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

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

Panel: 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Creative Access team travelled to Bristol last week for our creative industries showcase, hosted by the BBC Natural History Unit at BBC Studios, to highlight all the creativity and exciting roles on offer in the area. We were joined by a panel spanning curation, TV, animation, publishing, theatre and PR who demystified the sectors they worked in, offering up their advice for our audience on how to break in. 

Senior designer Lorna knows how disheartening rejection can be when you’re first starting out. Whilst now she’s at her ‘dream workplace’ and her day-to-day looks like creating Shaun the Sheep pyjamas for a high street brand to designing posters for Aardman Animations movies, it wasn’t always the case. She had a tough time finding a role post-university as an illustrator but didn’t give up: she decided instead to teach herself Photoshop and go down the designer route.  

“Don’t give up and keep trying. If you’re a designer or filmmaker or photographer, don’t get disheartened and feel pressured by other people’s successes. Make sure you present yourself online and shout about your work so that people notice you”  

Lorna stressed to our community that whilst it’s easy to compare yourself to friends and peers who seem like they have the ‘dream’ job and you haven’t got there yet, to keep trying. For any budding designers, she says that even things like designing a super creative CV can be what makes you stand out for the crowd, and in fact, this is what she cites as helping her get the job at Aardman.  

“Use free online websites like SquareSpace which is easy and cheap. I think Instagram profiles are a great way to display your work too. It doesn’t have to be this big thing; it doesn’t matter if it gets one like, it’s important to get it out there and you have something to show” 

Like Lorna, Saphia also studied illustration, however became interested in collaborative work whilst helping organise exhibitions during her degree and realised that’s what she wanted to do. Saphia completed an internship at Bow Arts and Christies via Creative Access in 2018. She explains that “being able to talk about curation because of my projects at university helped me get my first gallery roles”.  

So, what does a curator do? Saphia’s work at international contemporary art centre, Spike Island, involves everything from coordinating the centre’s artist development programmes to curating public workshops. She explains that traditionally a curator at an art gallery or museum would have a specialist knowledge of a particular era or art movement, however in contemporary visual arts spaces, the job is quite similar to producer roles in other arts organisations.  

“Curation takes commitment and patience – it’s quite common to be in a more junior role for a long time e.g. 5 years before you become a senior curator. So, keep patience and focus. Attend training and develop your skills to prepare you for the next level.” 

Saphia says that it’s a very hands-on role where she facilitates about four events a month both in person and online. She loves the practicality of working with artists and producing events combined with the administrative jobs that go alongside it.  

Her advice for our audience is that unfortunately, a lot of jobs will come through someone you know, so make sure to develop your networks!   

Zulekhá has been working at the crime and thriller publisher behind authors like Mick Heron, Natalie Marlow and Rose Wiling for two years now – ever since Hachette opened its Bristol office.  

Although Zulekhá really wanted to get into publishing, she struggled to find a book publishing role in the South-West (although she does say there’s lots of cool magazine publishing opportunities in the region!). So, she worked in marketing for eight years instead, however when she saw that Hachette was opening offices across the UK, she said she ‘basically refreshed the page for a year’ waiting for a role to come up… and it did! 

But how did she manage to switch careers and make herself stand out in an industry she hadn’t worked in before? Zulekhá said relying on her transferrable skills was key. Because the imprint was new, it was operating like a start-up, she used the fact she’d worked in lots of small companies before to show she worked well in these environments.  

This ability to work on multiple projects across a small team clearly came in handy as in her role as assistant editor, Zulekhá liaises with both author and agent and the book going to print, as well as provides copywriting, editing and proof-reading, she also helps out with social media, drawing on her existing experience in this area. She also tells our community to consider roles other than their ‘dream job’, for example if you want to be an editor, you could look at marketing and publicity roles in publishing as well. 

Here’s her advice for any publishing hopefuls in the South-West: 

“Put yourself out there. One thing I struggled with was finding internships. But Bath has wonderful festivals that you can volunteer at and flex that muscle, network and communicate with people in the industry you’re interested in.” 

Fellow Creative Access alumni Chase starts off by telling our audience, “I always say my career began in my grandma’s garden when I was 10 just filming everything that moved, including my cousins impersonating Steve Irwin.” Despite the long-time passion Chase had for documenting animals and nature, they never thought they could do it as a job because firstly they didn’t know anyone who actually had that job and secondly, they never saw themselves on TV in those roles.  

Chase ended up doing a zoology degree instead and whilst doing an MA, they started researching into roles in the TV industry. This is where they found Creative Access who they cite as “demystifying all the different role available in TV, making me realise it wasn’t just camera operators.”  

“Be yourself. I don’t mean that in the cliché way. It’s important to know what your skills are and bring them to the table. I’ve not done any formal camera training but my creativity came out a lot more in writing stories and drawing storyboards. Sometimes the skills you don’t think are important, turn out to the be the most useful even if it’s totally different.” 

Chase started at BBC Natural History Unit at Springwatch in 2017 via Creative Access and hasn’t left since. Assistant producers, they explain, does a bit of everything. From beginning of production, to calling scientists and thinking about what stories will be compelling, to working out how the story can be brought to life, right through to budgets and how you can bring it to the screen. From there, you work with logistics and safety teams and even help out directing on location. Because animals can do anything, and the storyline may have to change, Chase says that you have to make dynamic decisions: “Producing on location is 90% problem-solving.”  

Chase was also keen to reassure our community that TV & film is slower at the moment, but it won’t be forever; it’s good to be aware of so that you don’t feel disappointed if you’re not getting a role as quickly as you think you should. But for any aspiring wildlife filmmakers or producers, one positive is that more and more streamers and platforms want to make natural history content!  

“I really didn’t know I wanted to do this before I did this – if that’s you that’s ok, you will find something you love even if you don’t know what it is you’re looking for” 

Like Chase, Sunita was always passionate about the environment however didn’t think that the climate space was something she could build a career in. However, she cites Creative Access as a ‘gamechanger’ for introducing her to an internship at her current company, environmental agency Greenhouse Communications. 

At university, Sunita did lots of climate activism, however graduating into the pandemic meant frantically looking for jobs in an unstable market and applying for everything. Having done lots of part-time admin work throughout her time at university, she secured an admin assistant traineeship at Greenhouse Communications through Creative Access and from there became an account exec and has worked her way up over the past three years to now. She says: 

“Be open to not the exact role you’re looking for. Through working in the admin side, I got to work with everyone and met everyone on the team. By the time I came to the comms role, I had a thorough understanding of how the company worked.” 

A day-to-day role in PR and communications can involve creating media lists, writing press releases, pitching stories to journalists, drafting social posts, supporting with the website and managing client relationships. Sunita’s key tip for breaking into the world of PR and comms is to research the company you’re applying for! She says even if they don’t ask in the interview about your thoughts on their client list or their company ethos, you can use this information as a chance to shine and ask them.  

Our final and most experienced member of our panel Nancy shared the story of how she became artistic director at Bristol Old Vic and had some incredible tips for anyone in the theatre space and the arts more broadly. Hailing from New York, Nancy is from a first-generation family from Dominican Republic. Although she didn’t come from a family that went to the theatre, growing up in New York there was so much art and funding for young people to access theatre which resulted in her joining a youth theatre group in high school where she learnt her craft.  

Nancy was clear to tell her audience that, although she loved theatre because it allowed her a vehicle for her thoughts, she didn’t have network available to her to study theatre and further on, couldn’t pursue theatre a full-time as a full-time career. She worked many jobs such as bartending to make a living and prop up her theatre projects over the years.  

Nancy moved to Bristol and learning about the cultural landscape of theatre in the UK. Despite not feeling academic, Nancy went on to gain an MA in theatre directing. As an older student who had children, she says she was laser focused on her degree. She said: “I realised I know how to tell stories but I lacked the sophisticated vocabulary. But this was a good thing to know – that my intuition was right but it’s helpful to have the academic lens to use when I need it. Nancy explained that the MA opened up the door to finding opportunities, awards and grants, and networking programmes. 

“Remember: no one can set the value of your work. For artists, it’s messy because our identity is so tied to our work. I try to remember that the system I’m operating in wasn’t designed for me so where are my entry points and how can I bring value?” 

Nancy was balancing directing at lots of theatres in London and teaching theatre direction in Bristol when her current role came up at the Bristol. At first she didn’t want to apply however after some encouragement from friends in the theatre world she did. Her role is split between artistic director and joint CEO. As artistic director she takes care of the theatre’s programme, oversees the engagement work it does, as well as creates partnerships in the city as well as across other regions. As CEO, however, her role is more taking care of the day-to-day finances and strategising the theatre’s output and future. 

She says that she thinks a lot about pathways, explaining ‘mine has been such a long and winding road – how can I help that become easier for people?’. 

Register now with Creative Access to find out about exclusive events and opportunities in the creative industries. 

We were delighted to join ITV Academy at ITV’s White City space to hear from a panel working across the world of TV production, from editorial to production management, working in both scripted and unscripted, as well as two seasoned Creative Access ITV alumni sharing their insights.  

Our panel: 

• Amrit Kaur Bassi, social purpose manager at ITV (chair) – Creative Access alumni 
• Modupe Aluko, post-production manager at Potato 
• Verina Burt, head of news features at Good Morning Britain 
• Kishan Koria, editor of Peston at Multistory Media – Creative Access alumni 
• Sophia MacKay, production manager, Scripted at ITV Studios 

Here’s what we learnt… 

With live TV, things can change whilst on air. This is something Verina knows all too well: with 25 years experience and having worked her way up doing all sorts of production roles, she now runs the team who organise the daily debates, producing the participants, as well as big campaigns and national surveys at Good Morning Britain. Verina said everything is reactive to what’s in the papers that day – you must think on your feet and adapt to what’s happening in the world around you.  

This is something Kishan, who started off as an intern on Peston seven years ago via Creative Access and has been there ever since, agrees with. As editor he works out who’s on the programme and how the show runs, as well as being in the ear of the presenter.  

He explained that things change a lot, despite Peston being one-hour long ep a week and said that the biggest change he experienced whilst on air changing the format of the show was when the Capitol was stormed in 2022. He told the audience that keeping the format fresh is key: “If you want to make good current affairs TV you need to move with what’s happening, so it feels live.” 

Fellow Creative Access alumni Amrit also started off as a trainee at ITV in the social purpose team and is now a manager in the department. She works internally and externally supporting ITV’s missions around mental well-being, diversity, equity and sustainability, and helping the next generation of TV talent. She said: “I find it so difficult to describe my job because it’s so varied”.  

Meanwhile, Sophia explained that because her role is an overview, she is involved at every stage: doing everything right from the beginning such analysing the viability of a production (whether it can even be made), to pre-production, script breakdown, helping the team crew up and liaising with all the in-house teams. She then supports the team on the ground during the shoot and supports a smooth transition into postproduction, and even organises press screenings.

Sophia, having worked across both areas, says essentially the script means that there’s actors, bigger budgets and longer schedules as well as planned sequences (versus impromptu scenes that happen in unscripted).  

Although there are also ‘loose’ scripts in unscripted TV… Modupe, who works mostly on The Chase, told us that the researchers dig into the contestants’ interests and backgrounds and relay this to Bradley Walsh so he can build a rapport. So, in unscripted, the script tends to act as a way to lay down the basics for natural conversations to unfold.  

Sophia recommends that if you want to make the crossover from scipted into unscripted you shoudl try and upskill and learn about concepts such as screenwriting and lighting techniques. 

If you’re interested in TV, you probably know by now that it often requires long days. Modupe explains that as a production manager “you’re the first to be there and you’re the first to leave” and that you’re often the person everyone across the team comes to for help. Modupe said that she tends to record 3 shows a day, starting very early and finishing quite late.  

However, Modupe explains that her love of organisation means the long hours are “very rewarding” and she was keen to tell the audience that you do get that time back. She recommends that people wanting to break into TV utilise their transferable skills and passions to help them find what they want to specialise in.  

Kishan said: “Nothing is more important than love of the area you want to cover”. He explained that it’s difficult for people to respond well to a programme if the people behind-the-scenes making that programme don’t love the subject matter, continuing that all his team are politics-obsessed. 

TV is a fast-paced environment and mistakes can happen. Kishan says your team is there for you to rely on when things go wrong, or you need help: “The key thing is to know you’re part of a team – there’s meant to be a support system in place. The worst thing is to cover it up, the best thing you can do is talk to your team and ask them how you can fix it.” 

As always, we asked our panel… 

Verina: “It’s such a varied career, don’t be afraid if you don’t know what path to take yet. It’s never too late to change direction. 

Use your transferable skills, career paths are changing whether you’ve got a degree or not doesn’t hinder you. If you’re really inspired email people and get the name of the show right! Watch the shows you love that you want to work on. You could even create a YouTube or Tik Tok channel to help build experience.” 

Modupe: “There’s only one you. Whatever you like doing – use that! For example, I was the organiser in my family – I didn’t know that skill could mean I’d become a coordinator, find that skill and run with it” 

Kish: “Persistence is key. I’ve never received an email from someone who loves politics and wants to learn about TV and not been really flattered by that. It’s ok to follow up and say ‘hey, sorry if you’re busy can I follow up on this’. It does lead to things, even if it doesn’t lead to a job.”  

Amrit: “Normalise making mistakes!”  

Sophia: “Be proactive – don’t wait until you’re asked to do something. Try and pre-empt what your colleagues need. People will recognise that and think, ‘yes I want them on my next production.’  

Be kind and talk to everyone! Confidence comes with experience so just ask questions. You’ll be surprised what you find out”.

Creative Access partnered up with media and publishing giants to deliver the final masterclass of 2023 for our community of creatives. Two back-to-back panels featured industry experts in journalism and publishing working at News UK, HarperCollins UK, Wall Street Journal, Financial News, The Times, The Sun and Dow Jones. They discussed everything from what the future of the creative economy, in particular media production & publishing, will look like, as well as the latest trends, and what these brands are looking for in a candidates’ applications. Keep reading to find out their top tips and stay up-to-date on the latest insights from senior leaders and diverse voices! 

Speakers:  

Will Payne, Director of Digital (Editorial) at The Sun  

Shruti Tripathi Chopra, Editor in Chief at Financial News & Private Equity News  

Ken Wilson-Max, Publisher at HarperCollins Children’s Books  

Josie Dobrin (chair), Co-Founder & Executive Chair at Creative Access 

“Anyone who says they know what the industry will look like in a few years time isn’t telling the truth. We are at a significant changing point.”

Will Payne

For those curious about the changing landscape of digital media, journalism, and publishing, this panel hits the spot. The panellists are senior leaders in these industries and navigate topics like AI and diversity every day in their roles. Senior figures in journalism, The Sun’s Will Payne and Financial News’ Shruti Tripathi Chopra, discussed how they are adapting their business strategies to fit the world of news with advancements such as AI rolling in. 

Payne predicts that amongst the AI-produced low-quality, high-density content flooding the internet, there will be a growing hunger for high-quality, in-depth content that utilises digital and podcast forms. He also thinks that this gives publishers and writers the opportunity to mark themselves out. An important bit of advice here from the man who essentially deputises The Sun, a newspaper which digitally reaches 25 million readers per month. Chopra said that the strategy at Financial News (which is behind a paywall) is to make their mark by keeping it simple: “Understanding your reader and treating them like a human being, keeping it simple and keeping it interesting”. Her advice for budding journalists is: “Ask ‘How would you explain it to your nan?’ We say it as it is, and I encourage you to always question why you are writing the way you are.”

We touched on the impact of AI on publishing too, with food for thought shared by HarperCollins’ Ken Wilson-Max arguing that there may be blurred lines on the issue of ownership in the future: “Who owns the content if AI created it? And will the audience notice? Or care?”

For the publishing hopefuls in the room, we were thrilled to have publisher Ken Wilson-Max, who set up Kumusha Books, HarperCollins Children’s Books first imprint. Its globally focused list is a strong mix of inclusive and commercial storytelling from underrepresented voices. 

“I look out and see potential in this audience, and think wow, this is great. When I entered more than thirty years ago this audience wasn’t here in the same way. For every book that has been published, there is an inclusive alternative version waiting to be created. We can find the good stories and retell them.”

Ken Wilson-Max

How does Wilson-Max make sure the books he publishes are reflective of his readers? A brilliant answer on Diversity Equity & Inclusion (DE&I) strategy: “It’s actually not that hard, but it has many steps. You have to treat everyone the same, and really listen. I sell stories to the world, but try to bring stories from around the world. Keep it simple and do it well, repeat, repeat, repeat.”

 Chopra: Put your hand up, send that email, go talk to people, no one is expecting you to know everything, everyone is winging it. Be relentless about trying. 

Wilson-Max: I would look for someone who is very curious, who could take creative risks, take criticism, and still have a smile on your face and come back tomorrow. Technical skills I’m not so worried about, because the level is high, but the attitude of the person is so important.

Payne: Hardwork and determination always resonate. If you’re prepared to put the hours in, dedicated, and creative. A creative spark will set you apart. 

In this panel, three incredible industry professionals answered burning questions all about how to kickstart your career with top tips galore. Khurana entered publishing via an advertising apprenticeship and emphasised the transferable skills between these two industries (take note career switchers!), Mukuru was a business journalist in Kenya and came to the UK to study finance journalism, and Khalique-Loonat got in through a graduate scheme having been inspired by some inaccurate sports analysis he saw on TV.

Speakers:  

Hamzah Khalique-Loonat, Football reporter at The Times and The Sunday Times  

Simran Khurana, Senior Sales and Marketing Executive at HarperCollins   

Miriam Mukuru, Reporter, Credit Markets at The Wall Street Journal  

“You sort of apply for the first few, and get rejected. Then you apply for some more and hmmm, don’t worry. Apply for some more, but it seems personal now. But you sometimes just need a little luck, so persevering is key. Brilliant people can spend a long time looking, but if you persevere you will get it.”

Hamzah Khalique-Loonat

Mukuru: “Don’t aim for perfection. I read a lot of journalists’ work and compare it to my own, and then think ‘I cannot publish this!’ but you have to start somewhere. If you don’t then you’ll have nothing to show when you’re trying to get the internship and they want to see some of your work.”

Khurana: “Research is very important. It can be hard to get your foot in the door, but it’s easy to move around once you’re in. Whether it be editorial, marketing, design, do your research on their websites, as well as Twitter and Facebook groups. Social media is a powerhouse where you can gain experience and see what jobs you can apply for.”

Khalique-Loonat: “Often when people do internships they will network in a way that’s very formal. We have people join us and the ones that make the biggest impressions usually let themselves be themselves. Networking comes with connotations of formal engagement, but building lasting relationships is through knowing people better so just try to do that.”

Mukuru: “I reached out to journalists virtually a lot, and they really helped and guided me, so I recommend doing that.”

Khurana: “Recruiters often go on TikTok and give advice – honing in on those platforms is key so make sure you’re building a brand for yourself and establishing a social presence.”

Lots of audience questions on career highlights, how to avoid burnout and diversity followed, until the networking session started and LinkedIn search bars were popping off. To make sure you’re signed up with us to hear about the next masterclass in 2024! 

A BIG thank you to our host News UK, alongside Dow Jones and HarperCollins, the brilliant speakers and of course our fantastic community for coming.

Last night, we entered the Publicis Poke offices in Television Centre for a masterclass on all things advertising. Publicis Poke is a 160-person strong ad agency that has worked on campaigns for the likes of Google, Renault and Morrisons.  

Our panel included: 

• Prianka Ramlugun – strategist 
• Mollie Milton – strategist 
• Emma Tacon  – account manager 
• Khalil Orrett – producer 
• Kate Bly  – business lead  

Our community were welcomed by Creative Access alumni Prianka, introducing us to Kate who gave an insight into agencies back in the day (think Mad Men, Kate said) versus agencies now (thankfully, there’s much more diversity but there’s still more to be done). Kate talked us through the different departments helping us understand what it’s like to work in strategy, creative, production, and as a business lead.  

We were then lucky to get a behind the scenes look at a case study of their client Tourism Ireland’s ‘Fill Your Heart With Ireland’ campaign. Mollie, Emma and Khalil pulled back the veil on exactly what goes into a high-profile campaign from the level of research needed to help discover the concept, how long pre-production and post-production takes and of course, its delivery (plus then even more research afterwards to see how well the project has worked!). You can see the fruits of their labour in this advert with cast members of Derry Girls here… 

Throughout the masterclass we gained a deep insight into the nitty gritty processes that help make advertising work. However, our panel also made our audience aware of the skills needed to break into the industry and propel careers forward. Here’s the top three things we learnt… 

Many of our panel spoke about their ‘unconventional routes’ into advertising. Out of all the panel, only Mollie studied marketing at university. Khalil actually studied law and worked as lawyer for a couple of years but hated it. He got into advertising via a Bartle Bogle Hegarty scheme which didn’t ask for a CV, experience or a relevant degree, and recommended keeping an eye out for this sort of internship. Khalil also advised our audience to hone your interests outside academia and work; whatever your passion is (doesn’t have to be related to advertising!) can make you stand out from the crowd.  

Kate has also had a ‘squiggly career’, working on and off in advertising for 20 years. In that time, she took 10 years out of the industry to raise her 2 autistic children and work as a wedding florist. She said: “My attitude now is totally different compared to if I’d stayed in advertising – you can use your life experiences to your advantage.” 

Meanwhile, Prianka found her start in advertising via a Creative Access internship at Publicis Poke two years ago. She said she used her history degree to her advantage:  

“The process before getting my internship was horrible as I graduated and then it was lockdown and I was stuck. I used my history degree to sell myself: creating a story, my research skills, what I do in my free time, what work I love. This industry is about selling yourself, it’s not about having a particular skill or experience” 

Prianka’s route into the industry shows the power of storytelling in advertising. Ultimately, advertising is about making the audience feel something. In her intro, Kate used the example of the Snickers’ tagline “you’re not you when you’re hungry” as a statement which really makes you think about your feelings and is emotive.  

Mollie recommended that any aspiring advertisers do their research into brands they like or products they’ve bought and to bring their learnings to a job interview or into their role: “Have a look at what brands inspire you and how you can bring that into your role. What led you to buy the thing that you bought recently? Analyse that process.” 

Kate stressed that the industry has changed, it’s not as hierarchal as it once was; “A good idea is a good idea, and it can come from anywhere or anyone”. This means, if you have an idea you believe in then back yourself. Emma says learning this skill will come in handy when receiving push back from clients.  

And finally, whilst advertising is a very fun industry, it can also be difficult if a client is unhappy with the campaign, putting your team under pressure. This is why Khalil wants to hire people who ‘when we’re in the trenches, we can rely on you.’ Kate echoes this highlighting that skills like tenacity, teamwork, and simply being a nice person are what she looks for when hiring new talent: “If you’re in an edit suite together at 6pm on a Friday and the client has threatened to pull the ad (when it’s due out on a Monday), you need someone with you can trust and get on well with”. 

When dealing with pressure, Mollie says that kindness will help you take a step back and remember it’s only advertising.  

Ultimately though, being friendly will also help you build up your network as you work your way up the career ladder. Khalil explained that: “It is a tough industry with a lot of nepotism, but those who have to try harder or network more will have actually worked out whether you really want to do the job or not”. He recommended the audience to keep finding their own network as his network helped him get back on his feet and find a new job during the pandemic.  

Emma assured the audience that there’s no need to be intimidated when meeting industry contacts exclaiming: “We’re all a friendly bunch so get out there and have a chat!”.  

A massive thank you to the team at Publicis Poke for welcoming us into their offices and arming us with the behind-the-scenes intel on how the industry works, what it takes to create a campaign, and why our audience should enter the sector! Find roles in advertising here.

Keep your eyes peeled for our next masterclass in November…  

The next stop on many Creative Access community members’ career journey last week was Coronation Street, as we hosted our creative industries showcase event at ITV Studios in Salford, just above the television set experience! 

We partnered up with ITV Academy to tap into Greater Manchester’s thriving creative community and heard from a panel of professionals living and working in the area spanning TV, marketing, social, creative communications and publishing. The panellists shared insight into their career journeys as well as advice on how to find your own creative industry pathway and move up the career ladder. Luckily for you, we’ve collated some of the highlights here in case you missed out… 

Panellists: 

• Yasmin Hemmings (Chair), Acting Head of Programmes, Creative Access 
• Abdul Tahir, Support engineer, Coronation Street, ITV 
• Malyun Mohamud, Marketing officer, University of Salford (CA alumni) 
• Tierney Witty, Editor, Seven Dials & Trapeze, (CA alumni) 
• Tom Moss, Senior account manager, Citypress 
• Jahmal Williams-Thomas, Reporter & camera operator, ITV News Granada Reports 

The room was full of individuals looking to step into a career in the creative industries, and the appetite for hearing just how these panellists made it happen was high. The team at Creative Access know that the first jump into sectors such as publishing, journalism and TV can be daunting, and creatives based in the North as these are historically London-centric indsutries. But, we know that creative opportunities are opening up around the country and we heard an inspiring range of ways you can make it happen.  

 How our panel got their career breaks 

“I spoke to absolutely everyone…If I walked past someone in the hallway, I asked “What is it you do?”” – Jahmal 

Our publishing representative was editor Tierney, a former Creative Access intern and mentee. Tierney had been training to become a teacher in the pandemic, but his passion was in books. After over 150 job rejection letters,   Tierney came across the CA x Penguin Random House mentoring scheme and was connected with a publishing mentor: “I went from having nothing to having a job in six months.” His mentor helped with applications, networking, and he progressed from intern to editor in just three years.  

Tierney wasn’t the only panellist that had other careers in sight, with Tom, senior account manager in PR, having spent years as a competitive swimmer for Great Britain. Tom, a history and politics graduate at University of Manchester, wanted a career that was rooted in his love of writing, reading and storytelling. After lots of rejections and a job as a bookkeeper, he eventually rose up the PR ranks at Manchester-based Citypress, working on campaigns with Coca-Cola, British Gas and Primark. 

Marketing officer, Malyun, had dreamed of a creative career “for as long as I can remember”, but the dream of journalism quickly unfolded when she didn’t enjoy completing a diploma in the sector.  The skills Malyun acquired studying journalism transferred well into communications. She now loves her career in marketing and comms, which started with a CA internship as marketing trainee.  

Camera operator and reporter, Jahmal, told the audience: “It used to be a totally different landscape to how you get in the industry, it’s much better now with mentoring and other opportunities. I started working when I was 15, in a community group I honed craft in video, then got into the BBC and I spoke to absolutely everyone…If I walked past someone in the hallway, I asked “What is it you do?””  

Coronation Street’s support engineer, Abdul, studied media technology at University of Salford. There were pathways from that course into audio, camera work, directing, and after experiencing a variety of roles in Leeds and within the sports industry, he eventually found a role at ITV. Abdul advised “marketing yourself on LinkedIn – even things you’ve learned that you haven’t necessarily experienced yet. Connect with professionals and send them a message introducing yourself.” 

How to creative opportunities in the North-East 

“This wasn’t the plan, it wasn’t my dream…there aren’t many people from Merseyside that I know in this industry.” – Tierney 

A hot topic of the night were the opportunities, or historically lack of, outside of London. The panellists all have experience in building successful careers in Greater Manchester, and noted that the industry is diversifying, so to pay attention to companies with offices based in the North or which are expanding. The panellists also emphasised how important virtual networking is. For publishing enthusiasts, Tierney said: “Publishing is on Twitter, not LinkedIn. Every publishing house will have a Twitter so follow them and send a message.” 

Attendees were also advised to be pragmatic, and explore the possibility of breaking into an industry through alternative pathways to the most popular, so if you want to become an editor, look at roles in areas of that sector like design, sales or art. Jahmal advised an aspiring director in the audience to look at the many brilliant independent production companies in the North.  

Six brilliant career top tips for creative industry roles 

Straight from the professionals’ mouths: 

“Have your work ready at a moment’s notice, so that if one day you’re in a lift and you hear someone in a say, “I really need more crew on my production” you’ve got a business card, a website, a portfolio, ready and can say “Hi, here’s my information!”” 

“I will respond better to a DM saying ‘Alright mate? How’s it going’ than an email with loads of unnecessary words. You just need to be casual and say ‘Here’s what I do, I would love if you could look’. Be specific about what you’re asking of them and spell names correctly!” 

“Speak up. Ask to get involved in big projects. If you don’t see progression opportunities with your current company, look for one that does.” 

“Experience is the buzz word isn’t it. How can I get experience? Blogging, podcasting, anything that showcases your skillset…If I went to a gig, I’d review it. It shows passion.”  

“Be a sponge. Be ready to do everything and learn something from every person you interact with. You’ll build yourself up made from skills you’ve learnt from a million people around you.” 

“Imposter syndrome doesn’t just happen to people early in their careers, it happens to my colleagues that have been here 20 years. Look back at your career and what you’ve achieved. You’re here for a reason, so back yourself.” 

Finally, ITV Academy’s Sonny Hanley spoke to announce a very exciting ITV cohort of traineeships across Manchester and Leeds, that will be going live on the Creative Access website soon. Make sure you’re signed up with us to be the first to hear about it! 

The evening continued with lots of networking, LinkedIn connects and spring rolls. We want to say thank you so much to our panellists, our host at ITV Salford and everyone in our community that came. Until next time! 

After a summer hiatus, the Creative Access masterclass series came back with a bang this week. We saw new and old members of our community flood to South Kensington’s V&A museum for a night of networking and a private viewing of the V&A’s latest exhibition, Gabrielle Chanel: Fashion Manifesto, which explores the woman behind the brand and how her radical designs shaped the modern woman’s style. A special highlight included the wonderful introduction we were given by co-curator Connie Karol Burks, who shared what a day in the life of a curator looks like and a behind the scenes look at the journey to launching the exhibition. 

V&A’s Connie Karol Burks on becoming a curator 

Burks’ avenue into museums started with dropping out of her first course at university. Her ‘squiggly career’ demonstrates fierce passion and dedication, a familiar feeling to our room of both aspiring and seasoned pros from the creative industries. Burks realised that she wanted to attend art college, and after a string of internships at small galleries and years in retail, she co-founded a weaving company. With an interest in the history of fabric, she underwent an MA and volunteered at the V&A often. After lots of unsuccessful applications, she said: “They finally took a chance on me with a 6-week placement, and I’ve been here for 7 years.” 

Burks emphasised that her experience in retail and in small galleries helped prepare her for what is such a varied role with lots of different responsibilities. She spends much of her time on objects in the permanent collection in the museum – researching and cataloguing them – as well as administration, “quite a lot of bureaucracy”, and checking for clothing bugs. She added: “I can tell my carpet beetle from my clothes moth”. There’s also a “horrifying amount of excel spreadsheets” and lots of writing text – both for objects and publications.  

Introducing the exhibition  

If you have tickets, enjoy this preface. If you haven’t, we’re sharing our takeaways (and sign up to hear about the next masterclass so you never miss out!). The immersive exhibition is across ten spaces that follow a loose chronology, mapping out the unique elements of Chanel’s vision that still influences how we dress today. We learn so much about the designer who introduced a chic, stripped-back silhouette approach to women’s wear, the V&A team made a conscious decision to catalogue her biography alongside her work – from fashion to beauty. 

Burks told us that her team started with looking at the objects and conducted research trips to Gabrielle’s apartment to get to know the woman behind the designs. Eventually, Burks had immersed herself in Chanel’s world, and the exhibition took around two years’ worth of work ahead of the launch. They have, in part, contextualised Chanel’s work with her upbringing and life experiences, as her work took her from poverty to the life of the elite with aristocratic company. Born in 1883 to an impoverished family, she spent a lot of her childhood in an orphanage after the death of her mother. Her entry into fashion wasn’t until 1909 when she opened her salon in Paris as a hatmaker.  

The emergence of style – Chanel’s template for fashion 

Burks discussed that Chanel’s influences likely stretch as far as fishermen in Dover, when she established a boutique there in 1912. One blouse dates back to 1916 and replicates the style of a fisherman’s pullover, and it’s men’s tailoring that inspires a sequin suit of silk taffeta – unusual for women’s couture at the time. This is the first garment you see in the exhibition, and in everything that follows you see small remnants of two major influences – the time she spent in Britain, and her adaptations of designs traditionally made for men that allow a comfortable life.  

“[Chanel’s] focus on comfort was quite radical for her time” Burks said, and her lifelong ethos was to make clothes for herself, first and foremost. She worked with the best textiles, and her choice of fabrics were so important, only enriched by her connections to British and French manufacturers. Burks delved deeper into Chanel’s achievements, which include the popularisation of the little black dress, the No.5 perfume, and the innovative design of the dress that could be appropriate for all day. 

What story does the exhibition tell? 

“With this show, it was a treat to focus on Gabrielle Chanel, to unpick the myths and the broader explanation of what she was doing. To undo the caricature and fill in the gaps.” Burks said.  

We learnt that Gabrielle Chanel was in some ways, remarkably modern and ahead of her time. She designed open back asymmetric dresses, women’s suits that rejected the padding of traditional tailoring, and her perfume’s minimalist packaging and simple typography still stands today. Chanel’s eveningwear produced in the second half of her career when she was well into her seventies, was still attuned to the fashion world’s barometer whilst staying true to her fashion manifesto. However, she also had an “interesting” life as Burks describes it, which refers to her dark past of antisemitism and ties to a German general during the war. We were told the insertion of the timeline of her life seeks to face this head on, with an acknowledgement of the artist behind the art. Burks emphasised that museums are exactly the right place to have this topical discussion.  

The exhibition certainly gives you a taste of her eccentric character, told creatively through dimensions such as the evening gowns positioned along a mirrored staircase. It’s the staircase that emulates that of her original salon in Paris, that she would sit at the top of to hide and watch the reaction of her guests as they entered (see top image). It was a brilliant opportunity to see the show, which is sold out until May 2024. After networking took place and the crisps had been eaten, the event finished. We eagerly await the next. 

A big special thank you to the V&A, Connie Karol Burks and the Creative Access community. Don’t miss out on the next Creative Access masterclass. Sign up now. 

Last night the Creative Access community got to visit the prestigious BAFTA offices. We were able to get behind the scenes and gain exclusive insights into the inner workings of this renowned entertainment icon including TV, film and gaming.  

The panel discussion featured directors, gaming professionals, programmers, and diversity advocates, and touched on the many issues within the creative industries such as routes in, networking, key skills and, perhaps most importantly, the power of self-belief.  

Chaired by Tim Hunter, executive director of learning and inclusion, the discussion kicked off with our panel sharing how they fell into their roles, or in some cases how their roles found them. Ashley Francis-Roy, director and CA alum, revealed he found a way in through a Creative Access internship with BBC Art and Music. After studying a degree in music, he worked his way up through a number of runner, assistant producer, and director roles. “My degree made me smarter” he says, before touching on the fact that although always knowing he wanted to direct, his degree taught how important it is to be able to “make it happen yourself”. 

Mariayah Kaderbhai, head of programmes at BAFTA echoed this when speaking on her own university experience: “You have to engineer what you want”, saying that her course helped her explore her interests, even if they weren’t always directly aligned, by taking lots of film and cinema modules. She then interned at the BFI and has now been at BAFTA for 20 years.   

Our final panel panelist Sara Machado, works in recruitment as senior talent acquisition partner at game developer, Sumo Digital, is no stranger to also making it happen yourself. After studying international defense with the dream of being a spy, Sara moved from Brazil to the UK seven years ago and has been making it happen ever since. “When I got my first job, I started thinking about how I’d get my second” she explained, “there are just so many pathways”, our panel shared a number that you can start trying now. 

“Develop a sense of who you are, what you want and tell people!” Mariayah  

There are often loads of roles in your favorite organizations that you might even not think of. For example, community management, or operations, or legal – it’s helpful to think of these companies like a machine, with many parts that all help it work. With this mindset, it’s easier to see lots of fantastic opportunities where you can learn more about the industry. Mariayah spoke about festivals and open submission roles where you can be paid a day rate to watch films! Tim shared the brilliant free-to-access BAFTA toolkit, which may be more relevant for those who have already made their short film, but still worth taking a look at.  

When asked about networking, the panel had lots of top tips to share and encouraged our audience to put these into practice with the networking session that followed the discussion. Ashley commented that networking “doesn’t always have to pay off next week” but rather should be just about making that connection so that when an opportunity does arise, your name is first in their minds. For those who don’t enjoy the dreaded task of networking, Mariayah says “cut the small talk”, instead begin with what you do know, who you are and what you’re passionate about. However, walking into these rooms can still feel really daunting for some; if that sounds like you Sara speaks on the relevance of building an online community through attending webinars, workshops and even literally creating a map of the influential people you’d like to get in front of and beginning there. After her autism diagnosis in January, Sara makes sure to tell our audiences to “understand your limits”. Networking can sometimes be quite socially exhausting, so it’s important to find a way to make it work for you. 

“It’s so important to be able to talk to lots of different types of people…” Tim  

A lot of our audience wanted to know about skills to succeed in film, gaming and tv industries that you might not expect, and the panel again shared some gems. Ashley told us the power of positive thinking, “you can’t accept defeat” he says, “you need to find a way around it”. Sara and Mariayah agreed, adding critical thinking, diplomacy, time management and a good portfolio –which can sometimes be even more important than a good CV. Sara said it’s good to be someone who naturally enjoys solving problems “there are two types of people” she continues “those who panic when there’s a fire, and those who relish starting from scratch”. Being able to talk about yourself is also a must, Sara uses the formula of qualitative and quantitative statements to show impact. It’s important to remember there may always be obstacles and unexpected events, but being able to bounce back and redirect is a key skill for success. 

“As long as I am adding value, I don’t allow myself to feel bad!” Sara  

We also touched on imposter syndrome and how best to deal with the creeping feeling that you might not be good enough to enjoy what you have achieved. Imposter syndrome casts a shadow of doubt and self-deprecation over the talented individuals who really don’t need to be as hard on themselves as they are. “It’s not a helpful term” Ashley says, “there will always be moments like that in your career, but you have to encourage yourself to take up space”. Ashley makes a point to say he rejects impostor syndrome and Sara agreed. “What’s being good enough? Who decided that?” she asks. Imposter syndrome does nothing but hinder confidence and prevent you from embracing your uniqueness. It is a silent battle that many creatives face, but by recognizing and confronting imposter syndrome head-on, Mariayah says “you can hold onto your story, and hold onto who you are”. 

In the vast landscape of creative industries, finding your tribe is a crucial step towards success and personal growth. These connections will not only inspire and support you but also serve as invaluable resources for collaboration, mentorship, and professional opportunities. The panel spoke about how useful it was to have a champion, or someone who could speak to your experience and passion in rooms you hadn’t been able to reach yet. Ashley’s Creative Access mentor, for example, helped him with placements and job applications. 

“Every time I stepped up in my career, someone’s championed me…those people are so important” Ashley 

Your network becomes a lifeline, providing guidance, feedback, and a sense of belonging in an industry that can often feel overwhelming. Together, you and your network can navigate the creative landscape, celebrating achievements, sharing knowledge, and propelling each other towards greater heights. 

We would like to extend our heartfelt thanks to our panel and BAFTA for hosting our masterclass and to each and every one of you who attended the event.  

In partnership with BBC and Radiocentre, we hosted this month’s masterclass in BBC’s historic radio theatre – home to some of the most iconic broadcasts of the last 90 years. Rooted in its rich creative history, we welcomed the next generation of talent from our community in the creative industries to gain wisdom from radio broadcast professionals at the top of the game. The panellists took a deep dive into what it takes to ‘make it’ in radio, the various routes in, plus career lows and highs so far. Our chair was the famous Radio 1 DJ Melvin Odoom, he instantly set the tone for great informal discussion and humour, as he opened with: “You lot must really love radio because it’s blazing outside!”.  

Panellists included: Melvin Odoom (chair & radio DJ / presenter, BBC Radio 1), Creative Access alum Naomi Julien (social media assistant, Kiss FM), Faron McKenzie (head of station, BBC Radio 1Xtra), Shivani Sharma (producer, LBC Radio), Robbie Wojciechowski (assistant producer, BBC audio science).  

Career lessons learnt 

You don’t get into these roles or reach the heights our panellists have without learning a lot along the way. For 1Xtra exec Faron McKenzie, resilience is key: “You get confronted with things to see if you can really push through and to push through those blocks is real passion.” This sentiment was shared by Kiss FM’s Naomi Julien and LBC’s Shivani Sharma who both discussed the ways their flexibility and open-mindedness has been rewarded at work. Naomi said problem-solving and being flexible was integral to working in social media, where things can abruptly change and she has to adapt quickly.  

LBC’s Shivani told the audience that trying things outside of her first passion – journalism- led her to production and she encouraged the audience to be open to new opportunities. BBC Audio Science’s Robbie, reflected on his younger days spent in a youth club in Brixton, where he discovered a space that was incredibly creative, and emphasised being around people that enhance your passions. Melvin’s story was a lesson of perseverance, as he started at the BBC as an assistant with Rickie Haywood-Williams but wanted to be on air: “No one wanted to hear our voices”. After not giving up and winning a competition to be a radio presenter, he got signed with Kiss and the rest is history.  

Setbacks 

Careers have gone in unplanned directions, there’ve been setbacks, and there’s also a lot of ‘stuff’ that comes with being human in a fast-paced, creative industry like radio broadcasting.  

For Faron, music was the passion that brought him here, and by no means was a job like this going to fall in his lap. He described his early experiences; humble beginnings that included washing pots in a BBC building in Birmingham, listening to pirate radio, – and his innate curiosity for music, having grown up attending church with his gran and reading the inlays of CDs and records. Faron conveyed that the reality that these challenges were also experiences that contributed to his success. 

Shivani spoke about the challenges of not getting the job she wanted and being turned down for the BBC journalism trainee scheme as a graduate. She gave the comforting advice: “Don’t trust anyone who just lands their dream job straight away”. LBC wasn’t part of her plan, but it ended up being the right place for her. Naomi similarly explored various career paths, originally wanting to be an audio producer. It was in the middle of a job interview that she realised she wanted to create content. 

Being a neurodivergent radio producer 

Robbie spoke of his challenges in radio through the lens of neurodivergence, and this was really helpful insight that we want to avoid paraphrasing, so here it is: “I have autism and ADHD, and every day there’s a curveball. Learning to be confident in who you are and speaking up for yourself has taken me years and there’s been tricky moments, lots of bosses that didn’t understand me. I changed jobs ten times [Robbie was an ex-journalist at NME]. Learn where your heads at, and speak your mind and your truth. The BBC is uncomfortable to work sometimes, with the structure and the hierarchy, but peer networks and support can help along with being confident. It’s not linear.” 

One piece of advice for their younger selves 

Faron: Just keep going! Blend resilience with creativity. Don’t leave your identity at the door because being unique is how you generate amazing content.. 

Naomi: Throw yourself into it, no matter what. Get involved and speak to everyone. 

Shivani: Keep a record of everything you’re doing, any experience, any freelance work. You don’t realise you’re getting so much experience. You can then make a diary or a showreel. 

Melvin: Sometimes you’ll fly and sometimes no one cares about the short black guy from Radio 1. Manage your brand. So, change your mindset on networking. Don’t see it as a fail if you didn’t tick a box and talk to someone. You leave an impression when you are yourself. 

Robbie: Document the culture around you. Archive what you’re involved in. Having questions and working them out with your friends is best, you don’t need an expert guest! 

Getting into radio – “just do it” 

If you’re wondering how to get your foot in the door, Faron says it’s simple: “you’ve got the tool in your pocket to create content”. All the panellists agreed that with a smart phone and some friends wanting to tackle a question or a topic, you can create your own content. They advised keeping your LinkedIn fresh e.g. fill it up with recent recommendation from people you’ve worked with, build your brand on social media, and be analytical about what you like about others’ content so you can apply it to your own. Teaching yourself the technical parts (YouTube is your best friend here) and learning how to become a good listener will also set you apart. Melvin advised bringing authenticity and purpose to it: “Radio is such an intimate form, if you are faking it, they will know. You can hear people smile on the radio! My rule is it doesn’t have to be right, it just has to be funny. I’m gonna have a beginning, middle and end.” 

Best and worst days: the radio version 

The panellists were intimate and honest with this audience question. There have been many challenges for these professionals and most had met problems that they couldn’t solve from answers in a book. For Melvin, it was the day of George Floyd’s death. He is someone whose purpose is rooted in making people laugh and he said ever so sensitively: “It’s my job to talk, and I didn’t know what to say”, but he still went live. For Robbie, he talked candidly about experiencing a panic attack at work whilst with a guest on the podcast, and how he navigated that as a producer. 

Melvin summed up the best of that radio can bring when he said, “There are no normal days in this industry, I could be buying antiques with Gemma Collins one day or covered in custard at the CBBC the next.” 

It was a wonderful evening and we want to thank everyone involved. Melvin also wanted it to be said that to all the people who are the future of radio in the Creative Access: “When you’re a boss in a radio, please employ me!” 

Listen to the recording:

This week’s masterclass saw our community welcomed into Smarts’ Agency offices in Covent Garden to hear from an expert panel about the various different roles that make up the PR & communications industry. Our community got to put their questions to PR leaders, influencer specialists and marketing professionals and network with said experts and their peers!  

Award-winning PR agency Smarts is shines in traditional PR, as well as modern practices from influencer management to content marketing, helping brands such as Diageo, Zalando and Booking.com to be culturally relevant. Smarts is one of PR Week’s fastest growing agencies and were named PR Week’s One to Watch for 2023.  

Chaired by European CEO, Greg Jones – who has 26 years’ experience in the industry – the panel included Yen Bui, part-time influencer manager at Smarts and part-time freelancer; Vicky Janway, chief client officer at The Gate London (part of Smarts); Nneoma Ulu, a communications director at Smarts with over 12 years’ experience in brand communications; and Rachel Watt, a communications director at Smarts who works exclusively on the Johnnie Walker whisky global account. 

One thing our panel were keen to emphasise was the fast-paced nature of PR, talking of everyday campaign and project multitasking. Vicky said: “The fast-paced nature of it is so energising when you’re in the thick of it. If you enjoy flitting between projects, then this is your industry”. This can be ideal for anyone who has lots of different interests, Nneoma added the main reason she loves working in comms is because “no two days are the same and there’s not many industries where you can be constantly curious, learning and excited about what you do”.  

While the excitement of working in a fast-paced environment and meeting all kinds of people may sell the industry to you, all of our panellists kept coming back to the one core skill: creativity! When explaining why she is so energised by the industry she works in, Vicky said, “When you get a brief from a client to do something, you’re essentially starting with a blank piece of paper, and you get to manifest what that turns into, for example, when it gets put in the news. The product we sell clients is creativity.” While Rachel wanted to let the audience know that “there’s a tendency to worry when you’re starting out that your ideas are silly, but you should expand your ideas as much as possible by looking at industry news and going to exhibitions.” 

Nneoma implored the audience to make the most of their transferable skills – creativity and inspiration being one of them. “Being proactive, being open to experiences, how you view the world: everything is transferable. Probably more than any other industry, people want to know what you’re interested in more than anything.” She reassured the audience that while it’s good to have communication skills – they can also be taught; what’s really important is having a passion and letting it shine through.  

Vicky built on this and advised the Creative Access community that as passion can be an overused word, think about it through the framework of curiosity. “What do you gravitate towards that gives you creative inspiration?”, she continued that it’s important in interviews to frame the word passion with an explanation of what it is about PR and comms that makes you passionate. Ultimately, use your interests and sell them as part of your value. Nneoma added: “If you have a real interest and have done a bit of work experience, or have started a blog, or started your own TikTok channel, all those things show your value!” 

Yen and Rachel both agreed that confidence helps. However, Rachel emphasised that confidence doesn’t mean you “have to be the loudest person in the room” telling the audience that “some of the best people I’ve worked with in PR are the hidden gems”. But one thing our panellists did vouch for was that when working in PR you have to be a ‘doer’. Yen explained: “It might sound obvious but need a good work ethic when you work in influencer marketing, you have to be proactive”.  

Because comms is a fast-paced and deadline-driven industry, our panel emphasised the importance of having open communication with your line managers and teams to ensure you receive the support you need. “You’re ultimately all part of a team”, said Greg. While Nneoma explained that no one you work with wants to see you struggle. “Ask your manager to help you with your to do list, ask them to help you to prioritise and what can be pushed back. Be open and solutions-focused,” she told the audience. All of our panellists explained that as an industry, PR and communications is full of supportive and enthusiastic people who want to see you thrive and develop.  

Yen reminded the audience to set boundaries and when you are feeling stressed, and that you have to remember, “this is just your job”. She explained her unique position as a freelancer allows her the privilege to turn down projects that she doesn’t stand behind. However, speaking from a permanent employee’s point of view, Greg stated that in 26 years he’s never worked on a project which was completely at odds with his morals – because he has always worked at agencies which share his values. He advised anyone searching for a comms role to do online research and drill in to questions about how the business selects which clients it works with in interviews.  

Finally, Rachel left the audience with some parting advice for what she’d tell her younger self: “develop your skills in the workplace, you don’t have to know exactly what you want to do when you’re first starting out”. She explained: “I now have more to bring to the table than I did when I first started out, so if I wanted to go into a different space or a career, I have more to offer. Get your foot in the door, start out where you can, and later down the line you’ll work out what you’re good at.” 

This masterclass was extra special as we also announced two brand new internships with Smarts! Check them out here and don’t miss the chance to join one of the most exciting agencies in London.  

There was a huge turnout from the Creative Access community last night who ventured through the hard rain to Shoreditch’s Oliver’s Yard to hear their questions answered by a panel of publishing industry professionals. And who better to shed light on the sector for our budding individuals than a panel of experts from across Sage Publications in part made up of Creative Access alumni? As an independent academic publisher that Creative Access has worked with to widen diversity for many years, their mission to ‘build bridges to knowledge’ is an inspiring one.  

The panellists held a variety of roles; CA alumni Machoechoe Oteng – associate editor (journals editorial), Sehar Nizami – marketing communications manager, David Lin – associate product manager, and the chair of the evening, Kiren Shoman – senior vice president. The audience deserve a nod too, for having brought with them questions that covered decolonisation, career daydreaming and the rise of de-emphasising academia. Read on for the evening’s highlights and wisdom… 

Why publishing? 

Around 29,000 people are currently employed in publishing and 70,000 people within the (growing) sector. Research shows that TV and films that have been adapted from books are significantly more successful and popular than original screenplays. When senior vice president Kiren Shoman reads out these statistics, it reinforces that publishing in all its forms is important! 

The humble beginning of Sage is worth a read and explains its specific commitment to social science research. ‘Most people see trade publishing as the sexy place to go to, we want to change your mind about that!’ said Shoman who detailed the specifics of what academic publishing covers: books, journals, and library resources. She also emphasised the different jobs in publishing that one can have at Sage; agenting, audio, digital development, marketing, sales, the list goes on. Panellist and associate product manager, David Lin, proved to be great insight into the modern roles within publishing as he discussed his work in developing the vision of the company, product strategy and how they’re using augmented reality -in-training.  

The major takeaway? Set your sights wide in the sector and keep an eye out for a number of (TBA) internships launching at Sage via Creative Access in various departments this summer. Sign up to our opportunities board if you haven’t already! 

Breaking barriers and big breaks 

‘I broke the door down’ said marketing communications manager Sehar Nizami, referencing her fierce determination to get into publishing – which is sometimes thought to be a competitive and exclusive club. Conversation surrounding access dominated a big portion of the evening and the panellists had great insight. Nizami prefaced her story with ‘please don’t do this’ but told the audience she had called every publishing house and pleaded for any kind of experience, until eventually ‘someone got so tired of my voice they put me through to HR’. She graciously said how thankful she was to CA for the internship that followed later in her career, as was fellow alumni Machoechoe Oteng, associate editor at Sage. For Oteng, her career journey ‘was not a narrow path’ and as a history and philosophy graduate, she had no background in publishing, but applied for a role in the production technology development straight out of university and via a CA internship has worked her way to associate editor.  

How to sell your experience 

How can I fit half a lifetime of work onto a one-page CV? How can I show that raising children is invaluable experience? Is my role as a bookseller for a large retailer enough for an entry-level role? Do I have to be ‘young’ to be an intern?  

These were all excellent questions from the audience and we learnt that according to Shoman and those at Sage: ‘it’s what you can be, not what you’ve proven to be’, so you don’t need all the experience when applying, instead focus on your potential. A lot of publishers don’t require a degree for an entry-level role, they want your appetite and passion. In response to the question of retail experience in bookselling, Shoman advised highlighting the transferrable skills that a role gives an individual and how it would translate to a sales position at a publisher, ‘there’s no reason you shouldn’t apply if you can demonstrate an interest and how that interest translates to skills.’ 

In response to the question of raising children, the answer was helpful for everyone in the room. Shoman answered that when you have a variety of professional experiences, which includes raising children, you don’t want to list them all on a CV. You’ve lost your reader if your CV is four pages long. You need to tailor it for the role you’re applying for, so pick specific experiences that demonstrate that the relevant value and skills you bring. Nizami suggested keeping it brief with bullet points and bringing in the ‘human’ element to your application in the cover letter i.e. ‘I would also bring being a parent into this role in X ways’. 

As for being a certain age and applying for internships, Shoman said that if you’re comfortable applying for an entry-level role then do so, and fight back ageism wherever you see it. 

Top tips 

Hot off a promotion, Lin was passionate about the ‘growth mindset’ and how a student-like curiosity and pursuit of continual growth can project your career further and help avoid staying stagnant. He suggested weekly meetings with your manager to discuss your strengths and areas for development. Nizami echoed this with the advice to get involved in as many activities and projects as possible: ‘Be empowered to submit your interests and if something isn’t already set up, set it up yourself’. Oteng advised shadowing people in other departments and emphasising your passion. She herself didn’t meet all the requirements for her role but she showed her passion and why they needed her. Shoman stressed the importance of researching the company you’ve applied to and that in your cover letter it will matter if you’ve clearly spent time getting to know them.  

There were many more questions and interesting discussions, which you can catch up on by watching the footage of the evening which we’ll release soon! 

A big thank you to our panellists, our community and to Sage Publications for opening up your offices, wisdom and SMEG fridge of drinks and snacks to us all. See you at the next one! 

Watch the masterclass here:

What are creative organisations doing to respond to the climate crisis and what jobs exist in this sector? Our latest masterclass focused not only on the roles available in this growing space, but our panellists also advised what our audience can do in their own workplaces, communities and careers to push forward climate solutions.  

Our panellists occupied very different roles across the sustainability space. Zoe Constantinou feeds into a more corporate environment as a sustainability manager at ITV in its social purpose team, whilst Creative Access alumni Anthony Shehan Lewis works as a digital campaigner at established campaigning organisation Greenpeace. Destiny Boka Batesa is the co-founder of Choked Up – a grassroots campaign founded by herself and two friends at the age of 16, focusing on the disproportionate impact of air pollution on marginalised communities. Our chair for the evening, former Creative Access intern, Sunita Ramani is a climate justice campaigner and account manager at Greenhouse Communications, a PR and digital communications agency specialising in driving positive environmental change.  

“We’re all fighting for the same cause but we’re speaking different languages” – Destiny 

Our panellists told us that while they’re all fighting the same battle, they sometimes have to speak different professional languages within each space they work in. Zoe ensures that ITV plans and organises strategies which make the business and its productions more sustainable. She explained that a huge part of her job is people management and says this is a skill you’ll need in any social purpose career: “You’ve got to translate your purpose into business and finance terms”. Continuing, Zoe says she recommends putting a positive spin such as explaining how caring about the planet will help the business model: “The business doesn’t know how to respond, so we are the translator saying this is what you need to do.”    

Shifting dialogue depending on who’s listening is something Destiny can relate to. Choked Up’s overall goal is for the UK to create an up-to-date version of the Clean Air Act (which was last updated in the 1990s). The campaign aims to tackle disempowerment around climate justice in Black, Brown and working-class communities. Whilst “it’s been really great to speak up for our peers and our families”, Destiny says that she often has to code-switch in political spheres explaining, “we have to find some sort of rhetoric to resonate with an audience who might not ordinarily listen to us”. Despite dealing with imposter syndrome, Destiny says it’s imperative to empathise and use that empathy to make people listen. 

Meanwhile, Anthony says he’s privileged because at Greenpeace he gets to make “outrageous memes” about the climate crisis to engage the public through digital campaigns. He says that online engagement is a vital part of his role – alongside everything from encouraging people to write letters to their MP to making TikToks – it’s all about galvanising people to take action. This is ultimately what wins campaigns and ties into Greenpeace’s mantra of ‘people power’. Anthony stated that Destiny and Choked Up are a great example of this. However, he also added, the movement needs people like Zoe in businesses to lobby the people above them.  

“One thing everyone I’ve met in the sustainability space has in common is the thirst for knowledge” – Zoe 

All our panellists stated that they had no idea that jobs in this sector even existed when they first entered the world of work. Both Anthony and Sunita were involved in climate action before finding their internships at Greenpeace and Greenhouse Communications via Creative Access respectively. Anthony worked as a street fundraiser for Greenpeace in Brighton after graduating without having much interest in politics or climate justice. However, despite not being the best street fundraiser – “I think I lasted about two months” – the experience inspired him to get involved with local grassroots activism back in London. He applied for an internship at Greenpeace, and has stayed for 6 years, working on campaigns ranging from plastic to palm oil and ocean protection, with a new campaign on deep-sea mining dropping next week (keep your eyes peeled!). 

Meanwhile, Sunita was involved in activism at university and knew she wanted to do something creative that also helped to tackle the climate crisis, but just didn’t know what was out there. Sunita found the internship at Greenhouse via Creative Access and, like Anthony, has stayed and progressed there since. Sunita works with businesses, NGOs and activists to get the message out there, and her role sometimes requires lobbying the government or businesses. Last year, she was even able to attend COP27 in Egypt to support a coalition of organisations in food and agriculture. 

Zoe has worked in sustainability for a couple of years but admitted she had a bit of an ‘odd journey’ into the sector. After graduating into the pandemic, she worked for a TV catering company and realised that she loved the TV industry. However, through this role she realised how much food waste there was in the TV and film industry and decided to address it in her career. She pitched to a company on reducing their food waste to improve their image, made contacts in the industry and became the first food waste professional in TV and film. Zoe recommended that the audience learn as much as they can about their niche or passion within the sustainability space to propel their career forward in the ever-changing landscape. She spent her evenings attending free courses to upgrade her knowledge and recommends CPD as a great source! 

“You have strength in numbers, which is the people power element of campaigning” – Anthony 

One thing that really came through in last night’s masterclass was that no one can fight climate change on their own, with each panellist reflecting on how each of the other speakers’ roles contribute to saving the planet. They talked so inspiringly about drawing on your communities, be that in your local area or your colleagues, to find ways of addressing the issues affecting you.  

Our panel ended the session with their recommendations to anyone looking to change things in their day-to-day lives. Destiny – who had been mentored by The Advocacy Academy who helped Choked Up develop their road sign campaign – emphasised the need to draw on your networks when implementing campaigns and ideas. She stated, “Start that conversation. There will always be something you share in common with someone that you can work on.” Zoe echoed this and said, “you have no idea what influence you have on the people around you”, with Anthony adding that “you have strength in numbers, which is the people power element in campaigning”. Sunita left us with a final piece of advice for anyone looking to make a career out of their passion: 

“Find what you’re passionate about in this space and what speaks to you. Whether that’s social media, art, or TV. There’s no one climate career, there’s no one way to be in this space. Use your passion as the guiding light.” 

Huge thanks to our panellists for an inspiring evening and sharing their journeys with us and of course thank you to our audience for attending and asking great questions. Watch the session in full here!  

Want to learn more about the roles available in the sustainability space that you never knew existed? Read our blog with Creative Access intern Salomé Revault d’Allonnes who is an activist engagement intern at Greenpeace!