Our latest Creative Access Masterclass pulled back the curtain on Fane, the live events and production company shaping some of the most exciting cultural moments happening on UK stages today. 

If you’ve ever attended a beautifully curated conversation with a bestselling author, an evening with a screen icon, podcaster or public thinker, there’s a good chance Fane was behind it. Known for its thoughtful, talent-led approach, the company specialises in creating space for meaningful dialogue, blending entertainment, insight and storytelling in front of live audiences. 

With a portfolio that spans global names, literary giants, cultural commentators and rising voices, Fane has become a major force in the live events landscape. The team produced over 500 shows this year alone, balancing high creative ambition with meticulous logistical planning. 

Against the backdrop of the Barbican’s Frobisher Rooms, the Fane team offered an exclusive, behind-the-scenes look at how these events come to life. Our panel included:

• Renae Prince, associate producer
• Deena Mavji, programming manager
• Olivia Atley, senior marketing manager
• Sally Zarzour, young Barbican alumna and panel chair

Renae captured Fane’s mission simply: 

But behind that simplicity is a complex and highly collaborative process. Every event begins with an idea, which is often sparked through cultural trends, talent relationships or team passion projects. This happens before moving into planning, pricing, creative approvals and long-term scheduling. 

From assessing audience demand through social media insights, to crafting copy, artwork and marketing plans, the journey can take months. Occasionally, though, things move fast: the team revealed that the event featuring highly acclaimed Tony, Emmy & Grammy award-winner Cynthia Erivo, alongside BAFTA Scotland’s award-winning actor Ncuti Gatwa, celebrating her brand-new memoir SIMPLY MORE!, went on sale in just four weeks. Fane’s immense success comes to fruition from its esteemed relationships with venues, talent teams, publicists, designers, and the close-knit team members themselves.

Producing high-impact events 

Olivia described producing as understanding “what makes a show a show”: the details, tone, atmosphere and narrative that shape the audience experience. Clear communication, patience and thorough pre-event preparation all matter, especially when balancing multiple events at different stages of development. 

Deena highlighted the importance of staying flexible and organised, using digital tools like spreadsheets or Asana to keep fast-moving projects aligned. Meanwhile, marketing plays a crucial role in capturing audience attention: 

The panel also discussed Fane’s active approach to widening its reach beyond London, diversifying audiences regionally and spotlighting a broader range of voices across its stages. 

Reflecting on the last five years, our panel noted major shifts post-pandemic. Olivia shared that audiences are now more selective, choosing experiences that truly resonate with them. Deena added that the industry has pivoted away from relying solely on big names as audiences now respond more to authenticity, passion and strong content than to celebrity status alone. 

Despite the challenges of recent years, the appetite for live culture is growing. Theatre attendance rose 11% from 2023 to 2024, pointing to a renewed desire for in-person connection. Fane has continued to balance both digital and live formats, keeping accessibility at the forefront while still celebrating the energy of live performance. 

Panel favourites: standout Fane events of 2025 

When asked about their most memorable shows of the year and countless options to pick from, our panellists lit up.

• Deena – ‘Most wanted’ with Gillian Anderson at the Barbican: A moving and candid event where Anderson read anonymous letters from women, exploring personal fantasies and untold stories. 

• Olivia – Margaret Atwood, celebrating the launch of her new book ‘Book of Lives: A Memoir of Sorts’: A sassier evening than expected, and a powerful full-circle moment for Olivia after studying her work in school. 

• Renae – An evening with Barack Obama & ‘Always winning’ with Ashley Walters: Obama’s event was a surreal milestone. Walters’ appearance, meanwhile, offered vital representation for audiences who, historically, may not have seen themselves reflected in traditional theatre spaces. 

And on the horizon: a very special Judi Dench event on 16 December… 

The team offered thoughtful, impactful advice for people from under-represented starting out in the creative industries:

Deena: Stay open to unexpected paths, a mindset that led Deena to Fane through Creative Access. 

Renae: “Be more confident.” Self-doubt will hold you back long before the industry will. Mentors can be transformative, and tailoring your CV and cover letter to the role you’re applying for is essential. 

Why does it take at least four weeks to launch an event? 

Because aligning talent schedules, venue availability, artwork, copy, and client approvals is complex and compressing that timeline is very tough. 

How do you handle working with controversial guests? 

Rigorous research and transparency. Accountability comes first. 

How do you navigate creative differences? 

Through clear communication, exploring multiple options, and always identifying the core audience. 

How is event funding secured? 

Fane usually fronts funding. For independent creators, clarity on your identity, your aesthetic, your value, your audience is essential. Networking opportunities, like Creative Access masterclasses, play a huge role. 

How do I re-enter marketing or the creative industries? 

A strong cover letter can stand out more than a CV. Keep putting yourself out there, trust your instincts, and ask friends for a second opinion on your applications before sending them in. 

These were just some of the standout moments from an insightful, energising session at the Barbican. Big thank you to our amazing panellists and chair, the Barbican for hosting us, and everyone that attended!  

To join future Creative Access masterclasses and hear directly from leading voices across the creative industries, make sure you’re registered with us and keep an eye on our opportunities board. 

For October’s masterclass, we took part in Royal Academy of Arts’ ‘Drop in & Draw‘, a lively life-drawing session hosted in collaboration with the inspiring 2bornot2b Collective. They are a POC-led art collective dedicated to uplifting POC and visibly marginalised bodies in art. The workshop celebrated creativity, movement, and expression, inviting participants to experiment freely while honouring diverse forms and identities.

The session featured four models, with the focus shifting between one or two at a time. We began with quick two-minute poses, each sketch demanding speed, intuition, and attention to gesture rather than perfection.

We were encouraged to rethink how we hold our tools – not in the usual tight grip, but the overhand ‘violin bow’ technique, allowing lighter, more expressive strokes. ‘Pop your head up for two seconds,’ the facilitator reminded us, ‘and really see what you’re drawing.’

Each pose came with a creative prompt to loosen our minds and hands:

• Sketch using abstract structures
• Switch to your non-dominant hand for a challenge
• Reduce the body to geometric shapes – a circle for the head, a single line for the body
• And later, think about space and depth – instead of drawing the body, try drawing the space around it

The final session brought everything together. Over 20 minutes, models entered the frame one by one, building a ‘still’ that evolved in real time – each addition shifting the composition and energy of the piece. It was described as ‘a drawing built over time,’ a living sculpture of form and connection.

We were also given the incredible opportunity to visit the Kerry James Marshall: The Histories exhibition. Marshall, known for his powerful, figurative paintings that unapologetically centre Black life, reimagines Western art traditions through a Black lens.

Spanning 45 years of work, the exhibition explores eleven distinct cycles – from portraiture and landscape to historical scenes and contemporary political commentary. His pieces chronicle moments of Black history from the Middle Passage and slave rebellions to the Civil Rights and Black Power movements, transforming the genres of Western painting in the process.

If you haven’t yet visited, the exhibition runs until 18 January next year – and if you’re 25 & under, tickets are half price! Find out more and book tickets here.

Big thank you to everyone who attended, Royal Academy of Arts for hosting and 2bornot2b Collective for the incredible creative workshop!

Have you ever wanted to know how TV ideas are born, how to craft the perfect pitch, or what really goes into making the sizzle reel that sells a show?
At our latest Creative Access Masterclass, we partnered with ITN Productions, the award-winning production company behind some of the UK’s most compelling documentaries and factual programmes. The evening gave our community a behind-the-scenes look at how it all happens. Across four sessions, ITN leaders shared their insights on development, pitching, editing, digital, and career progression – offering practical advice and candid reflections from inside the world of television.

Session 1: Development & Pitching

Led by Daniel Gilmore (Head of Development) and Olivia Evans (International Development Producer), this session explored how ideas are generated, researched, and pitched before they ever reach the screen.
From podcasts and social media to casual conversations, Olivia explained that inspiration is everywhere if you stay curious. Daniel emphasised the importance of knowing your audience: every broadcaster has different needs, and tailoring your pitch accordingly is essential. The pair also discussed dealing with rejection, having faith in your idea, and keeping your enthusiasm alive.
When asked what it really takes to build a career in development, Daniel advised: ‘Have faith in your idea, be able to deal with rejection… always be passionate and enthusiastic.”

Session 2: Editing Sizzles & Taster Tapes
Patrick Holland (Development Coordinator) guided participants through the art of the sizzle which are short taster reels that can either make or break a pitch.
“Don’t save your killer quote until the end.” – Patrick Holland
Patrick reminded us that impact needs to land early, with music, visuals, and motion playing a crucial role in grabbing attention. He also stressed the importance of proof of concept, from sourcing archive material to creating mood boards. The attendees were encouraged to always get feedback before sending a tape out.

Session 3: CV Clinic
For the third session, Zara McFadden (Talent Executive) led a practical workshop on how to craft a CV that reflects your brand and stands out in the creative industries.
“Don’t be frightened – you’re going to be changing your CV all the time. Running your CV is a job in itself.” – Zara McFadden
Zara shared advice on layout, clarity, and tailoring each CV to the role you’re applying for. She highlighted the value of including showreel links, technical skills, and well-chosen personal interests, while warning against over-padding or overlooking spelling and grammar.

Session 4: Short Form & Digital
In the final session, Rubina Pabani (Head of Short Form/Digital) explored the opportunities and challenges of making digital content.
“Rejection is always good for you.” – Rubina Pabani
Rubina encouraged attendees to focus on audiences first and see rejection as part of the creative process. She also spoke about the art of casting, the power of conversation, and the creativity that comes from starting small in the digital space.
Practical tips included design, pitching and casting – giving relationships time to develop and choosing characters who make you laugh or tell compelling stories. Rubina emphasised using available resources and learning skills independently, from colour grading to sound design. Even ideas that start from nothing can grow into impactful content, and diverse stories are more important than ever.

A huge shout out to ITN Productions and to Dan, Olivia, Patrick, Zara, and Rubina for such an inspiring evening. And thank you to everyone in the Creative Access community who joined us!

Have you ever used a remote to change the volume on your TV? Watched a video with subtitles? Looked for a low point on a curb to move a suitcase between road and pavement? Listened to an audiobook while washing up? 

You might not know it, but these are all examples of technologies designed with disabled people in mind that have since become part of everyday life, with an impact so profound that their invention can easily be overlooked or taken for granted. 

The Victoria and Albert Museum’s Design and Disability exhibition, showing until February 2026, showcases the radical contributions of disabled, Deaf and neurodivergent people and communities – not just in meeting the access needs of daily life but in finding comfort, creativity, self-expression and sheer joy – all while breaking new ground as a more accessible gallery experience. The eclectic objects include high fashion, disability activist memorabilia, modded video game controllers, and the Squeeze Chair by Wendy Jacob (a luxurious chaise longue that calms its sitters with deep pressure stimulation). 

For our August 2025 masterclass we were thrilled to hear Catriona Macdonald, exhibition manager at the V&A, delve into the work that goes into exhibitions like this one, followed by a private evening view of the exhibition itself. 

The timeline for producing an exhibition like Design and Disability starts long before installation. In this case, work by curator Natalie Kane started at least five years ago and Catriona joined around two years into the process. There is a six-month period in which the feasibility of a show is researched and compiled, including extensive audience testing, culminating in the Business Case, a document Catriona neatly sums up as: “Here are our aims, and here is how we are going to achieve them.” 

Catriona’s deep involvement in the exhibition, from initial feasibility planning through to the installation period, offers unique insight into the realities of exhibition-making at this level. In her role, Catriona is responsible for successfully delivering exhibitions in time and in budget, managing risks on both fronts whether at home at the V&A or for touring exhibitions. As you might imagine, the role involves communicating with an incredible variety of internal and external stakeholders, from specialist teams in the V&A to contractors and artists beyond.  

After this has been successfully reviewed, a global view of the exhibition is created through a programme and schedule of work (a good old Excel spreadsheet does the trick) and there is the finalised budget, a risk register, curatorial presentations, a clear narrative scope to the exhibition with support from the Interpretation team, a brief for external or internal designers, all tenders that will be required… and, of course, a list of objects!  

When the exhibition is in its development phase, the object list will be closed with loans and transport of the objects planned. At this point Conservation & Technical Services staff will come on board to figure out how exactly to display objects.  

The installation process before the exhibition opens can be complex and items are often fragile. Some high value objects even come with their own couriers. In the case of Disability and Design was completed over two weeks, and Catriona worked closely with artists to understanding precisely how work should be displayed as intended, down to the precise positioning of a cushion on a piece of furniture.  

The impression Catriona gives of managing the exhibition is one of an incredible balancing act. On one hand, placing accessibility as a central principle in how the exhibition is designed and how it can include disabled communities as much as possible – all while meeting the high curatorial standards of any V&A exhibition, and the complex technical and logistical requirements that make any of this possible.  

But what exactly makes Design & Disability different? Accessibility is baked into the very core of the exhibition experience, with careful decisions made regarding layout, entrances, a dedicated onboarding area, audio and BSL guides, earcup headphones, induction loops, wall colours, tactile edges for doorways and furniture, a tactile map, and seating areas throughout the space.  

Spaces are created for reflection and pause, including the blue bench with “I need more time // rest here if you agree” which Catriona describes as encapsulating the entire show and working as its manifesto. It’s common in galleries for there to be a lack of opportunity to simply rest and inhabit the space; that’s not the case here. Disability advisory groups were a crucial part in crafting an exhibition that puts disabled people and communities first. 

The “lights up” day which takes place each month, in which lighting is increased to be inclusive of visitors who require this, is a perfect microcosm of the decision-making behind the exhibition. The higher light settings were designed with equal thoughtfulness to provide an intentional experience to every visitor rather than merely hitting a light switch, and the duration of the increased light was balanced with a need to protect certain objects from damage. 

“Legacy is a particularly important thing for this show,” Catriona explains. While introducing audio description guides and plain English guides – both of which are the first of their kind in the museum – training was provided across the department so that other staff now have the skills to include these elements in their projects. The lighting gear acquired for the “lights up” days is now in the museum and can be used again. Catriona stressed that feedback from visitors that find these features beneficial is highly valued and helps shape and make the case for what should be included in future exhibitions.  

Catriona also spoke candidly about the personal learning she gained through this process. Strong disabled representation in the team was even more valuable than expected, as working alongside mainly disabled practitioners created a shared context and basis of understanding that meant there was no contest over prioritising access. It was also a reminder to meet artists where they are and being ready to break convention to help individual working styles – for example, picking up the phone rather than sending a high volume of emails. 

If non-disabled visitors leave the exhibition with one takeaway, Catriona wants them to become comfortable with feeling uncomfortable and to sit with this sensation for a while. “Disabled people should not be thought of as a monolith,” she tells us. “Every disabled person’s experience belongs to them.”  

Thanks to our friends at the V&A for inviting the Creative Access community to a fantastic evening, and a huge thank you to everyone who attended the talk and private viewing! We look forward to seeing you at our next masterclass. 

Our latest Creative Access Masterclass took place online with acclaimed author and journalist Sathnam Sanghera in conversation with award-winning multimedia journalist, Media Storm podcast co-host, and former Creative Access intern Helena Wadia.  

With a career spanning memoir, fiction, non-fiction (including the Sunday Times bestseller Empireland), and documentary presenting, Sathnam is an incredible storyteller. He has worked as a news reporter, written widely as a columnist, and also serves on the advisory board at Creative Access. 

On class, ethnicity and DE&I in the creative industries: “In truth, I think [being a person of colour] it’s given me opportunities, and I think we really need to be more nuanced in the DE&I space, especially as DE&I is under threat. The fact is you are just as unlikely to see a white working-class person on Fleet Street as you are a Black writer.  

Increasingly, we need to recognise that actually certain people of colour come from very privileged backgrounds. Some of the poshest people I know are British Asian but the word ‘Asian’ incorporates a huge demographic… So, what does the word Asian mean? What is the significance of colour? We’ve got to paint in less broader strokes now and be more focused about where the disadvantage is and where we need to do work.” 

On what you can learn from journalism: “I think for most people, it’s good to do different types of writing… I’m so glad I was a news reporter because it taught me so much about news gathering and fact checking. I’m so glad I didn’t become a columnist until my late 20s; I think you need to know a bit about the world and accumulate experience. I know I sound like a dad, but you also need to learn how to write, you need other get the crap out of your system… It’s good to try different forms of journalism and it enables you to work out what you like doing and what you’re good at; and journalism is about explaining complicated things clearly.” 

On challenging narratives in his book, Empireland: “I didn’t study a single Brown author until my final term of university – not a single Brown character or author. Salman Rushdie I was finally allowed to read and Hanif Kureishi, and even at the time I didn’t realise because it takes a while to understand your own life, right?  

I got to my 40s and I was researching a novel about this Indian guy who came to London in the 18th century and I thought oh my god, I don’t know anything about the British empire and yet it explains everything about me! It explains why my parents came, it explains why there’s a lot of British Asians everywhere, it explains why people love curry in Britain, it explains why we drink gin and tonics, it explains our racism, our multiculturalism, our politics, Brexit, and suddenly I saw it everywhere, so it just kind of blew my mind. Also, I couldn’t find a book that explained it clearly… I just wanted a book that explained it in a neutral way and I guess I kind of wrote that book.” 

How to use social media to your advantage: “Your generation has an advantage that I never had – social media. Who are the most enthusiastic users of social media? Journalists! Every journalist has social media. I think X is increasingly not useful and toxic, get on Blue Sky. Journalists are always looking for ideas, they’re needy people, so read their stuff, reply to them, ask intelligent, non-aggressive questions. That is amazing in a world where every journalist gets trolled, just to have an intelligent response. There’s a great opportunity to connect with journalists using the internet who were in my day, unapproachable people.” 

Navigating writer’s block: “I don’t believe in writer’s block because I write for a living and if I get a block, my family starve, so having to write for money is a really good solution… Also, the world doesn’t need more content, no one’s begging you to write a book!  

In a way you’ve got to really want to write. You know sometimes people ask, ‘what you should you say to encourage writers?’ but I don’t need to encourage writers, because if you want to be one then you’re going to do it anyway. It’s like being a footballer, it’s an uncontrollable urge, and if you don’t have that urge, maybe you should do something else.” 

How to grow your career at your workplace: “You can only achieve what you can dream and what you can envisage… so work out what you want to do and be ambitious and then talk about it, tell people, because that puts the thought in people’s brain and then people connect you with that. Theres a lot of timidity amongst young people, people of colour, working class people, who’ve never had anyone in their family do anything that they want to do. So,  you almost have to create your own dreams and manifest… manifest with purpose and specificity. Find people who have the job you want and talk about it.” 

On the writers he admires: I probably admire book writers more because in a way, you want the people you admire to be doing things you can’t do yourself. So Hilary Mantel; there isn’t a single sentence Hilary Mantel wrote in Wolf Hall that I feel I could write. As writers, we should read stuff that’s better than what we write. So, I try to increasingly read novels and increasingly those novelists are women. I do feel women are the best writers around at the moment. 

These are just some of the highlights of this brilliant conversation – make sure you head to our YouTube and watch the full conversation here. 

Interested in joining another Creative Access masterclass? Register with us today and keep an eye out on our opportunities board for upcoming masterclasses.  

Wonder what it’s like working for a major label representing the likes of Burna Boy, Fred Again and Dua Lipa? At our latest masterclass, the Creative Access community headed down to Warner Music UK’s offices for an energising panel exploring the many routes into the music industry – and the stories behind the people who’ve carved out careers across A&R, creative direction, sync, strategy, and brand partnerships. 

With representatives from Warner Records, Warner Classics, Warner Chappell and WMX, the panel was packed with practical insights and real talk about how to find your voice, own your identity, and thrive in a fast-paced, ever-evolving creative space. 

• Femi Bello – creative director, Warner Records 

• Jonathan Farmer – senior manager, music artist & brand partners, WMX 

• Thomas Horley – creative sync & marketing director, Warner Chappell Music 

• Kara Mukerjee, strategy & innovation, Warner Classics 

• Emily Green (host) director, A&R and catalogue, Warner Chappell UK 

For many of the panellists, breaking into music wasn’t linear – it took resilience, side-hustles, and a lot of DMs. 

Femi Bello, now creative director at Warner Records, began her creative career directing a friend’s music video “by accident” and quickly realised she was more excited by this world than the path she’d set out on at university. “Where I’m from, there weren’t opportunities like this,” she said. “I left university after my first year when I realised I didn’t want to be stuck in a 9 – 5 I didn’t love.” 

“I was hustling, sending 20 DMs a day during the pandemic. That’s how I got an internship,” she added. “Look at your interests and what sets your heart on fire. It’s okay if it’s not cohesive – find the thing that excites you.” 

For Thomas Horley, now director of creative sync & marketing at Warner Chappell Music, getting his foot in the door meant saying yes to everything. “Every job I’ve ever had, I was already doing it three months before.” 

He added, “Put yourself out there. Sometimes in this industry, you have to use a machine gun to swat a fly – show your passion and your instinct.” 

The panellists spoke candidly about how crucial it is for artists and execs alike to understand who they are, and what they stand for – particularly in an industry that can blur the lines between identity and commerce. 

Jonathan Farmer, senior manager of artist & brand partnerships at WMX, emphasised the importance of authenticity when it comes to brand collaborations: “If an artist doesn’t know who they are, it can be easy to be misled by money. If the brand and artist aren’t aligned, the partnership won’t work – especially now, with Gen Z audiences being so switched-on to what’s real.” 

Femi agreed: “Creative direction is being the eye to the ear. Sometimes it’s like being a psychologist: listening, figuring out the truth, and helping to build a strategy that feels authentic.” 

The panel also reflected on what meaningful inclusion looks like within the music industry – and the efforts being made within Warner to foster long-term, systemic change. 

“There’s no one person who can represent everyone in the UK,” said Emily Green, director of A&R and catalogue at Warner Chappell. “We need a huge array of people and identities in this industry.” 

Warner’s employee resource groups (ERGs) offer safe, collaborative spaces for marginalised groups. As Jonathan, who co-chairs the Kinfolk ERG for Black staff, put it: “The Black experience is so diverse. We want to be able to showcase the full diaspora.” 

Kara Mukerjee, who works across strategy and innovation at Warner Classics and is deeply embedded in DE&I work across the sector, said: “We’re trying to change the narrative around disability and neurodiversity. These are vital to how people express themselves – this is where our industry comes from. We do the same thing for our staff as we do for our artists.” 

Kara has also just launched Lila Music, a new initiative focused on the representation & support of South Asian artists & music professionals in the UK music industry! 

Imposter syndrome was a common thread throughout the evening. But instead of shying away from it, the panellists offered constructive and generous ways to reframe those feelings. 

Femi shared a breakthrough moment: “Imposter syndrome is often about focusing too much on what you don’t know, rather than what you have to give. Everyone has something to learn, but also something to offer.” 

Thomas added: “I’m happy to ask the ‘stupid’ question. I know that if I’m in the room, there’s a reason I’m there.” 

Jonathan encouraged attendees to demand support from those around them: “Identify a good leader and ask for what you need. If you’re in the space, know that you were selected for a reason.” 

Kara echoed this reassuring our audience: “Your opinion is unique”. “One of the most flattering and engaging things you can do is to ask a question”, she continued. “It shows you’re thinking”. 

The panel also tackled the challenges of making ends meet in the creative industries – particularly for artists and early-career professionals. 

“Don’t feel ashamed if you need to work another job to pay the bills,” said Emily. “That’s normal.” 

Femi worked in hospitality while building a directing portfolio. Thomas spent years working in pubs before breaking into sync. “What kept me going was knowing I didn’t want to go back to accountancy,” he said. “The passion will sustain you.” 

Jonathan reminded attendees that skills developed elsewhere – especially as artists – can be valuable in other roles. “Content creation, community building… those things don’t take away from your dream, they can feed it.” 

“The hairs on my arms still stand up when I hear great music,” said Thomas. 

“For me, it’s about being there at that pivotal moment in an artist’s journey,” said Jonathan. “That’s everything.” 

Kara said it’s the “constant collaboration” between music and technology: “Getting to work with artists every day is always inspiring but getting to marry that with new tools and learning new skills every day… The whole world is a playground!” 

And for Femi: “It’s about remembering what you loved doing as a child. For me, that was watching music videos – it was my escape. Now I get to help others tell their stories through creativity. Working with artists, we’re changing lives.” 

A huge thank you goes to our partner, Warner Music Group, for hosting this incredible masterclass, as well as to the panellists for being so generous with their time and advice. And of course, thanks to the audience for coming along, asking amazing questions, and networking the night away!  

Want to come to the next free Creative Access event? Register with us.  

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.