Renee Weeks Wilson – senior manager, new business & strategy, Emerging Markets 
• Susie Woodridge – A&R manager, international at Warner Chappell Music 

Renee, senior manager in new business and strategy, always wanted to work in the music industry. Her first role in the business was as a chartered account, but she wanted to move on from this technical role into a commercial role. Her top tip for those wanting to move from one area to another: build organic relationships across the business whenever you have the chance. In her previous role, she managed the finances of a colleague who is now her line manager. She mentioned that professionally nurturing relationships like that one meant when an opportunity arose, she had an established relationship to build upon. 

Dance marketing manager Josh didn’t get any accepted onto any internships when he applied, but that didn’t stop him from taking matters into his own hands. He emphasised the importance of starting your own projects to gain experience – starting his own record label – and suggests that whether it’s an events night, a label on SoundCloud, or working with an artist around you, it’s much easier walking into a company like Warner Music with experience under your belt that you have cultivated than none at all. He honed his administrative skills (he mentions spreadsheets and Canva) whilst running the label, which caught the attention of Warner years later; “I can’t do Photoshop for instance, but I will find a way to do everything that is done on it another way, using some other platform.” 

Creative & licensing executive Wuraola studied at Guildhall School of Music and Drama and similarly advised getting out there and networking in industry spaces (music events, friends’ gigs, etc.). For International A&R manager Susie, music wasn’t always the plan as she completed a biology degree, but she worked her way up from a temp contract in the royalties department, then called ADA, to her role now where she works with producers, artists and writers.  

TIP: Panellists also recommended reading Music Week and Music Business Worldwide for both opportunities and information to stay up-to-date on the industry! 

Our brilliant chair, Marcia, tells the audience that there’s a huge variety of roles which scaffold the music industry as we know it. You can’t have companies like Warner without departments such as sync, A&R, communications, HR, rights management, marketing, finance, and many more. So, if you’re keen to work in the music industry, familiarise yourself with the different departments and see what your skills align to.  

Renee is in the emerging markets team and is a key player in the deal-making process across A&R and mergers & acquisitions. The dynamic emerging markets team covers Sub-Saharan Africa, the Middle East and North Africa, the Indian subcontinent, the Eastern Mediterranean and Eastern Europe. Our masterclass audience was captivated as Renee discussed how markets have changed in recent years, citing Nigeria and India as countries with huge revenue growth and a rise in domestic artists: “Nigeria was listening to a lot of US hip-hop years ago, but now there’s a lot of artists coming out of Nigeria itself and we’re seeing huge growth…India is set to have one of the most amount of annual streams soon, where the growth outpaces Anglo markets.” 

Wuraola works in sync, pitching music for TV and film. She usually gets a brief, which could be ‘songs from 1982-1985 with XYZ mood and length’. On her first day, she found out she would be working on Love Island, and she highlighted having secured so much music on there as a huge achievement, particularly as she placed so many artists that needed exposure on there.  

The artists in the room paid close attention to the advice given by Warner’s A&R Susie, who said she’s looking for qualities in an artist which naturally stand out, a kind of uniqueness and authenticity that an A&R team can sense. How to do the impossible? She advises finding your creative vision because “it stands out when you don’t have one [for the wrong reasons], and it stands out [for the right ones] when you do”. She also points out that both an artist’s ‘data’ and attitude as important; ideally there’s data that backs up their engagement (trending sounds on TikTok, reel views) and a defiant spirit which makes an A&R person think,“are they willing to work really hard for this?”. 

Unlike Susie, whose job it is to find the next big artist, marketing manager Josh helps get an artist noticed. Whether it’s through elevating their online presence on social media or engaging the public through events and collaborations, Josh thinks artists should focus on generating an authentic, sustainable fanbase. The last time Creative Access visited Warner Music Group, TikTok was somewhat shiny and new and on the tip of everyone’s tongue, but Josh now takes it with a pinch of salt: “An artist will go viral, or blow up, then you’ll sign them and work with them, and sometimes that’s the end of the artist. Who’s your audience? Who are your fans? What are you building here? It’s more exciting when an artist comes in and they’ve got heat, real engagement – albeit 1k or 5k followers. We’ve seen people come in from the TikTok wave, and they’ve almost gotten viral too early, because they’ve blown up overnight before building a solid fan base. Someone goes viral, you go to their gig, and they’ve only got 4 fans and a load of A&R people.” 

Wuraola: Trust the process. You may feel like you’re not where you want to be but trust that you’ll be where you want to be if it’s your passion. It’s important to have teams of people that want the same thing and bounce off of that. It’s not easy to land a role in the music industry, it can takes years and years so go to other people going through the same thing. 

Susie: Have patience because everything is a journey and you learn so much along it. Everything I did from my biology degree to working in royalties – all my experiences added up to what I’m doing now. 

Renee: Hone in on your skillset and what can set you apart, know your strengths and sell them the best you can. There’s a place for you somewhere in the building. 

Josh: I could get quite worked up if something went wrong at work, and my manager always said to me: “We’re not saving lives.” I wish I had learnt that 9 years ago! 

The evening continued with drinks, snacks, and networking. Thank you so much to Warner Music Group for hosting us and sharing so much with our community. And, thank you to everyone from our amazing community who attended – see you next time! 

Interested in attending our next masterclass? You can sign up to our opportunities board to spot upcoming industry events and read our back catalogue of masterclass events.