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, Arthur talks to us about his Account Executive role at Gorkana, an award-winning media intelligence company.  Here he talks to us about how he 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, visit https://blogs.ucl.ac.uk/ucl-careers/ and search #SMEProfile.

 

 

 

 

 

 

 

 

 

 

 

How did you get into your role?

My name is Arthur, I’m 24 and have been working as an Account Executive at Gorkana since April 2015. I finished a master’s degree in Autumn 2014, followed by two comms internships in the charity sector. Because I was involved in PR, I’d obviously heard of Gorkana, though not for its analysis services. I had spent a (perhaps excessive) amount of time ‘playing’ with its media database – a must-have tool at the outset of any PR planning and campaign targeting. I found out about my current role simply by going on the Careers section of the Gorkana website. Having always had a keen interest in the media, the description of the role really appealed to me, was roughly in line with what I’d recently been studying (political communications) and let’s be honest – I needed a job. Slightly disenchanted by the early days of my job hunt, during which I was told I was either “overqualified” or didn’t have “enough experience”, I applied to Gorkana with relatively low hopes, I must say. I was impressed with the first contact I had – a prompt response by HR and a real demonstration of interest in my background. From that moment, it all went quite fast. I had an interview, a test, and a few days later – I had a job!

What are the best things about working in your role?

I think one of the best things about Gorkana is that it really invests in people. Pretty much my whole first month in the company was dedicated to training me and other newbies. When so many companies are obsessed with work experience – even for entry-level positions – and simply won’t give you a chance if you don’t have the experience – the experience that no one gives you the opportunity to build – it was refreshing to find Gorkana was not one of them. While a solid academic record and some experience are undeniably valuable, Gorkana gave me a chance to demonstrate my value in the workplace without a set range of pre-selective, arbitrary requirements. And I hope I’m not getting ahead of myself by saying that, but I think it’s been relatively successful so far.

As for the role itself, there are many rewarding aspects to our work. Finding out that your report is discussed at an organisation’s managerial meeting or used as the basis for PR strategy is one of them. Generally, when clients express gratitude for what we do for them, it’s a nice feeling. I also like working in a fairly niche industry, which simultaneously gives you an interesting overview and glimpse into the world of media. There is huge variety of clients here at Gorkana: from government agencies to financial groups, charities, clothing companies, transport companies, videogames publishers, tech companies… We get a lot of insider knowledge on a vast array of sectors, some of which we probably wouldn’t learn anything about otherwise.

What are the biggest challenges you face in your work?

The technicality of the job can be a bit overwhelming at first, but that’s what the training is for, and like everything else, it takes time. I never felt like I was thrown into the deep end, but at the same time, I was trusted and given the opportunity to get stuck in right away and progress rapidly. Deadlines can be demanding and inevitably clash. When new to a company, it’s virtually impossible to predict how long things are going to take or anticipate the various issues that are going to arise, so it has its challenges. But it’s not something to panic about – we work in teams and people help eachother. There is a huge sense of accommodation and problem solving. People work hard, but not blindly and unnecessarily hard. I hear of workplaces where you have to stay until at least 7pm everyday even if you don’t have anything to do, just to look good in front of management – Gorkana is not one of those places.

Job roles at Gorkana are also really interwoven, which can be challenging when you’re used to working by yourself at university. Even back at uni, I used to dislike working with others on projects, presentations etc. It was always somewhat chaotic – people would disagree and go in different directions, I was never happy with what came out of it. In a professional context, it’s challenging but also much more ordered and efficient. And necessary. You don’t achieve anything by yourself in the workplace – or not quite. You have to listen and be heard. Team work is the essence of any work.

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

I always found that spending a decent amount of time on a company’s website was key to taking in what the company was about, its ethos and where you would fit in – what you would bring personally. There is a reason why all that stuff is written on there – companies showcase themselves in that way and communicate things that are meaningful to them. So they should be meaningful to you. You don’t have to be an expert in a sector you’re trying to get into – your interest will be more crucial but will need to be substantiated with a perceptive understanding of the work you might be doing and its wider environment. That applies particularly to companies where the technicality of the work is not necessarily something you can learn from previous experiences. Rather than looking at whether you know things, what will be looked at is whether you’re capable – and in particular able to learn and to adapt to a team, immerse yourself in an environment that you’re by definition not familiar with.

I regret not having taken more advantage of my uni days to build up a greater amount of work experience. This is primarily what is looked at by a lot of companies, although I do believe the key is – rather than accumulating lots of experience – to build good, relevant experience. Quality over quantity. And be smart and selective about how you present yourself to an employer – tailoring your profile to their needs and expectations.

 

Gorkana is attending UCL Careers’ Global Citizenship Employability Programme, where they will be participating in a “speed interviews” event. They will also be at the UCL Jobs Market, taking place on Wednesday 8th of June, advertising vacancies with immediate starts.

Interested in media? Want to hear from professionals in the industry? We have a variety of events during our Media Week, 1^st – 4^th December 2015, that will give you a great insight into this popular sector!

Panel events will involve talks from each panel member about their current role, their career path and tips on how you can progress. You will then be able to ask questions to the panel, so come prepared! The sessions will be followed by informal networking to allow you to follow up to any conversations started in the Q&A.

The schedule of events is as follows:

Tuesday 1^st December

• Panel: Get into Publishing, 17.30-19.00. Hear panel members discuss their top tips for getting into this notoriously difficult industry. Speakers include Dr. Nina Buchan, a freelance Science and Medical Editor, and representatives from Sage Publications, HarperCollins, Collins Editing and UCL Press.

Wednesday 2^nd December

• Workshop: Journalism, 13.00-15.00. Two-hour workshop run by News Associates, the top UK journalism school. This session will involve you writing an article in a mock breaking news exercise. Spaces are limited and you will need to pay a returnable deposit.
• Panel: Get into Broadcasting – TV, Film & Radio, 17.30-19.00. Speakers confirmed include a Director/Producer/Editor for Slack Alice Films, a Lead Producer for the BBC’s Digital Storytelling Team, a freelance Series Producer/Director/Cameraman, an Assistant Producer for BBC World Service and an Account Director at Precious Media.

Thursday 3^rd December

• Presentation: What is Media Analytics?30-14.30. Media is changing. Data and analytics is key to delivering successful media campaigns and growing clients’ business. Find out more about this growing part of the sector in a presentation delivered by GroupM, global media investment group, and part of WPP.
• Panel: Get into Marketing, PR & Advertising, 17.30-19.00. Panel members include Claremont Communications, Lloyds Bank, Ogilvy, Periscopix, & Gerber Communications.

Friday 4^th December

• Panel: CVs & Applications for Media Careers,00-14.00. Get top tips from industry professionals on how to make your applications stand out and what you can be doing now to increase your chances of securing a role in this industry. Panel members include Head of Commercial Marketing from The Guardian, the MD of Slingshot Sponsorship, an experienced media recruiter from SapientNitro and a guru around creative industries from CreativeSkillset.

If you are interested in attending any of the above events, please sign up via your MyUCLCareers account. We look forward to seeing you!

George Monbiot’s recent article in The Guardian, “How a corporate cult captures and destroys our best graduates”, raised some interesting questions about graduate recruitment at the UK’s top universities. At UCL Careers we recognise not all organisations have equal resources, and that it is our responsibility to give non-profits, public sector organisations and SMEs every chance to promote their career opportunities to UCL students and graduates.

The article criticised several Russell Group universities and, although his researchers did not contact UCL and nor were we criticised in the article, we wanted to share what we are doing to ensure students and graduates find out about and have access to more than just City careers.

The article accused leading universities of passivity in the face of “love bombing” from large corporates, suggesting they should be doing more to counter this. UCL Careers devotes considerable time and resources to initiatives alerting students to alternative career options, and encouraging non corporates to come on to campus. Looking at our events this week, we are working with 23 employers on our Global Citizenship Employability Programme, of which 50% are charities, SMEs or public sector bodies, including Think Ahead (a graduate programme for mental health social work) Ark Schools (an educational charity) and Bartonia Care (a healthcare scheme for the elderly). Likewise, looking at the employers collaborating on our Focus on Management course, these include the Civil Service Fast Stream, Researchers in Schools and Repositive (an SME working for efficient and ethical access to genomic data), alongside several large corporates. Finally, just over 25% of the employers attending our Jobs Market, are from the public and charity sectors, or are SMEs.

We developed our themed weeks specifically to raise the profile of sectors such as Charities and NGOs, the Environment, and Museums and Cultural Heritage, and to place them on an equal footing with our Careers Fairs which feature more corporate career paths. Unlike our Fairs where organisations pay a substantial fee to attend, our themed weeks are completely free of charge for employers.

This year’s themed week programme comprised 26 individual events covering six sectors, and over 1,300 UCL students attended. They heard from expert speakers at organisations such as Amnesty International, Save the Children, the NHS Graduate Programme, the Institute of Conservation, the National Theatre, the V&A Museum, Global Alliance for Chronic Disease and the Stroke Association. Some weeks, such as Charities and NGOs, almost entirely featured SMEs, charities and public bodies, but even weeks such as Life and Health Sciences had representation from non corporates at every event.

The UCL Careers Twitter hashtag #uclinspireme highlights a range of career opportunities which UCL students and graduates may not be aware of- and where employers may not have the resource to promote them on campus. This includes a series of blogs written by people in less publicised graduate jobs including fashion PR, market research, and child safety, as well as highlighting less common vacancies such as “Epidemiology Intern”, “Content Marketing Executive”, and “Fundraising and Marketing Graduate Trainee”. Students can follow @uclcareers, or search for the hashtag #uclinspireme, to keep up to date with these.

We also make a great effort to involve charities and SMEs in our placements, internships and vacancy services. Smaller organisations are put off by fees to access university students, but are also often worried about attending high profile events and receiving huge numbers of applications, which they don’t have time to process. We set up our shortlisting service, UCL Talent Bank (which takes much of the legwork out of recruitment) specifically to engage smaller employers and bring their vacancies to UCL students’ and graduates’ attention. Since Talent Bank started, we have advertised around 175 roles for non corporates, including Rainforest Foundation UK, the Institute for Sustainability and homelessness charity Providence Row. Talent Bank is free of charge for employers.

Talent Bank is a service for all UCL students and graduates but we are also tasked with sourcing internships for specific courses at UCL, one of these is the BASc Arts and Sciences. Over the two years we have been working with these students around 65% of the internships they secured were with either SMEs or charities.

Finally, we often arrange for employers to visit departments to talk about relevant career opportunities. In two examples from this year, two panel discussions in the School of Public Policy involved representatives from Oxfam, VSO and Macmillan Cancer Support, while a recent panel event at the Institute of Education featured a large UK based charity, an international development organisation, the director of a small business and a self-employed consultant, the idea being to demonstrate to students the variety of the types of careers they could aspire to.

The Guardian article praised the Careers Service at the University of Cambridge for trying to “counter the influence of the richest employers”. It lauded their policy of imposing a fee on rich recruiters and using the proceeds to make it easier for non profits to recruit at the university. Almost all leading UK universities charge fees for recruitment services to larger organisations, and UCL is no exception. First and foremost, these fees have to represent good value for the companies who pay them or they won’t recruit here, and the many students who are interested in careers such as finance, law, consultancy, IT and engineering will miss out. That said, we consciously invest any surplus from these activities into services for all students, including the initiatives listed above.

We don’t believe our role is to make value judgements about particular career paths, and nor will we tell you that you should or shouldn’t pursue a particular job based on our own ethics. We do believe we have a responsibility to marry our knowledge of the many different careers UCL students pursue, with the availability and interest of particular employers when delivering our events and services. We hope this overview provides reassurance that we don’t just promote one type of career, but we are always interested in hearing from students and graduates if there are particular employers or sectors you want to see more of.

– Phil Howe, Employer Engagement and Business Development Manager, UCL Careers.

As part of our #UCLInspireMe series, Matt Pelly, Documentary Producer/Director talks to us about how he got started in the Documentary Production  sector.

I’m a documentary producer/director for BBC and Channel Four, making things like 999: What’s Your Emergency and Routemasters. I always wanted to work in TV/Film, and made lots of rubbish films as a kid with my brothers. I studied Drama & French and university and got my first job as a runner on Bargain Hunt at the BBC a year after leaving University.

How do I get in to a role like this?

There are two ways in. One is to make your own films until someone realises how brilliant you are, but they are difficult to fund, it can take years, and you’ll need to get lucky or have rich parents.

The other, and more common way, is to start at the bottom as a runner making tea. As they say, the cream will rise, and it generally does. Apply to everyone and anyone, but more importantly meet people, get work experience and keep going til someone gives you a job.

You need to have passion to make films/tv programmes professionally. Its hard work and long hours, and you won’t survive if you don’t really care about it. Don’t do it for the glamour. It is fun but it takes a toll on your social life, and there’s more than a few single 30 & 40-somethings out there in TV world. Make student films, and learn how to make them better. Make it your business to know the sector, and meet people making the kinds of films you love. Keep moving and keep learning. Don’t be too proud to work hard and make the tea. Be nice to people, have a ready smile, and show passion and interest. People will remember you and help you if you’re good to have around.

What are the pros/cons of your role?

Best things are I get to be self-employed, be creative, work with creative people, musicians and sometimes actors, meet/interview famous people, and travel the world. But that’s all gloss on the whole; the best thing is I get to make films which i love.

Getting in is hard, but it’s hard all the way if you don’t want to be pigeonholed, so you have to be focussed on what you want to do. It’s hard and not for everyone, but it beats the 9-5 in my book.

And one thing I read in a magazine once: the hardest thing is knowing what you want, the easy thing is doing it.

Good luck and enjoy.

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Ahead of UCL Careers Media week, Grace, UCL Geography Graduate,  gives us her insider’s view on what a Programmatic Account Manager does.

After studying a Ba Geography degree at UCL for 3 years and finishing with a 2.1. I had no set idea what career I wanted to pursue. After toying with a few career paths I was informed by a recruiter that my life was destined for digital marketing. My recruiter promised I had the ideal transferrable skills; good balance of numeracy and writing, some experience in the online world (marketing an event on social media and getting involved in a blog) and an eagerness and confidence to learn and get stuck in.

I was intrigued by this suggestion but also slightly hesitant because I didn’t know what this industry was all about. One of the first roles I was put forward for was for a ‘Programmatic Account Manager’ position with a small but growing company called Periscopix and since then I have not looked back! One of the most exciting aspects of my job is that no day is the same, however here is snippet of my working life here at Periscopix!

First things first:

In a nutshell my role is to purchase online advertising space on behalf of my clients. I buy this ad space using DoubleClick, a bid managing platform owned by Google. I select inventory that will be relevant for my client and only enter an auction if the ad space fits the criteria I’ve chosen. This auction then takes place programmatically, i.e. as a page loads DoubleClick will work out who has selected this particular criteria and who has the highest bid and that person will serve the ad. So you’ve got the gist.. how does my working day pan out?

Quick Check:
Programmatic display is still a baby in the online arena. This fledgling industry is thriving YoY and it’s exciting to be catching the wave of such a ground-breaking practice. As with such young systems it is constantly developing, although this is all in the name of improvement, it is difficult to always stay on top of new features, settings and changes. Thus every morning we will spend 15 minutes looking into our clients’ accounts to check everything seems in order, examining performance and making bid adjustments where necessary.

New client – handover:

Then it’s straight to a meeting room for a sales handover. Eeeek very exciting! A member of the sales team confirms a fitness clothes retailer wants to launch programmatic buying with us. In this internal meeting we discuss what their goals are, what they know about programmatic buying and what they expect to get out of it. It seems relatively standard, they know a little about online display advertising, they are keen to gain brand awareness and quality traffic to their site. Meeting over and it’s straight to the desk to begin thinking about what targeting will be the most relevant and responsive to launch with.

Within around 3 months of working at Periscopix I began being solely responsible for a client from handover. This means I am in control of every aspect of an account. I am in charge of designing the campaign, building the account, ad trafficking, reviewing the set-up, optimising the account on an ongoing basis and, of course, managing all client contact.

This autonomy is unusual for a digital marketing company, but having ownership of an account means I have so much vested interest in the performance, I know the client and the account inside out and I have fantastic variety in my day-to-day working life.

Ad trafficking:

A couple hours of this day I am spending ad trafficking. This is necessary every once in a while with new clients and also existing clients wanting to change theirs up. Today is because a travel agency client has decided to carry out some rebranding. With the industry-wide developments mentioned earlier, the set-up process of uploading ads is always changing. This means there is always a new system to crack and new ad requirements to get to grips with and this process can be a challenge. With internal support from within the team and Bid Manager Support readily available when the job is done it is always a rewarding feeling finally seeing the shiny new ads uploaded into the interface we use. J Especially as they get slicker by the month!

Lunchtime!
The size of Periscopix is growing really fast and the average age of an employer is 27. With an open plan office and new starters every month it is really fun to just sit in the kitchen and meet new people. I was surprised at how quickly I made really good friends here. Often we will take a stroll to borough market or saunter to Potter’s field, a walk is often needed after the free posh coffee, toast and the array of fruits we stock up on in the mornings!

Client meeting:

After lunch I have a meeting with a B2B client that sells mobile analytics. The meeting is taking place at the client’s offices in central London. I am looking forward to the catch up as I have great relationships’ with all my clients, something that is nurtured since handover. It is easy to get on with clients whilst working at Periscopix because our USP is our transparency and commitment. We only have a handful of clients each to ensure we are able to commit time to working on the accounts. Plus we are sharers; we want the client to know what we are doing, why and how we are doing it and what we are planning.

Optimisation:

Aaaah it’s nearing the end of a busy day and I get to optimise! This is the back bone of our job, pouring ourselves into our accounts to tease out trends and work out where to go from here to progress the accounts even further. We have a dozen optimisation tasks we can tackle to improve accounts. My favourite part of my role is finding the gems during optimisation sessions; sites that outperform others, user lists that are responding really well and discovering fascinating insights using lookalike modelling to provide clients with useful insights into who their target online market really is. We foster a test and learn ethos here at Periscopix and so as long as your tests are based on data, anything is acceptable. This freedom and encouragement means although you have in mind what your clients expect, you also get to explore and test what you find interesting.

Home time!
As always the day went too quickly! However its 17:31 and I am out of the door. The directors, Simon and Marc, believe efficiency and productivity stems from a happy workforce and Simon says ‘there is nothing worse than watching the clock and having a boring job’. Hence the company are forever trying to strike a balance of being busy but getting it all done in the working hours – which is a refreshing change from the nightmare graduate schemes I hear about from my friends. Now it’s time for a quick gym session (read: sauna) – membership subsidised by the company of course!

To find out more about UCL Careers Media Week, visit: www.ucl.ac.uk/careers/getinto