Creative Access welcomed us back with the “How-to turbo-charge your career” masterclass last Thursday. Our own April Brown chaired the discussion with Lynn Blades, leadership coach and advocate for a “workforce more representative of our society” as well as football journalist Ahmed Shooble, who has been making waves of his own writing for the likes of The Times and The Athletic. Together they discussed how to take your professional career to the next level, the obstacles that may arise, how to deal with them, and most importantly – the power in self-belief.

With a new year often comes the desire to better ourselves; to elevate, improve and implement changes that our future selves will thank us for. This includes within our work lives – everyone wants to level up, to reach that new position, or to smash goals in an existing one, but the idea of change might be scary. Turbo-charging isn’t about getting somewhere quickly, but more so the small actionable tasks we can undertake to build the ladder to get to that place.

Ahmed, a Creative Access alum who is now a journalist writing for one of the biggest sports websites in the world, stresses the importance of knowing you are in control. “It’s not a race, but a journey,” he says, as he explains his route into sports journalism. “Know where you want to be, which publication, then figure out whose attention you need to get – work backwards.” It’s so important to show initiative, and know you are in charge of your future. Lynn adds how vital it is to be mindful, taking time to think about your ambitions and achievable goals. Sometimes all that’s needed is a step back to see things as a whole, and look at specific skills you’d like to improve on or acquire.

Networking is key to levelling up. When asked about the importance of networking online, our panellists had lots to share. Lynn, who works with the best and brightest as well as a slew of very impressive companies such as Nike, BBC, and Sony, spoke about LinkedIn. With 74 million viewers, LinkedIn can seem like a never-ending pool of people sharing their achievements, but with only 6 million original posts, it’s vital you make yourself known and celebrate your accomplishments – no matter how small! Ahmed added that it was through keeping contact with someone he’d networked with online, that he found his current job.

Ahmed then continues, explaining that his turbo-charge was aided by a journalism degree. This is not to say that this is needed to get into sports journalism, but the lesson here lies in the initiative he used to push himself to get one. “Degrees aren’t essential, I didn’t get one at first”, he explains before sharing his other tips. Employers want to see that you are willing to learn and grow, and a lot of companies offer training in-house – you should take advantage of this if it is available. If specifically looking to get into journalism, Ahmed advises contacting commissioning editors and making sure your pitch is above par. How is this done? By explaining why this is the publication for you, and what ideas you have to offer. “Don’t give everything away” he warns, “lay it out like a conversation”. We learn that pitching can sometimes be brutal, but Lynn adds “if you can’t fail, you can’t succeed” and suddenly failing doesn’t seem so fatal.

Sometimes we can face difficulty on our way to success. Lynn bravely shared her experience of harassment in the workplace, and harrowingly, the little that was done to support her. This was her calling card to leave, and she found several opportunities available to her. She cautions our listeners not to “let a big head take over” and think carefully about the chances we are given. Not every position will be a dream job, but the transferable skills and doors that could open can sometimes make It all worthwhile. April, our chair, spoke of her struggle with the culture of unpaid internships, an issue Creative Access is working tirelessly to change.

Ahmed agreed, speaking of his own clashes with imposter syndrome and wondering whether his skin colour was the reason he got the job. 85% of people in positions of power experience imposter syndrome – so an experience that can often leave us feeling inadequate and alone, is a lot more common than you might think, which is even more reason to talk about it and have these difficult conversations with your peers.

Not everyone’s seeds will bloom so openly though, as our audience asked for advice on what to do when feeling lost – an overwhelming emotion that most of us can sympathise with. Our panel reassured us by saying that discomfort is okay! Great things never came from comfort zones, sitting in that discomfort can perhaps teach us what we don’t like, and on top of that, encourage us to go back to basics and ask ourselves – what do we like? What makes us happy? What are our strengths? And build from there. And if you’re looking to change industry, this advice still stands; try sitting, doing some research, and contacting specific individuals in an area you would like to try out.

If big change seems a little too much – start small! Our panel shared some resources they are using to make themselves the best in their respective fields. Reading about what’s going on around you, especially within the field you’re interested in can help you stay in the know. Setting alerts to email bulletins such as Media Beans and Creative Access (shameless plug!) can put you ahead, and can be impressive when cited in an interview. In addition, Lynn shares some apps she uses to stay present in our fast-moving world. She suggests Calm, and regular meditation – there’s strength in steadiness.

As our discussion came to an end, we broached the subject of the future of the Creative industry. The murder of George Floyd sparked a much-needed cry for justice and resulted in many coming together to both educate themselves and spread awareness of the effects of discrimination. Still, there is a way to go, our panel agrees. “A house divided cannot stand,” Lynn says, and she’s right. BCOMP (The Black Collective of Media in Sport), where Ahmed spent some time during a summer internship, is proof our house is still very much divided, but he expresses the significance of “being the change you want to see”. It might be inevitable that you meet unsavoury individuals, but we are growing into a community that sees the necessity of allyship. The future needs more leaders of colour; individuals who stand as beacons, calling to those who feel as though they’d never make it to positions of power. A lot of companies are missing the mark, which can be frustrating but the talent within the emerging generation is also undeniable. If given the chance, this great talent is ready to do some turbo-charging of its own to the top.

If you’re looking for more information and resources don’t forget to follow us on our social media (Twitter, Instagram and LinkedIn) to stay up to date. Our next masterclass will focus on battling the nerves that come with Networking on the 24th of February at 5:30pm.

A special thanks to all our panellists and April for chairing an amazing discussion. Watch the recording below.

Last week, we were privileged to host a Masterclass on how to access and navigate the PR industry with Creative Access Alum and associate director of healthcare communications MHP, Jaber Mohamed, Shereene Witter, vice president, communications at NBCUniversal International Studios and Yinka Akindele, vice president, communications at ViacomCBS UK and chaired by our own director of communications, Bibi Hilton. We learnt the ins and outs of working in PR, the differences between working in-house and in agencies and our panellists shared their top tips for how to get into and thrive in the industry.

Jaber Mohamed started off his career in journalism as a Creative Access intern at the Daily Mail. Jaber worked in journalism for 6 years before deciding it wasn’t for him and pivoting into PR. He worked in communications in the public sector, including within the Department for Transport and the Cabinet, before becoming the Chief Communications Officer for the Department of Health and Social Care, where he served as Chris Witty’s chief of press during the Covid-19 pandemic. He then moved into private healthcare communications for communications agency, MHP.

Shereene Witter started her career in communications with an internship through the Taylor Bennett Foundation. She began her time at NBCUniversal International Studios in 2017 as a communications manager and moved up the ranks to become vice president of communications last year in 2020. She is passionate about “helping the next generation of television makers get their foot through the door” and is an ambassador for ‘No Turning Back’, which aims for 20% of all communications professionals to come from Black, Asian, minority ethnic communities.

Yinka Akindele has worked across in PR across the broadcast media and tech sectors within both the corporate and consumer experience spheres for over 15 years. As vice president of communications at ViacomCBS UK, Yinka oversees the management of all ViacomCBS brands in the UK, including Channel 5, MTV, Comedy Central and Nickelodeon. Prior to this, she was head of PR at Yahoo UK and Ireland.

Bibi has over 20 years’ experience working in PR. Before joining Creative Access, she was Managing Director of PR agency Golin, where she launched progressive initiatives such as a returnship programme and ‘Golin B&B’, which sought to help people from under-represented communities access the industry. She is also a former President of Women in PR and in 2020, she was awarded the PRCA Trailblazer award for her work in DE&I.

When discussing what drew them to PR and communications, our panellists all discussed their love of writing, language and storytelling. But Jaber was quick to reassure the audience that having a degree in English is not the only way to gain the skills needed for the industry, having done a medical science degree himself. He said, “you don’t need to have loads of writing experience to make it in PR, but have an interest and learn how to do the basics.” He said that when it comes to practical skills like writing press releases, you must:

Similarly, our panellists stated that they were all sociable people – another factor which drew them into the industry. Shereene explained that “PR is about people” and therefore, learning how to communicate and network with different people is a key way into the industry. She encouraged aspiring comms professionals to “let their passions shine through” when connecting with people in the industry because, ultimately, working with people is all about how you fit into the team dynamic. Your unique interests will make you stand out against others, even if they have more experience than you. Another important point that all panellists agreed with is that “you’re always learning in comms”. Yinka told us that working in the industry is “all a building block”, no matter how senior you are, you always have more to learn. Shereene stated that she learns as much from her interns as she teaches them, leaving the audience inspired to have confidence in their skills and opinions, even if they don’t have years of experience or the skills that are typically expected in PR.

All three of our panellists wanted to acknowledge the challenges that the pandemic brought to this ‘sociable’ industry, which relies on networking. Yinka explained that the social aspect is one of her favourite parts of her role, but it is now “on temporary hiatus” due to the pandemic. Bibi asked Jaber what it was like working in frontline comms for the Department of Health during the height of the pandemic. He emphasised the stress of living through the event, as well as working on the story impacted his and his colleagues’ mental health. At points, they were releasing “9 press releases a day” about everything from vaccines to daily figures to PPE advice. Despite this, he recognises how the media appetite for health stories has increased, making it an exciting time to be working in healthcare communications, especially at firm like MHP.

Meanwhile, Shereene’s perspective took into account the murder of George Floyd in combination with Covid. She explained that the period forced a moment of self-reflection. After years of struggling with imposter syndrome in an industry that can too often be a ‘boys’ club’ and perceiving herself as “a young black woman who didn’t really feel like she could contribute”, she began to remind herself of her capabilities.

Of course, you will face challenges in your career; PR can be a busy and fast-paced world. Yinka discussed the fact that when she entered the industry, it was dominated by those who were privileged and had attended public school; “I didn’t fit the mould”, she said. But she landed her first TV job because of her writing skills, despite not having the experience required for the role, proving Shereene’s earlier point about utilising your passions to stand out and get ahead.

Their advice for dealing with these challenges? Yinka recommends keeping a “calm disposition” throughout it all. Whereas, Jaber said that in the face of challenges, you have to be proactive. “Make the most of opportunities. Creative Access helped me but I had to fight for those opportunities myself. There’s a door, but only you can walk through it.” Again, we were reminded that it is necessary to have determination, but to have belief that your passions and perspectives are worthy and valuable. As Shereene stated it’s “your perspective” and “your opinion on the world” that you need to harness and tailor towards the role that you’re going for.

Bibi stated that, “there are so many different types of roles in PR” and the panellists discussed the differences between working in-house and in an agency. Both Yinka and Shereene work in-house. Both she and Yinka described the benefits of working in-house, with Yinka highlighting that you are really able to “get under the skin of a brand”. However, she added that it is valuable to have an ‘agency’ mentality, even in-house as you work with multiple “clients” and stakeholders everyday

In contrast, MHP is an agency and Jaber stresses that the agency world is very fast-paced. “You get to work with lots of clients and you’re exposed to lots of different things. No two days are the same,” he said. He also told the audience about the breadth of work within an agency, focusing on the different skills you can acquire and areas of interest that you can discover: “You can do everything from writing copy to editing scripts, working with influencers and brainstorming”.

Overall, our panellists stressed that those wanting to get into the industry must make the most of the resources available to them. Bibi wanted the audience to know that, in her experience, most people at senior level remember the difficulties of starting out – they want to give back to the industry and they would generally be open to having a 10minute chat with someone looking to get into the industry and asking for advice. Jaber also advised people to leverage their contacts emphasising the value of having good mentors to guide you. He said: “They’ll be lots of bumpy times, but keep an eye out for opportunities.”

Ultimately, our panel emphasised that you need to have confidence in yourself, whether you have the ‘right’ skills or not, and the importance of carrying that confidence into to everything new you learn. Yinka told the audience,

You have to have as many strings to your bow as possible to ensure you can find a way into the industry. Shereene told the audience to have confidence in themselves and their abilities even in the face of uncertainty, “Be fearless! You will find the role that’s made for you”.

A massive thank you to our wonderful panel! We certainly learnt a lot about the inner-workings of PR and communications. You can watch the Masterclass in full here.

If you’re looking to take your first steps into PR, or if you’re seeking a career change, check out our Opportunities.

For our October Masterclass, we were proud to host three of our Creative Access alumni who delivered an exciting and insightful session discussing their careers so far in the music industry, their advice on how to stand out and how to make connections. 

Our chair Kyle George is a Brand Partnerships Co-ordinator at Warner Music UK, connecting brands like 1800 Tequila with artists such as Ed Sheeran and Kojey Radical. Having studied Law at the University of Southampton, Kyle wasn’t aware of the different roles within the music industry – such as brand partnerships – but used his transferable skills to get an internship at Warner Music through Creative Access in 2018. He has stayed there ever since. 

Kyle was joined by radio presenter, journalist and DJ Kamilla Rose. Kamilla was one of the firstinterns we ever placed in 2012, with TV production company TwoFour where she learnt the “inner workings of a media company”. However, unsatisfied creatively working in “corporate” TV production, Kamilla successfully moved into music. She volunteered at community stations such as Reprezent Radio and Foundation FM and began blogging and interviewing artists on her own account. She then got a paid position at BBC 1Xtra and now hosts a show on Capital and has begun to work in audio production. In 2019, Kamilla was awarded the prestigious Radio Academy’s ‘30 Under 30’. 

Sadé Lawson is a Producer and Creative Consultant, whom we placed with Sony in 2013. Hailing from Scotland, Sadé did unpaid internships throughout university and struggled to find paid work when she moved down to London. She praised Creative Access as the “turning point” for helping her access her first “industry job” which allowed her to get her foot in the door. Throughout her time at Sony and later as a Product Manager at Warner, Sadé had side-gigs such as running events, DJing, forming networks with other creatives and starting up her own production company – COZY – with a friend. She is now freelance and has worked within artist management on the likes of FKA Twigs’ album Magdalene.  

Much of Sadé’s experience in the industry came from her creative projects outside her jobs at record labels, emphasising that these became the things which people began to approach her for. She said: “These things help you stand out because you have lots of different facets to what you do.” Kamilla echoed this sentiment as she didn’t have one “set first job in music”. She explained that whilst volunteering at community radio stations like Reprezent, she was able to gain an insight into the music industry that she wasn’t possible in her corporate TV production job. Through this, she honed her presenting style enabling her to get presenting gigs at BBC 1Xtra and now, Capital. Both Sadé and Kamilla demonstrated that if you are a creative person, you have to throw yourself into a variety of different projects in order to learn. 

Importantly, all three of our alumni recognise the difficulties that come with balancing a career and gaining work experience in the creative industries with the realities of living costs. Sadé knows how “lonely” this experience can be for people trying to break into the industry, especially those coming from outside London with no connections in the city. Kyle, Kamilla and Sadé all recommend planning and to keep reminding yourself that the hard work will benefit your career in a few years. 

A way of breaking down these barriers though, for Sadé, was making connections with her peers working in music. Similarly, when Kyle asked the panel how people can stand out, Kamilla stated that networking is one of the most important things in the industry. She stressed that it was essential to gain the details of all those you work with because without these lines of communications, you might miss out on opportunities for which you are a perfect fit.  

These insightful words are especially true if you are freelance. One fantastic example of the importance of networking and getting to know people within the industry was Sadé’s story of how she came to work with FKA Twig’s management team. Sadé explained that she ended up having a job in the same office as them and having been around them and understanding their processes, when she got the role with the team, was able to integrate into it easily. She emphasised the importance of a management team understanding the artist’s vision, but also how her previous label experience gave her perspective executing the project keeping the label in mind as well as the management and the artist.  

Kyle, who has never been freelance, gave a different perspective. He explained that despite not having a creative background, he took what he could from his degree to make himself stand out. In his applications for music jobs, he spoke about intellectual property, copyright and trademark laws to show his transferable skills for the roles. He advised that:

All three of our alumni encouraged the audience to be open to opportunities, with Kyle urging them to “Apply for everything!”. Sadé and Kamilla also advised people to try different things outside their comfort zone. Alongside this, the panel recommended researching the companies and people that you want to work with and connecting with creatives who are both your peers as well as those who are senior to you. Kamilla was an advocate for harnessing the power of LinkedIn, suggesting people to drop someone a message and say, “hey, can we go for a coffee?”. 

In regards to their hopes for the future of the industry, Sadé said that because of the pandemic, she is now able to work with creatives remotely. She hopes that if the pandemic has changed things for the better, it will be so that people will have the chance to make networks across the world. All three of our alumni highlighted their hopes for more representation within the music industry, with Sadé looking forward to it becoming more accessible for young creatives who are from outside London, or who don’t come from monied backgrounds. Kyle’s hopes also arose from his experiences working within a label, making the point that “initially it felt like all they wanted to hear from Black people was about hip-hop. It feels like that’s all we can contribute, when there’s loads of people making rock, house, pop, all sorts of stuff. That has to change…”. Meanwhile, Kamilla’s hopes focus on those working behind-the-scenes in music and she has a network called the Bring In which aims to equip the next generation with the networks and skills for the music industry. She told the audience that she was looking forward to seeing more diversity in senior positions. 

It was inspirational to have our alumni Kyle, Kamilla and Sadé speak to the Creative Access community about their journeys in the industry, proving that despite the barriers that make the industry sometimes seem inaccessible, getting started in music, forming valuable networks and moving into more senior positions is achievable. So, if you are interested in taking up the challenge to break down barriers and realise your own hopes and aspirations by choosing a career in music, make sure that you check out the current opportunities on Creative Access.

Watch the session in full on our YouTube channel here.

Four creative professionals working for ITV came together to share their journeys through the television industry and their top tips on how to make yourself stand out from the rest in our September masterclass.

The Creative Access community joined to watch Creative Access alumni, Raine Beckford and Mica Rowe, talk with Sonny Hanley, and David Proud to discuss the on and off-screen truths about the industry.

The television industry is often perceived as hard to access, with many of our community uncertain on how to make the first steps to a role in TV. Creative Access, with our mission to give people from under-represented communities access to TV and other creative industries, assembled a panel of pros working in areas from content distribution to script writing, producing and acting, to explore not only how to make it into the industry, but how to get noticed and be remembered and the future of television itself.

Sonny Hanley, Controller of Content Services, spoke of a strong desire to work for ITV that revealed itself at a young age. Passing the building with his mother, he was confident that one day he too would work there. Sonny, taken with the mechanics of television as a young boy, now sits proudly at the helm of ITV’s distribution of its most well-known and well-loved programmes. For Sonny, persistence was key as he told our viewers of his experience of asking for work and being rejected but having the tenacity to ask again – this time being invited to spend a few weeks at the ITV studios to make a documentary. Sonny used this vital opportunity to make contacts and learn as much as he could – and has now been working for ITV for 18 years.

For others, this journey is not so linear. Our host Raine Beckford, who is now a researcher on Piers Morgan’s Life Stories and Mica Rowe, now Assistant Producer on Loose Women, both shared their feelings of being lost and unsure what to do next in their careers. Raine left university with an economics degree, but after thinking about what she enjoyed doing, decided to pursue a career within media, later getting a Creative Access internship with Peston as a runner.

Like Raine, Mica is also Creative Access alum. “I was always interested in stories and speaking to people” Mica said as she spoke of her first job on an antiques show and stressed the importance of a strong work ethic, as working-class woman of colour with no prior contacts in the industry. She is proof that it is possible.

When asked about specific tips our Creative Access community could use to improve their networking skills, David Proud, writer of Coronation Street and proud owner of a new puppy, Alfie (whose cute barks could be heard throughout!) had lots to share.

He spoke of how essential it is to not only network with those above you, but with your peers, as they will be the reinforcement you need to keep going sometimes. Sonny and Mica agreed, both saying how important it is to form connections. “Networking sounds like a dirty word, but because everyone is in it…it’s not so bad!” Sonny added. All members of the panel emphasised getting out there, meeting people and pushing yourself outside your comfort zone, to eventually reap the rewards. David said:

Mica commented on the importance of keeping your CV up to date, as well as making yourself known to the talent managers of various TV companies to make sure you stay on their radars. Creative Access also runs regular CV consultation clinics, specifically created for those wanting to get into television/film, don’t forget to sign up here if you’re interested!

Networking can also help with getting your work looked at, with David’s advice being to find an agent, as well as sharing your work at script festivals, new writers’ avenues and writing spec scripts – but foremost finding your agent as negotiating can be intimidating!

Being genuine and helpful is also vital, as Sonny said:

Being freelance can also be intimidating in nature, the panel revealed. With the changing dynamic of the world, more and more individuals in the television industry have decided that freelance working is their new norm. Mica, who has had the best of both worlds, commented that although being staff allows you to climb up the ladder, sometimes freelance work can lead to more naturally organic connections with people. David had quit a full-time job to pursue a career as an actor at the beginning of his career, unsure of what the future might hold. Freelance is scary, but if we’ve learnt anything, it’s that sometimes it’s worth taking the risk as it can be “both terrifying and exciting” he said.

The past two years have shown just how adaptable the creative industries can be, and this definitely includes the television sector. ITV has had to be more flexible and innovative when building a rapport not only with their audience but with the guests on their various shows. Mica spoke about “thinking outside the box”, especially when it came to building those vital relationships. Things are slowly making their way back to a new kind of normal, as David tells us about writing for running drama, Coronation Street:

ITV pulled together during the Pandemic, and although challenging, it was made easier as everyone had one common goal – to produce and distribute amazing television.

Raine wrapped up our Masterclass by asking for any special guidance on applications. Mica shared how essential it is to make your CV easy to read, avoiding huge blocks of text. Many members of our panel revealed they go through hundreds of CV sometimes, so format definitely matters. Sonny added the strength of a well thought-out, passionate cover letter, with David adding the importance of being honest about your shortcomings, but a willingness and drive to learn and be more. Sometimes it can feel like the odds are stacked against you, but as David said, “don’t let them win…don’t give up!”.

We are very grateful to Sonny, Mica, David and Raine for sharing their time and experiences with us. If you are interested in a career in television, don’t forget to check out our current opportunities. We also thank all those who attended and contributed to the discussion by asking questions to our panel.

Watch the session in full on our YouTube channel here.

We were proud to host a Masterclass with our very own April Brown chairing a conversation with curator and Director of The Chisenhale Gallery, Dr Zoé Whitley. Both April and Zoé have extensive experience in the arts and shared their insights into breaking into the industry. They emphasised the importance of staying authentic to yourself, discussed their passion of making art accessible to a diverse audience and explained what it means to be a curator.

April Brown is a former Creative Access intern, turned Creative Access member of staff. She started her career at LIFT Festival as an Assistant Producer 7 years ago and since then she has continued working in arts and youth engagement at organisations including Somerset House and Tate. She has over 10 years’ experience in developing cultural programmes for young and diverse audiences and now works as Programmes Coordinator at Creative Access.

Dr Zoé Whitley is a curator – and Board member at Creative Access – who started as an intern at the Los Angeles County Museum of Art. She is director of the Chisenhale Gallery in East London; a charity which both commissions art and works to develop projects and relationships with the local community. Zoé has a distinguished background in the arts, having worked in curatorial roles at the V&A, the Hayward Gallery and Tate. She has curated notable exhibitions such as the ground-breaking Soul of a Nation at Tate and the British Pavilion at the Venice Biennale.

April and Zoé both spoke about not seeing themselves in museum and gallery spaces; not being sure that they ‘belonged’. Despite having worked at the V&A for years, Zoé only had the confidence to apply for a curator role at the Tate because it was part-time: “Whatever I thought of as a curator at Tate, I didn’t think it could be me.” Similarly, April stated how she had to do many years of unpaid work whilst trying to break through and was ‘overjoyed’ to be placed by Creative Access at LIFT. She explained that she felt the same as Zoé when she began to work at Tate:

Despite this lack of self-belief at the beginning of her career, Zoé stressed the importance of finding a supportive network that can be trusted to give constructive criticism. When April questioned how Zoé progressed into these leadership roles, she explained that as a Black woman in the arts, having experienced the inter-section of sexism and racism, she never aspired to be leading those institutions. Yet, it got to the point where artists specifically wanted to work with her.

Zoé’s definition of what it means to be a curator goes back to the root of the word: to care. Ultimately, she said, it’s about channelling knowledge into something people can access. She continued that it’s about wanting to be a conduit so that the artwork connects to the audience in the right way

Both Zoé and April wanted to emphasise how their roles facilitated a connection between the audience and the art, explaining that the reason why an exhibition exists is because you want to connect with the audience. Zoé spoke of her desire to make the artist feel happy. She works to prioritise their needs and respect the context of their art. This inclusive approach paid off particularly in the exhibition Soul of a Nation at Tate. “We did right by every artist in the show”, she said, and importantly through this, it connected with the audience.

April and Zoé then discussed what makes a good leader. Zoé made it clear that:

She then stressed the importance of staying authentic to yourself whilst in a role at a big organisation and the value of holding onto your emotional and intellectual curiosity. Zoé emphasised that young people wanting to get into curation should recognise their own power: “I don’t want anyone to talk themselves out of it”.

When questioned on their tips for breaking into the industry, Zoé drew attention to the need to harness your interests and to enhance your skills outside ‘work’, such as starting a zine or an Instagram page, or writing about your interests. Zoé explained that there wasn’t a job she spoke about that she got the first-time round. Likewise, April stated it was her DIY work that was crucial in securing her paid roles in the sector. With this understanding, April recommended recognising the requirements of the role, such as that of a curator, and working out ways to gain those skills without actually being a curator. Zoé encouraged the audience:

Both speakers brought to the fore the importance of self-belief and urged people to recognise that they can be there, even if they don’t see themselves in museum and gallery spaces. Their strong message is: don’t be disheartened by rejection, keep finding innovative ways to put yourself out there and develop your passion.

A huge thanks to Zoé for her inspiring and wise words and to April for being a fabulous masterclass host.

You can watch the session in full here.

We were delighted to be joined by Mark Simon Hewis from the world-famous, four-time Academy Award-winning animators, Aardman Animations in a Masterclass chaired by former CA alumnus Mohamed Orekan, now at Lighthouse Films. Their illuminating conversation spanned from discussing their respective careers, and advice on breaking into animation to how the industry is adapting to become more accessible and diverse.

Mark Simon Hewis is Head of Aardman Academy. He spoke about his upbringing in a small, northern working-class farming village, his struggles with dyslexia, his ambitions to becoming a filmmaker. He was the first in his family to go to university before moving to Bristol where he began to work at Aardman Studios, the home of iconic character such as Wallace & Gromit, Morph, and Shaun the Sheep.

Mohamed Orekan is a Senior Animator at Lighthouse Studios. He secured his first role via Creative Access as intern at Illuminated Films back in 2014. He then moved on toMohamed Orekan Blind Pigs, a motion graphics studio. Despite not having previous experience in motion graphics, Mohamed explained he ‘learned on the job’. Now as a Senior Animator, his role involves supporting Junior Animators. Mohamed advised interns to ask as many questions as possible to “learn as much as you can and don’t be shy”. He continued that if you’re willing to learn, people are willing to teach you.

Mohamed and Mark both stressed the importance of having confidence in yourself and your abilities. It is completely normal to experience Imposter Syndrome at the beginning of your role, but, as Mark says, “we all feel like that”. He spoke about how he did not know growing up that being a filmmaker, or an animator, was even an option. Continuing that he had undiagnosed dyslexia, Mark felt he could not go down the academic route – which again reflects how the industry has changed since then to become more accessible for those with disabilities.

Your background shouldn’t determine your ability

Both Mark and Mohamed stressed their fundamental beliefs that your background should not affect your ability to get into the industry; in fact, diversity is what is needed in the industry to tell compelling stories and reflect the diversity of different audiences. Mohamed passionately highlighted that:

Mark assured that there is no ‘one way’ into the industry. Both he and Mohamed shared their thoughts on how the industry has changed rapidly over the past 10-15 years. Mohamed believes it is easier now to break in than it was even when he began his career. He explained that networking before was impossible if you did not know people within the industry to begin with, however now, with the internet, people can share their portfolios and connect with industry professionals with more ease.

They advised listeners not to be intimidated by the tools and software – these are skills which can be (and often are) learnt on the job. Mohamed and Mark agreed that your role as an animator relies on your talent – not the tools you have, which emphasised Mohamed’s earlier point that you pick up these skills as you go. Mark echoed this:

Win awards from your bedroom

The conversation then turned to the effects COVID has had on the creative industries and animation in particular. Mark and Mohamed discussed how the animation sector had adapted very well to the pandemic and that – because of working remotely – animation has become accessible to more people.

Mohamed stated that the past year has proved that ‘you can do this from your bedroom’ and still win awards. He hopes that companies see the strides they have made to be more accessible during the pandemic and continue to use that model of working. Both Mohamed and Mark highlighted how exciting the future of animation was because of the increasing accessibility and diversity within the industry.

Similarly, Mark discussed Aardman Academy’s ethos to be as accessible as possible to aspiring animators around the globe. He spoke passionately about Aardman’s goal to nurture talent no matter someone’s circumstances. Far too often there are financial barriers into the industry, but Mark explains that:

Harness your uniqueness

Ultimately, both speakers delivered the message that if you find yourself in a role within the creative industries, such as animation, you have done so because you deserve it and you have a passion for it. Your background and previous experience all feed into the unique perspective that only you can offer your industry. Mohamed and Mark both drew attention to the importance of harnessing your uniqueness and not letting self-doubt get the better of you. You can watch the session in full here…

We know so many of you want to get your foot in the door of the publishing world, so we assembled a fantastic panel for our latest Masterclass from The Bookseller’s Publisher of the Year, Orion Books, to give you all the advice needed to stand out from the crowd. Chaired by Creative Access alumna Tanjiah Islam and featuring another Creative Access alumna, Rhea Kurien, here are the tips you need to thrive in publishing.

Patricia Deever, Publicity Assistant for Orion Books, has been working for the company for two years. She graduated from university and attended the Hachette Insight into Publishing Day where she had an eye-opening experience. It was then that she realised that publishing was the career sector for her. Patricia started as an intern for Hachette and worked in the marketing department before rotating to the children’s editorial department. She secured that traineeship by getting feedback, getting inside knowledge on publishing, being creative with her pitch, showing commercial acumen, and letting her personality shine through.

PR is versatile and Patricia made it clear that “no two days are the same in this role.” Patricia believes that bringing your best to the role and having confidence in your skills and background are also important. While she doesn’t think you necessarily need a master’s degree to progress in publishing, she does think it’s important to “have fun and be creative with your application and make your own opportunities.” When asked about making your application stand out, Patricia said:

Jasdip Nandra is the perfect example of how transferable skills can be truly valued in the publishing industry. Jasdip has a varied background. He studied science and achieved a master’s degree in Chemistry, yet he is now the Finance Analyst for Orion Books. Being a publishing outsider, Jasdip had to learn about the publishing business and discover why it’s “a weird and wonderful world, but a personable area to be in!” When he changed his career, Jasdip had to be adaptable to excel in a new environment. He had to learn about the trade and know what his strengths and weaknesses were. Making contacts from the sector and making himself known was key to his success.

Ultimately it paid off, as Jasdip felt he could apply his existing skillset to his new role well and continue to make new connections. Finance plays a bigger role in publishing than some people may realise but it’s a journey, a process that every book goes through and Jasdip, the skilled problem solver that he is, is there to make sure it runs as smoothly as possible. What does Jasdip think is important to bring to your new publishing role? Life experience. Orion wants to bring in as much life experience and diversity as possible. What have you learned? Who are your contacts? How do you complete your projects? These are driven by your life skills rather than education and that’s the best thing you can bring to your interview.

Chair of the Masterclass and CA alumna, Tanjiah Islam, is the Marketing Assistant for Orion. Tanjiah was placed by us as an intern at Scribe UK Books and she thought she would become an editor. Then Tanjiah found marketing and she realised that editorial was not for her. After applying for many marketing roles, she landed this one with Orion. Tanjiah put the work in to make her CV and personal statement shine by tailoring her application to this specific role. So, what is it that Tanjiah looks for in your applications? Tanjiah is looking for your passion and research in your applications as well as your communication skills and confidence. She wants to know why you’re the right person for the job and what you would bring to the role and company. Do you know the company’s core values? It’s something you should definitely know and research when applying for a role.

One of Orion’s values is every story matters. Tanjiah really wants to know not only why she should hire you but why she must hire you. An important point to remember from Tanijah is “Your experiences and your voice shape the narrative and understanding of the world, so we need as many different voices as possible in the industry.” As the cool kids say, “trust your sauce!”

Fellow CA alumna, Rhea Kurien was placed by us at Harlequin UK and has since risen to become Digital Editorial Director for Orion Dash. How did she rise to this position? Well, apart from being brilliant, Rhea made sure she networked with colleagues and made sure she was someone people wanted to work with. Before working for Orion, Rhea actually made the decision to leave the publishing industry and work in the charity sector. Books, however, kept calling her name and it wasn’t long before she rejoined the publishing world as an Editorial Assistant before working her way up the career ladder and also becoming Commissioning Editor for Head of Zeus.

Proving there is no harm in asking for help, during her career progression, Rhea reached out to Creative Access for guidance, and we were able to help by finding a mentor who believed in Rhea and saw her potential. Rhea strongly believes that networking in publishing is vital. Whether it’s emailing a potential colleague, complimenting their work, and establishing interests to making friends in the industry, networking is the most important thing you can do. A highlight of being a CA intern for Rhea? Making so many friends!

We are extremely grateful to Patricia, Jasdip, Tanjiah, and Rhea for sharing their knowledge and advice in our Masterclass. Thank you also to those who contributed and took part in the discussion. For those of you who are looking for a role in the publishing sector, be sure to check our opportunities page.

You can read Rhea’s blog for interview tips here.

You can watch the full Masterclass here.

The team behind the Manchester International Festival (MIF) shared their varied career journeys as well as insights into working on major events with our community in our latest industry Masterclass.

Ebony Montague chaired the discussion. Ebony joined MIF in 2019 in the role of HR Administrator, having previously worked in a call centre environment. Working across recruitment, induction, training and development Ebony supports the wider MIF team. In opening the discussion she spoke of how exciting, challenging, and rewarding it was to work in events. She then introduced four of her colleagues and, between them, they spoke all things career paths, career tips, and festivals.

Kiah Simpson joined MIF in 2018 as a Content Producer, developing content that communicates the work of MIF and The Factory and that sparks discussion. He also works closely with creative teams on projects that involve new, cutting edge digital technologies. When asked about what he enjoyed most about working in festivals, he explained that it was the ability to collaborate that fulfilled him:

Having joined MIF in 2018 after a career acting as Director of Castlefield Gallery and a variety of freelance roles, Kwong Lee is one of the MIF’s core Producing team and is responsible for taking new commissions/events from development of the idea to its presentation to the public. Kwong spoke about the attitude needed to succeed in the demanding and ever-changing world of event production. He advised going above and beyond and showing a real thirst for learning.

Rosannah Jones joined MIF in 2018 as Creative Engagement Assistant having previously undertaken voluntary work with young people and worked in Events and Customer Service jobs, before moving into her new role at MIF as Engagement Coordinator. She spoke of her love of working with the local people of Manchester to put on this event. She also added that even in a junior role there is a misconception that you can’t make a difference. However, she was adamant that ‘you can absolutely do that’.

Yvonne Hepburn-Foster joined Manchester International Festival in 2018 as Trusts & Foundations Manager, having gained experience in the corporate, cultural and voluntary sectors. She spoke about her own journey and left the audience with a fantastic piece of advice.

We would like to thank the MIF team for sharing their experiences with us. If you are interested in a career in the creative industries, don’t forget to check out our current opportunities. We also thank all those who attended and contributed to the discussion by asking questions to our panel.

You can watch the full Masterclass here.

Four creative professionals working for The Guardian across advertising and journalism shared their career journeys with the Creative Access community in a wide-ranging Masterclass chaired by Creative Access alumna Jacqueline Otagburuagu.

Adam Foley, Director of Advertising, UK, spoke about his journey from a small town in Devon to The Guardian, via a range of roles in food, magazine publishing, music advertising, and media agencies. As one of the first in his family to go to university, he spoke about his passion for the intellectual challenges of using the sum of his experiences to gain a competitive advantage in a very challenging and fast-moving advertising landscape. He cited the ability to speak truths, and “challenge lazy thinking” as one of the key qualities that has enabled him to succeed in his career. Speaking of the importance of diversity of thought and experiences in the advertising sector, he said:

Imogen Fox, Executive Editor, UK Advertising, shared her experience of attempting to break into the fashion industry with no connections. For her, this involved working for free for two years (whilst working on the side as a cleaner). Her own perseverance and resourcefulness opened up opportunities to work on fashion shoots, and eventually took her around the world. She arrived at The Guardian on their fashion desk, but has since found that her editorial experience is valued in the commercial arm of the business, where she now works with brands and their branded content. Speaking of moving from one area of expertise to another, she said:

Joseph Harker is a long-time friend of Creative Access, as a member of our Advisory Board. He has seen journalism in the country change since the 90s, but is still adamant that more change is needed, even in relatively liberal organisations like The Guardian. When he started in journalism, he noted that “there was no interest in bringing in outside voices”. Now, as The Guardian’s deputy opinions editor, he is responsible for bringing fresh, insightful voices on emerging or established issues to readers. When asked why opinion columns are needed, he explained:

“News happens, but how we interpret the news is what’s important. [Other voices] are important parts of how we form our opinions on what we’re told is news. For our own safety, but also for our general knowledge of the world and knowing what’s going on, it’s important we give voice to people from all different backgrounds.”

Our very own Creative Access alumna Jacqueline Otagburuagu led the discussions. She has worked at Guardian Labs for the last year as a multimedia producer. She brought her own energy and experiences to the conversation, allowing a wide range of topics to be explored. She shared her own journey from her days as a Creative Access intern at BBC History, and the employment and moral challenges she has faced as she has navigated a career across several creative sectors. Speaking of what’s driven her to where she is now, she spoke of her compulsion to explore the unknown:

We are very grateful to Jacqueline, Adam, Imogen, and Joseph for sharing their experiences with us. If you are interested in a career in advertising or in journalism, don’t forget to check out our current opportunities. We also thank all those who attended and contributed to the discussion by asking questions to our panel.

You can watch the full Masterclass here.

In the week where it was announced that theatres in England might reopen by mid-May, we were delighted to have our minds opened in a Theatre Masterclass during which Kwame Kwei-Armah, the Artistic Director of the Young Vic Theatre, joined Creative Access alumna Olivia Nwabali for an engrossing evening of conversation that flitted effortlessly between the practical and philosophical.

Olivia, who was previously a Creative Access trainee at the Barbican, is now Kwame’s Executive Assistant and the “better half of my brain” according to the man himself. She skilfully guided the discussion through topics as diverse as the Black Plays Archive that Kwame established, the value of networking within the industry, and the very future of theatre.

“Your voice is everything”

It was a discussion where Kwame’s experience of carving out a successful career in the creative arts was the central theme. Kwame spoke about his own ascent, and attributed his innate “restless curiosity” and boredom of waiting for opportunities as key drivers that propelled him from becoming an actor to a writer, then to a director, to now being the artistic director of a major arts organisation.

“I didn’t do all those things just so that I could get into an institution; I did all of those other things therefore part of my journey is running an institution” he relayed.

In 2005, Kwame became the first British Afro-Caribbean playwright to have a play produced in London’s West End. Since then, his illustrious career has taken him all over the world, from Baltimore to Senegal (which he cited as his greatest career achievement) and back to his home city of London. He was appointed as Artistic Director of the Young Vic in 2018.

A captivated audience of Creative Access community members listened as he gave clear and nuanced advice to those interested in playwrighting, advising them to make sure they find their voice:

He urged aspirants to be on top of their artistry using the tools that they have at that moment in time.

“It doesn’t mean that you have to be technically brilliant; the tool that you need to have honed is your voice. What is it that you are saying that is unique to you? In your specificity, other people see their story. Your voice is your everything,” he explained. He then shared his own insights into finding the right agent for your voice, or the right theatre for your writing.

Networking is just seeking family

A theme that reverberated throughout the hour-long discussion was that of connections, networks, and creative ‘family’.

“When I first started in this industry networking was really daunting to me, probably because I am naturally quite shy, and possibly because I knew nothing of the industry,” Olivia confessed. “It was all very opaque to me before I had my internship with Creative Access.”

Kwame also spoke about his own natural aversion to networking in his early career. On reflection, he admits that by not networking he failed himself. He realised that he was seeing other people who he deemed were no more talented than himself move higher and faster through the industry because they had nurtured relationships and had won advocates. He urged people not to succumb to imposter syndrome and not to necessarily see it as ‘networking’, but more as simply putting yourself in environments where you can build connections, make friends, and find your creative family – a tribe of peers who you trust and who don’t define their relationship with you by how well you are doing at that particular time. Olivia echoed that it was important too. She added:

Despite flourishing under Kwame’s leadership, Olivia expressed an awareness that getting into the industry is one thing, but sustaining yourself once in is another thing entirely.

“Simply being in a space does not account for the walloping that structural inequality can give you,” she warned. She mused about juggling both the weight of expectation placed on you as an outsider or minority who has made it in, and the limitations placed on you for those very same reasons.

Speaking of being resilient in what is known to be a demanding sector, Kwame recommended finding something or someone in your life that allows you to stay grounded. He revealed that when things aren’t going well, he doesn’t let it get to his head. Likewise, when things are going great, he still doesn’t let it get to his head.

Despite these challenges, it was clear to all that Kwame knows and feels he is doing what he was called to do. The fulfilment derived from being able to make a living out of one’s imagination is both a privilege and an untameable urge.

“I adore the act of serving a community through art,” he said. “Who wouldn’t want to be an artist and sit in this world where you’re continually being refreshed by other people’s philosophy and their take on the world?” This was echoed by Olivia who concluded that the imagination is one of the most radical tools we have at our disposal.

The future of theatre, and Kwame’s legacy

Kwame was palpably excited about the future of theatre, asserting categorically that “theatre will never die”. Despite feeling like “we’re in the middle of a vortex” at present, Kwame spoke of his excitement about what a return to theatre could mean, and how theatreland’s digital innovations of the last year might transform the way theatre is experienced in physical spaces for years to come, to create 4-D theatrical experiences from the 3-D pre-COVID theatre experience and the 2-D theatre we’ve seen this year through screens.

Speaking of theatre’s need to decolonise the canon, he stressed that decolonisation did not mean the destruction and erasure of old classics. It merely meant augmenting and widening what is written and produced, seeking stories and ideas from a wider range of experiences and backgrounds. He asserted that if what appears on stage starts to change, then who appears behind the scenes, and what gets taught in performing arts academies will also start to change.

For those seeking to enter the industry, he believed that it is incumbent on them to be innovative and deliberate about putting the spotlight on themselves, citing some TikTok users’ enviable ability to demonstrate incredible amounts of talent through just a few seconds of video.

He suggested asking yourself these four questions, when trying to enter the spotlight:

• What is your voice?
• How refined is your voice?
• What mechanisms have you used to put a spotlight on your voice?
• What mechanisms have you used to get your voice in front of those who can get you to the next level?

He started and ended with praise for Creative Access and Olivia.

Olivia expressed an interest in the process of writing being brought to life, and a nascent interest in dramaturgy. Whatever she puts her mind to, we have no doubt that she’ll succeed. As for Kwame, he sees himself creating opportunities to open doors and create space for other creatives to fulfil their potential and use their art for good.

We are very grateful to Kwame and Olivia for sharing their experiences with us, and wish them well as theatres prepare to reopen to their doors later in the year. If you are interested in a career in theatre, don’t forget to check out our current theatre opportunities. We also thank all those who attended and contributed to the discussion by asking questions to the pair.

You can watch the full Masterclass here.

To kick off our first Masterclass of 2021, we were joined by James Dale (Managing Director) and Benji Haigh (Head of Client Services) from Sine Digital, a digital marketing agency specialising in entertainment, leisure, and fashion. James and Benji gave listeners a whirlwind tour of the rise of social media and of future digital trends.

Since the language of digital marketing is rapidly changing, Benji and James started the session with a useful jargon buster section to dispel any confusion around the terms that are widely used in the sector. They explained concepts such as the difference between organic and paid advertising, PCC, display advertising, programme advertising, and SEO. James highlighted the difference between an organic and paid social reach, and explained why social media giants’ strategy of throttling organic reach was vital for their business models.

The pair then went on to describe the current trends in digital advertising. The digital advertising industry has become a part of our daily lives and will only grow going forwards. The rise of TikTok and Instagram feeds has left a trend for vertical video (in contrast to the traditional landscape orientation used for film), and have contributed to shorter attention spans, leaving digital marketers to work out how best to capture fragmented attentions in a matter of seconds.

James and Benji shared their top tips on how to impress your employer in an interview for a digital marketing role. Many large companies are not always familiar with the latest digital trends, so demonstrating you have a grasp on the following areas can really impress a prospective employer:

• The rise of growing platforms like TikTok, and the influence of tech giants popular in East Asian economies like Tencent and ByteDance.
• The feud between Apple and Facebook – Facebook-owned apps won’t be allowed to share data between them by default on iPhones.
• The working of programmatic advertising, and innovative ways to apply real-time ads.
• The growth of augmented reality (AR) apps and integrating AR into advertising.

The digital market moves very quickly but there is a lot of research you can do to show you are staying on top of the latest trends. For example, Benji recommended the Facebook blueprint certification which homes in on understanding the fundamentals of this new digital era. He also highlighted the usefulness of YouTube to find out solutions to the small details and problems that people have faced. He recommends Ben Heath for Facebook ads and MEASURE SCHOOL for tracking and another useful resource: Ad world conference. To keep up with the latest industry news he recommends The Drum, Ad Exchanger, Social media today and Econsultancy as great resources.

We cannot thank James and Benji enough for their highly informative Masterclass on digital marketing. You can watch back the full Masterclass here.

To mark this year’s #workinpublishing week, we were thrilled to be joined by Stephen Page (Creative Access Board Chair and CEO of Faber & Faber) and Silé Edwards (CA alum and an Agent at Mushens Entertainment) for our latest masterclass. We could not think of a better way to brighten the gloomy November afternoons!

Creative Access CEO, Josie Dobrin, opened the session by welcoming the audience and reflecting on the success of Creative Access in the publishing industry: “We’re proud to be bringing in and nurturing more talent from under-represented communities than ever before; this year alone we have supported recruitment for over 250 roles for more than 35 book publishing companies. Many of our alumni are rising up through the ranks, reaching more senior ranks and having a huge impact on all aspect of the publishing industry; from marketing campaigns, to books commissioned, to acting as ambassadors to those considering pursuing careers in the sector.”

Stephen started his career working in a bookshop in London. Reflecting on his own journey into publishing, Stephen admitted that “knocking on a door and getting in is hard in publishing. But having said it’s hard, it is still is possible”. What makes the publishing industry such an exciting industry to work in is the ever-changing environment. Silé started her career in publishing by undertaking internships in the sector (as well as an entry-level role with Creative Access at the Publishers Association) and working her way up to an agent at Mushens Entertainment.

Responding to a question from a listener about cover letters, Stephen said he looks for a good strong, economic letter that shows that the candidate really has understood and researched the business and someone who can demonstrate the skills and outlook they can bring to the business. He reminded listeners, “you’re writing to get a specific job, not just any job in publishing”. Silé followed by sharing her thoughts; “the best cover letters are when people know this is the job they want to do” and if someone gives examples of how they are engaging with the industry. Silé really appreciates when candidates can effectively show their transferable skills in their cover letter.

Silé shared her top tip of how she started to engage in the publishing industry using the power of social media. She followed many influential people from the publishing world on Twitter and almost intrinsically, she picked up the language of the publishing world. To take the first step to act on Silé’s advice you can follow Stephen and Silé on Twitter! Silé added that LinkedIn is a great tool to connect with people to see their business side.

When asked by a listener if publishing is a fulfilling career, Stephen responded that even though there can be frustrations, he finds it a very fulfilling career. All aspiring publishers and agents have to be good at dealing with failure. Generally, publishers release more new content than other creative industries such as film and music. According to Stephen, the longer you are in publishing the more fulfilling it is, as you have more of a chance to get involved with social issues linked to publishing. Stephen talked about his own experience, meeting with an array of different writers with the Publishing Association.

When reflecting on her own experience, Silé admitted that she was very lucky to find out early on in her career that she wanted to work for publishing. She shared how she made the most of her internships to learn as much as she could about the publishing trade, “I found what I wanted to do by listening to other people who have been working in the industry for years and I asked them what they want and can do for the industry, and seeing where I fit within that.” Silé was most attracted to the business side of publishing, which is how eventually worked her way to becoming an agent. She added, “I like making money and I like books – agenting is the perfect marriage of the two.”

In the last few years, transparency in publishing especially around wages has become clearer, for example, Faber and Faber pay at least the London Living Wage for all staff. Publishing is not built as a business – some parts are slow – particularly the editorial side where there are few vacancies. Stephen highlighted the importance of understanding the full scale of the jobs available in publishing, there are an array of different jobs other than editing. Silé commented on the slow process of getting a book ready for the shelves, “it can take a year or eighteen months to get a full book, you have to sometimes wait for the book to be completed to be able to show your work to move onto a promotion.”

When talking about the future of publishing, Stephen and Silé were nothing but optimistic. Like all media, publishing was challenged by the digital revolution. Stephen shared, “in the last 5-10 years it became clear that publishing has weathered the digital revolution – there is more confidence in investing in publishers and writers. It’s a very optimistic time to be looking at publishing as a career.”

On the topic of Masters degrees, Silé raised the important issue that a Master’s qualification is not necessary for those wanting to get into publishing, there are other ways to get into the industry. More internships are becoming available in publishing and the industry is trying it’s best to become more inclusive. Silé highlighted The SpareRoom Project that aims to make London roles more accessible for people who live in other regions. She encouraged everyone who is interested in publishing to go for a role in the industry.

Finally, the hosts tackled the big question about the book that has made the most impact on their lives. Silé chose The Hate U Give by Angie Thomas as the book that had the most impact on her career. It was thanks to Thomas’ book that Silé started to see a shift in the publishing industry in reaching out to a wider range of readers. Choosing a book that really got Stephen into reading, he selected the French literature classic Madame Bovary by Gustave Flaubert stating that he found “all of life in the book”.

Silé finished the session with valuable advice to anyone wanting to get into publishing, “you should be able to talk about books confidently, practise on your family and friends!” Rounding off on a positive note, Stephen expressed his optimism for the industry he works in, expressing his confidence in the next generation, “never in my career have I been optimistic about the career I work in and for the next generation that will reimagine publishing.”

You can watch the whole masterclass on our Youtube channel here. With huge thanks to Stephen and Silé for sharing their wealth of knowledge… We hope this masterclass sparked some motivation and inspiration for all our aspiring publishers and don’t forget to check out our current publishing roles here.