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Typical duration to gateway: 15 months
Typical EPA period: 3 months
Maximum funding: £10000
Route: Creative and design
Approved for delivery: 6 June 2017
Example progression routes:
This apprenticeship standard will be reviewed after three years
Apprenticeship summary Occupational standard EPA plan
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Apprenticeship summary
Develop written and audio visual content.
Occupation summary
This occupation is found in employers across all sectors. It is a role that can be found in both creative and non-creative industries. This can be in any business creating content to engage with its audience.
Employers can vary in size from micro businesses to multinational. The occupation is found in a very broad range of businesses, ranging from public, private and third sector employer. This may include charities, social media employers, digital agencies and broadcasters.
The broad purpose of the occupation is to develop and create written and audio visual content that can be used across a variety of platforms and media. This may include social media, broadcast or in print.
A content creator works to a brief. They research, prepare and develop the messaging to maximise audience engagement. They capture the strategy and objectives of the brand and needs of the customer, client or business.
The content they create can be used as part of media, advertising, documenting and marketing campaigns.
They simplify and tailor a message to the audience to suit the purpose. These can be used across different platforms and channels. An interest in technology and creating content is a must.
In their daily work, an employee in this occupation interacts with a wide range of internal and external stakeholders throughout the end-to-end content creation process.
Typically, they are likely to interact with clients, marketing and digital teams, production teams, budget holders, contributors, artists and end users.
An employee in this occupation will be responsible for delivering high quality content on time and on budget that meets the brief. They need to be aware of the legal and regulatory framework and take this into account throughout the content development process.
A content creator would need to take into account ethical considerations and wider organisational policies. A content creator would typically report to a senior colleague within their functional area.
They are required to keep up to date with new technologies, platform developments and consumer trends.
Typical job titles include:
Content assistant Content creator Content producer Junior content producer Multimedia executive Social media assistant Social media co-ordinator Social media executive
Duty 1 Plan and develop creative content in line with the brief and budget/costs.
Duty 2 Interpret the strategy and objectives of the brand and align these to the content.
Duty 3 Research, prepare and develop the media messaging to maximise audience engagement.
Duty 4 Develop and create written content that can be used across a variety of media.
Duty 5 Create visual and audio content that can be used across a variety of media.
Duty 6 Store content securely and methodically to enable efficient access and retrieval.
Duty 7 Collaborate with colleagues and clients to plan and align content delivery with business objectives.
Duty 8 Manage content online using appropriate tools and techniques.
Duty 9 Evaluate the effectiveness of the content produced against the original plan and recommend improvements.
Duty 10 Undertake continuous professional development to keep up-to-date with trends and technology.
ST0105, content creator level 3
This is a summary of the key things that you – the apprentice and your employer need to know about your end-point assessment (EPA). You and your employer should read the EPA plan for the full details. It has information on assessment method requirements, roles and responsibilities, and re-sits and re-takes.
What is an end-point assessment and why it happens
An EPA is an assessment at the end of your apprenticeship. It will assess you against the knowledge, skills, and behaviours (KSBs) in the occupational standard. Your training will cover the KSBs. The EPA is your opportunity to show an independent assessor how well you can carry out the occupation you have been trained for.
Your employer will choose an end-point assessment organisation (EPAO) to deliver the EPA. Your employer and training provider should tell you what to expect and how to prepare for your EPA.
The length of the training for this apprenticeship is typically 15 months. The EPA period is typically 3 months.
The overall grades available for this apprenticeship are:
When you pass the EPA, you will be awarded your apprenticeship certificate.
EPA gateway
The EPA gateway is when the EPAO checks and confirms that you have met any requirements required before you start the EPA. You will only enter the gateway when your employer says you are ready.
The gateway requirements for your EPA are:
achieved English and mathematics qualifications in line with the apprenticeship funding rules
for the professional discussion underpinned by a portfolio of evidence, you must submit a portfolio of evidence
Project or campaign evaluation report, presentation of additional/new content and questions
You will be asked to complete a project or campaign evaluation report. The evaluative report will be based on a project or campaign that you have contributed to, and developed content for, in the last 6 months leading to gateway. The EPAO must confirm that the apprentice has completed a project from which they can produce an evaluative report and additional/new content. You must start the evaluative report after the gateway. The report should be a maximum of 1500 words (with a 10% tolerance).
You will have 4 weeks to complete the project or campaign evaluatative report and submit the report to the EPAO.
You need to prepare and give a presentation to an independent assessor. The presentation should outline proposed additional and/or new content for the project or campaign, developed in response to the findings of your evaluative report. Your presentation slides and any supporting materials should be submitted at the same time as the project output. The presentation with questions will last at least 30 minutes. The independent assessor will ask at least 5 questions about the project and presentation.
Professional discussion underpinned by a portfolio of evidence
You will have a professional professional discussion with an independent assessor. It will last 60 minutes. They will ask you at least 7 questions. The questions will be about certain aspects of your occupation. You need to compile a portfolio of evidence before the EPA gateway. You can use it to help answer the questions.
The EPAO will confirm where and when each assessment method will take place.
Who to contact for help or more information
You should speak to your employer if you have a query that relates to your job.
You should speak to your training provider if you have any questions about your training or EPA before it starts.
You should receive detailed information and support from the EPAO before the EPA starts. You should speak to them if you have any questions about your EPA once it has started.
Reasonable adjustments
If you have a disability, a physical or mental health condition or other special considerations, you may be able to have a reasonable adjustment that takes this into account. You should speak to your employer, training provider and EPAO and ask them what support you can get. The EPAO will decide if an adjustment is appropriate.
Print occupational standard
Details of the occupational standard
Occupation duties
KSBs
K1 K2 K3 K4 K5 K6
K7 K8 K9
B3 B5
K3 K10 K11 K12
S5 S6 S7 S14
K13 K14 K15
S8 S9 S10
K6 K18 K19
K20 K21 K22 K23
K24 K25
K2 K3 K26
B3 B4 B7
B4 B5 B6 B7
K1: The principles and process of setting a budget to produce content. Back to Duty
K2: The methods used to segment and understand core audiences and how to plan content for these. Back to Duty
K3: Availability of data and its use to inform decision making when identifying channels, formats and platforms for content creation. Back to Duty
K4: The end-to-end production workflow process for the organisation, the key stages, and own role within this Back to Duty
K5: The regulatory and legal requirements when using media assets such as copyright, intellectual property rights, GDPR, web accessibility and non-disclosure agreements. Back to Duty
K6: Personal and employer responsibilities regarding data protection and data sharing, the potential impact on a business and the regulations that cover this. Back to Duty
K7: How to identify the commercial drivers for a client/customer. Back to Duty
K8: The importance of brand, brand awareness, brand purpose, branding guidelines and the intended audience within a brief. Back to Duty
K9: Where content creation fits within a marketing strategy. Back to Duty
K10: How tone of voice can be adapted effectively to reflect the content. Back to Duty
K11: How audiences and their behaviours differ across channels and platforms and the different communication styles that could be used. Back to Duty
K12: How creative content can be used across multiple channels and platforms, and how the platform chosen affects the content production. Back to Duty
K13: The different styles of writing that can be used according to the type of content, channel and platform required. Back to Duty
K14: Correct use of grammar, punctuation, spelling and inclusive language. Back to Duty
K15: The principles of writing persuasive copy for a person or group or to raise brand awareness. Back to Duty
K16: The principles applied to create or capture visuals and audio when using standard packages and equipment. Back to Duty
K17: Where to source, adapt and edit content from. Back to Duty
K18: How to organise, structure and label content effectively, methodically and securely to enable efficient search and retrieval. Back to Duty
K19: How web pages are published and how the content can be optimised to ensure high rankings in search engine results. Back to Duty
K20: The importance of clearly articulating requirements and how this can influence priorities for a campaign. Back to Duty
K21: How communication styles can be adapted to suit different audiences. Back to Duty
K22: How to plan content delivery against the schedule. Back to Duty
K23: The principles for creating an effective campaign with measurable outcomes. Back to Duty
K24: The principles of mapping user journeys to ensure content is focused on maximising engagement. Back to Duty
K25: Ways/methods of engaging with audiences, how to respond to evolving situations, recognise potential threats/issues and when to escalate these. Back to Duty
K26: How to evaluate the success of the campaign against the objectives using available data. Back to Duty
K27: How to keep up to date with existing and evolving content tools, platforms, trends and talent. Back to Duty
K28: Approaches to managing and marketing own skills and services. Back to Duty
K29: The culture of the organisation in which they are working, the commercial pressures, project deadlines and organisational working practices. Back to Duty
K30: How the structures, regulation and funding of organisations affects creative media activities. Back to Duty
S1: Interpret the aims of the brief. Back to Duty
S2: Research ideas and concepts to meet the brief. Back to Duty
S3: Evaluate brand requirements and brand guidelines. Back to Duty
S4: Prepare a mood board or other visual aid for the content to be created. Back to Duty
S5: Present ideas, pitches and proposals for creative content to be further developed. Back to Duty
S6: Storyboard and outline script their ideas for content to be developed. Back to Duty
S7: Interpret data, consider its integrity and use it to inform content. Back to Duty
S8: Develop accessible written content for different platforms and devices. Back to Duty
S9: Apply best practice and inclusive language when creating content. Back to Duty
S10: Write and edit copy or scripts for use on different channels and platforms. Back to Duty
S11: Create or capture visuals and audio using standard packages and equipment. Back to Duty
S12: Source, obtain and prepare media assets for use; using industry standard packages to adapt and edit content. Back to Duty
S13: Use industry standard tools and content management systems to organise, structure and label content effectively, methodically and securely enabling efficient search and retrieval. Back to Duty
S14: Identify and recommend the platform/s or channel/s to use for the media campaign. Back to Duty
S15: Develop and maintain effective working relationships with clients, colleagues and suppliers, establishing and using professional contacts. Back to Duty
S16: Engage and respond with audiences through social media, adapting content to respond to evolving circumstances. Back to Duty
S17: Monitor user experience to ensure content is focused on maximising engagement. Back to Duty
S18: Analyse the differences between audiences using audience segmentation techniques and data. Back to Duty
S19: Use lessons learned to evaluate the success of the content and identify areas for improvement for future campaigns. Back to Duty
S20: Use continuing professional development planning to support own current and future training and development needs. Back to Duty
S21: Operate effectively within the production workflow to meet production timelines. Back to Duty
B1: Committed to producing high quality creative content. Back to Duty
B2: Team-focussed and works effectively with colleagues and others. Back to Duty
B3: Acts in a way that builds and maintains positive relationships with customers. Back to Duty
B4: Takes ownership of work and strives to achieve quality content. Back to Duty
B5: Acts in a professional and ethical manner, embracing equality, diversity and inclusion in the workplace. Back to Duty
B6: Committed to keeping up to date with new technologies and industry best practice. Back to Duty
B7: Reflects on the results of the content created and identifies areas for improvement. Back to Duty
Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship's English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.
Print EPA plan
End-point assessment plan
Introduction and overview
This document explains the requirements for end-point assessment (EPA) for the content creator apprenticeship. End-point assessment organisations (EPAOs) must follow this when designing and delivering the EPA.
Content creator apprentices, their employers and training providers should read this document.
An approved EPAO must conduct the EPA for this apprenticeship. Employers must select an approved EPAO from the Education and Skills Funding Agency's Register of end-point assessment organisations (RoEPAO).
A full-time apprentice typically spends 15 months on-programme (this means in training before the gateway) working towards competence as a content creator. All apprentices must spend at least 12 months on-programme. All apprentices must complete the required amount of off-the-job training specified by the apprenticeship funding rules.
This EPA has 2 assessment methods.
The grades available for each assessment method are:
Assessment method 1 - project or campaign evaluation report, presentation of additional/new content and questions:
Assessment method 2 - professional discussion underpinned by a portfolio of evidence:
The result from each assessment method is combined to decide the overall apprenticeship grade. The following grades are available for the apprenticeship:
EPA summary table
On-programme (typically 15 months)
The apprentice must complete training to develop the knowledge, skills and behaviours (KSBs) of the occupational standard.
The apprentice must complete training towards English and maths qualifications in line with the apprenticeship funding rules.
The apprentice must compile a portfolio of evidence.
End-point assessment gateway
The employer must be content that the apprentice is working at or above the occupational standard.
The apprentice's employer must confirm that they think the apprentice:
is working at or above the occupational standard as a content creator
has the evidence required to pass the gateway and is ready to take the EPA
The apprentice must have achieved English and maths qualifications in line with the apprenticeship funding rules.
For the professional discussion underpinned by a portfolio of evidence the apprentice must submit a portfolio of evidence.
The apprentice must submit any policies and procedures as requested by the EPAO.
End-point assessment (typically 3 months)
Grades available for each assessment method:
Overall EPA and apprenticeship can be graded:
Re-sits and re-takes
Re-take and re-sit grade cap: pass
Re-sit timeframe: typically 2 months
Re-take timeframe: typically 3 months
Duration of end-point assessment period
The EPA is taken in the EPA period. The EPA period starts when the EPAO confirms the gateway requirements have been met and is typically 3 months.
The EPAO should confirm the gateway requirements have been met and the EPA should start as quickly as possible.
The apprentice's employer must confirm that they think their apprentice is working at or above the occupational standard. The apprentice will then enter the gateway. The employer may take advice from the apprentice's training provider(s), but the employer must make the decision.
The apprentice must meet the gateway requirements before starting their EPA.
achieved English and maths qualifications in line with the apprenticeship funding rules.
for the professional discussion underpinned by a portfolio of evidence the apprentice must submit: portfolio of evidence
Portfolio of evidence requirements:
The apprentice must compile a portfolio of evidence during the on-programme period of the apprenticeship. It should only contain evidence related to the KSBs that will be assessed by this assessment method. It will typically contain 10 discrete pieces of evidence. Evidence must be mapped against the KSBs. Evidence may be used to demonstrate more than one KSB; a qualitative as opposed to quantitative approach is suggested.
Evidence sources may include:
content created or showreels
work products
contribution or response to brief
reference materials and research undertaken
workplace documentation and records, for example workplace policies and procedures
colleague feedback, witness statements
This is not a definitive list; other evidence sources can be included.
The portfolio of evidence should not include reflective accounts or any methods of self-assessment. Any employer contributions should focus on direct observation of performance (for example, witness statements) rather than opinions. The evidence provided should be valid and attributable to the apprentice; the portfolio of evidence should contain a statement from the employer and apprentice confirming this.
The EPAO should not assess the portfolio of evidence directly as it underpins the discussion . The independent assessor should review the portfolio of evidence to prepare questions for the discussion . They are not required to provide feedback after this review.
Order of assessment methods
The assessment methods can be delivered in any order.
The result of one assessment method does not need to be known before starting the next.
The project or campaign evaluation report requires the apprentice to produce an evaluative report based on a project or campaign that the apprentice has contributed to, and developed content for, in the last 6 months leading to gateway. It gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.
The project or campaign will have met the needs of the employer's business and be relevant to the apprentice's occupation and apprenticeship.
This assessment method has 2 components:
project with a project output (project or campaign evaluation report)
presentation with questions and answers (presentation of additional/new content)
This EPA method is being used because:
it tests knowledge and skills holistically and reflects the work undertaken in the occupation
It enables the demonstration of knowledge and skills through the creation of the report and presentation
it is cost-effective
it ensures valid, reliable and authentic assessment
it replicates the requirement to evaluate campaigns, develop content, pitch ideas and continuously improve in the workplace. The end-to-end content creation process would take too long to be observed and then evaluate
it enables a broad range of knowledge, skills and behaviours to be tested along with their depth of understanding
Component 1: Evaluative report
The project or campaign evaluation report, presentation of additional/new content and questions must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
The apprentice's project should be based on the following:
the evaluation of a project or campaign that the apprentice has contributed to, and developed content for, in the last 6 months leading to gateway.
The EPAO must confirm that the apprentice has completed a project from which they can produce an evaluative report and additional/new content.
The project output must be in the form of a report.
The apprentice must start the evaluative report after the gateway. They must complete and submit the to the EPAO by the end of weekreport 4 of the EPA period. The employer should ensure the apprentice has the time and resources, within this period, to plan and complete their evaluative report. The apprentice must complete their evaluative report and the production of its components unaided.
The apprentice may have worked as part of a team to complete the pre gateway project which could include technical, internal or external support. However, the evaluative report output must be the apprentice's own work and reflective of their own role and contribution. The apprentice and their employer must confirm that the evaluative report and additional/new content is the apprentice's own work when it is submitted.
The report must include at least:
An introduction.
Analysis of the performance of a campaign against the original brief and branding requirements.
Data or evidence used as a base for future improvements. This should include consideration of user experience, audience segmentation, the use of platforms, and budget requirements.
A summary of findings including lessons learnt.
Appendices which include complete customer journey mapping, along with a copy of the original brief.
The project report has a word count of 1500 words. A tolerance of 10% above or below the word count is allowed at the apprentice's discretion. Appendices, references and diagrams are not included in this total. The project report must map, in an appendix, how it evidences the KSBs mapped to this assessment method.
Component 2: Presentation of additional/new content with questions
In the presentation with questions the apprentice will present their additional/new content to the independent assessor. The independent assessor must ask questions following the presentation. This gives the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method.
The apprentice must prepare and submit their presentation speaker notes and supporting materials for the presentation with questions and answers. The independent assessor must ask questions after the presentation. The presentation should build on the project or campaign evaluation report created by the apprentice. As part of the presentation, the apprentice should:
develop new content
pitch their recommendations and explain the expected impact of the new content
justify how they considered the most appropriate delivery platform
reference the evidence used to inform the recommendations
produce and present a mood board or other visual aid
produce and present planning documents such as a storyboard and outline script ideas to support content production
describe the lessons learnt.
The apprentice must prepare and submit their presentation speaker notes and supporting materials to the EPAO at the same time as the report by the end of week 4 of the EPA period.
The apprentice must notify the EPAO, at that point, of any technical requirements for the presentation. During the presentation, the apprentice must have access to:
audio-visual presentation equipment
industry presentation or software packages
any other requirements as previously notified to the EPAO
The independent assessor must have at least 2 weeks to review the project output(s) and presentation speaker notes and supporting materials, to allow them to prepare questions.
The EPAO must give the apprentices at least 2 weeks notice of the presentation with questions.
The apprentice must deliver their presentation to the independent assessor on a one-to-one basis.
The independent assessor must ask questions after the presentation.
The purpose of the independent assessor's questions will be to explore aspects of the evaluation report and presentation including how it was carried out and assess the apprentices depth of understanding, skills and behaviours.
The presentation and questions must last 30 minutes. This will typically include a presentation of 15 minutes and questioning lasting 15 minutes. The independent assessor can increase the total time of the presentation and questioning by up to 10%. This time is to allow the apprentice to complete their last point or respond to a question if necessary.
The independent assessor must ask at least 5 questions. They must use the questions from the EPAO's question bank or create their own questions in-line with the EPAO's training. Follow up questions are allowed where clarification is required.
The independent assessor must use the full time available for questioning. The independent assessor must make the grading decision. The project components must be assessed holistically by the independent assessor when they are deciding the grade.
The independent assessor must make the grading decision. The project components must be assessed holistically by the independent assessor when they are deciding the grade.
The independent assessor must keep accurate records of the assessment. They must record:
the KSBs demonstrated in the report and presentation
the apprentice's answers to questions
the KSBs demonstrated in answers to questions
the grade achieved
Assessment location
The presentation with questions must take place in a suitable venue selected by the EPAO (for example the EPAO's or employer's premises).
The presentation with questions should take place in a quiet room, free from distractions and influence.
The presentation with questioning can be conducted by video conferencing. The EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided.
Question and resource development
The EPAO must develop a purpose-built assessment specification and question bank. It is recommended this is done in consultation with employers of this occupation. The EPAO should maintain the security and confidentiality of EPA materials when consulting employers. The assessment specification and question bank must be reviewed at least once a year to ensure they remain fit-for-purpose.
The assessment specification must be relevant to the occupation and demonstrate how to assess the KSBs mapped to this assessment method. The EPAO must ensure that questions are refined and developed to a high standard. The questions must be unpredictable. A question bank of sufficient size will support this.
The EPAO must ensure that the apprentice has a different set of questions in the case of re-sits or re-takes.
EPAO must produce the following materials to support the project or campaign evaluation report, presentation of additional/new content and questions:
independent assessor EPA materials which include:
administration materials
moderation and standardisation materials
guidance materials
grading guidance
EPA guidance for the apprentice and the employer
The EPAO must ensure that the EPA materials are subject to quality assurance procedures including standardisation, training, and moderation.
In the discussion, an independent assessor and apprentice have a formal two-way conversation.
The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence. It gives the apprentice the opportunity to demonstrate their competency across the KSBs mapped to this EPA method.
it enables synoptic assessment of knowledge, skills and behaviours
this method also helps to assess the apprentices in-depth understanding of their work and covers aspects of the occupation that are difficult to observe and take place in restricted and confidential settings
it validates what the apprentice carried out and allows the assessor to robustly evaluate their knowledge, skills and behaviours, underpinned by the apprentice's portfolio
this is consistent method that applies across work settings in the industry. It also replicates the approach taken to recruitment and reviewing candidates performance used in industry
The professional discussion must be structured to give the apprentice the opportunity to demonstrate the KSBs mapped to this assessment method to the highest available grade.
An independent assessor must conduct and assess the professional discussion.
The purpose of the independent assessor's questions will be to authenticate evidence, experience and competence and check underpinning knowledge and understanding.
The EPAO must give an apprentice 10 days notice of the professional discussion.
The independent assessor must have at least 2 week(s) to review the supporting documentation.
The apprentice must have access to their portfolio of evidence during the professional discussion.
The apprentice can refer to and illustrate their answers with evidence from their portfolio of evidence is however the portfolio of evidence is not directly assessed.
The professional discussion must last for 60 minutes. The independent assessor can increase the time of the professional discussion by up to 10%. This time is to allow the apprentice to respond to a question if necessary.
The topics and themes that must be covered are:
audio-visual content
continuous professional development (CPD)
The independent assessor must ask at least 7 questions. Follow-up questions are allowed where clarification is required. The independent assessor must use the questions from their EPAO's question bank or create their own questions in-line with the EPAO's training.
The independent assessor must make the grading decision. The independent assessor must keep accurate records of the assessment. They must record:
The professional discussion must take place in a suitable venue selected by the EPAO (for example the EPAO's or employer's premises). Video conferencing can be used to conduct the presentation, but the EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided. There should also be the facility to view the presentation if submitted online.
The professional discussion can be conducted by video conferencing. The EPAO must have processes in place to verify the identity of the apprentice and ensure the apprentice is not being aided.
The professional discussion should take place in a quiet room, free from distractions and influence.
The EPAO must ensure that apprentice has a different set of questions in the case of re-sits or re-takes.
The EPAO must produce the following materials to support the professional discussion underpinned by a portfolio of evidence:
independent assessor assessment materials which include:
Fail - does not meet pass criteria
Apprentices must demonstrate all of the pass descriptors
Apprentices must demonstrate all of the pass descriptors and all of the distinction descriptors
Interpret the brief and requirements
K7 K8 K9 S1 S2 S3
Interprets requirements of the brief and identifies the commercial drivers and marketing strategy of the client/customer.
K7, K9, S1
Researches and evaluates campaign ideas and concepts in line with the brief and branding requirements, and guidelines.
K8 S2 S3
Evaluates how potential issues with the brief and marketing strategy could have an impact on the content and how these can be mitigated.
Identifies opportunities to use the content to promote or expand the wider brand in line with brand values.
Use of data and audience segmentation
K2 K3 S18
Applies segmentation techniques to analyse the audience. Uses analysis to inform the selection of the channel format and platform.
Applies techniques to identify potential audiences beyond the core demographics to maximise the impact of the content.
Audience behaviour in relation to platforms and channels
K11 K12 S14
Recommends the platform or channel for the media campaign, considering different audience behaviour and communication styles that affect content production.
No distinction criteria for this descriptor.
User journeys and experience
K24 S17
Monitors user experience and maps user journeys to ensure content is focused on maximising engagement.
K23 K26 S19 B4 B7
Evaluates the success of the content using measurable outcomes, lessons learnt and available data. Identifies areas to improve the quality of content for future campaigns.
Justifies how they remain objective and communicate lessons learnt to other areas of the organisation and identify the potential positive impact on other campaigns.
Pitch ideas
S4 S5 S6
Prepares storyboard and presents outline script ideas and pitches proposals for creative content using a mood board or other visual aid.
K5 K6 S7
Explains the regulatory and legal requirements when using media assets.Describes how they interpret and check the integrity of the data and personal and employer responsibilities regarding data protection and data sharing.
Evaluates the potential commercial and safeguarding implications upon the business if data integrity is compromised.
K10 K13 K14 K15 S8 S9 S10 B1
Describes how they create high-quality, accessible written content using tone of voice, inclusive language and correct grammar, punctuation and spelling.
K10, K14, S8, S9, B1
Explains how they write and edit persuasive copy/scripts for use on different channels and platforms in order to raise brand awareness.
Justifies how the use of inclusive language and accessible content impacts audience behaviour.
K16 K17 K21 S11 S12
Describes how they use standard packages to create or capture visuals and audio to develop content. Explains how they adapt communication styles for different platforms audiences and devices. Explains how they source, adapt and edit content.
Identifies and presents opportunities for the content to be re-purposed for other platforms and channels and adds value to other areas of the business.
Explains how they apply industry standard tools and content management systems to organise, structure and label content effectively, methodically and securely enabling efficient search and retrieval.
K18, S13
Describes how web pages are published and explains how the content can be optimised to ensure high rankings in search engine results.
K1 K4 K22 K29 K30 S21
Explains how they plan content delivery against a schedule in order to meet production timelines within the production workflow and within budget. Explains how they consider the culture of the organisation, commercial pressures and organisational working practices.
K1 K4 K22 K29 S21
Describes how the structures, regulation and funding of organisations affects creative media activities.
Identifies potential problems that could affect content delivery and takes appropriate action prior to them arising.
K20 K25 K28 S15 S16 B2 B3 B5
Describes how they are inclusive and act professionally and ethically when developing and maintaining positive working relationships with clients, colleagues and suppliers.
S15 B2 B3 B5
Explains how they engage and communicate clearly with audiences through social media. Describes how they prioritise and adapt content to respond to evolving circumstances during a campaign and how they recognise potential threats or issues and escalate these.
Describes how they manage and market own skills and services
Evaluates how collaboration with wider networks can have a positive impact on the campaign.
S15 B3 B5
K27 S20 B6
Describes how they plan and undertake development to keep up to date with industry technologies, tools, trends and best practice.
Evaluates how they share learning and best practice to ensure that content ideas are future proofed and reflect technological advances.
Overall EPA grading
The assessment methods contribute equally to the overall EPA pass grade.
Performance in the EPA determines the apprenticeship grade of:
An independent assessor must individually grade the: project or campaign evaluation report, presentation of additional/new content and questions and professional discussion underpinned by a portfolio of evidence in line with this EPA plan.
The EPAO must combine the individual assessment method grades to determine the overall EPA grade.
If the apprentice fails one or more assessment methods, they will be awarded an overall EPA fail.
To achieve an overall pass, the apprentice should achieve at least a pass in all the assessment methods. To achieve an overall EPA 'merit,' the apprentice must achieve a pass in one of the assessment methods and a distinction in the other.To achieve an overall EPA 'distinction,' the apprentice must achieve a distinction in both of the assessment methods.
Grades from individual assessment methods should be combined in the following way to determine the grade of the EPA overall.
Overall Grading
Any grade Fail Fail
Fail Any grade Fail
Pass Pass Pass
Pass Distinction Merit
Distinction Pass Merit
Distinction Distinction Distinction
If the apprentice fails one or more assessment methods they can take a re-sit or a re-take at their employer's discretion. The apprentice's employer needs to agree that a re-sit or re-take is appropriate. A re-sit does not need further learning, whereas a re-take does.
The apprentice should have a supportive action plan to prepare for a re-sit or a re-take.
The employer and EPAO agree the timescale for a re-sit or re-take. A re-sit is typically taken within 2 months of the EPA outcome notification. The timescale for a re-take is dependent on how much re-training is required and is typically taken within 3 months of the EPA outcome notification.
If the apprentice fails the project assessment method, they must to amend the project output in line with the independent assessor's feedback. The apprentice will be given 12 weeks to rework and submit the amended report.
Failed assessment methods must be re-sat or re-taken within a 6-month period from the EPA outcome notification, otherwise the entire EPA will need to be re-sat or re-taken in full.
Re-sits and re-takes are not offered to an apprentice wishing to move from pass to a higher grade.
The apprentice will get a maximum EPA grade of pass for a re-sit or re-take, unless the EPAO determines there are exceptional circumstances.
As a minimum, the apprentice should:
participate in and complete on-programme training to meet the KSBs as outlined in the occupational standard for a minimum of 12 months
complete the required amount of off-the-job training specified by the apprenticeship funding rules and as arranged by the employer and training provider
understand the purpose and importance of EPA
meet the gateway requirements
undertake the EPA
As a minimum, the apprentice's employer must:
select the EPAO and training provider
work with the training provider (where applicable) to support the apprentice in the workplace and to provide the opportunities for the apprentice to develop the KSBs
arrange and support off-the-job training to be undertaken by the apprentice
decide when the apprentice is working at or above the occupational standard and is ready for EPA
ensure that supporting evidence required at the gateway is submitted in line with this EPA plan
liaise with the training provider and EPAO to ensure the EPA is booked in a timely manner
Post-gateway, the employer must:
confirm arrangements with the EPAO for the EPA (who, when, where) in a timely manner (including providing access to any employer-specific documentation as required, for example company policies)
ensure that the EPA is scheduled with the EPAO for a date and time which allows the opportunity for the apprentice to be assessed against the KSBs
remain independent from the delivery of the EPA
ensure the apprentice is given sufficient time away from regular duties to prepare for, and complete all post-gateway elements of the EPA, and that any required supervision during this time (as stated within this EPA plan) is in place
where the apprentice is assessed in the workplace, ensure that the apprentice has access to the resources used on a regular basis
pass the certificate to the apprentice upon receipt from the EPAO
EPAO
As a minimum, the EPAO must:
conform to the requirements of this EPA plan and deliver its requirements in a timely manner
conform to the requirements of the register of end-point assessment organisations (RoEPAO)
conform to the requirements of the external quality assurance provider (EQAP) for this apprenticeship
understand the occupational standard
make the EPA contractual arrangements, including agreeing the price of the EPA
develop and produce assessment materials as detailed for each assessment method in this EPA plan
appoint qualified and competent independent assessors in line with the requirements of this EPA plan to conduct assessments and oversee their working
appoint administrators (and invigilators where required) to administer the EPA
provide training for independent assessors in terms of good assessment practice, operating the assessment tools and grading
provide information, advice, guidance and documentation to enable apprentices, employers and training providers to prepare for the EPA
confirm all gateway requirements have been met as quickly as possible
arrange for the EPA to take place, in consultation with the employer
ensure that the apprentice has access to the required resources and liaise with the employer to agree this if necessary, where the apprentice is not assessed in the workplace
develop and provide assessment recording documentation to ensure a clear and auditable process is in place for providing assessment decisions and feedback to stakeholders
have no direct connection with the apprentice, their employer or training provider in all instances; there must be no conflict of interest
have policies and procedures for internal quality assurance (IQA), and maintain records of IQA activity and moderation for external quality assurance (EQA) purposes
deliver induction training for independent assessors, and for invigilators and markers (where used)
undertake standardisation activity on this apprenticeship for an independent assessor before they conduct an EPA for the first time, if the EPA is updated and periodically (a minimum of annually)
manage invigilation of the apprentice to maintain security of the assessment in line with the EPAO's malpractice policy
verify the identity of the apprentice
use language in the development and delivery of the EPA that is appropriate to the level of the occupational standard
Independent assessor
As a minimum, an independent assessor must:
have the competence to assess the apprentice at the level of this apprenticeship and hold any required qualifications and experience in line with the requirements of the independent assessor as detailed in the IQA section of this EPA plan
understand the occupational standard and the requirements of this EPA
have, maintain and be able to evidence, up-to-date knowledge and expertise of the occupation
deliver the end-point assessment in-line with this EPA plan
comply with the IQA requirements of the EPAO
have no direct connection or conflict of interest with the apprentice, their employer or training provider; in all instances; there must be no conflict of interest
attend induction training
attend standardisation events when they start working for the EPAO, before they conduct an EPA for the first time and a minimum of annually for this apprenticeship
assess each assessment method, as determined by the EPA plan
assess the KSBs assigned to each assessment method, as shown in the mapping of KSBs to assessment methods in this EPA plan
make the grading decisions
record and report assessment outcome decisions, for each apprentice, following instructions and using assessment recording documentation provided by the EPAO, in a timely manner
mark open (constructed) test answers accurately according to the EPAO's mark scheme and procedures
As a minimum, the training provider must:
work with the employer and support the apprentice during the off-the-job training to provide the opportunities to develop the KSBs as listed in the occupational standard
conduct training covering the KSBs agreed as part of the Commitment Statement or the Individual Learning Plan
monitor the apprentice's progress during any training provider led on-programme learning
advise the employer, upon request, on the apprentice's readiness for EPA
Provide the EPAO with any work place specific policies, requirements and or instructions at least two weeks in advance of the apprentice being assessed.
Be willing to sign a non-disclosure/confidentiality agreement if required
The EPAO must have reasonable adjustments arrangements for the EPA.
This should include:
how an apprentice qualifies for reasonable adjustment
what reasonable adjustments may be made
Adjustments must maintain the validity, reliability and integrity of the EPA as outlined in this EPA plan.
Internal quality assurance
Internal quality assurance refers to how EPAOs ensure valid, consistent and reliable EPA decisions. EPAOs must adhere to the requirements within the roles and responsibilities section and:
have effective and rigorous quality assurance systems and procedures that ensure fair, reliable and consistent EPA regardless of employer, place, time or independent assessor
appoint independent assessors who are competent to deliver the EPA and who:
have recent relevant experience of the occupation or sector to at least occupational level 2 gained in the last 3 years or significant experience of the occupation or sector
meet the following minimum requirements:
the independent assessor must have the technical skills to create content and hold a position above the role of a content creator
operate induction training for anyone involved in the delivery or assessment of the EPA
provide training for independent assessors in good assessment practice, operating the assessment tools and making grading decisions
provide ongoing training for markers and invigilators
provide standardisation activity for this apprenticeship standard for all independent assessors:
before they conduct an EPA for the first time
if the EPA is updated
periodically as appropriate (a minimum of annually)
conduct effective moderation of EPA decisions and grades
conduct appeals where required, according to the EPAO's appeals procedure, reviewing and making final decisions on EPA decisions and grades
have no direct connection with the apprentice, their employer or training provider; in HEI.
Affordability of the EPA will be aided by using at least some of the following:
utilising digital remote platforms to conduct applicable assessment methods
using the employer's premises
Professional recognition
Professional body recognition is not relevant to this occupational apprenticeship.
Mapping of KSBs to assessment methods
The principles and process of setting a budget to produce content.
Back to Grading Professional discussion underpinned by a portfolio of evidence
The methods used to segment and understand core audiences and how to plan content for these.
Back to Grading Project or campaign evaluation report, presentation of additional/new content and questions
Availability of data and its use to inform decision making when identifying channels, formats and platforms for content creation.
The end-to-end production workflow process for the organisation, the key stages, and own role within this
The regulatory and legal requirements when using media assets such as copyright, intellectual property rights, GDPR, web accessibility and non-disclosure agreements.
Personal and employer responsibilities regarding data protection and data sharing, the potential impact on a business and the regulations that cover this.
How to identify the commercial drivers for a client/customer.
The importance of brand, brand awareness, brand purpose, branding guidelines and the intended audience within a brief.
Where content creation fits within a marketing strategy.
How tone of voice can be adapted effectively to reflect the content.
How audiences and their behaviours differ across channels and platforms and the different communication styles that could be used.
How creative content can be used across multiple channels and platforms, and how the platform chosen affects the content production.
The different styles of writing that can be used according to the type of content, channel and platform required.
Correct use of grammar, punctuation, spelling and inclusive language.
The principles of writing persuasive copy for a person or group or to raise brand awareness.
The principles applied to create or capture visuals and audio when using standard packages and equipment.
Where to source, adapt and edit content from.
How to organise, structure and label content effectively, methodically and securely to enable efficient search and retrieval.
How web pages are published and how the content can be optimised to ensure high rankings in search engine results.
The importance of clearly articulating requirements and how this can influence priorities for a campaign.
How communication styles can be adapted to suit different audiences.
How to plan content delivery against the schedule.
The principles for creating an effective campaign with measurable outcomes.
The principles of mapping user journeys to ensure content is focused on maximising engagement.
Ways/methods of engaging with audiences, how to respond to evolving situations, recognise potential threats/issues and when to escalate these.
How to evaluate the success of the campaign against the objectives using available data.
How to keep up to date with existing and evolving content tools, platforms, trends and talent.
Approaches to managing and marketing own skills and services.
The culture of the organisation in which they are working, the commercial pressures, project deadlines and organisational working practices.
How the structures, regulation and funding of organisations affects creative media activities.
Interpret the aims of the brief.
Research ideas and concepts to meet the brief.
Evaluate brand requirements and brand guidelines.
Prepare a mood board or other visual aid for the content to be created.
Present ideas, pitches and proposals for creative content to be further developed.
Storyboard and outline script their ideas for content to be developed.
Interpret data, consider its integrity and use it to inform content.
Develop accessible written content for different platforms and devices.
Apply best practice and inclusive language when creating content.
Write and edit copy or scripts for use on different channels and platforms.
Create or capture visuals and audio using standard packages and equipment.
Source, obtain and prepare media assets for use; using industry standard packages to adapt and edit content.
Use industry standard tools and content management systems to organise, structure and label content effectively, methodically and securely enabling efficient search and retrieval.
Identify and recommend the platform/s or channel/s to use for the media campaign.
Develop and maintain effective working relationships with clients, colleagues and suppliers, establishing and using professional contacts.
Engage and respond with audiences through social media, adapting content to respond to evolving circumstances.
Monitor user experience to ensure content is focused on maximising engagement.
Analyse the differences between audiences using audience segmentation techniques and data.
Use lessons learned to evaluate the success of the content and identify areas for improvement for future campaigns.
Use continuing professional development planning to support own current and future training and development needs.
Operate effectively within the production workflow to meet production timelines.
Committed to producing high quality creative content.
Team-focussed and works effectively with colleagues and others.
Acts in a way that builds and maintains positive relationships with customers.
Takes ownership of work and strives to achieve quality content.
Acts in a professional and ethical manner, embracing equality, diversity and inclusion in the workplace.
Committed to keeping up to date with new technologies and industry best practice.
Reflects on the results of the content created and identifies areas for improvement.
Mapping of KSBs to grade themes
Project or campaign evaluation report, presentation of additional/new content and questions - Project
KSBS GROUPED BY THEME
How to identify the commercial drivers for a client/customer. (K7)
The importance of brand, brand awareness, brand purpose, branding guidelines and the intended audience within a brief. (K8)
Where content creation fits within a marketing strategy. (K9)
Interpret the aims of the brief. (S1)
Research ideas and concepts to meet the brief. (S2)
Evaluate brand requirements and brand guidelines. (S3)
The methods used to segment and understand core audiences and how to plan content for these. (K2)
Availability of data and its use to inform decision making when identifying channels, formats and platforms for content creation. (K3)
Analyse the differences between audiences using audience segmentation techniques and data. (S18)
How audiences and their behaviours differ across channels and platforms and the different communication styles that could be used. (K11)
How creative content can be used across multiple channels and platforms, and how the platform chosen affects the content production. (K12)
Identify and recommend the platform/s or channel/s to use for the media campaign. (S14)
The principles of mapping user journeys to ensure content is focused on maximising engagement. (K24)
Monitor user experience to ensure content is focused on maximising engagement. (S17)
The principles for creating an effective campaign with measurable outcomes. (K23)
How to evaluate the success of the campaign against the objectives using available data. (K26)
Use lessons learned to evaluate the success of the content and identify areas for improvement for future campaigns. (S19)
Takes ownership of work and strives to achieve quality content. (B4)
Reflects on the results of the content created and identifies areas for improvement. (B7)
Prepare a mood board or other visual aid for the content to be created. (S4)
Present ideas, pitches and proposals for creative content to be further developed. (S5)
Storyboard and outline script their ideas for content to be developed. (S6)
Professional discussion underpinned by a portfolio of evidence - Discussion
The regulatory and legal requirements when using media assets such as copyright, intellectual property rights, GDPR, web accessibility and non-disclosure agreements. (K5)
Personal and employer responsibilities regarding data protection and data sharing, the potential impact on a business and the regulations that cover this. (K6)
Interpret data, consider its integrity and use it to inform content. (S7)
How tone of voice can be adapted effectively to reflect the content. (K10)
The different styles of writing that can be used according to the type of content, channel and platform required. (K13)
Correct use of grammar, punctuation, spelling and inclusive language. (K14)
The principles of writing persuasive copy for a person or group or to raise brand awareness. (K15)
Develop accessible written content for different platforms and devices. (S8)
Apply best practice and inclusive language when creating content. (S9)
Write and edit copy or scripts for use on different channels and platforms. (S10)
Committed to producing high quality creative content. (B1)
The principles applied to create or capture visuals and audio when using standard packages and equipment. (K16)
Where to source, adapt and edit content from. (K17)
How communication styles can be adapted to suit different audiences. (K21)
Create or capture visuals and audio using standard packages and equipment. (S11)
Source, obtain and prepare media assets for use; using industry standard packages to adapt and edit content. (S12)
How to organise, structure and label content effectively, methodically and securely to enable efficient search and retrieval. (K18)
How web pages are published and how the content can be optimised to ensure high rankings in search engine results. (K19)
Use industry standard tools and content management systems to organise, structure and label content effectively, methodically and securely enabling efficient search and retrieval. (S13)
K1 K4 K22 K29 K30
The principles and process of setting a budget to produce content. (K1)
The end-to-end production workflow process for the organisation, the key stages, and own role within this (K4)
How to plan content delivery against the schedule. (K22)
The culture of the organisation in which they are working, the commercial pressures, project deadlines and organisational working practices. (K29)
How the structures, regulation and funding of organisations affects creative media activities. (K30)
Operate effectively within the production workflow to meet production timelines. (S21)
The importance of clearly articulating requirements and how this can influence priorities for a campaign. (K20)
Ways/methods of engaging with audiences, how to respond to evolving situations, recognise potential threats/issues and when to escalate these. (K25)
Approaches to managing and marketing own skills and services. (K28)
Develop and maintain effective working relationships with clients, colleagues and suppliers, establishing and using professional contacts. (S15)
Engage and respond with audiences through social media, adapting content to respond to evolving circumstances. (S16)
Team-focussed and works effectively with colleagues and others. (B2)
Acts in a way that builds and maintains positive relationships with customers. (B3)
Acts in a professional and ethical manner, embracing equality, diversity and inclusion in the workplace. (B5)
How to keep up to date with existing and evolving content tools, platforms, trends and talent. (K27)
Use continuing professional development planning to support own current and future training and development needs. (S20)
Committed to keeping up to date with new technologies and industry best practice. (B6)
the trailblazer contact for this standard is nicole.suter@screenskills.com
Employers involved in creating the standard: Res Digital All Spring Media Aim IPA BBC AMV BBDO BFBS Salamandra Channel 4 Saatchi Amazon ITV
1.1 End-point assessment plan, funding and standard revised. 07/09/2022 Not set Not set
1.0 Approved for delivery 06/06/2017 06/09/2022 Not set
Crown copyright 2023 You may re-use this information (not including logos) free of charge in any format or medium, under the terms of the Open Government Licence. Visit www.nationalarchives.gov.uk/doc/open-government-licence.
End-point assessment (EPA plan)
Rigorous robust and independent assessment undertaken by an apprentice at the end of training to test that the apprentice can perform in the occupation they have been trained in and can demonstrate the duties, and knowledge, skills and behaviours (KSBs) set out in the occupational standard
End-point assessment organisation (EPAO)
An organisation approved to deliver end-point assessment for a particular apprenticeship standard. EPAOs must be on the register of end-point assessment organisations
Holistic or synoptic
Assessment of an apprentice's knowledge, skills and behaviours in an integrated way i.e. assessing several KSBs at the same time
Knowledge, skills and behaviours (KSB)
What is needed to competently undertake the duties required for an occupational standard
Referred to in relation to assessment methods; fit for purpose


text:
The Best of the Worst of FML #41
Here's another selection of the worst FMLs we've received over the years. Read them and weep.
Hello everyone! Once again, here's FML's weekly Best of the Worst! At last, more proof that the internet is full of strange people.
For the people who've never seen this section of FML before, we get sent loads of FMLs, but we only publish a few, due to the fact that most aren't very good, and some are downright terrifying. Amongst those, we also get sent very dumbass stories. Or "dungspindles" as I like to call them. That's what we post in this feature. Now, brace yourself. Imagine you're in an Easyjet flight and you're hearing "BRACE BRACE".
Today,I fucked my girlfirend so hard cuz my dick is so big u know and she got adiads it sucks cuz I can't fuck her anymore
Bathroom royalty
Today, I realised I am the king of our bathroom. I am the wife..
It's true, I saw it in an episode of House MD
Today, my best friend told me she had pancreatic cancer. I broke down crying in the middle of Wal-Mart, and felt very sad. That is, until she told me that women don't even have pancreases. FML.
We've all been there at school
today i was wanking and i jizzed all over my 5000 word essay and its hand written so now its sticky and i handed it in, the teacher licked it. FML
Swans are vicious bastards
yesterday, swans the worst fml fml fml
George Forman
Today, i mistakenly told George benson the soul singer that i loved his lean mean grilling machine!! when told he was a singer i asked if my gran would know him! i still do not know who he is FML
Joey Donuts
Today, was mine and my boo boo Joey donuts from stAten island 1 year anniversary. His gift to me was some cheap dead shoprite flowers and a bag from mcdonalds with a number 1 meal geez I know I'm fat but that made me cry. To top it all of their was a card that said it's over because I love ur mom.
Today, I actually won 10,000 on a scratchoff. My ex-fiancé took a shit on the ticket
Bowties are cool
Today, I was wearing a head band that I thought was my sisters. come to find out it's my brothers bowtie and he demanded to have it back. all I did was throw it on the bed and my mom is making me canel all my party plans FML
Pulled off
Today i got pulled over for speeding the cop said "son your got papers" and i said "siccors" and drove off
That's it for now. We'll be back next week for some more weirdness because there's plenty more in our backlog. You can probably see some yourself while they are sent in by using the Moderate the FMLs feature on our website/app. As usual, these all have been collected from the website right from the very beginning, so don't bother trying to send in your own weird stories to try and get them published in here, it won't work. We can spot the phonies. Take care!
Bonus track: You can't get money out of FML likes, sorry dude
FML is God
i really need money but fuck this because i dont have a job so guess wat peps if u read then u know why i justed started writing this to all the peps on FML so if so one can please put some votes on my fuck my life i would really be fucking happy if u know what i mean for real btchez so see ya soon
By Alan / Wednesday 15 November 2017 14:40 / France
FMLNews
Billy no-mates
By yesguysgetabusedtoo - New Zealand - Papamoa
Today, my girlfriend had someone else dump me via text message. I knew it wasn't her because for once I wasn't being viciously insulted, and it wasn't written as if an illiterate baboon had taken a shit all over her keypad. I can't even feel happy about being rid of her. FML
By Anonymous - Philippines - Las Pi?as City
Today, at preschool, I got to meet the mother of my daughter's best friend. She complimented mine's grades, and noted her quirkiness. I complimented her's for being congenial and being well-rounded. Later, my daughter said they are no longer besties because her mom said I called her daughter fat. FML
By jessybear777 - United States - Branson
Today, my boyfriend and I had sex for the first time. I'm extremely uncomfortable with eye contact, but he kept staring into my eyes the entire time. I had to sing the F.U.N. song from Spongebob in my head to stop myself having an anxiety attack. FML
By y00na
Today, I thought it would be fun to tint my hair. An hour later, I resemble a blueberry and it looks like a Smurf exploded in my bathroom. FML
By lilyann - 24/12/2020 08:01 - United States - San Jose
Today, the entire back room of Walmart smelled like cat piss. No one else complained, as they all claimed they couldn't smell a thing under their masks. I, on the other hand, have a headache and nausea from the overpowering scent despite my mask. FML
By Anon. - United States
Today, my girlfriend thought it would be sexy to stick her finger up my ass during sex. I screamed like a little girl and barely managed to finish. Afterward, she said, 'Now you know how it feels.' FML
By nomorebeard - United States
Today, I was shaving off my beard for the first time in a very long time. I decided to have a little fun with it, and shaved my beard first into a goatee, then a handle-bar, then, finally, into a Hitler mustache. My electric razor dies. I don't have a normal one or an extra battery. FML
By Mak10 - United States
Today, I went out to eat dinner with my family to celebrate my 18th birthday. I playfully put 3 straws between my knuckles to make myself look like Wolverine. I turned to my 6 year old nephew and ask, "Who am I?" He then replied with, "An idiot." FML
By ash - United States
Today, after staying up all night at my friend's house, I woke up to something I couldn't identify on my cheek, so I slapped it away. When I heard crying, I opened my eyes and realized it was my friend's three year old sister who was trying to be sweet by kissing me on the cheek. FML
By dino317 - United States
Today, after many weeks of talking to this guy over the phone for hours on end and establishing that we both had feelings for the other, we met in person. He saw me, got an "emergency text," and hasn't talked to me since. FML
By Miserable - United States
Today, I did laundry in my apartment complex's laundry room. I put my stuff in the dryer and returned to my room. The sign on the door says the laundry room closes at 10 pm, but that's rarely true. Tonight it was. I have to wait until 8 am. I work at 7:30. My work clothes are in there. FML
By jkbeynon - United States - Canyon Country
Today, I told my mom that I heard something, and I think we have rats in the attic and should hire an exterminator. She looked at me and said, "Rats, huh? That's what the mom in The Exorcist thought, but it turned out to be the devil living up there." FML
By Noname - United States
Today, I got a 31% on a Chinese test at school. I moved here to New Jersey from China two months ago. FML
By nutrigrain123 - United States
Today, I was driving in my car with my daughter, who was eating a nutri-grain bar. After a while she holds out her hand saying, "It's on my finger! I don't wanna eat it!" I pick up the little piece of nutri-grain filling and put it in my mouth, only to realize it was a large booger. FML
By fmfb - United States
Today, my girlfriend got into my Facebook and changed our relationship status to single just to see which of my friends would "like" it. After revealing to me what she did, she now says I can no longer be friends with anyone who liked it. FML
Today, a month after my 21st birthday, I received my health exam results. I don't remember the night of the birthday because I was hammered. However, I called my friend and it's now clear that the stripper they paid to have her way with me, had Chlamydia. FML
By Lonely - 5/12/2020 07:58 - Netherlands - Utrecht
You're Gonna Miss Me When I'm Gone
Today, my only daughter and her boyfriend sat me down for an important talk. I was thrilled, thinking they were engaged or pregnant. They actually wanted to tell me they're moving half way around the world. FML
He is lucky
Today, I bought a drink and a sandwich to a homeless guy, but he turned them down because in the last hour of begging he's raked in over £60 and usually begs nearly £300 a day, so, he doesn't need my charity. This homeless bum makes more than I do in a full time job. FML
By justcomesnaturally - United States - Danby
Today, I realized that I'm a terrible human being. For the first time in my life, I gave some change to a homeless guy, but only so he'd get out of my face long enough for me to watch two other bums beating the crap out of each other over a sandwich. FML
By captainkevineff - United States
Today, I learned that even though they say that an apple a day keeps the doctor away, it doesn't keep him from putting a Q-tip up your ass. FML
By bullseyed - United States
Today, I planned to drop a water balloon on my visiting prankster brother from my new apartment's balcony. As he crossed the street, I launched the balloon, and sent it right behind him. It hit an eight year old on a scooter. FML
By Michelle - New Zealand
Today, I decided to quit smoking. During my lunch break, I tried to ash a KitKat bar that was in my hand after I took a bite. FML
By bad timing - United States - Monterey Park
Today, at work, my manager accidentally bumped into me, brushing my behind with the back of his hand. He was a bit embarrassed, so I jokingly said, "You could at least buy me dinner first!" He went to HR and told them I made him uncomfortable. I was just trying to lighten the mood. FML
By Wronged - Singapore
Today, my girlfriend decided to break up with me because she found a bra in my cupboard. It was hers. FML
By kaybear13 - United States - San Mateo
Today, I got written up because apparently leaning on the counter at work is unprofessional, even if you're about to pass out and the counter is the only thing keeping you on your feet. FML
By - 19/1/2020 18:00
Romantic gesture
Today, I learned that a spontaneous romantic gesture of arriving home early with flowers and wine is not welcome when your wife is busy having sex with your brother. FML
By Hank-T4 - Australia - Truganina
Today, while looking through my son's browser history, I found a Google search for "stop looking in my history u nosey cunt". I swore last week that I don't invade his privacy, so I can't even punish him for the bad language without looking like a lying bastard. FML
By LoadingMeows - United States
Today, I was written up. Too many customers complained that I don't wear makeup or do my hair. I got written up for being ugly. FML
Today, I was having it off with my boyfriend of 3 years in his living room when a girl barges in, sees us, and screams "I knew it!" then rushes out. My boyfriend gets up, grabs his pants and while chasing after her yells "baby she's nothing, you know I only love you!" FML
Today, My mom walked in on me and my 2 year crush about to have sex. When she saw us she said "oh I'll just wait outside, I know it wont be long anyway." FML
Today, I ran over a squirrel. I saw it twitching, so I backed over it to end its suffering. It wasn't a squirrel; it was a kitten. The children it belonged to watched as I ran over their kitten. Twice. FML
By unknown - United States - Tulare
Today, I was walking to the gym when the woman in front of me dropped some cash. I picked it up and tried to get her attention. She saw the money and thought I was trying to pay her to sleep with me. FML
By Kelly - United States - Roseville
Today, I found out that all the things I've lent to my best friend over the last few years that have never been returned were actually pawned off so she could pay her cable bill. FML
By Anonymous - United Kingdom
Today, after months of dieting, I finally reached my goal weight. Excitedly I told my boyfriend, who gave me a beautiful dress as an early Christmas present. It was a size too small. FML
By Bart - France - Lille
Today, our company was being visited by one of our biggest clients, a rich Japanese businessman. My boss wanted to honour him by welcoming him while wearing a kimono in the reception area of our building. The client was in a suit and tie, and I don't think he'll be back. FML
By trev - United States
Today, when I weighed myself on my scale, it broke. FML
By The greatest Illusion ever - United States
Today, I went to school without any makeup on. The guys who usually compliment me for being pretty are now calling me "The Greatest Illusion Ever". FML
By _Asykes_
Today, I started a new school, after moving from England to New York. People only talked to me just to hear my accent. FML
By Fat Bastard
Today, my son bought me some Slimfast for my birthday. FML
By Anonymous - United States - Pittsburgh
Today, as I kissed my husband after our wedding vows, my mother-in-law muttered "Slut." loudly from the front row. Everyone heard her, but kept smiling and pretended to be oblivious. FML
By Tripartita | 44
#7565289 - Friday 17 November 2017 22:38
Initially, I was really worried that my Boo Boo Joey Donuts was cheating on me, but then I read that their Boo Boo Joey Donuts is from stAten island (whereas my Boo Boo Joey Donuts is from Rhode Island). Whew, thanks for the clarification, OP!
By PAPotato | 11
Adidas. The worst STD.
By tarabella | 7
#7565341 - Saturday 18 November 2017 1:38
Ah so when your FML is featured you get paid for it??? Omg i could have been a millionaire by now, i could write these all day, some of them are bound to be featured! hahahahahaaaaa! this is a great retirement plan!
I been speakin England since I was a children.
Lalala579121 | 27
#7565438 - Saturday 18 November 2017 11:05
But is it your city?
Good luck to the dude trying to make money on FML.
From my comments, I have homes on Long Island, Santa Barbara and the Riviera, each with a supermodel wife living there. All paid for with sweet FML cash!

redpajama_set_name: RedPajamaCommonCrawl


Projects that demonstrate an innovative application of clay bricks or clay products may be entered into this category.
This year the Innovation category is sponsored by Wienerberger.
Wienerberger is the UK's leading provider of wall, roof and landscaping innovations. We offer one of the broadest product portfolios in the construction business, including facing bricks, specialist engineering bricks, the Porotherm clay block system, façade solutions, the Corium cladding system and brick slips. As well as a range of added value services, we also offer clay, concrete and slate roofing products and a collection of clay pavers.
Founded in 1819, Wienerberger Building Solutions is the world's largest producer of bricks and clay blocks. In the UK, we have 3 showrooms, 14 production sites, six distribution depots and a head office in Cheadle, Cheshire.


text:
TCU News Articles
TCU Radio Show
DISTRICT > Superintendent
Welcome to the Tri-City United School District – Home of Titan Pride
Dear Tri-City United School District Residents,
On behalf of the Tri-City United School District Staff and School Board, we would like to welcome you to the 2020-2021 school year. It is our honor and privilege to work with and serve the students, families, and residents of Tri-City United and the surrounding areas. The TCU school district is known for connecting and building relationships; providing a learning environment where students are known and cared for as individuals; educating students academically, socially, emotionally, and physically; and parents/guardians are respected as partners in learning. Feedback from previous Parent/Guardian Surveys indicated that:
96% strongly agree/agree with feeling welcomed in our schools
93% indicated, "My child feels safe at school"
97% indicated, "Staff at my child's school treat parents/guardians of all races/ethnicities respectfully"
The final touches of our facilities projects are being completed this summer along with annual building maintenance. The additions and maintenance projects ensure our students are experiencing safe, healthy learning environments, and are supported in facilities allowing for high levels of engagement and collaboration.
Research shows that students have higher achievement when they are engaged and connected in an extra-curricular, co-curricular, or athletic activity. TCU Schools offer a wide variety of opportunities for students to participate in academic, fine arts, and athletic activities. We are continuing to look at how we expand opportunities for our students in the areas of career, college, and life readiness courses and community/employer job shadows and partnerships.
If you are new to the area, welcome to our communities and our school district. We encourage you to call to set up a visit or stop in the district office to get registration information. Also, a warm welcome to our returning students and families. It is an honor to partner with you in educating your child (children) and building strong futures for all.
On behalf of the team of Tri-City United Staff and School Board, thank you for choosing TCU to provide your children with a well-rounded, caring, and innovative education. Please contact me at any time I can be of assistance to you. Go Titans!
Lonnie Seifert
Superintendent of Tri-City United School District
507.364.8100 | lseifert@tcu2905.us
Twitter @TCU2905
Facebook www.facebook.com/tricityunited
Contact: Mr. Lonnie Seifert, Superintendent


text:
Video: A Few Minutes With... "New Girl" Star Zooey Deschanel
By Jim Halterman (TFC)
FOX kicks off its fall lineup tonight with the return of "Glee" and "Raising Hope" not to mention its new live-action comedy "New Girl." In the series, created by Elizabeth Meriwether, 20-something Jess (played by Zooey Deschanel) has a broken heart and needs a place to live so she does what any young girl would do - she finds new roommates on the internet! Not just any roommates but three single guys (played by Max Greenfield, Jake Johnson and Lamorne Morris), which causes Jess's model/BFF Cece (Hannah Simone) to have more than a few concerns about her well-being.
During last week's FOX Junket at the Beverly Hilton in Beverly Hills, our Jim Halterman sat down with the stars of the show to find out more about the new sitcom, how much of Jess is in Zooey and, since singing pops up more than once in the pilot, is everyone on board with making that a regular fixture in the series?
And here's the complete index of all the interviews from the event:
A Few Minutes With... Zooey Deschanel
A Few Minutes With... Max Greenfield & Lamorne Morris
A Few Minutes With... Hannah Simone & Jake M. Johnson
"New Girl" premieres tonight at 9:00/8:00c on FOX.
For more "A Few Minutes With..." videos, visit our archive page.
[september 2011]
· NEW GIRL (FOX)
most recent video | view all posts
Video: "Gentefied" - Official Trailer - Netflix
Netflix's latest comedy series premieres Friday, February 21.
Video: "Horse Girl" - Official Trailer - Netflix
The Alison Brie-led original bows Friday, February 7 on the streaming service.
Video: "Spenser Confidential" - Mark Wahlberg - Official Trailer - Netflix Film
Winston Duke also stars in the Peter Berg-helmed project, due on Friday, March 6.
Video: "Visible: Out on Television" - Official Trailer - Apple TV+
The docuseries features never-before-seen interviews with Ellen DeGeneres, Oprah Winfrey, Anderson Cooper, Billy Porter, Rachel Maddow, Don Lemon, Sara Ramirez, Jesse Tyler Ferguson, and dozens more.
Video: Facebook Watch and Blumhouse Television Drop Official Trailer for "Sacred Lies: The Singing Bones" at TCA
This season of Sacred Lies follows Elsie (Jordan Alexander) as she searches for the family she never knew after being abandoned as a child.
Video: Showtime(R) Releases Season Three Trailer and Key Art for "Our Cartoon President"
The upcoming season dives into a momentous election year to explore the critical question of who could be the next Cartoon President.
Video: OWN Sets Premiere Date and Unveils Official Trailer for New Anthology Drama "Cherish the Day" from Award-Winning Creator Ava DuVernay
"Cherish the Day" is set for a two-night premiere on Tuesday, February 11 at 10:00/9:00c and Wednesday, February 12 at 8:00/7:00c.
Video: "Stargirl" - Official Trailer - Disney+
The film, due on March 13, is a tender and offbeat coming-of-age story based on the critically-acclaimed, New York Times' best-selling young adult novel.
Video: Showtime(R) Releases New Trailer for the Final Season of "Homeland"
As previously announced, the series returns Sunday, February 9 at 9:00/8:00c.
Video: Showtime(R) Sets Premiere Date and Drops Trailer for Season Three of "The Chi"
The new season will debut on Sunday, July 5 at 10:00/9:00c.
Video: Showtime(R) Sets Premiere Date and Debuts Trailer for Season Two of "Black Monday"
The new season will debut with back-to-back episodes each week beginning on Sunday, March 15 at 10:00/9:00c.
Video: CBS All Access Reveals Official Trailer and Key Art for New Original True Crime Series "Interrogation"
The series is based on a case that spans more than 20 years, in which a young man was charged and convicted of brutally murdering his mother.
Video: "The Ranch" Part 8 - Official Trailer - Netflix
The show's final episodes premiere January 24 on the streaming service.
Video: "Fortune Feimster: Sweet & Salty" - Official Trailer - Netflix
Feimster's first full length stand-up special talks about her childhood misadventures as a former Girl Scout, debutante and (disqualified) swim meet champion.
Video: The Gods Are Coming: Netflix Debuts "Ragnarok" Trailer Today
The six part Norwegian language series is produced by SAM Productions, a Danish screenwriter-based production company.
more video >>


Climate Threat: This sunny species is common to the pine forests of western North America. Audubon's climate model predicts a 70 percent loss of its current summer range by 2080. The model also identifies a large vacant section of eastern and central Canada vacated as suitable climate for the species. Predicting the Western Tanager's future is complicated by potential interbreeding and competition with the closely related Scarlet Tanager.
About the Artist: Belarusian female mural artist Yu-baba currently lives and works in New York. She spends a majority of her time traveling and painting murals across the countries, and participates in international urban art events and festivals. She primarily began focusing on creating mural art in 2013. Since that time, Yu-baba has grown and evolved within her career as a street artist. Most of Yu-baba's murals are female portraits with surreal elements in which she reveals women's energy, confidence, and beauty. Yu-baba continues to balance her love of painting large-scale public artworks with creation of canvases. Her works were exhibited in galleries in Germany and the United States, and her artworks has been published in a number of international magazines and books. Follow her on Instagram.


Under Archie Miller, could IU-Kentucky rivalry be revived?
IU's nonconference schedule ranked 312th in the nation last season.
BLOOMINGTON – It didn't take long for Archie Miller to be asked about Indiana's watered-down nonconference schedule.
In fact, it was the first question Miller received as he was introduced as IU's new men's basketball coach. And anytime the Hoosiers' nonconference schedule comes up, the abandoned rivalry with Kentucky is at the top of the queue.
Miller said he was receptive toward reviving the rivalry, but deferred to the man who hired him — athletic director Fred Glass.
Indiana and Kentucky have not played in the regular season since Christian Watford's game-winning shot revitalized the IU program in 2011. The programs have met twice since in the NCAA tournament, but former IU coach Tom Crean and Calipari could never come to an agreement for the regular season.
The disagreement stemmed from the location of the series. Crean and Indiana wanted a home-and-home setting, as it was from 2006-11. Calipari and Kentucky, meanwhile, have been firm on neutral courts, as it was from 1991-2005 in Louisville and Indianapolis.
Following Miller's first public appearance at Indiana, Glass reiterated the IU sentiment of an on-campus series with Kentucky. This time, though, there was a bit more flexibility to Glass' statements.
"I'd like to do that," Glass said of restarting the IU-UK series. "I'm hopeful we do that. That's just a game that ought to be played. I'd like to play it during the cycle here, but I'll lead with my chin here a little bit, and not chest my cards, or whatever metaphor you want to put out there: I want to try to play the game, and if we need to play somewhere else, I'm open to doing that."
In the final season of the Crean era, Indiana played one of the nation's weakest nonconference schedules (ranked 312th out of 351). IU's toughest nonconference home game, beyond the ACC/Big Ten Challenge meeting with North Carolina, was Liberty — ranked 208th by KenPom.
Indiana fans — specifically season-ticket holders and students — have clamored for stronger opponents prior to the Big Ten slate. Rather than scheduling promising mid-majors to bolster postseason resumes and preparation for the road ahead, the Hoosiers scheduled some of the worst teams in college basketball.
Miller's program at Dayton was clearly in a different sphere of scheduling than his new job. While the Atlantic 10 serves as a stronger mid-major conference, Miller wasn't able to rely on sheer conference wins to earn at-large NCAA tournament bids. Regardless, Miller put together top-100 nonconference schedules in each of his last three seasons at Dayton.
"The nonconference scheduling component is probably the second most important thing you do as a coach other than recruit," Miller said. "Here at Indiana, nonconference scheduling is about finding a way to put yourself in a great position in terms of seeding.
Miller's name alone conjures up another high-major program with his older brother, Sean, holding the reigns at Arizona. While simultaneous series with Kentucky and Arizona is far fetched, the Millers have already began talks of playing one another.


Why use BT MeetMe with Skype for Business Online?
Skype for Business Online gives you a powerful collaboration platform.
By scheduling Skype for Business Online meetings with your BT MeetMe details, you can hold a conference call with people who use Skype for Business Online as well as those who don't.
You can use it to work with colleagues in other areas of your company, or people away from their computers. You can also use it to join meetings from a regular phone network or mobile phone.
When to use BT MeetMe?
need to conference with people who don't have access to Skype for Business Online.
don't know how your participants will join.
need to dial out to participants.
don't have a good quality PC headset with microphone.
have an internet connection that's unavailable, slow, or unreliable.
need the best audio quality.
have participants joining from other countries whose internet or phone service may not be reliable, or provide good audio quality.
have a PC that's not powerful enough to process voice.
NOTE: You can use your BT MeetMe account without Skype for Business Online.
A BT MeetMe account set up by your company's Skype for Business Online Administrator.
Your BT MeetMe welcome email.
Microsoft Outlook - to schedule Skype for Business Online conferences.
You can schedule your conference through Outlook using BT MeetMe with Skype for Business Online.
This is located in the ribbon of your Outlook calendar.
Fill out the invitation as you normally would. You'll see that your BT MeetMe audio details are automatically inserted into your calendar invite.
Skype for Business Online offers the easiest way to start or join a conference. Both the chairperson and participants can use any of these methods to join.
NOTE: The conference begins when the chairperson has joined.
When your Outlook meeting reminder pops up, click 'Join Online'.
Click 'Join Skype Meeting' in the ribbon.
Click 'Join Skype Meeting' link in the body of the invitation.
Use the toll-free, toll and local dial-in numbers in the invitation.
As the chairperson, when using a phone to join, you must use the chairperson passcode provided in your welcome email. The Outlook invitation only provides the participant passcode.
To start a Skype with MeetMe conference, someone needs to join as "Presenter� in Skype so MeetMe and Skype participants can hear each other. This person does not have to be the chairperson of the MeetMe conference.
Next, you need to select how to join the audio part of your conference. This screen will display for participants too.
Select if you have a good quality PC headset with microphone.
If you want the conference to call you on your regular or mobile phone, you can select an existing number for yourself or add a new one.
Select if you only want to watch the web conference or online meeting, or if you've already dialled in manually.
In the Skype for Business Online window, the conference can begin when the chairperson's name shows under 'Presenters'.
As participants join, they will show up under 'Attendees'.
If a participant dials directly into the conference using one of the BT MeetMe dial-in numbers, that person's phone number will display under 'Attendees'.
It's best practice to include your BT MeetMe details in your invitation since you don't always know how participants will join.
have an internet connection that's unavailable, slow or unreliable.
This applies to both chairpersons and participants.
Dial one of the numbers in the 'Join by Phone' section.
Use the toll-free or toll number if you're calling from the US or Canada.
Click 'Find a local number' to find a dial-in number for outside the US.
Enter the participant code followed by '#', and follow the prompts.
You can still join the web portion of the conference.
During your conference, you can dial out to participants to make it easier for them to join.
Click the 'Invite More People' button.
You'll see a new window titled 'Invite by Name or Phone Number'.
Select the contact(s) you want to invite and click 'OK'.
If you don't have complete information, you may have to enter their phone number - including the country code.
You can easily access the meeting dial-in numbers and participant passcode from the Skype for Business Online meeting window through the 'More Options' icon in the bottom right corner and selecting "Meeting Entry Info".
Participants who have joined through Skype for Business Online have the red 'in a meeting' status icon.
Dial-out participants have a phone icon.
Participants who have dialled in will also have a phone icon.
Participants who have joined online, but are not Skype for Business Online contacts, will have a person icon and 'Guest'.
TIP: Click 'Copy All Info' if you need to invite someone through email or IM.
You can eject someone from your conference by selecting that contact, right-clicking and choosing 'Remove' from the menu.
You can change an individual's role by right-clicking on a participant, and selecting 'Make a Presenter' or 'Make an Attendee'.
NOTE: You can only change roles for those who have joined through Skype for Business Online.
Anyone who dials in using a BT MeetMe number will automatically have their line open (unmute).
They can change this to mute/unmute their own line by pressing *6.
The chairperson/presenter can mute any person's line on Skype for Business Online and on MeetMe at any time.
NOTE: Any participants on BT MeetMe muted by the chairperson/presenter through Skype for Business Online will need to unmute themselves by entering *6 on their telephone keypad.
With these features, you can manage everyone in your conference with a few clicks.
To view the 'Participant Actions', click on the people icon to access the panel, then click on 'ACTIONS'.
Use this feature when you need to present and mute all lines except your own. It's a good way to improve sound quality and remove distracting background noise.
Use this feature if you need to take presenter rights away from everyone except yourself, the chairperson.
You can find this feature by clicking 'Invite More People' button. See Dialing out to participants for more information.
You can email your meeting details to any missing participants.
Click the red phone icon in the centre of the bottom of the screen.
This will disconnect your line from the conference.
Click End Meeting from the 'More Options' menu. This is the most secure way to end a conference.
It will disconnect everyone from Skype for Business Online and the BT MeetMe conference.
You can change your security settings through the Skype Meeting Options panel by clicking on the 'More Options' icon in the bottom right corner.
TIP: To access this panel, you need to be in a Skype for Business Online meeting. It's best to adjust these settings before participants join. We recommend joining your meeting early if you need to change these settings.
Lobby is a virtual meeting room where participants can wait until the chairperson has started the conference.
The lobby puts callers on hold until the chairperson or organiser joins the audio conference. The organiser can join through BT MeetMe or Skype for Business Online.
NOTE: Do not select 'The meeting organizer'. This will prevent anyone dialling in with BT MeetMe from joining your Skype for Business Online conference.
You can set who has permission to present on the screen share for this meeting. These are your options.
NOTE: If you are planning on having participants join via BT MeetMe then at least one person needs to connect to Skype for Business Online in a presenter role (using VoIP). This is necessary to initiate the link between the Skype and MeetMe conference.
Who can annotate PowerPoint presentations?
You can set who can annotate the PowerPoint presentation while meeting. These are your options.
You can set who can browse your presentation without affecting what everyone else is seeing. These are your options.
Don't share your chairperson passcode.
This can lead to fraudulent use.
Schedule your conference in advance.
Last minute calls mean poor participation from your audience.
Send your agenda out in advance.
Make sure your participants have all the meeting materials they need before they join the conference.
Kick-off your meeting the right way.
Introduce yourself, outline the agenda and provide the ground rules for your conference i.e. "This call will be interactive, please ask questions at any time," or "A question and answer session will follow immediately after the presentation".
Mute your line to reduce background noise.
If using Skype for Business Online, click on the phone icon next to your name to mute/unmute yourself. If your phone does not have a mute button, press *6 to mute your line and *6 again to unmute. If you join a conference call from a mobile phone, please mute your phone to eliminate distracting noise and static. Press *6 to mute your mobile phone and *6 again to unmute your phone.
Try to avoid using speakerphone.
However, if necessary, be sure to use the mute button when not speaking. Sometimes using a speakerphone can diminish the sound quality of your conference call.
While on a BT MeetMe call as a chairperson, get better sound quality by muting your participants' lines. In Skype for Business Online, click Mute Audience. If you're on your phone, press *5. This feature activates 'presentation mode'. Press *5 again to deactivate 'presentation mode'.
Avoid connecting two conference calls together.
This creates a condition called 'cross-talk' that degrades the quality of all connected conference calls.
Speak clearly and pause frequently.
This is particularly important when delivering complicated material.
Address technical difficult ties straight away.
Anyone experiencing technical difficulties or sound quality issues should press *0 for assistance and a conferencing coordinator will address their issues without interrupting your call.