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UCL Careers Themed Weeks: Museums, Arts and Cultural Heritage Week 2019

Skye AAitken24 October 2019

Are you considering a career in Museums, Arts or Cultural Heritage? Then this is the week for you! Come and find out more about these sectors from professionals working in various roles within these sectors. All events are open to students and recent graduates from across UCL.

A speaker at a lectern speaking to a room full of studentsIf you haven’t attended events organised by UCL Careers before, we strongly recommend you read through our Themed Weeks page for information on what to expect, how to prepare and how to book.

Events can be extremely popular, so book early to avoid disappointment!

Watch event recordings on our Themed Week archive. These include complete panel discussions and in-depth interviews with experts.

Please note that photographs, video, sound and/or written submissions taken at our themed week events may be used in future printed and electronic UCL promotional material. Photographs/video will be stored electronically as well as in hard copy. 

Events open for booking on Monday 28 October 2019


Careers in Museums

Monday 11 November 2019: 6pm-7.30pm

Come and meet representatives from the museum sector to hear about their job roles and what excites them about working in this sector. There will be a panel discussion, Q&A session, and a chance for informal networking after.

Among the museums represented will be:

View event details and book your place


Working in the Arts

Tuesday 12 November 2019: 6pm-7.30pm

Thinking about working in the Arts? Come along to this panel event and have the chance to hear from professionals currently working in managerial, creative and organisational roles within a variety of arts settings. Speakers will discuss aspects of their experiences such as: what they enjoy about working in the arts, how they got into their current role and their ‘top tips’. The panel discussion will be followed by a Q&A and informal networking.

Panellists work in organisations such as:

View event details and book your place


Careers in Cultural Heritage

Thursday 14 November 2019: 6pm-7.30pm

Interested in working in the diverse world of cultural heritage? Come to a panel discussion with cultural heritage professionals, to hear about their roles and career path and to gain tips on how to get into the sector. The panel will be followed by Q&A session and informal networking.

You will hear about experiences working in:

View event details and book your place

 

Interview with BAFTA Television Programme Manager, Kam Kandola Flynn

Joe SSprecher8 January 2019

First of all, what does BAFTA (British Academy of Film and Television Arts) do?

Our mission is to bring the very best work in film, games and television to public attention, and support the growth of creative talent in the UK and internationally. We do this by identifying and celebrating excellence, discovering, inspiring and nurturing new talent, and enabling learning and creative collaboration.

BAFTA Trophy

In addition to our Awards ceremonies, we have a year-round programme of learning events and initiatives that offers unique access to some of the world’s most inspiring talent through workshops, masterclasses, scholarships, lectures and mentoring schemes.

The UK boasts a wealth of talented people who could make a huge contribution to the continued excellence of British film, games and television. We want to ensure that this talent is nurtured and supported, so that talented individuals have the opportunity to succeed whatever their background, and – through accessing the expertise of their peers and established practitioners – reach their full potential.

And what do you do at BAFTA?

At BAFTA I work within the Learning and New Talent team who work with practitioners from the television, film and games community to discuss and define creative excellence in order to share the tools with wider audiences to make better film, games and television.

I manage and programme our television industry activity which ranges from industry focused debates and lectures addressing issues of the day, to craft-led masterclasses, panel events, Q&As, exclusive screenings and new talent initiatives. The aim is to share insights and expertise into the craft of programme making from BAFTA winners, nominees and the best minds in TV with a wider audience to develop knowledge, skills and talent. I also nurture BAFTA’s relationships with industry practitioners to ensure we are reflecting and supporting the work of the television industry, as well as working on our new talent initiatives which aim to discover, nurture and support the skills and development of the next generation of talent.

What did you do previously?

I studied media and cultural studies at Nottingham Trent University graduating in 2001, during which I did lots of work experience in media-related environments such as hospital radio and being a production runner for shows such as Big Brother. I also thought it would be useful to build up my administration/office skills, so I also pursued part-time work that would get these skills up to scratch. After I graduated, I moved to London and got a job as a runner in post-production then secured my first media job working for a company that programmed the in-flight entertainment for airlines. However, I knew that I wanted to work in television, so I applied for a role at Carlton TV (now ITV) working with a producer as an administration assistant – so putting those admin/office skills to good use! Then I moved on to Channel 4 as a commissioning assistant before joining BAFTA as a regional programmer, which eventually led into my current role (after a short stint working on the Edinburgh International Television Festival).

What do you enjoy about your role?

BAFTA rewards excellence in screen arts, and I love having the opportunity to not only work with practitioners at the top of their game but also supporting talent and skills development in TV, especially at a time where the industry is working so hard to try and level the playing field for anyone from any background or experience to be part of it.

What are the current challenges facing this sector?

The television workforce is not as representative of society in general as it could be. There has been a recent focus on diversifying the workforce and levelling the playing field across the sector in technical, production and editorial roles – so there are lots more opportunities around than there used to be not only to get into the industry but also to sustain a career.

With recent “Digital Disrupters” (as they are referred to in the business) such as online streaming services like Netflix, Amazon and Facebook, the challenge is to make shows that appeal to younger people. There is an eagerness to find stories that will engage and be relevant for this demographic.

What are common graduate routes into the industry?

As an industry we have many routes in but for graduates there are training schemes and apprenticeships – you can find out about some of these via ScreenSkills the industry-led skills body for the UK’s screen-based creative industries. All broadcasters like BBC, ITV, Channel 4, Sky and Channel 5 advertise their opportunities online, and places like the Unit List and Talent Manager promote jobs.  However, you can also get in via junior roles such as runners, researchers or production assistants. Everyone has their own routes.

What would be your top tips for getting into this industry?

  1. Build your network! As much as possible in your own relevant area of interest. This should include peer-to-peer relationships, as these may be your future collaborators.
  2. Get as much work experience as you can – including developing ‘soft skills’ (like teamwork and communication) as these are important. Be hardworking, nice and talented (or at least two of those!)
  3. Make content – e.g. short films, interview led pieces – as this shows passion and your creative eye.
  4. Think about your own unique selling points – e.g. if you have an interest in cooking or medieval art or can speak Italian then hone that knowledge, be passionate – this knowledge will come into use.
  5. Don’t be afraid of stepping sideways in job roles – take your time to develop skills and knowledge
  6. Be flexible if you can – it is largely a freelance industry. See everything as an opportunity.
  7. Although London has been traditionally been the place to be, content hubs are expanding and growing all over the UK in places like Salford, Bristol, Leeds and Glasgow. These will be great places to start your career and build up your skills.
  8. Think outside of editorial roles, and into craft areas where there are particular skills gaps such as visual effects or editing. E.g. see BAFTA’s Television Craft Awards for a range of potential roles.
  9. Check our BAFTA Guru for insights from industry professionals at.
  10. Be you – that’s the best quality you have.

BAFTA offers internships as well as permanent and freelance roles in administration and event production – to see what currently is being offered, they advertise on the BAFTA Jobs website and on Twitter and Facebook

Written by Sally Brown – Careers Consultant at UCL Careers

This blog was written as a follow up to our Media Themed Week. Find out more about upcoming Themed Week events on our website.

Insights from the ‘UCL Careers: Insights into Publishing’ event

Joe SSprecher4 January 2019

UCL Careers recently hosted a panel event around getting into publishing and understanding what a role in the industry involves. Here’s what our panellists had to say:

Hannah Ray, Editorial Director at Macmillan Children’s Books

‘Editing means different things in different companies. My role as Editorial Director is around 30% creative and 70% business-focused – such as costing and selling strategies. Highlights include having the opportunity to work with both established authors and new talent. Challenges include working to deadlines when there are so many people involved – such as when people get sick and there are many people waiting for the book.’

 headshot of Hannah Ray
headshot of Allie Collins

Allie Collins, Editor at Bloomsbury Sport/Freelance Editor

‘When you work freelance, you have more control over your own time and projects. Conversely, working in-house means you get to see books through from start-to-finish. Sometimes a challenge as an editor is managing authors’ expectations – such as the design of the front cover –  so often you need to act as a mediator.’

Tom Atkins, Freelance Proof-reader  

As a freelance proof-reader you come in at the end and cast a slow lengthy glance over the proof pages – so you get to work with paper and pencil! It is great if you love spotting flaws – like spelling, punctuation and grammar mistakes and any minor plot inconstancies. Working freelance can be lonely though, and you don’t have guaranteed work or a pension – not to mention that you have to do your own tax returns!’

headshot of Tom Atkins
headshot of Ella Kahn

Ella Kahn, Literary Agent at Diamond Kahn and Woods

As a literary agent you are at the beginning of the process – essentially a manager for authors. You may work with a range of publishing houses – both large and small. You often will meet editors for coffee and lunch to build up a picture of what they are currently looking for in a commission. It is both a sales and editorial role and you have a close relationship with the authors you represent – often being both a nanny and a lawyer for them. You might get over 50 submissions from authors a week, but only take on 1-2 people a year. Highlights include working with authors and championing them to get the recognition they deserve. Challenges are dealing with rejection – on both sides. You have to handle turning people down and getting turned down by publishers.’

Top ten tips on getting into publishing

  1. Have passion: this is a very competitive industry. Everyone’s CV is impressive, so tailor your cover letter and light up when you talk about the industry in your interview. It is not enough to say ‘I love books’ and don’t have an overly romantic view of the industry – there is a lot of business to it such as profit and loss. So show you have negotiation skills and that you can use an Excel spreadsheet. Communication and relationship-building skills are also vital. Show transferable skills.
  2. Understand the importance of networks: start to meet people now, whether this is professionals or peers also pursuing this industry.
  3. Do your research: when applying to publishing houses, learn about the books they publish – look at things like Amazon rankings and understand the different genres.
  4. Ask insightful questions at interviews: good examples include “What is coming out soon?” “Which books are you most excited about publishing in the next year?”.
  5. Be aware of current trends: Know who the big authors in your genre of interest are.
  6. Consider taking a job in a department that is not your first choice: once your foot is in the door you might be able to change departments.
  7. Follow key people on Twitter: try searching hashtags such as: #askagent #askapublisher and #ukya
  8. Want to work freelance? you might want to start in-house as it is very rare editors will work with freelancers they don’t know. You can start doing freelance work on the side.
  9. An MA in publishing can be useful: it gives you a great overview of the different areas, but it is not a pre-requisite, as publishing is trying very hard to be inclusive. If you want to do a professional course, ensure it is an industry recognised one.
  10. Keep going! Be resilient and thick skinned – you will get interviews. Learn from interviews you fail at and ask for feedback and put it into practise.

Want to learn more?

 

How to get into publishing

Joe SSprecher4 January 2019

What is considered ‘publishing’?

publishing: the occupation or activity of preparing and issuing books, journals, and other material for sale (n.) 

To put it simply, publishing is about making concepts public; connecting people who create content with people who need that content.

Roles in publishing exist across the media industry, involving not only the production of books and journals but also magazines, newspapers, business media, musical scores and graphics – to name a few! As our world becomes more technologically advanced, new multi-media formats also contribute to shifting industry opportunities, challenges and career paths.

Publishing is a competitive industry, with notoriously few advertised entry-level positions. Whilst some organisations recognise this and are developing routes into the industry for a wider pool of candidates, these remain highly sought-after. The most common routes into publishing include postgraduate qualifications, work experience placements, graduate training schemes, networking and personal recommendations. Candidates with a strong work ethic and transferable skills developed via experience in other sectors, are also well regarded.

What careers can I have in publishing?

A career in publishing can vary depending on both the sector and department you work in.

Some of the more common sectors of publishing include:

  • Academic
  • Consumer
  • Educational
  • Professional
  • Scientific and technical

Within these sectors are a wide range of departments. For example within the book publishing industry, typical departments include:

  • Contracts: working with editors and literary agents or the author to negotiate the terms of the contract.
  • Design: reviewing the book and liaising with editorial and marketing to create a visual identity and oversee its implementation – from the jacket to the cover and interior.
  • Digital: creating, implementing and maintaining new and existing web initiatives, including the organisation’s own web offering, online features and marketing campaigns.
  • Editorial: acquiring and editing a manuscript, and seeing it through to publication.
  • Managing Editorial: overseeing the whole editorial process, including working with both editorial and production to keep an eye on schedules for both the finished product and wraparound materials.
  • Marketing: creating and producing creative campaigns, using methods such as digital and print advertising, social media and events, to promote and share the book with consumers.
  • Publicity: from author signings to social media schedules and pitching to newspapers, television and radio, the team are the vital connection in promoting the book to the media.
  • Production: overseeing the manufacturing process, from manuscript to book. This could include typesetting, working with suppliers and printers, and budgeting.
  • Rights: managing the licensing of the rights of any original publication both at home and abroad. Common examples are translations, audio editions, sequels by other authors etc.
  • Sales: working with outlets to ensure the book is readily available to consumers, such as online, bookshops, supermarkets etc.

These are all on top of ‘business-as-usual’ operations, such as Human Resources, IT, Finance etc.  Many organisations will also have additional departments such as audio, digital production (e-books), in-house distribution, packaging etc.

If you’re interested in finding out about the different functions of each department, you could check out this handy guide by Book Jobs. You could also explore the different teams at Penguin Random House, the largest of the ‘Big Five’ publishing houses.

What qualifications do I need?

Whilst MA courses in publishing are available (including at UCL!) and are an effective way to start building a network of contacts, it’s certainly not a requirement to work in publishing. If you’re considering a postgraduate course, it’s just as important to think about you want to gain from the experience, and weigh this up against the cost implications and other ways to reach the same goals, such as work experience. There are also some technical roles where a related degree would be valuable – such as a designer or digital engineer.

It is also a common misconception that the publishing industry focuses on hiring English or Literature graduates. In fact, it’s experience and drive that are vital proof of your motivation and skills for a career in the industry.

How do I get a graduate job?

There is no ‘one route’ into this industry, and it entirely depends on the type of role you are looking for. Some organisations highlight the importance of work experience when they hire for entry-level roles. Work experience is a great way to work with professionals in your area of interest, make connections and build up your skill set. Other organisations will readily accept candidates with experience in other fields that has given them transferable skills – think of it as the back door in.

Spent time working at a digital marketing agency? That could have set you up with the skills you need to succeed in the digital team at a publisher. Getting jobs in the industry can also be influenced by referrals and recommendations, so it is useful to start building up your network as soon as possible.

Publishing Graduate Schemes

Although graduate schemes in publishing are gradually becoming more common, competition tends to be high for a limited number of places.  Current schemes include but are not limited to:

  • The BAME Trainee Programme from HarperCollins, a twelve-month rotational traineeship around the business in London. Last year, applications for places starting in October 2018 closed in mid-April.
  • The Cambridge University Press Graduate Programme, a fifteen-month rotational programme experiencing different business streams. Last year, applications for places starting in September 2018 closed in February.
  • The Scheme from Penguin Random House UK, six-month editorial traineeships for applicants from a BAME or socio-economically disadvantaged background. Last year, applications for places starting in September 2018 closed in May.
  • The Fresh Chapters Traineeship at Hachette, a twelve-month BAME traineeship, half of which will be spent in editorial, and the other half in another department. Last year, applications for places starting in October 2018 closed in early July.

Work Experience

A slightly less competitive way to ‘get a foot in the door’ is through work experience. Many organisations run work experience or internship programmes – and if they don’t advertise them directly, there’s no harm in getting in contact and seeing if something can be arranged. Current work experience opportunities include but are not limited to:

  • Oxford University Press runs an eight-week internship programme for graduates throughout July and August. In 2018, the deadline for applying was in March.
  • Penguin Random House has a summer internship that runs throughout July and August. In 2018 applications closed in April. They also recruits four times a year for paid two-week work experience placements. The Spare Room Project supported by Penguin Random House, also matches interns from outside London with people in the book industry who live in the capital and can offer them a place to stay.
  • Hachette run Fresh Chapters, an eight-week internship programme in editorial, marketing or publicity as well as ongoing one week placements (advertised via Facebook and Twitter).
  • Harper Collins offer an internship programme of up to six-months as well as four-week work experience opportunities (advertised via Twitter).
  • Bloomsbury have a paid internship programme, with four intakes per year across Marketing, Publicity and Editorial. Recruitment for April 2019 will begin in February 2019.
  • Blake Friedmann offer three-month internships on a rolling basis. They also run the Carole Blake Open Doors Project – a two-week, all-expenses-paid shadowing scheme for students from under-represented backgrounds.
  • The Guardian offer two-week work experience placements in the Guardian and Observer Editorial departments, across a range of desks, typically between March-June and October-December. Applications for 2019 opportunities will close on 7 December 2018.
  • Dorling Kindersley offer internship and work experience placements. Check back for opening times for 2019 internship opportunities, work experience applications are received on a rolling basis.
  • The Publishers Association occasionally recruits for internships and short work experience.

In fact, a lot of organisations will invite applications to work experience schemes via their websites. Remember not to disregard the smaller, more independent, publishing houses – their schemes are normally less over-subscribed and in some cases can last longer than an average fortnight placement.

You can also use social media – Facebook, Twitter, LinkedIn – to gather information and make industry connections. For example, if you want to work as a Literary Agent, follow both the literary agencies and the literary agents! You can also follow accounts dedicated to sharing jobs and opportunities such as:

@publishersassoc

@PubInterns

@BookJobsUK

Find out more about upcoming Themed Week Events or catch-up on events you missed on the Themed Week archive.

Museums, Arts and Cultural Heritage Sector Careers Resources

Joe SSprecher4 December 2018

How do you start a career in museums? What are careers in the arts like? What jobs are there in cultural heritage? Following UCL Careers’ Museums, Arts and Cultural Heritage Themed Week, we have created this handout to provide a list of useful resources to help prepare you for the event and to continue your research into the sector.

Overview

The Museums, Arts or Cultural Heritage sector encompasses a wide range or job roles; from traditional roles such as Museum Curator, Archaeologist or Artist, to less traditional roles in IT, Finance, HR and Legal, which are set to see continued growth in the coming years – great news for talented graduates with creative flair.

Government statistics from the Department for Culture, Media and Sport (DCMS) show that employment within the creative industries, which include advertising, architecture, arts and culture, craft, design, fashion, games, music, publishing, technology and TV and film, is growing at four times the rate of the UK workforce as a whole.

Read more of the creative arts sector overview on Prospects

Key starting points

The following resources will provide a general overview of current trends in the Museums, Arts and Cultural Heritage sector and provide more detailed information on the range of different graduate level roles available, helping you get a better understanding of your different options:

The different job profiles listed will provide key information on areas such as:

  • Main duties/responsibilities for the role
  • Expected salary information (starting and potential earnings)
  • Professional development, training and career prospects
  • Typical working hours
  • Entry requirements (formal qualifications and skills)
  • How to get work experience
  • How to identify key employers and where to search for vacancy

Professional organisations and other bodies

Many museums, arts and cultural Heritage sector professional body websites will produce career guides aimed at student/graduate level jobseekers, providing an insider’s view on how to start your career. They will also provide information for their members on areas such as events, news on current trends, future developments etc. for the sector.

Keeping up to date with sector news through sites like these is sites is useful for building your commercial awareness which recruiters will be looking for evidence of when you start applying.

The listings below will highlight major professional bodies for the museums, arts and cultural heritage sector and explain what sorts of information each one provides that might be useful to you when planning your career. They will also provide support with navigating these sites to find the student focussed content.

Employer directories and vacancy sources

Through myUCLCareers thousands of organisations target UCL students and graduates by advertising a range of vacancy types including work experience/internships and full time graduate level roles.

Log in to your myUCLCareers account now to search for current Museums, Arts and Cultural Heritage sector vacancies – (use the ‘Occupational area’ filter for ‘Arts administration, libraries, museums and heritage’ or the use ‘Quick search’ for terms such as: ‘museums’, ‘arts’ or ‘heritage’)

Through your myUCLCareers account you can also use the organisation search to identify recruiters by ‘occupational area’ who have a connection with UCL Careers and who operate in the Museums, Arts and Cultural Heritage sector.

Many recruiters won’t directly target UCL students through myUCLCareers so it’s also worth expanding your search by looking through our listings for this sector:

Company directories:

Job sites:

Students’ Union UCL – Clubs and Societies

Explore what clubs and societies are on offer at UCL that could help develop your interest in the Museums, Arts and Cultural Heritage sector.

Clubs and Societies of interest could include:

For a full list of societies go to the Students’ Union UCL society search page.

Museums, Arts and Cultural Heritage Sector Themed Week

If you missed our annual Museums, Arts and Cultural Heritage sector week or would like a reminder of what happened, you can visit our website:

  • Themed Week Events Programme: See past events to discover which organisations were involved and get an idea of what to expect next year.
  • Themed Week Archive: See event recording from previous years. Watch talks and panel events from the comfort of your own home!
  • UCL Careers Blog: Search our blog to find more articles about these sectors, including alumni case-studies and sector insights.

Museums, Arts and Cultural Heritage Sector Mentoring

Following the Themed Week, you might also want to explore the ‘UCL Alumni Online Community’ – to identify UCL graduates who are now working in this sector and who are happy to provide support for UCL students. If you’re unsure where to start with networking, see these resources on how to network professionally.

UCL Careers are here to help you find your future, no matter what stage your at in your career planning. Visit our website to find out other ways that we can support you and for any questions, please contact careers@ucl.ac.uk.

Getting in to Publishing isn’t a breeze – but it is worth the effort!

Joe SSprecher27 November 2018

VINTAGE This guest feature from Konrad Kirkham, Senior Production Manager at Vintage (Penguin Random House) and UCL alumni, discusses how he launched his career in publishing, why working in publishing does not necessarily mean working in editorial, and what a role in the production team of a publishing house involves.

So, how do I get into Publishing?

This is a question I am often asked, especially by people on work experience.

Personally, getting in to publishing wasn’t a breeze. I was fortunate enough to take one of a couple of popular routes in, which was to undertake an MA course in Publishing Studies (the other being extensive work experience). These are offered by quite a few universities across the country. Whilst I wouldn’t say it’s a pre-requisite, the MA gave me a great insight into the business side of publishing, set me up with a lot of contacts across the network, gave me a 6 week block of work experience and introduced me to a great group of friends – whom I’m still in contact with today. It helps to know as many people as you can in Publishing, so I was glad the MA gave me that.

After my MA, I was lucky enough to be freelancing from my previous job, during which I spent a solid year interviewing for any role I could find (it’s not easy getting your foot in the door and I’m afraid to say does require hard graft), before eventually landing a job in production at Pan Macmillan. The MA came in handy here, as one of my MA buddies already worked there and gave me the intel on the job, as well as put in a good word for me. Like I said, it pays to know people! What I did learn from this, was not to be disheartened when I was declined jobs. They are all super competitive, so getting an interview and honing my interview technique was good enough in some cases.

As frustrating as it is, Publishing isn’t that easy to get in to, nor is it cheap. If you’re not doing an MA, you might need to spend weeks working for a small wage. There are some schemes being introduced to help graduates, but they are highly competitive and still far and few between. Whilst there are people who manage to get a job without the MA or without work experience, you probably won’t find many.

What can I do to give myself a better chance at securing a role then?

My advice would be to work hard, learn about the industry and keep your options open. Don’t limit yourself to looking for the mainstream editorial, sales or publicity/marketing roles. There’s so much more to publishing. For instance production, design, foreign rights (sales of foreign language editions), inventory (warehouse/stock management), sales operations (focusing on the logistics behind the sales), contracts, finance, working for a literary agent. The list goes on! There’ll be less competition for these roles, and once you have a foot in the door, it’s much easier to move jobs within a company. I’ve known many colleagues who have started in one area, and moved after a year or so. The industry is keen on developing people’s careers and having in-depth knowledge of different areas is a huge bonus.

And if I pursue a career in production, what can I expect to be doing?

The production department provide the link between the creative teams and sales, and the printer. Our job is to make sure the books look good, are produced to a high standard, don’t cost too much to make, and are delivered on time.

In the life cycle of the book, the production team will get involved very early on. Editors will ask us to cost up a project before they’ve even bid for a new title (or are coming up with ideas for new in-house books). We then work closely with them to discuss formats, finishes, paper types, special inks etc., and get the costs from the printer to make sure the book will make margin. Once a book is acquired, we will provide schedules to the editors/designer and sales teams to make sure that they know when we require text/cover files, or any other artwork needed, and be in regular contact with the printer whenever any of the book specifications change.

Once a book is ready to send to the printer, dependent on the book type, we might organise for colour proofs to be sent in for us to check and adjust if necessary, or work with the printer to troubleshoot any issues that may arise during print production. We will then make sure that the books are delivered to the correct destinations, at the required dates, and process printer invoices once the books have delivered.

What do you particularly enjoy about working in production?

Production is a really fun, varied, and exciting department to work for. We work with most other departments in some way or another, and get the chance to create some really beautiful books! We’re the team everyone comes to for advice, and are ultimately in charge of the final product. I’ve worked across both children’s and adult production departments, so have been able to produce a huge variety of formats, from glittery board books, to complex children’s novelty books, or standard black and white fictions books. I’ve also worked on massive brands and authors, such as Julia Donaldson, Chris Ridell, Where’s Wally, We’re Going on a Bear Hunt, and more recently Murakami, Jo Nesbo and Nigella! There’s always new developments happening in the printing world, which gives us the opportunity to try some really fun things. Plus there’s always the added bonus of potential trips to China or Italy to go and see books as they come hot off the press!

Sounds exciting! Any last words?

Hopefully this has given a little bit of insight in to the publishing world, and that it’s not all just about editing a book. If you’re really committed to getting in to the industry, it’s definitely worth the effort. You’ll be surrounded by hugely passionate people, and have the chance to work in a really rewarding job. Good luck!

Media Week is now on! Hear from professionals across this sector with events on broadcasting and publishing still to come.

Wednesday 28 November 18:00 – 20:00: Get into Broadcasting: Film, TV and Radio

Thursday 29 November 18:00 – 20:00: Insights into Publishing

To find out more, visit the Media Themed Week page on our website and register to attend these events via myUCLCareers.

Volunteering in Museums, Arts and Cultural Heritage

Joe SSprecher20 November 2018

Government & Policy Week icon showing Houses of Parliament As part of the Museums, Arts and Cultural Heritage Themed Week, John Braime from the Students’ Union UCL volunteering service discusses top volunteering opportunities in the museums, arts and cultural heritage sectors:

Museums, Arts and Cultural Heritage Volunteering

London is full of heritage and cultural organisations, many of them small museums or charities that rely on volunteers to keep them going. If you’re considering a career in the heritage or cultural field, or if you just love museums and galleries, then there is plenty to choose from. Here’s a selection from the current vacancies list of Students’ Union UCL’s

Volunteering Service – you’ll find many more on our volunteering directory or drop us a line at volunteering@ucl.ac.uk.

The Weiner Library

The Wiener Library is one of the world’s leading and most extensive archives on the Holocaust and Nazi era. The Wiener Library has a strong tradition of working with volunteers. Our volunteers are vitally important to us as an organisation and we could not achieve what we do without them. We are currently recruiting for the following volunteering roles: Blogger, Book Reviewer, Events Assistant, Photographer (photographing our collections and events), Tour Guide (delivering public tours of our exhibition and archive) and Translators of German to English (translating original testimony for an upcoming education website.

Leighton House Museum

The Royal Borough of Kensington and Chelsea owns and runs two historic Victorian homes near High Street Kensington, Leighton House Museum and 18 Stafford Terrace. We are looking for volunteers for both properties, at 18 Stafford Terrace for room guides on either a Wednesday, Saturday or Sunday afternoon and at Leighton House Museum for activity volunteers to help deliver family based activities and learning volunteers to help deliver school workshops.

London Canal Museum

London Canal Museum is dedicated to educating and inspiring our visitors with the history of London’s canals – how they’ve shaped London’s development, the ordinary people that lived and worked on them, as well as the entrepreneurs who profited from them. We want to pass on the heritage of the canals so that future generations can learn about London’s industrial and social past. We’re currently recruiting Front of House Volunteers.

The Foundling Museum

The Foundling Museum explores the history of the Foundling Hospital, the UK’s first children’s charity, and celebrates the ways in which artists of all disciplines have helped to improve children’s lives for over 270 years. Our team of volunteers are a huge part of the Foundling Museum, having being instrumental in establishing the Museum prior to its opening in 2004 and continuing to contribute to its success today. We pride ourselves on welcoming a diverse range of individuals who choose to share their time and expertise with us. The Museum could not function without them.

John Braime

Volunteering Manager, Students’ Union UCL

The Museums, Arts and Cultural Heritage Themed Week is now over, but details of other upcoming themed weeks can be found on our website. These include Charities and NGOs and Sustainability. Recording of previous years events can also be found on our Themed Week Archive.

From History Masters Student to Startup Project Manager

Joe SSprecher21 September 2018

ClickMechanic Logo

 

 

This guest feature from car repair startup ClickMechanic shows us that your degree doesn’t have to dictate your job after university. Kurt, ClickMechanic employee and UCL alum shows us what skills you can transfer from your degree to your work. In his words:

“I would tell everyone, choose your degree and career around what you love and have a real passion for.” Kurt – Project Manager, UCL Graduate: German Language and History MA

Why UCL?

“I came to UCL for two primary reasons: the course modules, which resonated strongly with my interests, and for the world-class lecturers. Further to that it was great to have the experience of living in another place for my postgraduate studies. I am glad I opted to come to UCL, it ended up being a great experience and offered a fantastic opportunity to kickstart my career.

Due to the setup of the course there was a wide range of modules to choose from, and as such an opportunity to learn from lecturers with a variety of interests. All were very passionate about their subjects and had a wealth of knowledge to share. I could tailor my curriculum in the way that I hoped, focusing on twentieth century German history as well as sociolinguistics. Along the way I was also able to broaden my horizon by taking modules in European history and twentieth century modern art.

With UCL being a campus university it meant it was easy to build connections with people  from all across the planet and hang out. An added bonus is of course being right in the middle of Central London. There’s a never-ending stream of things to do nearby, and not necessarily expensive if you knew where to go. It’s a great way to make a start with exploring this vast city.”

Work after UCL

“After graduating, I decided to stay in London for a little longer and actually managed to find another place to stay via someone I met at UCL. I got on with finding a role in marketing, a field I had already worked in prior to coming to UCL. On the job hunt, I swiftly found a role at ClickMechanic, the company I still work for. I actually found the job ad on Tumblr of all places and, with my enthusiasm for all things tech and automotive, decided to pursue it.

My initial role was a general marketing position: creating copy for the site, managing social and email channels, handling the pay-per-click ads, and managing customer relations when needed. Being the first employee to join the founders and the only one with any in-depth technical knowledge of cars, meant that I was an integral part of building ClickMechanic’s quote engine, which I still work on to this day.

My course at UCL centred around German language and history, which doesn’t exactly match up with the jobs I ended up pursuing but it’s clear my studies enabled me to refine a lot of skills that gave me an edge when looking for a position.

Current role at ClickMechanic

In my day to day now, as a Project Manager, I work on a variety of projects that necessitate a deep understanding of our product, customers and marketing principles. I help communicate between teams, taking a pivotal role in briefing our software developers on updates to our complex system to help push growth.

In my role there is a lot of data to get my head around, both qualitative and quantitative. It’s the interpreting of all this data where my postgraduate studies at UCL has proven to be very helpful. As in doing postgraduate research, the amount of information and different types of information you have to interpret is complex in most growth-oriented marketing roles, and requires a real attention to detail.

Understanding what is important and what isn’t helps to make informed data-driven decisions that ultimately make ClickMechanic’s product better. I help build the narratives around the data to explore, explain, and ultimately change things for the better with the evidence we assess. This data analysis is vital for many roles, especially in marketing. It’s clear for me that UCL helped nurture an analytical way of thinking, and contributed to building my career in marketing.”

Need advice on what you want to do after graduating? UCL Careers can help.

Visit our contributors website: ClickMechanic

Becoming a writer: what do literary agents look for?

Joe SSprecher9 June 2018

Some Top Tips from Ella Kahn, UCL Alumni and Literary Agent at Diamond Kahn & Woods.

I am a literary agent, which means I scout for talented writers and help them get published; working with them to develop their novels, matchmaking them with the right publisher, and supporting their careers as authors in any way I can.

I have a very close working relationship with all my clients – editing a novel to get it ready to sell to publishers can be very intensive, and it’s important that my authors understand and are happy with every stage of the publication process, so constant communication (and reassurance!) as I guide them through that process is key. And by managing all of the business aspects of getting published (negotiating contracts, dealing with finances etc), I enable my authors to focus on what they do best – being creative and writing incredible books.

A strong, pacy plot is the most important quality for me, combined with a confident, distinctive writing voice. A pacy plot doesn’t have to mean constant action and cliffhangers at the end of each chapter – it might be driven by the emotional journey the character goes on, for example – but I want to have a sense of purpose and direction to the story.

A manuscript will stand out if there’s an intriguing concept or ‘hook’ at the heart of the story that’s going to immediately pique my curiosity. I want well-rounded, realistic and personable characters who I’m going to care about and want to root for; authentic dialogue, and vivid, immersive world-building, so I can sink into the world of the story; and a professional, committed author who I know I will enjoy working with!

When approaching agents, writers often fail to focus on the most important thing: telling us what their book is about! A cover letter should include a blurb pitching the story in the same style as the blurbs you’ll find on the back of a book in a bookshop. I want to know who the main character is, a little bit about the set-up of their world and their situation at the start of the story, what happens to set their story in motion, what their aims and motivations are, and what challenges they’re going to face in trying to achieve their goals. Something else that is very easy to avoid: not paying attention to detail! It doesn’t give a good impression if I’m sent a novel in a genre I don’t represent, or if there are typos in the text, or if my name is spelt wrong. A little bit of research into which agents might be the best fit for your work, and approaching them with a polished, professional pitch, will go a long way to help a submission stand out.

Working in the Arts Forum

Chloe JAckroyd1 March 2018

 

Panellists

Victoria Hogg – Co-Founder, Duck Duck Goose Improv

James Baskerville – Junior Specialist, Christie’s

Jo Knox – Learning Assistant, Royal Academy of Arts

Jenny Cooper – Freelance Arts Facilitator

Daniel Slater – Head of International Collection Exhibitions, Tate

Dr Marquard Smith – Programme Leader, MA Museums & Galleries in Education, Department of Culture, Communication & Media, UCL Institute of Education

Bryan Cooney – Director of: Exhibitor/Marketing/Brand/Sponsorship/Guests, MCM London Comic Con 

The Working in the Arts Forum was held on the 14th November as part of the Museums and Cultural Heritage week. Seven speakers from various different roles in the Arts came to give students an overview of how they started out in their field of work, how their work has progressed and general helpful tips of how to get in to the industry.

The panellists discussed that it is advantageous to always make the most of all opportunities that you find come your way. The first job that you may find may be a volunteering role (an example) at a small local gallery once a week. Be flexible and open to the possibility of working a part time or internship job with a job that you find less interesting to pay the bills. This opportunity may lead in time to a full time position in an industry or employer that you are keen to work for. The panel also discussed that volunteering may prove problematic for students who financially are unable to volunteer full time to gain experience. Part time volunteering was suggested. It was also discussed that the first role found may not necessarily be a role that is a first choice, however it may get students in to the industry, gaining experience and meeting people who may in the future higher for roles that maybe of interest.

All of the panellists agreed that networking was a great way to expand opportunities, be it online or networking face to face. Opportunities may present themselves at the time or through a connection that students have made by building relationships. Using tools such as social media. Twitter was discussed as good way of keeping up to date with events within companies.

It was discussed that it is easy to become deflated, especially at the beginning as students may receive no responses to opportunities that they have applied for. Keeping up persistence and knowing that they may not be successful immediately in the beginning. Discussions were also given to knowing how crucial it is to know the sector. There is no excuse for not knowing this in 2017. The internet is a huge resource.

The panel discussed the need to be proactive. If students are not sure about how to apply, finding out by contacting the place of interest. When applying think about using any transferable skills that may have been accumulated already, such as any work or volunteering, even if you think it is not relevant to the job that you are applying for. Skills will have been built throughout university such as, leading on projects, teamwork and communication skills.

The panellists then discussed that some people are lucky, they know what they want to do. Many people are not sure. Learning is the key, learn what you like. If you are not sure what you like, try a variety of different options. Some of the panellists discussed that they did not know what they wanted to do after leaving university. It was discussed and advised that it is really advisable to think about what you are good at, what are your best skills? One panellist discussed that he had no plan when he left university and that he spent his first year of work doing everything for experience, working in galleries, internship, working manual labour.

Closing thoughts were be strategic, try to plan, pursue what you love.  Finding out what you love and figuring out how to get money from it. Every job you do is a pathway, everything will help, be adaptable to situations. Thinking outside the box, thinking and talking about art and creative ideas even when you are not at work.