Although almost a third of the creative industries workforce is self-employed, the role and contribution of creative freelancers in the economy is poorly understood by policymakers and they should be better supported.
That’s the claim of a new report by support organisation Creative United which said that the lack of knowledge around creative freelancers “has been laid bare by the devastating impacts of COVID-19 on creative employment and freelancing, and the patchy support that freelancers have been able to access in response”.
Although government schemes have provided funding for millions of people during the pandemic, ministers were criticised for excluded a large section of self-employed people.
Creative freelancers contribute economic, cultural and social value, the study concluded, and much more needs to be done to support them in a way that better reflects their contribution to the UK economy and society.
The research, commissioned by Nesta’s Creative Industries Policy and Evidence Centre (PEC), makes 10 recommendations including:
Eliza Easton, head of policy at the PEC, said:
“This report is important for our understanding of freelancers in the creative industries, who, along with the self-employed, make up 32% of the sector, a much higher proportion compared to other areas of the economy. Before the pandemic, the creative industries were one the fastest growing parts of the economy, contributing over £100bn a year to the country and employing over 2 million people. However, the COVID-19 crisis has exposed the inadequacy of support for freelancers and self-employed workers. If we want a post-pandemic recovery that benefits everyone in the economy, we need to ensure that policies for freelancers are designed using evidence and research, rather than trying to apply a ‘one size fits all’ approach.”
Researchers also interviewed 87 creative freelancers based in the Coventry City Region, London Borough of Waltham Forest and the County of Northumberland and compiled six groups to illustrate the range of creative freelancers, the characteristics that define their business motivations, and their modes of working.
A summary is below with full definitions in the report.
“I’d like to be expanding… I suppose I’d like to be ‘small to medium’ one day. I’m not sure I ever wanna be a ‘large’ business, you know, I think that probably takes a lot of the fun out of it.”
“I wasn’t interested in running a business, I just wanted to be an illustrator! I was quite happy having somebody pay me to be an illustrator.”
“I can be here when kids come back from school and can arrange meetings around that. I’m in charge of my own time, I don’t need anybody’s permission to do the things I want to do. It’s great.”
“This is the only way I can do the job I want to do, there is no alternative.”
“I would find it very hard to get out of bed to do something I didn’t care about. I’ve been obsessed with the arts and cultural industries all my life. I believe this makes a proper contribution to the community, to the world.”
“I work with a group of stroke survivors and to be able to see them return every week and to enjoy what they do and to really feel part of that group… Letting groups have their own identity – I never call myself a teacher, I am part of the mix. Learning from each other. Not about earning – the earning bit is not realistic in the arts world.”
Bristol Creative Industries has a membership level to support creative freelancers. Read what some of our members have to say about the many benefits of freelance membership.
The Kiltered Guide to Effective D&I is a practical series of five bite-sized virtual sessions to set you on the right track with your diversity & inclusion efforts. We’ll help you make sense of what Diversity & Inclusion means for your business, why it matters, and how to turn the conversation into action. We’ll share insights, tools and techniques to help you overcome any D&I fears and obstacles, before starting to develop a plan. Our goal is to help you create a more inclusive workplace that will lead to increased diversity, improved team motivation and better business performance.
Anyone looking to embed D&I into their business in a way that’s about more than talking and quotas. You might already be doing something D&I related, you might not. You might have taken the first step but are not sure what to focus on next. Or you might be finding it difficult to get buy-in or investment for your efforts. We’re here to help you take that next step, whatever it might be, and turn conversations into meaningful action for your business.
This series of 5 workshops will run fortnightly on a Wednesday morning starting on Wednesday 22nd September.
** NB the first session had already taken place but if you’d like to book on the remaining 4 sessions, we will send you a recording of the first session along with slides so that you can catch up.
Part 1 – 22nd September, 9-10.30am
Setting the Scene – The business case for Diversity & Inclusion
Part 2 – 6th October, 9.30-10.30am
Making Space for Inclusion – Where do I start?
Part 3 – 20th October, 9.30-10.30am
Embedding Inclusion into your Culture through your Vision, Mission, Values and Strategy
Part 4 – 3rd November, 9.30-10.30am
The Perception Gap – Using data and analytics to increase your chances of success
Part 5 – 17th November, 9.30-10.30am
Writing your plan and putting it into action
Barrister Morag Ofili started Kiltered in 2020, a forward-thinking diversity and inclusion consultancy with a mission to take the fear out of building more inclusive workspaces. Using data analytics and organisational psychology, Kiltered helps businesses develop cohesive and achievable strategies for change and empowers businesses to put plans into action in a meaningful way. Where needed, Morag can tap into her network of lawyers, HR specialists and trainers to offer additional support. Kiltered is a resource for companies and leaders who are ready to do things differently. Morag is also a director at Broadminded, a community for curious and ambitious women, running events to inspire, educate & support women across all industries.
With a career spanning 20+ years in the creative and tech industry, Mette Davis has co-founded start-ups, and held leadership positions for global networks, boutique creative agencies and a digital transformation consultancy. Her former clients include British Airways, Mars and McLaren Automotive to name a few. Mette set up her own business in 2016, partnering with businesses and individuals to help them navigate through change and unleash their full potential. She works closely with companies to develop robust business strategies that stand the test of time, helping them activate their plans across multiple areas with a suite of practical tools and techniques, including workshop design and facilitation. Mette has also previously delivered several hugely popular training workshops for Bristol Creative Industries.
Diversity & Inclusion is a topic that’s rarely out of the news. But it’s also a topic that makes us feel uncomfortable, unsure of how to approach it and where to start. And once we have started, what we should be focusing on and prioritising in our strategic plans.
This first virtual session will help to set you on the right track with your diversity & inclusion efforts, make sense of what it means for businesses and the creative industries specifically, why it matters, and where to start. We’ll share a balanced perspective on some of the latest research and benefits of writing a business case, and explore different approaches to D&I, including metrics you can use to drive your efforts, all with the goal of creating a more inclusive workplace that will lead to increased diversity, improved team motivation and better business performance.
Whilst many understand the importance of inclusive workspaces and have heard the stats that diversity and inclusion is good for business, a large number of businesses have no idea how to get from where they are now to where they ought to be.
There are many reasons not to change – you lack the expertise, it takes up too much time, you don’t have the money or perhaps you simply do not want to compromise the positive elements of the existing culture? This session will tackle all of these common concerns and equip you with the tools to embark on your inclusion journey with a positive mindset.
Over the course of the session, we will explore why change is hard and what we can do to embrace it to create a better workplace environment for everyone.
The 3rd session in the Kiltered Guide to Effective D&I focuses on embedding inclusion into your culture through your vision, mission, values and ultimately your strategy.
We’ll talk about inclusive leadership, what it means and why it’s important for companies who want to achieve genuine inclusion, starting with the definition of your vision, mission and values. And once created, how it weaves into every element of your strategy and creates value for your business.
We’ll talk about different approaches companies take, with real life examples who have achieved varying levels of success through their efforts, including a deeper dive into the London 2012 Olympics and what we can learn from their approach to D&I.
We’ll also provide some practical guidance to help you on your way.
So you have examined your culture and examined your values but do you actually know how your employees feel about working in your organisation?
Are you surprised that anyone would ever want to leave?
The perception gap is the distance between how you want to come across and how you are ultimately perceived.
In this session, we will look at how data helps businesses close the gap and develop solutions that are responsive to the needs of their people.
As part of the Kiltered Guide to Effective D&I series, this final virtual session focuses on putting your plan into action. We’ll provide some practical steps you can take depending on where you are on your journey, as well as a couple of useful tools that will help you on your way to developing an inclusive culture that creates value for the business and motivates your team.
We’ll also help you understand what to expect, things to look out for, and how to approach some of the trickier situations that might arise. We’ll also share examples to bring it all to life.
The Kiltered Guide to D&I is sold as a block of 5 workshops as the learning builds throughout the series. Places are £225+VAT for BCI members and £295+VAT for non-members.
Book your place(s) here.
Heather Wright is an executive producer and creative industries consultant with 30 years of experience. She spent 22 of those years at iconic animation studio and Bristol Creative Industries member Aardman Animations.
In 2020 Heather left the company that has given us legendary characters like Wallace and Gromit and Shaun the Sheep to launch Springboard Creative. She also joined the Bristol Creative Industries board.
Dan Martin speaks to Heather about her career, the storytelling and employee culture lessons other businesses can learn from Aardman, what she is up to now and why is supporting the work of BCI.
“The 1980s and 90s was an extraordinary time to be working at advertising agencies. They made you feel like anything was possible. I worked at Saatchi and Saatchi which had the slogan “nothing is impossible”. Although that was sometimes frustrating to try and deliver to, it did mean you were always looking for a creative solution to make something happen. It wasn’t just acceptable to say “this can’t be done”. I also worked for Chiat Day and their slogan was “good enough is not enough”.
“It made me realise that if you have the confidence to know that there could be a way around a problem, you just need to find the right questions, understand the motivation or think about the other person’s point of view and what makes them tick. I learned a lot about creativity, both artistically and in business, during that time.”
“They advertised for someone to run their commercials team. I thought “animation, that sounds good because I know nothing about it so if they want someone to stay after six o’clock and do some animation problem solving, they won’t ask me. But I do know a lot about what Aardman should be doing in the advertising world!
“I applied for the job and got it. I grew as the company grew. My whole experience was growing from that starting point to becoming an executive producer and working on a breadth of different activities. I was instrumental in setting up their computer animation team, I ran their immersive team for AR and VR games and I worked on a big Wallace and Gromit concert at the Royal Albert Hall.
“From not knowing about animation, I soon learned lots and I very quickly became an absolute devotee of the art form. I was lucky to be surrounded by other people who also absolutely loved it and because it is a world leader in animation, the calibre of people who came to work there was always high. You were constantly surrounded by great creative thinkers, problem solvers and technicians. Everybody grew together; that idea of a rising tide lifts all boats.
“Aardman is very good at making sure everyone feels involved in all the parts of the company. If there’s a new show being worked on, it is shared with the whole company. There were issues around secrecy but in the end, we decided we just needed to trust people because it is in all employees’ best interests for the ideas to be kept confidential.
“During a big project, we were aware that employees’ families weren’t seeing them for months on end, so getting friends and relatives involved was crucial to maintaining the wellbeing of all the staff in the studio. When a big movie was finished, there would be a friends and family tour day, and after the production was released, we would take over all the screens at Vue Cribbs Causeway.
“The business also encourages everyone to come up with creative ideas, not just the creative departments. I know of a couple of ideas thought up by somebody in the finance team.”
“Employee ownership was a vehicle that allowed Peter Lord and David Sproxton [the founders of Aaardman] to step out of the day-to-day running of the business and to ensure its independence. It could very easily have been bought by a big channel or network and have just become part of somebody’s balance sheet. Independence has always been a strong tenet of what the company is about; the ability to make their own shows, make their own decisions and to run it as they want to. When Pete and Dave decided to take a step back, employee ownership worked well because the company had always been about everybody contributing.
“It’s not a super easy ride becoming an employee owned trust, but I encourage any company that’s thinking about it to consider it very seriously. Everyone becomes a partner and there is a change in the culture because it makes people feel like they really do have ownership and they really do have a say. We set up a staff council for employees to be involved with strategic decisions and to have input on how things were done. It was much more than somewhere for people to go if they had a complaint.
“Companies that have that kind of approach with values that everybody should share in the success are proven to be more successful businesses.”
“Nobody wants a yes man on board and everybody wants an intelligent conversation. All you can do is be your authentic self, know that your product is good, believe that your product is good and be able to explain why it is good.
“Work with the client as a team and be open to their ideas as much as you expect them to be open to yours. Build a very strong collaborative working relationship with a shared vision. I always made sure that the vision of the people inside Aardman and the vision of the client were going in the same direction. The path to get there may be rocky and can take different turns at different times from either side, but that’s ok as long as everyone is heading in the same direction and knows where they want to get to.
“Create cohesion, build true working relationships and be fun to work with.
“The other tip I would advise is if a big brand wants to work with you but you don’t think you can properly answer the brief because of time or money, say so and don’t take it on. If you do, you’ll end up doing a bad or half hearted job and not delivering something you’re proud of. The client will be disappointed in you and never come back to work with you.”
“They believe in quality of craft, excellence and humour. They believe in themselves and the stories are told from a very British point of view because that’s who they are. They don’t pretend to be American; it’s always about authentic storytelling,
“They also focus strongly on independence and collaboration. Those are the kind of things that attract people. It’s always about the quality of the craft, the quality of the thinking and the quality of the ideas.”
“It took me about two years to make the decision. The company was going through a change and I was starting to have ideas. I thought to myself “have I got anything else in me other than working for Aardman for the rest of my life?” I had an idea and I just needed to find out if it would work.
“I’m still friends with them all at Aardman and I’m proud to be associated with the company.”
“The main thing I am working on is an animation app called Magic Fox. It enables children to make animated personalised, real time movies of their own. It’s about developing creativity in five to seven-year-olds. I’m working with two partners and we’re currently seeking seed funding.
“I also still get involved in exec producing and I’m working on a couple of really big projects that I can’t tell you about right now! The other string to my bow is working with Innovate UK Edge, who support small creative businesses to get started with their strategy.
“I love helping people to fulfil their potential and that’s what all of my endeavours are about.”
“The government has realised that the creative industries is a huge earner for UK PLC. The trouble is they haven’t really known how to invest in it because unlike most other industries where you end up with huge companies, most of the creative industries are small or micro businesses. The idea of how you actually support innovation in the creative industries is something that they are continuing to grapple with.
“Innovate UK Edge recently ran the new Creative Industries Fund which provided a small amount of start-up money. It’s very unusual to have such a broad funding competition that appeals to lots of people.
“That particular scheme is now closed but knowing Innovate UK Edge and the way they work, if lots of people applied and they got some good projects out of it, they will run it again. They will also run a scale up programme of some sort because they want to progress people from start-ups to scaling up to a growth phase and being investable. That proves that the innovation works.
“If you can kind of get into the system, they will support you through all phases of growth. Their ears are open right now and want to know how best they can do it. They are absolutely looking to have conversations with small and micro businesses in Bristol and the south west about what innovation means to them. It’s a unique time to get involved.”
Find out more about Innovate UK Edge here. You can also follow Innovate UK Edge South West on Twitter.
“The pandemic has been a disaster for performing arts venues in particular but I think the government has realised that there is huge value in culture due to the impact of having lots of places closed.
“People gain emotional intelligence and learn about how to be in the world through storytelling. The creative industries bring meaning to the world, whereas science and technology bring facts. The question is how do you quantify what that meaning and understanding is? Is it through storytelling, different types of apps, watching something on your phone etc? They are sometimes intangible ideas that are hard to grasp hold of, but that’s what people in the creative industries do; they make the intangible tangible.”
“The creative industries rely on freelancers and small businesses. Anything we can do to encourage people to start their own business will lead to success for the whole of the creative industries and the UK. I’m absolutely in favour of those kinds of measures.”
Read more about the report here.
“I’ve always been really interested in the Bristol creative scene. At Aardman although we believed in supporting Bristol, most of our customers weren’t Bristol based but I was always interested in what was going on it the city and went to events like First Friday at the Watershed.
“I could see cities like Manchester and Leeds getting ahead but Bristol has a huge amount to offer. I’m really keen to support Bristol to become a stronger creative industries hub than it already is. It needs to punch above its weight and I want to be part of making that happen. Bristol Creative Industries is a vehicle to galvanise us as a city and make sure that we have a strong ecosystem that supports each other to reach out beyond our city.”
“It absolutely needs to happen. You get a better quality of idea when you have lots of different windows on the world in front of you. Everybody comes with a different window and a different viewpoint. The more ideas you have in the room from different places the better. That’s the problem with the Westminster bubble; they talk to people like themselves all the time. The only way to break out of the bubble is to go further and have a greater diversity of ideas. That comes from a greater diversity of people including ethnic diversity as well as age, people who are less able bodied etc. It’s all about having people with something different to bring which is not the usual employing people in your image which is often the worst thing you can do.
“It will take time. Nobody wants to get a job just because of their ethnicity or age; they want to get a job because they are the best person to do it. It requires grassroots support from the industry. The creative industries wants to do it, but they sometimes struggle to know how to do it. That’s another area where Bristol Creative Industries can help by endorsing programmes that are working and advising on how you go about creating a more diverse workforce.
“We’ve got such a diversity of people in Bristol and the wider region. We have the opportunity to test some of the ideas and prove that they work.”
“Start with a character. Think about how they would do a particular thing, what type of issues that kind of person would have, who are their friends and where do they live. You will come up with a much stronger story that way than saying, for example, “wouldn’t it be great if our mobile phones could all talk to each other on the table.” That’s an idea but it isn’t that interesting. But what about a tiny little character that has a big nose who’s really good at sniffing out unusual smells or situations. Maybe he’s frightened so he hides a lot. Or maybe he just gets really huge so how does he deal with what happens to him. Starting from the point of view of a character is much better than starting from a plot or a set of circumstances.
“Tell stories that you know, understand and are authentic to you. There are universal truths such as love, hate, anger and jealousy that everybody in the world, no matter where they live, understand. Apply those to your own set of circumstances and those values will still come across. It will make the story interesting for everyone because they will recognise the love, hate, jealousy and anger, but they will see it set in the context that makes sense for the storyteller. If you start to tell stories from a place that you don’t really understand, that’s always going to be much harder.”
Not yet part of the Bristol Creative Industries member community? Join today.
Liana Dinghile, Partner at Tonic Creative Business Partners, discusses flexibility – is it a good or a bad thing for the future of work?
Most agencies are already embracing a more flexible approach to work and an overwhelming majority of employees would like to see this continue. But as so-called Freedom Day approaches and businesses get to grips with what the future might really look like, it’s worth considering where being less flexible can increase your chances of success.
Counter-intuitive maybe. But some things will need to be inflexible and non-negotiable for a more flexible future to succeed. Let’s explore.
The conundrum
On one hand, remote working has changed the game that needed changing. It’s levelled the playing field by creating access and inclusion for diverse talent and given people the opportunity to better balance their lives. Productivity has increased and priorities have been sharpened. But on the other hand, many argue that creativity, culture and learning have been compromised as a result. The double-edged sword now forcing a hybrid work revolution.
Every business is finding its way through this revolution. Some are leading with new ideas and bold policies they hope will work – from four-day weeks to mandated days and localised work hubs. Others are following and failing to master the transition – criticised for uninspiring or restrictive policies or not properly explaining or setting clear boundaries for people to get creative with.
In all cases, however you move forward, it mustn’t come at the expense of employee trust or compromise the strength of your culture. These two factors are still an agency’s best advantage when looking to win the big briefs and the battle for talent.
The non-negotiables
With boundaries, people are more likely to experiment and make good judgements. When supported, people are more likely to support others and act beyond their own interests. All basic principles, but never more fundamental and at the centre of a new cultural contract that’s separating the best from the average in business and society.
#1 A solid values system. Having a strong belief system at the heart of every action you take, evident in every leadership decision and willingly embraced by every member of your team. Non-negotiable.
#2 A minimum standard of work. Setting parameters for what great looks like for the work. Wherever and however work gets done, having a standard that is universally understood, championed and honoured. Non-negotiable.
#3 Empowered teams and managers. Setting clear objectives at a team and project level to set the boundaries for autonomous action in the interests of the clients they are closer to. Support leaders to manage the complexity and be the simplifiers and role models their teams need. Non-negotiable.
#4 A well-harnessed culture. Creating a culture of wellbeing and psychological safety for people to openly share their needs, concerns and successes as they find their way through a different time. Non-negotiable.
Structured flexibility
With the non-negotiables in place, you’ll have the confidence to find the flexibility level that’s right for you. Here’s three new ERA principles to help get the balance right:
Continue the EXPERIMENT
– Draw on learnings from the last 18 months of experimentation. Ruthlessly reappraise the core work of the agency and what it takes to do it really well. Where has remote working accelerated or challenged your capacity to deliver to this standard?
– It will take time to fine-tune and adapt a future work policy. So be upfront with your teams that this is an experiment and be clear about where you need their help to stress test.
– Whilst its unhelpful to follow blindly because ‘Apple or Twitter tried it’, there’s a lot of experience out there to learn from that may give the benchmarks you need to explain the benefits of your strategy.
Be RUTHLESSLY focused
– Seriously ask and challenge what an existing office or potential workspace is for. Architects are experimenting with different models from ‘plazas’ to ‘neighbourhoods’. Co-working spaces are seeing a revival and hotels are reinventing themselves as work hubs with benefits. Lots of possibilities, but what will your ‘workspace’ be for – learning, collaboration, contemplation? Be ruthless about whether it measures up.
– Genuinely ask your teams how ready and confident they are to change. Be clear about what their needs really are rather than be forced to change things to retain them later down the line. Create space for people to share concerns about work, welfare or location. What you learn will be the underlying data needed to design a truly equitable workplace culture.
ACT and ADAPT
– Create the blueprint for your fully remote or hybrid future and draw from your research to demonstrate how it’s designed to the specific dynamics and workflows of your agency and teams. Put into practice as an experiment and be upfront and clear on how, and how often, you’ll measure success.
– Be ‘all-in’ from the start. Draw on your belief system and rally everyone around the experiment. Recruit their support and feedback to know what’s working and will be right long term. And don’t forget to role-model the changes you want to see in your teams.
Winning agencies will attract and retain a diverse mix of talent based on the strength of culture and thoughtful design of their workplace strategy. They will exceed expectations for productivity and creativity by harnessing the strengths of their teams. And they’ll do so not because of where they come together but how they make it count. Here we see the rise of the interdependent agency – mastering the non-negotiable bonds in order to realise the true power of flexibility.
First appeared in Creative Brief BITE on 15 July 2021.
Despite billions in losses due to the coronavirus pandemic, the UK’s creative industries can lead the post-COVID recovery if the right investment is unlocked.
That’s the big headline in a major new study by the Creative Industries Federation and Creative England, which together comprise the non-profit Creative UK Group.
The organisations’ report, The UK Creative Industries: Unleashing the power and potential of creativity, found that the pandemic has hit our sector hard. Creative industries are estimated to have lost almost £12bn in GVA, with job losses predicted to reach over 110,000 by the end of the year.
Freelancers have suffered five times as much as those on payroll, with 95,000 freelancers losing jobs compared to 18,000 employees. Creative organisations reliant on footfall, such as museums and performing arts, has been the hardest hit sub-sector, whilst the creative industries in the North East and Wales are expected to be slowest to return to pre-pandemic levels.
But despite such a devastating impact, the impact could have been much worse. The report said UK, devolved and local government support, such as the £1.57 billion Culture Recovery Fund, have been “enormously instrumental” in preventing the 400,000 job losses that the Creative Industries Federation warned of in June 2020.
As Britain looks to recover from the pandemic, Creative UK Group said the creative industries need to be at the heart of the government’s plans.
Included in the report is new data from Oxford Economics which showed that before the pandemic, the creative businesses directly supported more than one in 10 UK jobs. As well as the 2.1m pre-pandemic jobs in the sector itself, another 1.4m roles were directly supported through its supply chains.
Oxford Economics also estimates that for every £1 the creative industries before the COVID-19 outbreak, an extra 50p was generated in the wider economy via supplying businesses. That amounts to a combined economic contribution of £178bn.
The report said that with the right investment, the sector could recover faster than the UK economy as a whole, growing by over 26% by 2025 and contributing £132.1bn to the economy in GVA. That’s £28bn more than in 2020, and more than the financial services, insurance and pension industries combined.
By 2025 the Creative Industries could create 300,000 new jobs which is enough new roles to employ the working-age population of Hartlepool and Middlesbrough twice over.
Caroline Norbury MBE, CEO at Creative UK Group, said:
“The past decade has seen the creative industries achieve remarkable growth and success with the sector’s vast power to grow wealth and employment extending throughout local communities across the whole of the UK.
“With ambitious investment, the creative sector can rebuild faster than the UK economy and make a major contribution to the country’s post-pandemic recovery. We are money makers, job creators, innovators and problem solvers. We can reshape this country’s future for the better, but to realise our ambitions for tomorrow, we must invest in creativity today.
“We are not asking for handouts. We are asking for meaningful, targeted investment in creative ideas, creative industries and creative skills, that can unlock the incredible potential of the creative sector to kickstart our country’s recovery, and that will be repaid many times over.
“It is critical that we seize this opportunity to unlock the UK’s incredible creative potential, and avoid leaving key parts of our sector – and our country – behind.”
Tim Marlow OBE, chief executive and director at Design Museum, added:
“The creative industries have been hit incredibly hard by the pandemic. They are also central to our recovery. The creative industries – and design in particular – have the capacity to change behaviour, bring people together, empower communities and transform individual experience.
“The UK is world renowned for its creative industries, which in turn make it an attractive place to live, work and invest. Human creativity, unlike so many of our natural resources, is limitless – so it makes sense to invest in its potential to transform lives, level up and build sustainable and inspiring futures for many.”
The report contains several ideas for how the creative industries can be supported. They include:
The report outlines in statistics the make-up of the creative industries which show just how important it is.
Although the UK is world-renowned for big creative names such as Tate, Burberry and Working
Title Films, the creative sector is predominantly comprised of small businesses, micro-businesses and freelancers. As the report says: “Together we punch above our weight in terms of impact.”
There are thousands of examples of businesses pivoting and adapting to deal with the impact of the pandemic. We are delighted to see a Bristol initiative featured in the report:
“The immersive cinema group Compass Presents, whose planned productions were cancelled during the pandemic, brought the skills and knowledge they’d gained through immersive practice to disadvantaged communities in partnership with Knowle West Media Centre. Supported by BFI Film Hub, the organisation delivered 12 weeks of training in immersive screening to a group of young people in South Bristol, culminating in them organising their own immersive event for their local community.”
Ahead of the government’s Spending Review, Creative UK Group is calling on creative business owners and employees to highlight the importance of the sector to their MP.
To do that, it has launched the #WeAreCreative campaign.
You can download a draft email to send to your local MP and ask them to sign up to the pledge to support the creative industries.
You are also encouraged to shout about the sector on social media. We’d love to see Bristol Creative Industries members getting involved. Use the #WeAreCreative hashtag and tag us and your MP. We’re on Twitter, Instagram, Facebook and LinkedIn.
You can use the tools here to create your design. You are encouraged to start your post with ‘We Are…’ to “build a recognisable campaign that simply cannot be ignored”.
This week sees the end of the Government’s ‘work from home’ mandate in England which has been in place since the start of the pandemic. We know anecdotally that many businesses within the region’s creative industries have taken this opportunity to review their flexible working policies and we’re keen to understand what the future looks like for the South West’s creative community.
We’ve pulled together a handful of questions that will give us a top-line view of the new normal. We’ll be more than happy to share the findings with BCI members who may like some guidance on shaping their future flexible working policies. Share your thoughts here.
Photo by Kevin Bhagat on Unsplash
Let’s face it….after almost 18 months of many of us being tied to our desks in our home offices feeling a little Zoomed out, we could all do with some fresh air and thinking space.
Our members’ lunches have long been a firm fixture in the BCI events calendar – the perfect opportunity for a small group of members to connect and exchange information about their businesses. That said, these sessions are way more than just pitching; they offer a shared space for connecting with your peers to share successes and discuss challenges….and boy, there’s been a few of those in recent times!
As the world starts to open up once again, we’re keen to offer our members more creative ways of networking so we’re teaming up with Outside for a BCI Walk & Talk session on Friday 17th September. Similar to our members’ lunches, we’ll gather a group of 12 people who are keen to don their walking boots and explore the beautiful countryside around Bristol and Bath.
Over the course of a 3 hour circular walk, you’ll get to spend 10-15 minutes chatting to each of your fellow walkers. No agenda as such, just clear open space for thinking, connecting, sharing experiences and exploring possibilities. Chris Thurling (BCI’s Chair) and Alli Nicholas (BCI’s Membership Manager) will be joining the group too so it’s a great chance to chat to them about getting the most out of your BCI membership.
The starting point for our first Walk & Talk will be in the beautiful Mendips, just south of Bristol. We’ll meet in the car park at Burrington Combe ready to leave at 9am. If this format proves popular, we’ll look to arrange future walks starting from different locations around the area.
This event is exclusively for BCI members. There’s no charge but you do need to register in advance here.
We all know how important it is to encourage equality through our culture in the workplace. But it’s no secret that women are underrepresented in senior leadership positions.
It’s everyone’s shared responsibility to become not only advocates, but champions of women from diverse backgrounds within their organisations – and in their lives at large. And in the creative sector, if we want to truly do our part to help women stake their claim, it means businesses taking ownership of their own equality scores in a number of ways – not least, by appointing women to the senior leadership positions we need them to be in.
At Proctor + Stevenson, we’re one of the UK’s longest-established independent marketing agencies. Despite this, we’ve never been conformists, and we’re a good step ahead of your traditional London-based agency in more ways than one.
Our Founder and Chairman, Roger Proctor, has always been an outspoken industry figure. He’s championed diverse young creative talent from the South West of England and Wales – an often neglected region for the arts – throughout his career.
Back in 1979, he laid in our bold and independent foundations in Bristol. And the rest is history. We’ve been challenging inequities and hiring diverse talent ever since – such as through hosting the South West Design + Digital Student Awards (which saw a particularly high volume of entries from young female designers this year).
In short, the talent is there. So what changes are being made?
At the start of 2021, Roger and the senior team restructured Proctor + Stevenson by splitting the larger brand into three companies: P+S Creative, P+S Technology and P+S Strategy, all overseen by the P+S Group (you can read more about these changes here). And this change marked a new milestone for the P+S team.
Our restructuring was the perfect opportunity to progress our own equality targets across the team at Proctors. It was at this point in our journey that we ensured the P+S Group met a target of 50/50 male-to-female directorship.
So, without further ado, meet our board…
· Joy Locke is our Company Secretary. She applies her 20+ years’ experience with us to take lead of everything operations, finance, accounts, and administration. She ensures that we were keeping on track with budgets.
· Ailsa Billington is one of our Directors. She leads our client services operations and takes charge of directing major global campaigns for our multinational portfolio of clients. She directs over all teams in the P+S Group to make sure that we deliver the best campaigns to transform our clients’ businesses for the better.
· Nikki Hunt is our Financial Director. CIMA-qualified, Nikki brings a wealth of experience in management accountancy, HR, payroll, and health and safety to our business, keeping us running efficiently and safely.
· Roger Proctor is our Chairman. He founded P+S in 1979 and has continued to lead its transformation ever since. Under his leadership, the business has grown from 2 people to more than 70, plus a network of freelance talent, and has won a global portfolio of clients such as Panasonic, National Grid, Saudi Arabian Airlines, and much more. He is passionate about the power of creativity to make positive change and is also heavily involved in strengthening the links between the creative industries and education.
· Mark Jamieson is another of our Directors. He helped establish our presence in the Middle East and is an expert in developing, building, and maintaining positive client relationships in across all sectors.
· Steve King is the final member of our current team of Directors. He leads our large-scale digital projects on everything concept creation, development, and project delivery. He’s worked on many innovative and world-first technology projects.
At Proctors, we’ve always taken equality and diversity extremely seriously. Because when we celebrate and empower women in business, it benefits everyone.
We strive to nurture careers amongst our female talent, building them up into more senior roles within our business. And we want to continue to progress further. We’re currently building a broader, transparent picture of our teams, our diversity, and our biases to discover how we can do better.
There’s lots more to be done to help narrow the gap between women in leadership across the UK. It’s a fact that only 5.6% of women in the UK run their own business and women only account for 33.8% of positions as directors on business boards in the UK, with only 16% of creative directors reported to be female.
We’ve just launched the first instalment of our Women in Business interview series. In it, our own Marketing Manager, Becca Peppiatt, sits down with Peaches Golding OBE CsJT, Her Majesty’s Lord-Lieutenant of the County and City of Bristol. This interview, like the rest of the series, delivers insight into the female perspective of working in business, so aspiring young women can see themselves represented in leadership roles. Stay tuned for more instalments of the series, coming soon.
We can all do our part to progress the important conversations which need to be had about an industry that is in many ways stuck in the past, ignoring some of its blatant inconsistencies. There’s lots more to be done and we intend to continue to work hard to narrow some of the gaps that exist. We need to think intersectionally about how we hire, and how we can create healthy, fair environments for women to succeed in.
For more information about Proctor + Stevenson, or to discuss our services or teams in more detail, please email us.
Press releases are an essential part of any digital marketing campaign, whether you’re making a general business announcement about a new product, service or crisis communication management, you need to think about why this news really matters and quickly demonstrate that you have a NEWS story. This is at the heart of all digital PR campaigns.
In light of recent discussions disputing the relevance of press releases, our stance at OggaDoon, Bristol, remains the same. The hunger for compelling stories, from publications, journalists and our industries as a whole, is stronger than ever. This has created a relationship, an essential yet, albeit, conditional one between journalists and PR – they need our help to deliver the stories their publications need and our industries want to hear about. For this reason, the competition among communicators is fierce and in turn, they have a wealth of different approaches on how to write the perfect press release – one they think will satisfy the needs of the journalist and secure them that vital collaboration. Here at OggaDoon PR, digital marketing and social media agency Bristol, we would like to share our formula gathering the key newsworthy facts to craft your perfect release. Here’s introducing the 5Ws, the 3Ps and the vital 1C. Intrigued, then please read on!
One common mistake is trying to write like a journalist – when what you should be trying to do is think like a journalist. Imagine you are on the receiving end; you have tens, perhaps hundreds of press releases along with other emails sent to you every day. What are you going to want to read and what is going to make your eyes roll? It’s fair to say that you’d click on the headlines that you are drawn to because they stick out, perhaps because they’re funny, perhaps because they’re succinct, maybe because it was unexpected. It’s also fair to say that you would be put off by big chunks of writing, you’ve got 101 things to do and think about and only 1% of that energy is reserved for reading emails. You would want to recognise newsworthy value, the angle and outcome within the first few lines, otherwise, the tidiness of your inbox would quickly supersede in value and just like that, the email that you spent an hour fashioning now resides in the trash.
If you want to make your press release stand out in a crammed inbox you must find a healthy balance between being original and trying too hard. The best way to do this is to think outside the box with your subject line and title, this is the only place you are granted to be creative and witty – the actual bulk of the release is purely pragmatic. Keep it to the point and make sure you hit the ‘Five Ws’. Don’t try and zhuzh it up with unnecessary jargon and clichés – journalists already know the jargon, they won’t be impressed that you do too. Lastly, don’t say your story is newsworthy, show that it is – if a press release looks like an advertisement, it will be ignored.
One way you can do this is by maintaining a sense of objectivity but also having an overarching sentiment throughout. This could be a sentiment of excitement, regarding a new launch or change in the marketplace, or it could have a theme, like nationalism or nostalgia. Part of identifying these themes is refining your angle and identifying the societal implications of your story.
Whilst people often stress the 5Ws when it comes to writing the perfect press release, the angle that you need to convey from these is often lost – so really, there should be three Ps, a C and an I threw in: alternative perspective, progress, public eye, conflict, and local impact. The angle of your story answers the questions journalists really want to know; Have you got another side to the status quo? What solution is it to what problem? What will the public response be? Who and what does it challenge? What impact does this have on the community? Remember that you have good reason to be invested in your story, but you need to look for the bigger, engaging storyline to give everyone else a reason to be.
Once you have got all these juicy bits in, it is time to offer a bit of context. Your second paragraph should contain an impactful quote from one or two persons that have authority in the industry. Here it is easy to fall into the trap so many are partial to – the temptation of adding fluff. Every sentence in a press release needs to have value, if you are adding one for the sake of it, maybe to balance out the sizing of your paragraphs, you have fallen headfirst into the trap. The key objective should be to select a quote that brings the story to life and helps paint a picture of how influential the announcement is. Quotes are not for information, but for insight – so make sure to use a quote that reflects a unique perspective on the subject.
The further you get down a press release, the less vital the information. Thus, there should definitely be nothing crucial to the story in the last paragraph. This section serves to strengthen and round off your narrative – this could mean offering background into ways the company developed the project or insights into future implications of the news (if this is a core theme of the release, then it belongs in the first paragraph, but if there are other stronger angles, it may be more appropriate at the bottom as additional content).
Empathy may not be the first emotion you would associate with journalists yet employing it will make not only make writing the perfect press release a far more streamline process but also far more successful in terms of responses. We can all think of ways to make our own jobs easier, so try and think of how you can make theirs so, and in the time you save doing so, invest more energy on constructing an irresistible title that will surely make them look twice.
If you take a look around Digital Agency Coach’s website you’ll see the two core services we offer to digital agency owners: Mastermind Groups and Coaching & Mentoring Programs.
Digital Agency Coach’s bi-monthly Mastermind Groups provide a peer-to-peer learning and networking environment for agency owners and are a brilliant way to share ideas, learning and insights with other like-minded professionals. Watch our Mastermind Group Explainer Video (1min) for a detailed look at how this service benefits busy digital agency owners.
Our Coaching & Mentoring Program is by far our most comprehensive and rewarding service, where our agency owners benefit from extensive 1:1 consultancy and expertise guaranteed to scale and grow their digital marketing agencies.
In this article, we share how our Coaching & Mentoring Programs work and what you, as an agency owner, will experience both during and as a result of the program.
1:1 coaching provides a dedicated space to solve problems, gain accountability, design and execute business plans through external, expert advice. You’ll make decisions faster, build better teams, deliver higher quality work and your digital agency will grow, and you’ll enjoy the journey.
All Digital Agency Coach Mentee’s have the opportunity to become one of our successful agency owners who:
Grew Their Revenue & Profit
You’ll achieve significant growth in both your revenue and your profit within the first 12 months of working with us.
Won More Leads, Clients & Awards
You’ll develop the skills to convert more leads, grow your client base and win noteworthy, genuine industry awards as part of your recognition.
Bought, Merged Or Sold Businesses
Want to grow quickly through Mergers & Acquisitions? We’ll guide you through the processes and purpose behind these growth strategies so you can benefit from the results faster.
Gained Freedom And/Or Early Retirement
You’ll be able to spend less time in your business and start working on it. Our mentees now have more time and freedom to do the things they enjoy, and many have been able to reap the rewards of their lifetime’s work and step into retirement.
Participating in our Coaching & Mentoring program generally follows this engagement process:
Onboarding — This where the scope of work is agreed and all our reciprocal learning and understanding is carried out.
Building — Together, we put together a strategy and a plan based on our learnings from Step One
Execution — As the name suggests, Stage Three is where we execute the plan and start to grow your agency.
This is where we get to know each other. We’ll begin with a discovery session, where our consultant will ask you to share details and insights about your agency’s current status and any plans, aspirations and goals you have for the future.
This then is reviewed, packaged and shared with you. We’ll put together a presentation that summarises your goals, business position and the strengths, weaknesses and opportunities for your agency. We’ll also detail a top-level roadmap and a handful of quick wins for you to implement then and there which are guaranteed to have an immediate effect on your business from day one.
This onboarding phase usually takes about a month to complete and once we have this understanding we can put together a plan and roadmap for us to move forward with.
This is where we put together your growth strategy. We’ll use our Agency Accelerator Canvas to break down your business plan into achievable, bite-sized objectives, milestones and KPI’s for you and your team.
Our consultants will work with you to formulate a plan and share insight, context, benchmarks and tactics from our portfolio of the 250 digital agencies we’ve worked with. Creating these objectives and key results and writing your business strategy usually takes about 6–8 weeks to complete.
Stage three – execution, makes up around 75–85% of our program. This is where we put our planning into practice and start to make big, impactful changes to your agency’s operations.
You’ll chat with your consultant weekly for 10–15 minute accountability meetings to check in and make sure things are running smoothly. Between these sessions and our ongoing, ‘always-on’, ad-hoc support, you’ll execute the daily and weekly tasks in your business plan.
Every four weeks we’ll set aside a few hours to plan for the coming month and set the KPI’s to make sure the overarching plan is still in sight. Then each quarter, we’ll orchestrate a full review of the work completed and the work ahead and make any necessary changes to the master plan.
At Digital Agency Coach, we work deeply with a small roster of agencies at any one time as our Coaching & Mentoring Programs are long-term relationships that deliver long-term, long-lasting results. The average timeline for these programs is anywhere between 12 to 18 months, depending on your capacity.
Now that we’ve unpacked our Coaching & Mentoring Program and how our services can help you achieve stratospheric growth for your marketing agency — it’s time to ask yourself if this is the right fit for you and how you like to work.
If the answer is yes, please get in touch and Arrange A Free Consultation with one of our friendly consultants. We’ll be happy to answer any questions you might have and get you on the path to success.
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