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.

This month we were joined by Sarah Brown (Creative Director, Drama) and Claire Armspach (Head of Drama Development) from STV Studios – a leading independent television production company – for a deep dive into Drama Script Development.

Sarah and Claire worked on the script development of the BAFTA-winning drama Elizabeth is Missing. During the masterclass, they revealed what happens behind the scenes during drama development for the small screen and shared a host of invaluable tips for the audience.

Script developers usually only see a small percentage of their work make it to the small screen. Although this can be disappointing, Claire’s tip is to love the process, “You have to see the show as a bonus!” Elizabeth is Missing was the drama that allowed Sarah and Claire to achieve most scriptwriters’ dream: to get to see their work on the small screen. They started the masterclass by retelling their journeys of how they reached this level of their careers. Sarah landed her dream job after working as a researcher, Assistant Producer (AP) and producer in factual TV. She realised her dream role was in scripting for television. She had to work as a freelancer before she started her script development journey through an entry-level job at the BBC, where she was able to build her career. In the small team at STV Claire is the Head of Development. Claire knew she wanted to work in television and as a child, she dreamed of being a drama developer. She soon realised her heart was in development rather than production, so she took the advice to “take any job you can” and started work at the BBC where she was able to take a script development course. From there, she built up her experience working on different shows such as Holby City after joining STV around 11 years ago.

Sarah and Claire started by sharing their experience of where they find their ideas. Script developers usually get their ideas from three main sources:

• Writer generated
• In-house generated: this means watching trends or other drams for inspiration. A piece of advice that has stuck with Claire is to “notice what you notice” when watching other dramas on TV.
• Pre-existing intellectual property: This is when the format is bought from writers in other formats such as books. In the case of Elizabeth is Missing, the story came in the form of an unpublished manuscript. Claire and Sarah decided to option the script based on their own taste and judgement. (A decision they thanked themselves for later – no doubt!)
  

Sarah then introduced the next step in the script development process: choosing a project to take on. She let the listeners know that it is essential to love the material – as developers will be looking at the script for a very long time! When choosing scripts, she often asks herself fundamental questions about how well she connects to the characters, whether the script will move audiences and whether it will sell. If you’re looking to get into the industry, you have to familiarise yourself with what is being made and what has been made previously – “most broadcasters want something that is the next turn of the wheel – not the remake of something that has already been made.” Using the example Elizabeth is Missing, Claire and Sarah felt that people would fall in with the characters but watch for the mystery – and they wanted to be the one’s to bring the book to the screen.

The producers then covered how to choose a writer to work with. Sarah and Claire look for writers with individuality; writers that have their own voice. Sarah gave valuable advice to budding writers to never “waste your time trying to say something that has already been said”. Being a writer is difficult but it’s important to be open and engage with notes, “it’s important to not lose your compass or lose who you are.” When discussing and answering questions about presenting work in the industry, Claire and Sarah both agreed that although other writing programmes are useful, they would recommend Final Draft as it is the programme the industry works in.

The next decision lies with deciding on a format. When trying to develop a script, the aim is to get the project into formal, paid development. When working with a book adaptation like Elizabeth is Missing, it is important to recognise what has to be changed and what has to stay the same. You have a responsibility to the audience and the author to deliver the story they are familiar with.

Sarah and Claire then shared their expertise on being a ‘loyal opponent’ or a good editor. Sarah offered great advice to remember that “editing is like being the midwife at the birth – not giving birth yourself” – it is a supporting role. The key to success is being honest about the problems of the script. While editing, Sarah has found herself in the role of a mentor, sounding board and councillor. She told listeners “the main thing is to remember to be human and that you’re all on the same team – with one goal of making this show the best it can be.” The drafting process can be long and take a lot of work. Claire added that the editing process can be a lengthy one, “script editing is like chiselling a rock to let the statue emerge.”

If you’re wondering how to get started in the script development industry, Sarah optimistically told listeners that there has never been more of a choice in getting into the industry than there is today. The UK is home to over 300 drama indies who are looking for staff. A good way to get your foot in the door is becoming a Development Assistant – it’s the perfect way of getting the experience and the contacts! Claire gave listeners fun advice to watch lots and lots of TV but watch it critically, and question which shows are working well and whose work in particular you admire. She encouraged listeners to look at work they admire and learn from it. Both Sarah and Claire shared their thoughts about how the script development scene in 2020 is very different from when they joined the industry. They acknowledged that there are now fewer opportunities at the BBC; there are more indie companies out there hiring and looking for new, diverse talent.

This session was very informative and we learnt so much about the script development process. We want to say a great big thank you to Sarah and Claire for sharing their knowledge, we know our community will benefit from it! If you haven’t already watched it, don’t miss Elizabeth Is Missing.

You can watch the whole masterclass in full via this YouTube link.

Posted on Sep 18, 2020

We were thrilled to partner with Radiocentre – the industry body for commercial radio – for the fifth time, but the first time in a virtual world!  The event was hosted by radio and TV legend, Margherita Taylor. She was joined by KISS FM’s AJ King, BBC Asian Network’s Pria Rai and Podcast producer and consultant Leanne Alie.

Margherita Taylor, Smooth Radio and Classic FM presenter, introduced the panel, asking them about their journeys into the audio industry. AJ King told listeners how he’d dreamt about being a radio presenter for KISS since he was 10 years old. He took every Wednesday off from his bank job to record a radio show and realised his dream after winning the KISS Chosen One competition. Leanne made her way into the audio industry by working on the Podcast Awards and approaching podcasters with her services. Pria, coming from an academic background, summed up the “beauty” of the industry by saying there is more than one way of getting into the sector.

The questions kicked off with a range of listeners asking how to get into the audio market. The panel all agreed that the journey starts with an internal feeling of confidence and self-belief. Leanne gave listeners an insight into how networking and putting herself out there really made a difference to her career; “I was going to all the different audio events, the awards, the festivals, everything!” She went on to give anyone wanting to get their foot into the audio space valuable advice to “use everything that lands on your plate. Use the tools you have to your advantage. Make your own podcast or reach out to independent podcasters to see how you can help”, recommending the audience to look at Quality Audio Pact as a resource to find people in the industry who are looking to make a difference. She highlighted the importance of finding or creating experiences to benefit your career as she urged listeners “if the space isn’t being created for you, create the space yourself”

The panel went on to cover the sensitive topic of imposter syndrome and rejection. AJ King told listeners that rejection is going to happen but you just have to “keep it moving”. He spoke about the importance of changing their thinking into a “learning mindset” and gave his own example of taking a job in Harvester in order to overcome his fear of speaking to a big group of people. He advised the audience to “be aware of what’s happening; be technologically minded and learn skills. Be inquisitive and ask questions.”

Pria told listeners to “back yourself” because the worst thing that could happen is that you learn a lesson. She gave listeners an insight into her own story, telling them that she worried she sounded too young when she started out, but she focussed on the skills that she did have rather than what she didn’t have to give herself confidence. Leanne told the audience, “do not ever doubt yourself again” describing how she used positive affirmations to give herself confidence.

The panel went on to give their best tips on how to ace an interview. Margherita told everyone that research is key, to make sure you fact-check and know who you are interviewing: “Listen to what your guests say. In that moment they may give you a scoop. If they like you that’s when they tell you things…”

AJ King added that you need to develop trust with the interviewee and make them feel comfortable. He likes to do this by chatting with the interviewees before the interview. Pria gave an insight into how she has aced very important interviews by remembering that the common denominator is to be human and always remember the audience, as they are the reason for the interview.

We hope every single one of the listeners felt inspired and learnt some valuable lessons on how to kick-start your audio career. Thank you once again to our amazing panel, our host Margherita Taylor and to our friends at the Radiocentre for yet another brilliant masterclass. We’re looking forward to the next one…!

You can watch the whole masterclass in full via this YouTube link.

Posted on Aug 7, 2020

This week we were be joined for our Thursday Thoughts session by Satmohan Panesar, ITV Commissioning Editor of Factual Entertainment and Bradley Cumberbatch, Creative Access alumni and Senior Producer and Director of Celebrity Gogglebox.

Sat began by introducing his role commissioning shows on channels including ITVBe and ITV4, which he has done for the past five years. , Sat grew up in a very traditional Indian household where he was expected to go into medicine, and he “never actually thought about working in television.” He did a science degree and then worked in a shop in London for a while before deciding to do work experience in TV which he loved. Though he looks back on his journey now through rose-tinted glasses, there were “lots of bumps” along the way. He “wasn’t part of any elite grad trainee scheme” and was quite out of his depth. Though, Sat said “what I did know is I really like doing what I was doing and I had really good work ethic.”

Bradley then gave an insight into his upbringing and career journey, which began pre-uni when he was involved in the theatre as a teenager. Also coming from a traditional family, Bradley studied Business Management at university, before later securing a role in BBC comedy as a runner through Creative Access.

When asked about how much work experience they did before, Bradley said that with his first role being through Creative Access, he “didn’t go the traditional route” and “carved his own experiences within the BBC.” Sat, who did do the traditional work experience, just carried on going in after finishing. In his words, “you’ve really got to make yourself noticed.” When speaking of BAME people in particular in the industry, Sat said that often they “don’t want to rock the boat” which is in fact “doing us a disservice… you’ve got to get stuck in and get yourself noticed, give your ideas and opinions, try and get involved.”

Sat was the only Indian on this team when he started out, and found himself “constantly walking around with iImposter syndrome.” Though, diversity is needed everywhere, particularly in industries like television. In Sat’s words, “in creative industries we’re all gunning for the same thing… a diversity of voice and thought can really help.” Likewise, Bradley was the only Black person in his team when he started, and was “always second guessing” himself. He said you need to “throw away your pride… shame and pride will keep you back.”

Sat and Bradley then gave career-specific advice, regarding getting ideas and pitches considered. Sat said that “in order to pitch an idea, you have to do your research.” You need to think about how your idea serves the channel’s needs, regarding things like demographic and style. Sat reassured that “ideas don’t have to come in from an established production company or someone experienced”, as they “want to hear ideas from everyone.”

Bradley then asked Sat about the impacts of COVID-19 within the industry. Sat said that it has changed and will continue to change the industry in many ways, hurting the freelance community more than anything. But Sat remained positive, as “out of adversity comes opportunity” and he’s “hoping that something good does come out of this that can redefine television.”

After a couple more questions, the two spoke about the pressure “to be great all the time”, that is particularly faced by BAME people in the industry. Bradley described it as a voice in head saying, “there’s not many people that look like me in this industry… if I mess up, I’m messing this up for the next person.” Ultimately, “you can’t be great all the time” – and that is completely okay!

After then giving their respective career highlights and lows, Sat and Bradley gave their thoughts on putting your ethnicity on your CV, as asked by an attendee. While there isn’t a strict yes or no answer to this, as it is ultimately a personal decision, Sat said that it’s important to “use everything to your advantage to get that job”, and “if being BAME is what gets you to the front of a queue, grab it and get to the front of that queue.”

The session wrapped up with both Sat and Bradley being asked to give one top tip based on their experiences working in the industry. Bradley’s is to “be resilient”, and “if you’ve got an idea, stand by it.” Sat’s is to “be ready to be knocked down, and then get yourself back up… don’t give up, work hard and be honest in your intentions and what you want to say!”

A huge thank you to both Sat and Bradley for delivering a very entertaining session with very useful and inspiring words of advice!

Catch the full session on our YouTube channel here

For this week’s masterclass, we were delighted to be joined by Yasmin Qureshi, MP for Bolton South East and Shadow International Development Minister, who was interviewed by Communities Reporter and CA alumni Sabbiyah Pervez.

Beginning with an insight into the early foundations of her life, Yasmin spoke about the inspirations and motivations behind her political journey. She became an active Labour member at just 16 years old, and later chose to become a barrister, as she wanted to “change the world”, and “if you want to make a big change, entering politics is the best way.” She was selected in 2007 and won the election in 2010, which she described as a “dream come true.”

Yasmin spoke about an array of difficult topics, the first being the challenges for BAME people and women to get involved in politics. As Yasmin informed, even in Labour’s all-women shortlist, it wasn’t until 2010 that the first BME women were selected. When asked why it took so long for women like Yasmin to be elected, she responded with “they weren’t ready for a BME woman all those years ago.” Touching on biggest the contributors to her success, Yasmin spoke of her detailed CV, experience and simply how she comes across as a person. She had “learned a very valuable lesson about how to fight a selection.”

Yasmin touched upon the concept of “pigeonholing”, or the challenge of being strictly referred to as labels and solely representative of ethnic and religious origins, which can sometimes take away from other traits. She reminded us that while it may seem that you are being reduced to these traits, it is important to remember that “you are still able to offer something and change mindsets – which makes it worth it.” Later, when speaking about the challenge of navigating as a BME woman in a predominantly white male space, Yasmin’s advice given was to “believe in yourself, and have confidence in yourself… if you persevere, you will win.”

Yasmin then spoke about her key historical moments and personal achievements, including her being elected MP in 2010 (she was one of the first Muslim female MPs), and having qualified as a barrister during a time of few female BME barristers. Yasmin spoke about a few of her campaigns, mainly elaborating on her most recent one based on how religion is represented in the media. In her words, “if negativity is portrayed, that negativity transfers to how we view people”, which is “destructive to society.” Her aim with such campaigns is to bring issues to the forefront of not just the minds of the masses, but to the minds of those in power.

Yasmin’s work in the United Nations in Kosovo in the midst of a war involved helping set up safe houses for women who’s been trafficked, allowing people access to free legal aid, and setting up the Ministry of Justice to make sure that the traditional criminal law justice system runs properly and safely, which Sabbiyah described as “a legacy.” When asked if this work, as well as having been told harrowing stories by locals, impacted her political judgement, Yasmin said that it helped her “want to make the world a better place.” Yasmin spoke of the importance of challenging narratives and hatred about any group of people, because “when hatred goes unchallenged, you get neighbours turning on neighbours.”

Yasmin touched on the impacts of COVID-19. Though said she wasn’t too badly affected, she recognised its discrimination and destruction, her main concerns being economic funding in schools, and the discerning figures that show that more BME staff/people died. Yasmin wrote the first letter to Hancock questioning why more BME people have died, and has actively worked to try to resolve the funding issues. Her future tasks involve addressing these economic issues further.

One attendee raised the point that though the gender and BME minorities are starting to be filled in politics, the socioeconomic margin isn’t. When asked why those involved in politics are likely of the middle class and academics, Yasmin reassured that there are equal opportunities for all, suggesting programmes run by universities, internships run by parliament itself, and to “get involved in a political party or campaign.”

An attendee asked what advice Yasmin would give to her younger self, to which she replied, “be prepared to make sacrifices”, and to trust your conscience and intellect. She said:

The session was wrapped by Sabbiyah talking about her own experiences and ambitions: “Trust your own intellect. I love being out of my comfort zone and thrive on doing new things. I don’t want to be seen as a token brown girl but want to report on anything and everything”.

A massive thanks to both Yasmin and Sabbiyah for their time and their incredibly wise and inspiring words.

For this week’s Thursday Thoughts session, we were joined for an honest and thought-provoking conversation with Robert Peston and Kishan Koria.

Robert Peston is ITV News’ political editor and presenter of the politics show Peston. A journalist, presenter and writer, he has published four books and won over thirty awards for his journalism, including Journalist of the Year and Scoop of the Year from the Royal Television Society. As part of his work making the creative industries more accessible, Robert has worked with Creative Access for years and has also founded the charity Speakers for Schools, helping young people access opportunities through inspiring school talks and work experience.

Kishan is a producer on Peston. He first began there as a Production intern through Creative Access after graduating from the Centre for Journalism with an MA in Multimedia Journalism. Four years later, Kishan is now a Producer on the show. In his new role, he revealed that he now has more input on “what the news is, who the best guests would be and what are the issues people want to hear discussed. It’s a great job.”

Kicking off the discussion, Kishan had lots of great advice for those starting out in the industry. He explained that “the first job is the hardest job to get, I was lucky in the sense that Creative Access fulfilled that for me … If you’re struggling to get your first job don’t worry, once you’ve got there, all you have to do is be good, be keen and get stuck in, then actually you find the industry is a lot easier to navigate than you think it is.”

If there’s something that you really love and you enjoy doing, then you don’t have to make an effort to be enthusiastic about it

When Josie asked, “Do you think it matters if that first job isn’t your dream role? Can you find your journey once you’re in?” Kishan answered, “You meet people all over the industry as soon as you’re in. No matter what show you’re doing, you’ll make contacts. They become your friends and you can get an idea on what their job is like and before you know it you could be working with them.” He also emphasised that “the thing that’s been most useful for me is that I really love what we cover … If there’s something that you really love and you enjoy doing, then you don’t have to make an effort to be enthusiastic about it because it’s just what you want

to do.”

Robert kicked off by talking about his love of journalism: “The obvious thing about being a journalist is that you do have to love it. I’ve always loved trying to understand the world, I’ve always loved meeting amazing, interesting people, which is part of what you get when you’re a journalist. Historically, I’ve loved trying to get scoops.”

He reflected on the best and worst parts of his role, including bumping his head during an interview with Michael Fallon MP and being frustrated by politicians who refuse to answer this questions.

When reflecting on reporting on the current pandemic, Robert also shared: “The last few months have been exhausting, but I’m bloody lucky to do what I do … Trying to make sense of it is fascinating.”

He spoke about the challenges of starting a career during a pandemic, with Robert reassuring the audience that “when everyone else is scared, that’s the moment to build. It’s a lesson for all of us as individuals; stand your ground and you’ll get noticed.”

When Kishan asked how he started out in the industry, Robert explained that he “did the odd bits and pieces for our school newspaper and uni magazine but there genuinely wasn’t a big plan to be a journalist … though after some work experience I realised I didn’t want to do anything else.” He also pointed towards the opportunity in creating your own content: “The great thing about doing news or creative stuff in the media is that … there’s an enormous amount you can do on your own with technology to improve your skills. It was one of the things that didn’t exist at all when I started out, the ability to self-publish blogs, videos, audio or podcasts … I’m not trying to minimise the challenges but there are amazing opportunities for young people.”

“Fairness is desperately important, and we’re a long away from having a society that is fair.”

When the conversation then turned to his work with Creative Access, Robert answered, “As a matter of principle, I’ve devoted a bi

g chunk of my life to a particular form of encouraging opportunity … Anything I can do to help any talented person get on, on the basis of merit. Background shouldn’t be a factor, where you come from shouldn’t be a factor. Fairness is desperately important, and we’re a long away from having a society that is fair.”

When Kishan said he was grateful to Creative Access for joining his show, Peston told him that, “you’re an absolute foundation of the show, just to be absolutely clear, we’re not taking people who are less talented. Kish is one of the most talented people I’ve ever worked with. All we’re doing is making sure we’re seeing the world properly and seeing talent where it really is.”

“I’m optimistic about the future of television and the media. The need for it is greater than ever.”
Finally, when looking to what’s next for the media industry, Robert revealed that, “I’m optimistic about the future of television and the media. The need for it is greater than ever.” He emphasised the importance of media representing different experiences on how people to see the world: “Its not always easy to talk about broadening your vision, which shows the importance of organisations like Creative Access. The great thing about what you do is that you bring people into the studio and workspaces where I am, people with a completely different set of experiences, who are there in a very positive way to challenge me.”

With huge thanks to Robert and Kishan for their time and wise words.

You can view the whole conversation on our YouTube channel here.