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.

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.

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.’

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!’

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?

• Visit the myUCLCareers events page for the bios of the speakers.
• You can re-watch the event on the Themed Week archive.
• Find out more about upcoming Themed Week Events.

 

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.

As part of our #UCLInspireMe series, Lornette Harley, Press Assistant at Soho Theatre, talks to us about how she got this role and shares some tips for UCL students who want to get into the sector. For more insights from recent graduates working for smaller organisations, search #SMEProfile.

How did you get into your role?
I did a degree in musical theatre and discovered that that side of theatre wasn’t really for me as much as I loved it. After my degree I got into a lot of event planning and managing which then turned into a lot PR work in the music industry and that was how I realised that I love PR. I did about 3 works on music events and PR work and then a friend of mine sent me the vacancy for the role of Press Assistant at Soho Theatre and I thought it was the perfect mixture of all the things I enjoyed doing, so here I am!

What are the best things about working in your role?
The fact that I am always learning something new and constantly meeting and interacting with new people. The people that I work with are also some of the most amazing people I’ve ever worked with. We all sit in one open plan office and the atmosphere is always great. It’s a great role that mixes my love for all things creative with the office work.

What are the biggest challenges you face in your work?
I sometimes think it can be quite difficult to plan my day at work because I never know what’s going to happen when I get there. I’ll have an idea of what I want to get done in a day and then I’ll get a string of emails all marked as high importance and my plan goes flying out of the window. It can be quite difficult to fit in everything that needs to get done.
 
What top tips would you give to a student interested in this type of work?
Get into theatres, see as much as you possibly can, really immerse yourself in all things theatre so that you know what’s going on. Be aware of the press that is around as well; read the papers and magazines, listen to radio shows and watch news programmes. Also, reach out to your local theatre wherever you might be, see if there are any part time front of house roles that you can do alongside your studies if you have time. Get into a theatre and make yourself known, you never know what possibilities for moving up there might be and if you’re already in the theatre you’re in a better position that people applying from outside. Lastly, remember everyone you speak to (the industry is small and you’re very likely to work with people more than once) and be nice to everyone you come across.
 

To find our more about working in PR, visit Careers Tagged

As part of our #UCLInspireMe series, Nadia Newstead, Marketing Assistant at Soho Theatre, talks to us about how she got this role and shares some tips for UCL students who want to get into the sector. For more insights from recent graduates working for smaller organisations, search #SMEProfile.

How did you get into your role?

I did Drama and English at university where I threw myself into Stage Managing various productions. I did an internship as part of my degree which was my first taste of administration work. I did various box office/front of house/stage managing jobs until I got my first job as an administrator, then marketing trainee at The Marlowe Theatre, Canterbury and then Marketing Assistant at Soho Theatre.

What are the best things about working in your role?

I like that although it is an admin role, it is also a creative role as you get to have input on photo shoots for show images and do filming for trailers as well as coming up with fun content for the web and social media. I like helping small companies reaching the best audience possible. Marketing great shows is my way of sharing my love of theatre with others.

What are the biggest challenges you face in your work?

The amount of shows we have on here at Soho Theatre! All the shows require the same basic  amount of attention whether they are on for one night or 7 weeks. A lot of the shows also have very small budgets so you have to try and maximise what they have to reach the most amount of people.

What top tips would you pass on to a student interested in this type of work?

Have a go! If you’ve got an upcoming show, exhibition, reading or know someone who has then offer to help them with marketing. With social media it’s very easy to get started – just know how much you have to spend and stick to it and always evaluate what did and didn’t work.

Soho Theatre currently have an opportunity to join them as a Marketing Assistant, visit UCL JobOnline to apply.

To find our more about working in a Marketing, either come in an speak to a Careers Consultant or visit Careers Tagged.

Considering a career in or want to find out more about the Arts, Cultural Heritage and Museums sectors? Then this is the week for you! All events are open to students from all degree disciplines. All events take place during week commencing 2nd November 2015 and need to be booked via your  ‘My UCL Careers’ account.

Arts Management Forum | 2nd November, 5.30pm-6.30pm
Confirmed panellists include:
> Dr Michael Hall – Curator and Dealer
> Marion Crick – Head of Collections Management, Victoria & Albert Museum
> Eleni Duke – Owner/Founder, Curious Duke Gallery

Museums Forum | 3rd November, 5.30pm-6.30pm
Confirmed panellists include:
> Frances Jeens, Jewish Museum
> Dr Neil Wilkin – Curator (European Bronze Age collection), The British Museum

How Volunteering can start your Career in Museums & Cultural Heritage (run jointly with VSU) | 4th November, 5.30pm-6.30pm

Confirmed panellists include:
> Marta Mrozek – Collections Management, The British Museum
> Stephen Wilson – Education Manager, Benjamin Franklin House
> Carly Lawrence – Volunteer Supervisor, Handel House Museum
> Charlotte Frearson – Undergraduate/Fieldwork/Museums Placement Administrator – UCL Institute of Archaeology
> Oliver Peachey – Volunteering Administration & Partnerships Coordinator, VSU

Cultural Heritage Forum | 5th November, 5.30pm-6.30pm
Confirmed panellists include:
> Dr Joe Flatman – Head of Central Casework and Programmes,English Heritage
>Alison Richmond – Chief Executive, Icon, Institute of Conservation
> Dr Gai Jorayev – Research Fellow and Senior Heritage Management Consultant,  Centre for Applied Archaeology, UCL Institute of Archaeology

All events need to be booked via your  ‘My UCL Careers’ account.

Ever considered going freelance?  Getting a job in the arts?  Working in theatre?

Join our webinar to listen and contribute to a Q&A session with Jethro Compton, Writer, Director, Independent Theatre Producer and co-Artistic Director.  Jethro will be taking your career questions.

When? Wednesday, 22^nd April, 1-2pm

How? Register using this link: https://attendee.gotowebinar.com/register/3226718446927832322

More about Jethro…

Jethro Compton is a writer, director and independent theatre producer. His most notable productions to date have been the world premiere of The Man Who Shot Liberty Valance in London and the internationally acclaimed WWI triptych, The Bunker Trilogy.

As the Producer and co-Artistic Director of Belt Up Theatre, Jethro has worked on The Boy James, Outland, A Little Princess, The Hunchback of Notre Dame, Metamorphosis, The Tartuffe and The Trial.

In 2010 Jethro received a bursary from Stage One to support his development as a commercial producer. He was Associate Producer of Southwark Playhouse for three years from the start of 2011.

Organised by the Careers in the Creative Industries team for students from across the University of London, this webinar will give you the chance to learn about careers in theatre, including advice for writers and actors, and will give you insight into the world of work in the creative industries.

 

This blog post originally appeared on the Develop your Career blog

Paul Kilbey, Editorial Assistant at the Royal Opera House, shares his experiences in Arts publishing.

How did you get into your role?

I’ve wanted to work in publishing for a long time.  I studied music at university but was always more interested in writing about it than performing or composing, so I gravitated towards jobs where I used language.  After a while teaching English as a Foreign Language abroad, I moved to London and was lucky to be able to do a couple of internships, building up my professional experience.  There were then a few years working in and around classical music for startups, and I got my current job in the Royal Opera House’s Publishing and Interpretation team a couple of months ago.  I am also a freelance writer specializing in classical music; I write for a few magazines.

Over the last few years I have written a lot of articles for a number of predominantly online publications.  This has been really important for developing my writing skills, although it hasn’t always been the same as a conventional grounding in journalism or publishing – it has all been fairly off the cuff, and online is totally different from print, both in terms of how it works and also the standard expected.  All the writing made me well qualified for my current role – I’m an Editorial Assistant – but I still have plenty to learn.

What do you do day to day?

It’s very varied, and the workload changes depending on what projects are coming up.  There is always work to do preparing for future productions, although of course it gets busier in the immediate run-up to a show.  I have work to do in a number of areas including writing, proofreading, liaising with advertising clients and also working with publishing software.

What are the best things about working in your role?

My colleagues are very nice, and it’s an exciting place to work, with the rehearsals and performances happening all around us backstage.  And after a few years with very small companies, I am still hugely enjoying the perks of working for a major employer – cafeteria, IT support, payroll department, etc. Most of all, the job is an ideal mixture of my interests – classical music and publishing.  I’m lucky to be able to work in both at the same time.

What top tips would you pass on to a student interested in this type of work?

Firstly, it’s worth remembering that any sort of office experience is good.  Employers want to know that you can be trusted to correspond with people in a professional manner.  I had done very little office work on graduation, and this probably set me back a bit.

As for writing online – there can be huge benefits to doing this, but only if you’re serious and sensible about it, and aware of its limitations.  Blogging can lead to all sorts of interesting things, and so can writing for the many websites out there that will take your content, publish it, and not pay you.  But, unsurprisingly, doing this can also be very unrewarding, both financially and professionally.  You shouldn’t confuse success in these media with professional experience in journalism or publishing per se.  My advice is that if you’re considering writing for a blog or another website, it’s crucial to remember the value of what you’re doing.  This means two things: firstly, that you know what you stand to gain from your writing, even if you’re not being paid (are you gaining useful experience? Exposure? Nothing at all?); and secondly, that you only write things that you’re confident are good enough to merit publication.