On a warm summer’s evening in July, we tackled a pair of all-too-familiar questions: who gets to call themselves a “writer”, and how on earth do you build a writing career while paying the bills? 

This month’s virtual masterclass was a celebration of a practise often perceived as solitary: writing. Despite this perception, community and connection sat at the heart of the discussion. With a panel of CA alumni discussing their writing careers to date, we covered everything from developing a craft and collecting inspiration to chasing rejection. Perhaps most importantly, our talented panellists shared how they tackle what can sometimes feel like the hardest thing: finding the time and energy to actually sit down in front of a blank page and write.

For practical advice and honest reflections on navigating the realities of being a writer, keep reading…

Meet our panel: 

• Gurnaik Johal, award-winning author of short story collection We Move and debut novel Saraswati 

• Jadyn-Elia Lansana writes for The Writers Herd, has shot a short film, and publishes on Substack 

• Jem Bartholomew is a freelance writer and regular contributor to The Guardian and Columbia Journalism Review, among other outlets 

• Sophie Black was shortlisted for the Women’s Prize Discoveries Award in 2025 for a novel-in-progress exploring interpersonal dynamics in restaurant spaces 

• Bil-Marjyah Rahman, community and partnerships programmes manager, Creative Access (chair)

Gurnaik kicked us off by sharing his own writing origin story. So much of writing is about ego, Gurnaik observed, about having the audacity to expose yourself and your work to other people. With a creative writing degree under his belt and a teacher pushing him to enter his work into prizes and competitions, Gurnaik’s work was shortlisted by The Guardian. He met his agent at a party, and the rest is history. 

Jadyn has always been a storyteller, from creating stories and starring in movies on MovieStarPlanet (throwback anyone?!) to using writing to process loss and isolation during the COVID-19 pandemic. Once she realised studying creative writing at university was an option, she didn’t look back. Now, Jadyn describes her writing practise as “life research”. It’s all about “journaling, writing in the margins, and being close to the communities that are important” to her.  

Jem shared two major turning points in his writing career. He spent about a year working in bars and in retail to pay the bills while sleeping on friends’ couches to gain work experience in journalism. Then, he secured a role at The Financial Times through Creative Access, which acted as a perfect “training ground for learning to report on money and power”. Next, Jem won a Fulbright scholarship to study a journalism master’s in New York. He spent the year honing his craft, meeting people in the industry, and growing a community which has stood the test of time. 

Sophie already had a strong background in academic writing, having written a dissertation on waitressing during her sociology master’s. But it was attending a writing workshop at the ESEA Lit Fest in September 2024 that led her to fictionalise a decade-long hospitality career. By January 2025, she was submitting 10,000 words to the Women’s Prize Trust’s Discoveries award. Picking up some gems at the informative webinar (which you should always go to, says Sophie!), she knew they were looking for potential and promise, rather than the finished product. By spring, Sophie was shortlisted. 

Although our panellists’ routes into the industry varied, they share a common theme. At a certain point, each writer decided to detach from fixating over the potential outcomes – like chasing publication, winning awards, or seeking public approval. Instead, they focused on the practise of writing itself, dedicating themselves to improving and enjoying their craft, excavating their passion for the project, and ultimately expressing the truth they felt needed to be told. 

Gurnaik emphasised just how much he prioritises play while writing. He’s constantly seeking joy, which made the process of writing his second novel go so much quicker. Actually enjoying what he was writing meant Gurnaik felt inspired to write in all the spare shifts he could find around working full-time, including lunch breaks. 

Jadyn has undertaken a journey of self-discovery. Initially, she felt a need to rush, to be published as a young person in order to succeed as a writer. But being out in the world challenged that belief. By exposing herself to new literature and people through her work with the Free Books Campaign, publishing work on Substack, and grounding herself in her own experiences, Jadyn feels more confident now than ever. 

Sophie questioned the notion that lots of specific, dedicated time is required to consider yourself a writer.  

It isn’t always possible to spend an hour at your desk, or an afternoon hunched over your keyboard. When full-time work, Milktooth Gelato and other commitments need her attention, Sophie looks outward.

We can find writing everywhere, she explained. For Sophie, she finds writing in those vital pockets of quiet and chaos that pad out the busy days – then charts it all in the notes app on her phone. Tube-journey scribbles and table-side observations at local restaurants transform into character inspiration or scene ideas. Whenever she’s felt stuck with her novel, she’ll pull up a different note per day to jumpstart the writing process.

Jem expressed that starting out is often the hardest part. You’re trying to work your way up, all while being more likely to experience financial insecurity, less likely to know anyone in the industry, and constantly finding ways to make ends meet. This stage is hard, but it also offers freedom to explore. Use this time to ask yourself questions, Jem recommended. What kind of journalistic work do you want to produce? Is it long-form journalism or investigations? Food, culture, or something else? Chase curiosity and open yourself up to discovery.

Be interested in people, as well as your story. If you admire the work of someone 5-10 years into their career, reach out to them. Ask to buy them a coffee, and they may offer advice on how to progress, or advise on pitfalls to avoid. If that sounds out of your comfort zone right now, you can read our tips on virtual networking here.

Also, just start. Start pitching your work or posting on blogging platforms like Substack. Build up a portfolio, so you can build up the amount of writing you’re proud of. Jem urged us to keep the focus on the work that we’re proud of and can stand behind. The rest – your advocates, community members and accolades – will follow.  

Jadyn has learnt the importance of putting yourself and your work out there, regardless of the answer. “If you never ask, the answer is always no.” Rejection is inevitable, but it doesn’t mean that your work isn’t valuable.  

Jem told us rejection is a major part of being a journalist, but it’s very rarely personal. Having a pitch rejected could be due to any number of things: they’ve already got something similar, another journalist has already been assigned, the article isn’t framed in quite the right way, budget has run out etc. Just “collect those rejection slips and keep pushing forward.” 

Gurnaik has seen behind the curtain. As an editor in publishing, he was constantly thinking about whether he was the right person to work on a manuscript or help bring a project to life. Rejection may feel tough, but it works both ways. It’s just as much about sifting out editors who wouldn’t have been right for your work. It could even be a blessing in disguise.  

Sophie reflected on the rejections she’s received in her writing career. 100% of the submissions where she’s directly responded to a brief that centres someone else’s interests and passions have been rejected. It’s led Sophie to question the value of moulding her writing practise to other people’s needs, when it’s such a deeply personal pursuit to begin with. Increasingly, discernment sits at the heart of that, at times vulnerable, decision-making process. It’s more about “finding homes for things I care about and want to bring to life, rather than forcing my creativity and inspiration to fit someone else’s priorities.”

How do you build habits and a consistent writing practise? 

• Sophie: I find writing consistently really hard! I break it down into chunks, and reward myself by colouring in a square every time I hit 1,000 words so my progress is visible. 

• Gurnaik: I spend the last 10 minutes of a writing shift making notes for what I’m going to tackle in the next one.  

• Jadyn: I free-write and handwrite everything first. That way, I worry less about structure or spelling or filling a page. 

How do you know when something’s finished? 

• Jem: One day, you just have to decide to stop. Try reading your work aloud. It can be easier to realise where you’ve made errors, and understand the rhythm of your writing. 

• Gurnaik: Nothing’s ever fully done. When you start to notice that the changes you keep making are making something worse, not better, that’s a good place to stop. Books are made up of 25% writing and 75% editing. Reject the idea that editing should be passive. Trick yourself into being an active participant in the editing process, whether that’s writing by hand, reading aloud, or re-typing a draft from scratch.  

Can you share any more tips on balancing writing with working? 

• Jadyn: When time feels limited, don’t put too much pressure on yourself to find time you don’t have. 

• Gurnaik: Find pockets of time where you can treat writing as a priority. Learn yourself, and when you’re most likely to be productive. If it’s not working, don’t be afraid to do something else, like go for a walk. 

• Sophie: Be realistic about what you can prioritise in a day. Writing doesn’t always have to be your number one priority. When it becomes your priority, you will feel it.  

To round out the session, our host Bil-Marjiyah asked the panellists to complete the following sentence. Here’s how they answered: 

A sustainable writing career is built by… 

Gurnaik: Having fun! By enjoying and loving the work. 

Jadyn: A stubborn belief that you and your words matter, no matter the context or situation.  

Jem: Persistence, craft, luck and community. 

Sophie: Lots of people! Conversations, being held accountable by people who are invested. Writing is a group effort. 

This masterclass served as an important reminder that, although writing may feel lonely at times, community is everything. Thank you to our incredible panel – Gurnaik, Jadyn, Jem and Sophie – for sharing their words, time and wisdom with us.   

And, of course, a huge thank you to everyone who attended our July masterclass. You kept the chat lively, the questions coming, and our spirits high while we discussed what can sometimes feel like a solitary, distant dream.  

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. See you at the next one! 

Gurnaik Johal is a writer from west London. His 2022 collection We Move won a Somerset Maugham Award, the Tata Literature Live! Prize and the Galley Beggar Short Story Prize. In 2025, he was named an Observer Best New Novelist, and Saraswati, his debut novel, was nominated for the Waterstones Debut Fiction Prize, the Sunday Times Charlotte Aitken Young Writer Award, the Jhalak Prize and the RSL Ondaatje Prize, and also won a Somerset Maugham Award. 

Jadyn-Elia Lansana is a starry-eyed creative writing master’s graduate finding her way into the books industry and community work. She writes for The Writers Herd, has shot a short film, and publishes on Substack. Most recently, she joined the Free Books Campaign team, an organisation that helps make arts and literature free and accessible to all. Alongside her role as a committee officer at the Association for Laboratory Medicine, Jadyn is a lover of words and people, tending to the beautiful first sparks of her career. She intends to keep finding ways to connect with others through culture, identity, and literature.   

Jem Bartholomew is a freelance writer and regular contributor to The Guardian and Columbia Journalism Review, among other outlets. He is currently writing his first book, a work of narrative nonfiction about poverty in the UK. Jem started his career as a reporter at FT Specialist through Creative Access – where he won Best Newcomer in the State Street Institutional Press Awards – before spending a couple of years in New York City. Back in London now, he still misses the pizza. 

Sophie Black was shortlisted for the Women’s Prize Discoveries Award in 2025 for a novel-in-progress exploring interpersonal dynamics in restaurant spaces. She uses fiction to combine her first-hand interest in hospitality and passion for workplace inclusion with learnings from a masters in Gender, Media and Culture from Goldsmiths University. Sophie is currently the Programmes and training coordinator at Creative Access and in her spare time, an enthusiastic ice cream churner for small business Milktooth Gelato. 

• Casual Readers Club: a storytelling platform and IRL reading community because reading is a communal practice. 

• ESEA Lit Fest: the UK’s award-winning East and South East Asian literary festival.  

• Fact-based storytelling: an online writing course led by Jem Bartholomew at City St George’s, University of London. 

• Free Books Campaign: a non-profit dedicated to bridging the gap in access to literature for all ages. 

• Freelance Writing Jobs: a weekly newsletter by Sian Meades-Williams, listing the UK’s best freelance writing opportunities and calls for pitches. 

• Fulbright scholarship: a programme offering fully funded academic exchange grants for international study, research, and lecturing in the US. 

• JournoResources: a platform connecting writers with journalism jobs.  

• Scrivener: a comprehensive writing software built by writers, for writers. Paid, with free trial option available.  

• Study Hall: a resource for freelancers and media workers. 

• Substack: a publishing platform for writers.  

• The Writer’s Voice: a podcast where New Yorker fiction writers read their stories from the magazine. 

June’s Creative Access masterclass with powerhouse publisher Pan Macmillan was a bittersweet one. Hosted during an historic heatwave, the evening was a warm celebration of community, honest career insights, and what it takes to build a career in publishing. It was also our founder, Josie Dobrin’s, final masterclass as she steps down from her role. In her intro, Josie commented on the historic partnership between Creative Access and Pan Macmillan, as one of the instrumental funders of our mission over a decade ago. The organisation has been instrumental to our legacy and success, so this felt like the perfect masterclass to honour the end of an era! 

Chaired by Josie, the expert panel featured a trailblazing team from Pan Macmillan (all CA alumni!): 

• Andy Joannou, audience development director 
• Cheyney Smith, head of marketing at Macmillan Children’s Books (MCB) and First Ink 
• Eishar Brar, publisher, fiction & non-fiction, at Macmillan Children’s Books 
• Gaby Puleston-Vaudrey, commissioning editor for romance in the Pan Macmillan fiction team 
• Josie Dobrin OBE, co-founder and executive chair at Creative Access 

With such a variety of roles on the panel, each speaker had vital insights to share with our community of publishing hopefuls and seasoned professionals alike. They kicked off by explaining exactly what their titles mean and what a day in their life actually looks like. 

For commissioning editor Gaby, it’s all about looking at submissions (which is when authors and their agents send in their manuscripts to publishers), tracking trends on BookTok (huge book-loving community on TikTok), and persuading the wider team which books to publish. Gaby comes with a background in indie publishing and audio, so the transferable skills of communication and project management have been instrumental when managing the publishing process and tracking project progress across teams.  

Andy is an audience development director, which means making sure every book across Pan Macmillan’s divisions is seen by the relevant audience across all corners of the internet. He (very helpfully) broke it down for us: “Imagine you click on a book you like, then see it on every other page you go to. That’s my job, getting books to follow you around the internet!” 

Cheyney started in editorial as a CA intern and now leads a team as head of marketing. Her role is incredibly varied and involves managing digital ads and social campaigns on everything from picture books to Young Adult (YA) fiction. Day to day, you might find her working with editorial or sales teams, brainstorming creative copy or gathering audience insights, and ultimately making sure Pan Macmillan’s books reach their target market.  

It’s a similar story for publisher Eishar: “No two days are the same.” Her role involves managing both fiction and non-fiction titles, ensuring every team is aligned to a clear publishing vision and strategy.  

Against a backdrop of BookTok, rising AI usage and readers absorbing stories in more varied formats than ever before, the industry is changing.  

Eishar commented that it is more open than it used to be, as organisations like CA work to demystify the different roles and divisions through inclusive employability initiatives and masterclasses like this one. Andy added that new methods of discoverability have made a big impact: “Young people are less likely to be reading now, but there are new channels like TikTok and audiobooks bringing stories to new readers.” 

Gaby said social media has dissolved a lot of the barriers that previously existed between readers, publishers and authors. Publishers are less likely to have complete oversight of what’s popular, while authors can be more likely to be experts on their individual audiences. She emphasised the importance of equal involvement: “both [publishers and authors] are bringing different perspectives to the publication of each book”.  

Andy also raised his need to build resilience when navigating these online spaces, as the rising role of social media in the process means that publishers are increasingly engaging directly with feedback from their audiences.  

On building audiences, Cheyney spoke to how readers are evolving too. “Readers are not as responsive to hard sales or being treated as consumers, rather than community members. It’s more important now than ever to build genuine community and connection.”

On what makes a good submission, Gaby told us it’s all about putting together a strong pitch, knowing comp titles (meaning similar, recognisable works by other authors that help your reader know what to expect) and showing an awareness of current trends so your work can hit the shelves at the right time. Ultimately, she’s looking for that ‘spark’: “As an editor, I can fix things like grammar, but I can’t force a spark from a writer.” Now that genre-bending fiction is on the rise, it’s all about voice and, of course, 2010s nostalgia (yes, that does mean Twilight).  

Eishar let us know that the trends in YA fiction are similar. Dystopia and thriller remain popular, while graphic novels are growing hugely in popularity: “people crave original stories” and younger readers are increasingly drawn to the format. In the world of non-fiction, Eishar notes a shift away from the “celeb bubble”. Readers are no longer looking to the stars for insights and are more likely to turn to qualified experts. 

In a world where attention is a precious resource, Andy noted a resurgence of books guaranteed to reduce screen time. Activity books like colouring and puzzle books are becoming increasingly well-liked by children and adult audiences, especially as online communities grow around specific trends like ‘cosy colouring’.

When asked to share advice for publishing hopefuls and people just starting out, Cheyney stressed the importance of being thorough throughout the application process: “We want to get to know you”. Show how much you care about the specific opportunity by researching the company and role carefully then reference what you find in your application materials. Also, answer every question on the application form (yes, even the ‘optional’ ones). Use the first paragraph of your covering letter to demonstrate both your passion and your research. Speak to your relevant skills and experience further down the page. 

Eishar echoed this. Attention to detail is hugely important, and clear use of AI-generated material won’t work. Questions like ‘what’s your favourite book’ are vital; take the chance to showcase your personality and passion, as well as your awareness of market trends.  

Andy reminded us that a strong application is a specific one. Tailor your application to the role and the skills listed on the job description. For Gaby, it’s also about making any references relevant to the role and the publisher you’re applying to. Formatting and layout are important too; think about the person sitting down to read your application – don’t overcomplicate or overfill the page, and make sure it’s easy for a reader to digest. 

AI was a hot topic for our Pan Mac panel! 

For Eishar, AI is an emerging skill set and adapting to new technologies is an important part of working life. It can be useful to show awareness of how AI might be applied during the publishing process, especially admin, but warned against becoming overly generic and losing your unique voice:  

For Andy, it’s important not to shy away from using AI. “We are not going to be replaced by AI. We are going to be replaced by people who can use AI.” 

However, Cheyney reassured us all to never underestimate the importance of being able to do our own admin. Diary management, Excel spreadsheets, writing emails and many other processes across the creative industries rely on administrative skills. These are transferable skills that can be developed through a range of experiences and are still essential despite the rise of AI usage.

Our audience asked some great questions. 

On experience that helps applicants stand out, Eishar and Andy spoke to showcasing passion by building a portfolio of prospective work and/or online presence through platforms like BookTok, Bookstagram and Substack. Having online courses like Pan Macmillan’s virtual career insights programme on your CV showcases clear commitment to building skills and gaining industry knowledge.  

On career switching without traditional experience or educational background, Josie emphasised just how much of an asset career switchers are to creative teams. 

When prepping for interviews, you might want to consider questions like: what did the publisher do to market this book? How did the campaign work? Why was it successful? What did you like about it? 

May’s Creative Access masterclass took us to Whitechapel Gallery for an evening exploring careers in contemporary art, followed by a private late viewing of current exhibitions. 
Our community received an exclusive introduction to one of London’s most historic galleries by Richard Martin, director of participation. The session offered insight into how Whitechapel Gallery continues to evolve while staying rooted in its founding mission: bringing world-class art to the communities of East London.

A gallery with a purpose 
Founded over 125 years ago, Whitechapel Gallery was established as a radical, political project, to make the finest art in the world accessible to people in East London, at a time when the area was widely overlooked. That ethos still shapes the gallery today. As Richard explained, contemporary art spaces are not just about exhibitions – they are places to explore politics, social issues and lived experiences. 
Set in one of the most diverse parts of London, the gallery operates at both a global and local level, showcasing international artists while building deep, meaningful relationships with its surrounding communities.

Community at the core 
Community engagement is not a separate strand at Whitechapel; it runs through everything the gallery does. 
From working with local schools to hosting workshops, panels and artist-led projects, the gallery collaborates with around 50–60 artists each year across its participation programmes. 
When developing new ideas, teams often return to two key questions: 
Why Whitechapel? And why now? 
These questions ensure that exhibitions and programmes remain relevant to both the local context and wider global conversations.

Careers in the gallery sector 
One of the most valuable parts of the session was a behind-the-scenes look at how the gallery works. With a team of around 60 staff (plus freelancers), roles span across departments including participation, operations, fundraising, finance, tech and much more. 
Richard highlighted that the gallery staff team have studied a wide variety of subjects, including art history as well as art degrees. Interestingly, the gallery looks for people with strong values, transferable skills and a collaborative mindset. 
“It’s less about what you know, and more about how you think and work with others,” he shared. 
At the heart of the gallery is its commitment to East London’s community. Programmes created by Whitechapel Gallery include Duchamp & Sons, a youth collective for young people aged 15-24 from East London to experiment with art, conversation, exhibitions and events. The Young Associates scheme, launched this year, offers paid, year-long training, mentoring and hands-on experience for 18-30 year olds. 

Responding to place 
Located next to one of London’s most striking examples of contrast, Whitechapel sits between towering financial districts and the vibrancy of Whitechapel Market. This tension, between wealth and inequality, global and local, continues to shape the gallery’s work and identity. 
In recent years, there has been an increased focus on building long-term relationships within the local community, ensuring that the gallery remains accessible, inclusive and representative of the people around it. 
 
Exploring the exhibitions 
After Richard’s eye-opening talk, attendees were invited to explore the gallery’s current exhibitions, including: 

• Veronica Ryan: Multiple Conversations – a material-rich exploration of form, memory and identity, open until 14 June 2026 

• Gabriel Chaile exhibition – an immersive installation rooted in history and community, open until 6 September 2026 

• Senga Nengudi exhibition – powerful documentation of performance through photography and film, open 14 June 2026 

A clear message emerged from the evening: there is no right path into the arts. Whether through formal training, transferable skills or lived experience, what matters most is curiosity, collaboration and a willingness to engage. 
Whitechapel Gallery stands as a powerful example of what happens when art is made accessible, not just as something to observe, but as something to participate in, question and shape. 

Big thank you to Whitechapel Gallery for hosting us, Richard Martin for an insightful conversation and everyone who joined us for an enriching evening! 

Interested in joining a Creative Access masterclass? Register with us today and keep an eye out for our upcoming events. We can’t wait to say hi! 

For April’s masterclass, we partnered with Studio Lambert, the team behind hit shows like The Traitors, Gogglebox, Race Across the World and Squid Game: The Challenge, for an honest, behind-the-scenes look at careers in unscripted television.

From casting and development to logistics and storytelling, the session unpacked what it really takes to bring large-scale productions to life and how to build a career in the process.

Chaired by Mel Rodrigues, CEO of Creative Access, the expert panel featured a talented team from Studio Lambert:

• Sabeh Bali, producer director
• Zoe King, junior production manager
• Zyreeta Abadji, casting executive

Drawing from their experience working on Race Across the World, the panel shared insights into the complexity, creativity and collaboration behind one of television’s most demanding formats.

A clear theme throughout the session was the breadth and unpredictability of roles in unscripted TV.

Sabeh described Race Across the World as “almost indescribable”: a blend of competition, reality and travelogue, where storytelling unfolds from multiple perspectives. Working on the series means navigating intense conditions on the ground while capturing authentic human stories.

For Zoe, the role of a production manager has evolved significantly. From coordinating travel, booking accommodation and managing checkpoints to overseeing budgets and working closely with editorial teams, her day-to-day work sits at the centre of the production’s moving parts.

Zyreeta offered insight into the casting process, highlighting the level of care and strategy involved. From building a “wishlist” of characters to running nationwide outreach and reviewing applications, casting is about finding people who are not only representative and diverse, but whose stories resonate. “You meet so many people, and sometimes their journey surprises you,” she shared.

From pre-production to filming, the scale of planning behind Race Across the World is vast. Before filming begins, teams carry out recces, map routes, assess safety risks and plan for multiple scenarios. But as the panel made clear, even the most detailed planning cannot account for everything.

Zoe recalled navigating unexpected challenges, from political unrest to wildfires and even a typhoon, requiring constant contingency planning. “You can plan and plan, but something will always shock you,” she said.

On the ground, adaptability is essential. Sabeh described receiving last-minute changes and setting up entirely new checkpoints, often while travelling for weeks at a time. “It’s about being one, two, three steps ahead,” he explained.

At the heart of it all is teamwork. With crews spending up to 54 days on the road, trust, communication and empathy are critical, not just within teams but with contributors too. “You’re experiencing it with them,” Sabeh noted, emphasising the importance of duty of care.

As with many Creative Access sessions, the conversation turned to career pathways and the reassurance that there is no one “right” way in.

Zoe shared her journey from North Wales into the industry, starting as a runner and intentionally exploring different roles. At one point, she even stepped back to try new areas before progressing again. Her advice was clear: “Try everything, big, small, scripted, unscripted. There’s no right or wrong.”

Zyreeta’s route into casting began outside the industry, working in local government before moving into creative spaces through radio and training programmes. Her experience highlighted the value of transferable skills and staying open to opportunity.

Sabeh emphasised the importance of curiosity and initiative. “Learn on the job, ask questions, and be patient. Build your skillset step by step.”

Across all roles, the panel highlighted a shared set of essential skills:

Adaptability – responding to constant change and unexpected challenges

Resilience – learning from setbacks and continuing to push forward

Curiosity – asking questions and actively seeking to learn

Collaboration – working closely across teams in high-pressure environments

Zoe encouraged attendees to adopt a “say yes” mindset early in their careers. “It’s about thinking, how can I make this work? Not, I can’t do this.” For Zyreeta, confidence in your perspective is equally important. “It’s ok to have an opinion, especially in casting.”

The panel also spoke about the importance of building inclusive production teams, both on and off screen.

Zyreeta highlighted the need for diverse casting teams who can connect with lived experiences and communities authentically. Outreach to grassroots networks plays a key role in ensuring representation is not just visible, but meaningful.

Zoe pointed to initiatives like placements and training schemes as ways production companies are working to widen access, while Mel emphasised a simple but powerful truth. “If you can’t represent behind the scenes, how are you going to represent on screen?”

Mentorship was also highlighted as a crucial tool for progression, helping individuals navigate the industry and build confidence.

The session closed with reflections on navigating uncertainty in both the job and the industry. Whether it is adapting to new technologies, changing roles or responding to unexpected challenges on location, the ability to stay flexible and keep learning is key.

When asked for one piece of advice, the panel kept it simple:
Zoe: Seize every opportunity
Sabeh: Be resilient, try again
Zyreeta: Trust your voice

Thank you to Studio Lambert and our brilliant speakers for an honest and insightful look into the world of unscripted TV.

For those looking to break into the industry, sessions like this are a reminder that while the path may not be linear, there are many ways in, and every experience counts.

Interested in joining a Creative Access masterclass? Register with us today and keep an eye out for our upcoming events. We can’t wait to say hi!

What a night! March’s Creative Access masterclass, full of inspiration, giggles and powerful advice from a panel of industry-leading women, celebrated the first iteration of the MIJ mentoring programme in partnership with powerhouse broadcaster and entrepreneur, Maya Jama.

Hosted at the stunning Flute Bar, tucked away just above the streets of Soho, this exclusive event brought together the Creative Access community for a night of honest conversation and unapologetic authenticity following International Women’s Day. From broadcasting and television to brand partnerships and comedy, the panel shared their journeys through the creative industries – the highlights, the challenges and the lessons learned along the way. 

The energy in the room was electric. Conversation and drinks were flowing, and our community shone just as brightly as the superstar panel of experts and industry trailblazers, including:

• Maya Jama, broadcaster, entrepreneur and social ambassador  
• Amanda Stavri, commissioning editor, reality & entertainment at ITV
• Carol Baffour-Awuah, freelance executive producer
• Francesca Hayward, senior culture & entertainment manager at DIAGEO
• Thanyia Moore, comedian, actor, writer, host, confidence coach (Chair)

Our panellists kicked off by reflecting on the success and positive impact of the MIJ mentorship programme, which aims to support emerging talent from under-represented groups in the creative industries who have historically struggled to access opportunities and industry connections. We at Creative Access know how useful it is to build industry connections, and how hard that can be when you’re just starting out.

And as a proud Bristolian who’s become a defining icon of her generation, Maya knows first-hand how challenging it can be for aspiring creatives based outside of London. That’s why creating national programmes and inclusive spaces where emerging talent can explore their options, meet established industry professionals and build connections is vital.

Staying authentic, even and especially in professional environments, was a key theme that ran throughout the evening.  

For aspiring and entry-level creative professionals, the panel emphasised the importance of staying curious, open-minded and proactive. 

Amanda encouraged attendees not to overlook opportunities simply because they don’t seem glamorous at first:

Many entry points into the industry come through unexpected roles or projects, and these experiences can provide invaluable learning opportunities. She also highlighted the evolving nature of media today. With traditional broadcast now intersecting with streaming platforms and digital content, there are more creative routes into the industry than ever before. 

Francesca added that creative jobs aren’t limited to the arts sector. Brand partnerships, she explained, play a vital role in funding cultural work and offer exciting opportunities for creatives who want to operate at the intersection of culture, marketing and storytelling. Her advice was simple: follow your passion and connect with the people already doing what you love – don’t be afraid to chase opportunities. 

When asked how early-career creatives can stand out, the panel agreed that passion, preparation and engagement make a big impact. Looking around at your peers can be intimidating, but Thanyia’s advice to see inspiration as motivation hit home:

Amanda emphasised how important it is to be present, engaged, and prepared. Being prepared for meetings, speaking up with ideas and sharing your perspective can help demonstrate both confidence and creativity. 

Francesca agreed, noting that enthusiasm and effort often stand out more than experience at the start of a career. “We’re not expecting experience at this stage,” she said. “So you have to find other ways to stand out.” 

For Maya, success ultimately comes down to a balance of finding your talent and working hard. “It’s a 50/50 balance… some things might come naturally, but you still have to put in the hours and do the work.” 

Next, our panellists reflected on the key moments that shaped their careers. 

For Carol, one pivotal moment came when she realised she had been waiting for opportunities rather than actively pursuing them. After years of working across journalism, radio and television, a period of reflection during the COVID pandemic helped her recognise she was ready to step into leadership roles.

The conversation turned to the fast-paced world of live television, with Maya and Carol sharing behind-the-scenes stories from Love Island: Aftersun. From delayed flights to last-minute preparation, live broadcasting often requires quick thinking and deep trust between presenters and producers. Amanda emphasised just how important that relationship can be: “The trust between a presenter and an executive producer is really special.”

Like many creatives, the panellists spoke candidly about dealing with self-doubt – especially in the beginning. Francesca emphasised the importance of prioritising self-love and trusting in your own abilities, while Carol offered a powerful reminder: “Don’t let perfection stop you.” 

Maya reflected on how confidence can evolve over time. “I’m jealous of my younger self sometimes,” she shared. “I didn’t believe it wouldn’t happen. Now that I’m older, doubt can creep in – so I try to reconnect with that version of myself.” Reframing challenges as opportunities for growth has been key to maintaining that mindset.

Networking, something that can often feel intimidating, was reframed throughout the evening as something far more human: building genuine relationships. 

For Francesca, relationships have been fundamental throughout her career. Sharing your work, staying connected and supporting others can open doors in unexpected ways. Maya encouraged attendees to always stay open to conversations and opportunities:

Thanyia perhaps captured the spirit of the evening best: “Audacity is the word of this masterclass. You have to have the audacity to be everything you believe you can be.”

Carol spoke about the importance of coming into mentoring and networking conversations with clear intentions and goals. It’s okay if those change over time; the joy is in assessing and re-assessing, so you stay in touch with who you are and what you want as you grow in your career.

Our audience also asked thoughtful questions about standing out in an increasingly crowded creative landscape. Carol emphasised the importance of developing a distinctive voice, something that people can clearly associate with you. 

Meanwhile, the panel discussed their experiences of being the only person in the room from an under-represented group. 

Maya reflected on the responsibility and opportunities that can come with that position: 

“Someone might see me and think, she did it, so I can do it too. Yes, I might be the first – but I’m also going to open the door for other people.” 

The conversation also touched on caring for your wellbeing and finding balance. For Thanyia, the answer lies in community: “Surround yourself with people who understand your peaks and your troughs.” Maya echoed this, emphasising the importance of maintaining relationships outside of work and allowing yourself time to rest and recharge offline.

After the panel, our community got to work. The room quickly filled with conversation as attendees stayed to network and connect with one another. Socials were exchanged, selfies shared, and new ideas sparked, as our community put the evening’s advice into action. It was an evening filled with genuine joy, connection and creativity – and moments like these remind us why building community is so important in the creative industries.

A MASSIVE thank you to Maya Jama for partnering with Creative Access on this special event and helping bring the MIJ mentorship scheme to life. 

Thank you also to our brilliant panellists – Amanda Stavri, Carol Baffour-Awuah, Francesca Hayward and Thanyia Moore – for sharing their experiences with such honesty and generosity. 

We’re incredibly grateful to the fantastic team at Flute Bar, Broadwick Soho for hosting us and taking such good care of our community, and to the Creative Access mentoring team for their work in creating life-changing mentorship opportunities. 

Finally, thank you to our community for bringing so much energy, openness and curiosity to the evening.

Long hours and constant hustle can sometimes make navigating the creative industries feel isolating, but nights like this remind us why we do it: because we love it, and because we believe everyone deserves the opportunity to find their place within it.

Interested in joining a Creative Access masterclass or applying for a mentor? Register with us today and keep an eye on our opportunities board for upcoming masterclasses and mentoring opportunities. 

We’re also excited to be running the Creative Access x Southbank Centre mentoring programme – an incredible opportunity to gain tailored guidance and grow your network in the arts. Apply by Friday 20th March 2026 at 12pm midday via this link. 

Want to join our employer partner community and create change in the creative industries? Sign up here to find out more about how you can work with us and help make a more diverse, inclusive and representative creative economy. 

February’s masterclass took us to the Royal Festival Hall for an evening dedicated to demystifying creative careers in the arts. Delivered in partnership with Southbank Centre, the session explored the many routes into the creative industries and what it really takes to build a sustainable career in the arts.

Chaired by Creative Access alum Courtney Caton, internal communications & engagement manager at Southbank Centre, the panel featured:

• Cameron Christie, producing assistant
• Edith Kwakye, contemporary music programming assistant
• Joseph Granata, events & stewardship assistant
• Kyesha Nelson, commercial events officer

The session opened with remarks from Katie Dent, head of people & culture, who spoke about Southbank Centre’s commitment to access, progression and nurturing talent from a wide range of backgrounds.

A clear message emerged early on: there is no single, “correct” pathway into the arts.

Edith studied politics, writing her dissertation on grime music, something she still references in interviews today. Alongside her degree, she was DJing and building grassroots connections, not yet recognising that this cultural fluency would later become central to her programming career.

Joe began in architecture before realising it wasn’t for him. After drama school, he joined Southbank Centre in a front-of-house role. During a COVID-era training programme, he developed confidence presenting to large groups and collaborating across teams, experiences that eventually led him into development and fundraising. “Experimenting and trying as many things as possible is a good way to start,” he shared.

Kyesha’s career spans hospitality, fashion and commercial events. Her advice to the Creative Access community was clear: “Keep pushing yourself forward and advocating for yourself until someone opens the door and lets you in.” And when showcasing the transferable skills you’ve gained from working part-time jobs in interviews, Courtney reminded us how important it is to back yourself and trust in the skillset you bring to the table: “It’s not embellishment if you did it.”

The panel spoke candidly about insecurity, comparison and the pressure to have everything figured out.

Joe reflected on feeling anxious about not knowing his exact career path: “I felt like I should know what I wanted to do… What I’d say now is, it’s okay to make mistakes. Don’t be afraid to go for opportunities, even if they don’t work out.”

Courtney described graduating and thinking, “Now what?!” – a familiar feeling to many in the room. Her advice: “Be open to the opportunities where they come up… you have to stay open. It’s the best and worst thing about the arts.”

When considering what you actually want to do, Cam encouraged attendees to ask themselves three questions:

• What am I good at?

• What do I enjoy?

• What do I want to get better at?

Then, once you’ve got more clarity, reverse engineer the careers you admire. Hiring managers, he noted, are looking for people who can bring something new to their organisation. But, above all, they’re looking for passion and willingness to learn. Let your curiosity shine through and be open about the things you want to get better at.

For members of the Creative Access community navigating career transitions, the conversation around transferable skills was particularly powerful.

Joe’s move from visitor assistant to development team member was made possible because he understood event logistics, audience engagement and cross-department collaboration. That practical knowledge gained during his front-of-house work became invaluable in his new role.

Kyesha emphasised that administrative skills are universal: “One constant skill you gain from whatever level of education you’re able to attain, admin is a constant. Think about how you can bring that into your work and present it as expertise.”

From hospitality and customer service to university group projects, the message was clear: you likely already have more relevant experience than you think. The key is learning how to articulate it.

Courtney advised practising how you talk about your experience and avoiding overly specific jargon, instead, speak the language of the person sitting across from you and the culture of the organisation you’re interviewing for.

Building a creative career isn’t only about formal job titles, it’s also about relationships.

Edith reflected on how her DJ career and collaborations within grassroots music communities shaped her understanding of audiences and scenes. “I didn’t realise the cultural fluency that gave me.” Cam echoed the importance of authentic connections through building relationships with people who share your passion and bringing each other along as you grow. Courtney encouraged members to nurture the networks they’re building now: “Find common interests, build authentic relationships around shared passions, and continue to check in with the people you’re coming up with.”

The panel closed the conversation by bringing two essential themes together: valuing yourself and understanding what employers are actually looking for.

Edith spoke openly about imposter syndrome and the importance of not discrediting your cultural fluency or lived experience: “Stand firm in what you bring.”

Cam reinforced this with a clear reminder: “Understand your worth; never gift your time.”

While unpaid opportunities can sometimes offer exposure or experience, sustainability matters. If you do decide to work for free, think carefully about reciprocity, what are you gaining in return? And remember: it’s okay to say no.

From a hiring perspective, confidence in your value goes a long way. Across roles, the panel agreed that employers are looking for:

• Curiosity and enthusiasm
• Authenticity and genuine interest
• Creativity and strategic thinking
• Resilience and energy
• A willingness to ask questions and learn

We ended the night with an exclusive view of two exhibitions at the Hayward Gallery: Yin Xiuzhen: Heart to Heart and Chiharu Shiota: Threads of Life.

We’re also excited to be running the Creative Access x Southbank Centre mentoring programme – an incredible opportunity to gain tailored guidance and grow your network in the arts. Applications close on Friday 20th March 2026 at 12pm, so be sure to get yours in before the midday deadline. Click here to apply.

To everyone who joined us – and to our generous partners at Southbank Centre – thank you for an energising, honest and practical conversation about what it really takes to build (and sustain) a creative life in the arts.

The first Creative Access virtual masterclass of the year sparked a lively and inspiring conversation, filling a cold January evening with warmth, honesty, and laughter. The trailblazing panel drew on experiences across the creative industries, from creative entrepreneurship and live events to filmmaking, theatre, and writing, offering insights, stories, and advice that resonated with all who attended. 

Aimed at aspiring, junior and entry-level creatives, this masterclass explored the realities, challenges and opportunities of building meaningful creative networks, particularly for individuals from under-represented backgrounds. 

For invaluable insights into building thriving communities at the intersections of creativity and identity, keep reading on… 

The panel: 

• Ajay Pabial, renowned social entrepreneur, artist, founder and CEO of Art Clubbers CIC – an award-winning arts organisation transforming the creative landscape 

• Lucia Aide, Thrive trainee, Creative Access and founder, theConn3ct – a platform dedicated to curating experiences rooted in community, connection and creativity 

• Priya Biring, co-director, Wondering CIC – a community interest company that transforms lives through filmmaking 

• Zhui Ning Chang, a Malaysian editor, writer, and theatre maker based in London 

• Bil-Marjyah Rahman, community and partnerships programmes manager, Creative Access (chair)

Reflecting on what community and belonging means to them, Lucia shared it’s all about having the “safety and freedom to show up as yourself”, inspired by her family – particularly her mother’s experience as an Ugandan immigrant to the UK. 

For Ajay, it’s the three P’s that encompass belonging: people, place and planet – and the spaces where every facet of his identity as a queer, Asian East Londoner can comfortably overlap. 

Zhui Ning described belonging as “the recognition and acceptance of the entirety of yourself”, expressed in ways that centre solidarity and don’t “close doors for other people behind you.” 

Priya reminded us that community is active and ever-evolving: 

To build spaces for people who don’t necessarily identify as ‘creative’ in a traditional sense, be intentional! A clear vision allows those who align with your ethos and values to find you. Lucia believes we all have a “creative bone or muscle”; it’s about building spaces where people feel comfortable enough to exercise it. 

Transparency plays a vital role in enabling someone to show up as themselves, especially if they typically feel intimidated in creative spaces. In an industry that can sometimes feel transactional and surface-level, honesty is at the core of theConn3t. When hosting events, the team’s role is to be both attentive and authentic, welcoming people into the space and helping them feel at home.  
 
If you’re struggling to find community spaces or projects that feel like the right fit, build your own. That’s how Art Clubbers came about, says Ajay, who developed the skills he needed in his day job and rallied his friends and community networks to put on the show in Peckham that started it all. From there, the focus became ensuring that the work remained relatable and relevant to the communities being serving. At Art Clubbers, “everybody brings their voice to the table.” If something isn’t working, don’t be afraid to listen to the people in front of you, and adapt where needed. 
 
Got an idea? Don’t get stuck on the research or the theory – go out and do. For Priya, difficult experiences in the film industry led to opportunity and a fresh perspective. Filmmaking is an inherently vulnerable process, like “reading someone’s diary”, so Wondering CIC is prioritises responsibility and gives people the opportunity to tell their own stories, rather than acting as a voyeur to someone else’s experience. 

If you’ve got a got an idea you believe in, be practical about building partnerships and understand what the other party stands to gain so you can use it to your advantage. Surround yourself with people you trust and stay true to your principles, so you can rely on them when challenges come up. 
 
When you’re building something from scratch, it’s important to define your purpose. As part of the team that launched khōréō magazine (a platform for writers of migrant experience and backgrounds), Zhui Ning understands the importance of creating and maintaining safe spaces for both community members and staff. Community spaces aren’t just about the individual: “everybody has a part to play – not just the person running the session”. 
 
On a practical level, clarity around shared aims helps attract people seeking the same thing. Agree on a code of conduct and be consistent about upholding ground rules. Set timelines and host regular check-ins to ensure everyone remains aligned. Most importantly, Zhui Ning reminds us, have fun with it! “Don’t just connect on the broad mission; the small things matter too.” Whether that’s sharing a meal or trying a new activity together, spending time in each other’s space is key. 
 
Remember, project management is 80% admin and 20% fun. In the early days, Ajay relied on grant funding to build an impactful portfolio of success stories, which later helped to secure commission-based work. This required a lot of resilience, so being able to rely on the friendships, business partnerships and community connections he’d built along the way was vital. 
 
Figure out what’s important to you, whether it’s long-term impact or immediate results. Sometimes, a business or project becomes unsustainable and comes to its natural end. Post-pandemic, Zhui Ning unfortunately had to fold their theatre company when the team realised they no longer had the resources to “do justice” to the work they wanted to produce. But the relationships and community they built “continue to exist in ways that are equally as valuable”, even if the work itself has ended. For Ajay, endings can be celebrated too: “Sometimes, it’s a success in itself to pause and close… Don’t worry about the long-term. Make your impact now.” 
 
Balancing your own needs with the needs of your community can be as exhausting as it is rewarding. Building community and community spaces is a joyful, fundamental practice that requires patience and resilience. As Lucia puts it, “balance looks different every day.” 
 
Thank you to everyone who attended and asked such brilliant questions during the Q&A. A huge shoutout goes to our fantastic panellists – Ajay, Zhui Ning, Priya and Lucia – for sharing their experiences and wisdom with us.  
 
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.  See you at the next one!

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.