Innovative and creative businesses are welcome to join us for a webinar about grant applications and funding on 7th June 2021, delivered by Dr Ben Masheder and Adele Reynolds of Business West’s Access to Funding and Finance Team and James Wheale, Creative Sector Lead at Innovate UK EDGE.
The webinar will discuss grants available to support innovation within the creative industries.
We will cover:
During this special focus session, time will be dedicated on how to apply to the newly announced Creative Industries Fund: fast start business growth pilot (https://apply-for-innovation-funding.service.gov.uk/competition/919/overview) from Innovate UK, Deadline for this £25,000, 100% funded innovation grant opportunity is Wednesday 16th June at 11am.
Free registration for BCI members (£10+VAT for non-members). Webinar link will be shared before the event.
More information about Innovate UK EDGE can be found at: https://www.innovateukedge.ukri.org/
To connect with Ben, Adele and James to see how they may be able to support you and your business, email [email protected] with ‘Access to Funding – Creative’ in the subject line.
The West of England has a strong legacy as a creative industries hub attracting major broadcasters, film companies and digital industries alike to our vibrant towns and cities. Like all industries, however, COVID-19 has hit creative companies hard and the West of England Combined Authority (WECA) has been here to support the creative industries as they work to get through the impact of the pandemic.
To support this, WECA has launched a new business support programme for businesses and individuals working in the creative industries, as part of its Regional Recovery Plan. The programme is aimed at small and medium-sized businesses (SMEs) working in the creative industries, including creative freelancers, and is designed to build resilience and support change in response to COVID-19.
There is also a grant fund for creative freelancers that will give self-employed people the opportunity to become more resilient by developing their own creative product, practice or service, in response to the Covid-19 pandemic. Grants for creative businesses will fund creative projects that support recovery and resilience, employ freelance creatives, engage local communities and advance diversity and inclusion.
The business support programme has been designed in consultation with members of the creative and cultural sector. The programme also fits with WECA’s ambitions to establish a West of England Cultural Compact, an initiative jointly funded with Arts Council England. This will involve the creation of a new strategic cultural partnership which will lead on the development of a Cultural Strategy and new activities to help increase investment across the creative and cultural sectors in the region.
WECA recently announced a £11.8m investment to boost creative jobs with the expansion of Bottle Yard Studios, which plays host to a wide range of productions, including drama, children’s TV, feature films, gameshows and commercials. Bottle Yard’s growth will also help to support other businesses across the region which rely on film and TV production opportunities.
Almost 60 companies from a range of creative industries across the region have also benefitted from WECA’s Creative Scale-Up programme. This two-year pilot helps creative businesses access finance and peer mentoring through an intensive six-month minimum sustainable growth support programme. WECA has opened applications for the fourth cohort of the programme
Here’s a snapshot of some of the businesses that have benefitted from the programme:
Since joining the Creative Scale Up programme in January 2020, Bristol-based independent development studio and games consultancy Auroch Digital has secured a new publishing deal and taken on 15 new members of staff.
“The Creative Scale Up programme, particularly the mentoring process, was great – we were able to pick mentors targeting specific needs we have. We got direct support with business questions as they arose and that helped us deal with them and move forward.
“As a result, we’ve been able to advance some key areas of the company. We’ve landed one big publishing deal for a new IP game and are circling a second big project, and that mentoring advice has been part of the mix of positives getting us there. Information provided by the Creative Scale Up team also led us to a UWE Digital Innovation Fund grant.” Dr Tomas Rawlings, chief executive, Auroch Digital
Noiser, which specialises in history and drama storytelling with immersive sound design, used the WECA Creative Scale Up £2,000 business grant to develop a sales team and define a clear strategy to drive sales.
“For Noiser, we are not looking for generic business support; I liked how the scheme’s supervisors made us aware that we could find our own mentors and they were able to help connect us with pertinent professionals they were in touch with. This was crucially important.”
Stornaway.io accessed grant funding to re-invest in the creative development of the business.
Having identified a gap in the market for a collaborative web application that lets media producers write, test and publish interactive films easily and affordably without coding, the team was, understandably, wary about how to effectively promote and launch a new product in lockdown.
To showcase the product’s capabilities, Stornaway.io used grant funding to commission and produce a short film called “A Little Hungover”, which would premiere as part of the Immersive Encounters Festival. In order to help futureproof the business, the team at Stornaway.io also made great use of the peer mentoring aspects of the Creative Scale Up programme.
“Launching this new product in the middle of lockdown, the Creative Scale-Up peer mentoring programme was an invaluable community of practice. It was fantastic to meet and develop connections with the leaders of such a wide range of creative businesses in the South West. We have developed a number of ongoing relationships with our peers which we hope will continue to be mutually beneficial.” Kate Dimbleby, co-founder, Stornaway.io
Creative scale-up support includes a £6,000 grant to spend on mentoring support, a dedicated Peer Support Network and sector specific business development training. Businesses are also supported to consider their future finance options and are supported to learn about investment and engage with investors.
Creative businesses wanting to find out more about the new business support programme, grant funds and the Creative Scale Up programme should visit WECA’s Growth Hub page.
The West of England Business Support Guide can also help you navigate the range of support available via the combined authority’s dedicated business support service, the Growth Hub, which provides tailored one-to-one advice and access to finance, support and expert guidance.
The UK’s creative industries have been hit hard by the coronavirus pandemic, but there are also many examples of innovation and successful pivots.
The sector is vital to the UK economy and as Britain looks to recover, the government has set out its vision in the ‘Build Back Better’ strategy.
But how do the creative industries feature in the plans?
Gail Caig is a freelance consultant currently working as an advisor to the Creative Industries Council. She also joined the Bristol Creative Industries board earlier this year. Speaking to Dan Martin, Gail highlights the key measures for the creative businesses and freelancers in the government’s 2021 Budget and wider recovery plans.
“Many businesses in the creative industries have been incredibly hard hit by COVID-19 but that experience has not been not universal. Elements of the creative industries that depend on footfall and live experience have suffered a great deal, but some parts of the sector, like games companies for example, have been thriving and attracting new audiences.
“We have seen a huge amount of innovation and entrepreneurial activity in the sector. In their response to the difficulties during the pandemic, many organisations have looked at new ways to engage audiences, they have embraced technology like AR and VR and have done their storytelling in a different way. Innovation is a huge positive that has come out of all this but I think it’s less clear how you can viably get ongoing revenue from the new innovation. Venues, theatres etc have been very successful in reaching audiences and finding new ways to share content, but that’s no replacement for a live audience and many of the traditional business models.
“There has been support from the government. The £1.5bn Cultural Recovery Fund was a huge vote of kind of confidence and belief in the sector by the government. It hasn’t been a panacea and it hasn’t protected every element of the sector, but it is a very substantial investment which recognises how important the government sees the UK’s cultural and creative infrastructure.
“On the negative side, the pandemic has highlighted the vulnerability of freelancers which make up a third of creative industry workers. They can’t access the furlough scheme in most instances, and a big section of freelancers, particularly new entrants to the creative industries, can’t access the Self-employment Income Support Scheme. I think there’s a real concern in the industry that the new generation of talent could be irretrievably lost.
“That has been a real priority for organisations like the Creative Industries Federation. They’ve been lobbying the government about the need to recognise the freelance workforce.”
“In the Budget itself, and a series of documents published alongside it, the government is demonstrating that it recognises the importance of the creative industries and its capacity to bring communities together and regenerate. That’s really good news for the sector because it means that government policy going forward should be shaped in a way that will help and support the creative industries. That’s not a given. It’s a situation that has evolved and developed over the last 20 years when the creative industries were first recognised by the government as a specific, important and valuable sector.
“In the government’s Build Back Better strategy, the creative industries are featured throughout. In his forward, chancellor Rishi Sunak says: ‘We have an international reputation for science and world-class universities. And we have strengths across many sectors, from financial services to creative industries.'”
“The government announced in the Budget a consultation on the definition of R&D tax credits. The creative industries are innovative because they are constantly reinventing their products and services and they do a huge amount of R&D. But because a lot of that R&D doesn’t happen in a traditional industrial way, it’s not recognised as R&D. That has a business level implication because R&D tax credits as they’re currently structured are not accessible to the creative industries. The sector has been lobbying for a long time to get the R&D that happens within the sector recognised. This new consultation references the creative industries which is very positive.”
“The £1.57bn Cultural Recovery Fund has been extended by £300m.
“The government also put in place previously the Film and TV Production Restart Scheme that has supported productions in carrying on despite COVID. The scheme has been extended.”
“There has been an ongoing problem with apprenticeships in the creative industries. The vast majority are micro businesses with a very small number of employees. They don’t have the capacity to take on an individual for a long period of time and provide training. Many are project-based such as TV production companies. When they have big periods of activity they’ve got work to offer but they can’t guarantee 12 months.
“Also for micro businesses, the admin involved in taking people on is a really significant burden. Making apprenticeships work across many tiny businesses is a very different proposition to one big car plant. The apprenticeship scheme was set up with things like a big car plant in mind. However, big employers in the creative industries have been paying the Apprenticeship Levy, but not benefitting from it. That’s been an ongoing challenge for the sector and the Budget recognised that.
“There’s a £7m fund to be introduced from July this year to help employers access the apprenticeship scheme. It will also look at making the apprenticeship system more flexible so that it works better for creative industry businesses. The Budget document that talks about the new fund specifically references the creative industries.
“The government has also launched a consultation on flexi-job apprenticeship schemes which could help the creative industries.”
“The government has committed to setting up its own domestic replacement for when European funding ends in the UK as a result of Brexit. Between the EU funding stopping and the new UK scheme starting, they’ve launched the Community Renewal Fund.
“It’s £220m for programmes for 2021. The bids of up to £500,000 get submitted to the government via a combined authority or a local authority. The deadline for bids to be sent to the government is 18 June.
“There are two kinds of government funding – revenue and capital. Revenue funding can be spent on people, business support programmes, skills development, training, community arts practitioners, events etc. Capital funding is for building things like roundabouts, railways etc.
“For the creative industries seeking support and skills development, revenue funding is very important. There are examples of big cultural infrastructure but generally, that’s much harder for the sector to access. What the sector really needs and wants to access is revenue funding. The Community Renewal Fund is really important for that.”
“This is capital funding. The scheme is for bids of up to £20m and it runs over a series of years. The deadline for funding in 2021 is 18 June.
“It has three priorities – transport, regeneration and cultural investment. That’s really important for the creative industries as it’s a direct name check in a big capital programme. It talks about ‘maintaining, regenerating or creatively repurposing galleries, visitor attractions, heritage assets, as well as creating new community-owned spaces to support the arts and serve as cultural spaces.'”
“Networks and intermediaries are absolutely crucial in the effective running of creative clusters. Creative industries come together and group in clusters because they are a collection of interdependent small organisations that have specialisms. For example, one of the specialisms in Bristol and Bath is television. To make that clustering and networking work effectively, organisations like Bristol Creative Industries are absolutely fundamental. That’s why I wanted to be a BCI board member!”
Top image credit: HM Treasury.
The much-anticipated 2021 agency benchmark results are now live.
Agencies of all shapes, sizes, locations and sectors have participated in BenchPress 2021, providing a benchmark for agency owners all over the UK.
Thanks to the large number of agencies that took part, this year there are more reports than ever before.
The West of England Combined Authority (WECA) is launching a new business support programme for businesses and individuals working in the creative industries, as part of its Regional Recovery Plan.
The programme is aimed at small and medium-sized businesses (SMEs) working in the creative industries, including creative freelancers, that require support as a result of the Covid-19 pandemic.
The sector specific business support programme is designed to build resilience and support change in response to Covid-19. It will offer support for individuals and management teams to reformulate operating and financial models and business plans through mentoring, peer networks and training and workshops.
There will also be grants for creative projects that support recovery and resilience. A grant fund for creative freelancers will give self-employed people the opportunity to become more resilient by developing their own creative product, practice or service, in response to the Covid-19 pandemic. A grant fund for creative businesses will fund creative projects that support recovery and resilience, employ freelance creatives, engage local communities and advance diversity and inclusion.
Grants will range from £1,000 to £3,000 for freelancers and £5,000 to £10,000 for businesses.
Regional Mayor Tim Bowles said: “Our cultural and creative industries really are the soul of the West of England and are an important contributor to our wider economy. As we secure our recovery from the impact of Covid-19, this much-needed support will help ensure that our creative businesses can continue to provide exciting and engaging jobs, attract new commercial opportunities and help ensure the West of England remains an exciting and vibrant place to live and work.”
The business support programme has been designed in consultation with members of the creative and cultural sector, with a focus on recovery from the pandemic and the priorities of inclusivity, diversity and community engagement.
The programme also fits with WECA’s ambitions to establish a West of England Cultural Compact, an initiative jointly funded with Arts Council England. This will involve the creation of a new strategic cultural partnership which will lead on the development of a Cultural Strategy and new activities to help increase investment across the creative and cultural sectors in region.
Professor Sue Rigby, Vice-Chancellor of Bath Spa University, West of England LEP board member and interim chair of the Cultural Compact, said: “Culture is part of our DNA in the West of England, and so many of us value it and earn our livings from it. The pandemic has highlighted our need for culture as a key part of our recovery, and the Cultural Compact will help us to bring this about as a region.
WECA will also be running the fourth cohort of its successful Creative Scale Up programme, which is already providing almost 60 creative businesses with online peer and mentoring support to help them respond to the impact of Covid-19.
Since joining the programme in January 2020, Bristol-based independent development studio and games consultancy Auroch Digital has secured a new publishing deal and taken on 15 new members of staff.
Dr Tomas Rawlings (pictured), Chief Executive of Auroch Digital, said: “The Creative Scale Up programme, particularly the mentoring process, was great – we were able to pick mentors targeting specific needs we have. We got direct support with business questions as they arose and that helped us deal with them and move forward.
“As a result, we’ve been able to advance some key areas of the company. We’ve landed one big publishing deal for a new IP game and are circling a second big project, and that mentoring advice has been part of the mix of positives getting us there. Information provided by the Creative Scale Up team also led us to a UWE Digital Innovation Fund grant.”
Creative businesses wanting to find out more about the new business support programme, grant funds and the Creative Scale Up scheme should visit WECA’s Growth Hub page.
The Culture and Creative Industry Business Support Programme and grant funds are a key part of the West of England Recovery Taskforce’s regional action plan to protect and secure jobs, creating opportunities for all residents to share in the recovery. As part of this, WECA’s Together West of England campaign is connecting businesses with the support and guidance they need to adapt, build resilience and prepare for the future, as well as helping residents to access new skills, training and employment opportunities.
Through the West of England Growth Hub businesses of any size in the West of England can access free information and guidance on a variety of issues including workforce planning, HR advice and guidance, employability support, training and skills development and coaching.
Clubhouse is the social media network that’s taking the world by storm. Despite only launching in April last year, the app had 8.5m downloads at the end of February 2021 and users including the likes of Elon Musk (@elonmusk) and Mark Zuckerberg (@zuck23).
Drew Benvie (@drewbenvie), social media expert and founder of Battenhall, joined a Bristol Creative Industries event to share tips on how entrepreneurs, marketers and other creatives can use the app to grow their profile.
Here’s a summary of his advice.
With 8.5m downloads compared to Facebook’s 2.8bn active users, Clubhouse “is teeny weeny as a social network”, Drew says, but due to the high profile nature of its users “it’s really starting to turn heads”.
Drew believes Clubhouse sits in a space between social networks such as Twitter, Facebook and Tik Tok and audio/video platforms like YouTube, Spotify and BBC Sounds. “At first I thought this is going to change social media,” he says, “people are going to start listening to things instead of writing or reading, but actually the data suggests it’s increasing use of other social media, and it’s also not really cannibalising mainstream audio or video. It’s kind of complementing that too.”
Drew says what excites him about Clubhouse is that “anyone can rock up, it’s really them and it’s unscripted”. That includes high profile people. Drew was hosting a room (we explain what that is below) about social media and Damian Collins MP (@damiancollinsmp), the former chair of the Parliamentary committee that grills big social network bosses, showed up to listen and then asked to speak. The next day he joined again.
Clubhouse is an app on which users host, listen to and participate in audio groups, known as rooms, where typically one or more moderators host live discussions.
Clubhouse is currently only available on iPhones and iPads. You also need an invite to get access. Speak to someone you know who’s on Clubhouse and ask them for one.
Once you’re in, set up a bio. You can add whatever you like including links to your Twitter and Instagram accounts. You can follow people on Clubhouse but there’s no messaging functionality within the app.
In terms of what username to pick, Drew recommends your real name as Clubhouse is all about real people having conversations.
The Clubhouse algorithm is still “a bit ropey”, Drew says, so to find interesting people to follow select topics that you’re interested in and look for interesting people talking about those topics.
Clubhouse connects with your phone address book so it will show you your contacts already using the app.
When you follow someone, click on the alarm bell icon in their profile and you can select to be notified always, sometimes or never when they speak on the app.
Rooms (sometimes known as events – see below) are where the conversations take place. All rooms are live and they are not recorded so you can’t replay them (although lots of people are secretly recording rooms and uploading videos to YouTube such as this one with Facebook founder Mark Zuckerberg). At this point in Drew’s talk, an attendee said she was in a room with Brad Pitt!
To get used to the app, join rooms that look interesting to you. A room has three tiers; a stage with the people speaking (some of whom are moderators), people being followed by the speakers and everyone else.
Everyone not on the stage is muted and you can’t speak. If you want to speak, you can raise your hand and a moderator can invite you to the stage. Moderators can also remove people from the stage or from the room completely.
It can be nervewracking to speak for the first time but hang out in rooms that appeal to you and when you’re ready and have something to say, raise your hand and speak succinctly.
Your followers can ‘ping’ you to join a room. Exit a room with the ‘leave quietly’ button.
Rooms can be:
The app will show you rooms based on who you follow and the topics you’ve selected.
If you click ‘start a room’ and select the type, it will go live instantly.
If you want to schedule a room for the future, Clubhouse describes that as an ‘event’. Create one by clicking on the calendar icon at the top of the app.
Clubs are anchors for your activity on Clubhouse. They are like what Facebook business pages are to your personal profile. It allows people to follow a theme. There are thousands of clubs covering all sorts of topics including social media, artificial intelligence, movies, public speaking, comedy and start-ups. Within a club, individual rooms are created to have live conversations. When a room goes live, you’ll be notified.
When you get on the app, click the magnifying glass icon top left and you’ll see lots of clubs to follow.
To set up your own club, click on your profile image at the top right of the app and then the + next to the icons of clubs that you are a member of.
When starting a room or a club, Drew recommends planning with other people to maximise exposure. When someone is co-hosting with you, make them moderators.
Listen to rooms to pick up best practice moderator skills such as introducing the show/room/event (they are called all those things!), welcoming people to the stage and keeping the conversation flowing.
To build momentum, it’s a good idea to host a room at the same time every day, week or month.
Drew says speaking in a room tends to grow your following by around 10% of the room’s total participants. You’re also likely to pick up followers on other social networks if you’ve included links in your bio.
You can’t send someone a link to your profile on Clubhouse but you can send them a link to an event you’ve planned.
People are also using other social networks to promote events such as this Twitter account for The Good Time Show, which is part of Good Time, one of the most high profile clubs on Clubhouse. An event with Elon Musk in that club broke the app!
In Clubhouse, you’re talking to strangers and you’re listening to strange conversations. There have been reports of trolling and harassment so Drew advises being safe by not allowing random people to speak in your rooms or letting them be moderators.
Other social networks are already taking on Clubhouse. Twitter Spaces is live and Facebook is rumoured to be building an audio product.
“A wider brand audio strategy on audio is something I would absolutely recommend you start considering if you think Clubhouse is interesting for you,” Drew says.
Think about why your audience would want to engage using audio and harness influencers across Clubhouse.
Drew Benvie runs ‘Trending’ which has a room discussing the latest social media trends every Tuesday and Thursday at 11am GMT.
He also recommends ‘9am in London’ created by Abraxas Higgins (@abraxas), one of the most followed UK Clubhouse users. His club hosts a daily “no agenda” room at 9am GMT.
You can follow Drew on Clubhouse at @drewbenvie and members of the Bristol Creative Industries team, Alli Nicholas, Dan Martin and Chris Thurling, at @allinicholas, @dan_martin and @christhurling.
If you’re a Bristol Creative Industries member who’s on Clubhouse, let us know by following us or sending us a tweet.
Want to grow your agency but don’t know how? Has growth plateaued? Are you struggling to find more of the right type of client? Are you trying to build an awesome team and are finding it tough to find the right people? Or perhaps your agency is growing but you’d like a refresher, tips and advice on how to accelerate your growth?
If any of these questions resonate then why not join a bunch of highly motivated agency owners and Janusz Stabik, a coach and mentor to agencies across the globe and lead coach for Google across numerous agency growth programs to help find the answer.
Audience: Agency owner/founders
What’s holding you back from running the agency you want to run? What do the high performers do differently from the rest? How good is your agency?
Janusz will take you through the strategy, benchmarks, tips and templates you’ll need to run an efficient and effective agency to accelerate your growth in 2021. You’ll meet other agency owners and gain fresh perspectives, you’ll feel the weight lift from your shoulders, you’ll be energised and excited about the future and you’ll have gained clarity on how to get there.
By the end of the workshop you will:
Audience: Owner founder + Directors
Running and growing agency depends entirely on recruiting and retaining good people who do great work. You work hard to attract great employees, you want the best! But what does the “best” really mean? Good cultural fit? Good at their job? Experienced? Passionate about their work? All of this?
If any of the following rings true, this workshop is for you:
At the end of this workshop you will:
Audience: Agency owner founders, sales/marketing teams, account managers/client service execs
The average agency loses 20% of its revenue every single year through client churn. The sobering fact is, this is the average and it’s not uncommon for churn to be closer to 45% (a HUGE hole to fill). This results in unhappy teams, unhappy clients, lost marketing spend, lost time, lost effort, lost money – no wonder growth is so difficult?
What if:
Sound like a pipe dream? It’s not and it’s eminently achievable.
At the end of this workshop you will:
Join this workshop to find out how to kick-start your growth by focusing on your most important asset – your existing customers.
You can book for each individual session via the links above or, for the most value, book all three sessions as a package by emailing [email protected].
Individual sessions are £45+VAT per session for BCI members or £70+VAT for non-members.
Book all 4 sessions for £100+VAT (BCI Members) or £160+VAT (non-members).
Janusz is a coach and mentor to agency leaders across the globe through his coaching practice and consultancy, Digital Agency Coach, where he helps helping agency owners to run better businesses, lead better teams, make more money and have fun doing so. He’s an ex-agency owner, a trusted speaker for Forbes, head coach at the GYDA Initiative and a lead coach for Google across multiple agency growth programmes throughout EMEA.
“For an industry that supposedly gets positioning, we generally do a pathetic job at doing it for ourselves.” Those are the straight-talking words of David C. Baker who joined us for a fascinating session earlier this month discussing how creative and digital businesses can nail their positioning statement to get the right clients.
Described by the New York Times as “the expert’s expert”, David C. Baker is an author, speaker and adviser to entrepreneurial creatives worldwide. He has written five books, advised more than 900 firms and keynoted at conferences in over 30 countries.
Here’s a summary of David’s brilliant talk with essential tips on how to come up with a positioning statement that works for your creative or digital brand.
The Wikipedia definition of positioning is: “the place that a brand occupies in the minds of the customers and how it is distinguished from the products of the competitors and different from the concept of brand awareness”.
Your positioning is vital if you want to win the right clients and for David C. Baker that’s all about coming up with a positioning statement that’s deeply focused on what you do and exactly who you do it for.
You need to go into a positioning exercise with the right attitude, David said. If it’s just about keeping busy, that’s a very bad reason, he warned.
Thinking about your positioning in terms of meeting the growth goals of your company is potentially a good reason but only if the goals are properly measured and sustainable.
A great reason for strong positioning is if it gives you the ability to deliver more effective work as a “deep specialist” and to charge a premium price.
But for David, the main reason he likes his agency clients to have a strong positioning statement is that he can’t write a marketing plan without one.
David says there are two types of positioning to consider.
Horizontal positioning is offering a specialist service such as annual reports or targeting a specific demographic such as older people.
The benefits of this approach are that you get lots of variety and the opportunity to work with larger clients.
You also don’t have to worry so much about client conflicts and your business will have a greater immunity to economic downturns than if you were focused on a vertical sector.
The second option is vertical positioning which is targeting a particular industry sector such as financial services, tourism and hospitality.
The advantages of this approach are that it’s easier to find clients and they will often take you with them if they move jobs.
It’s also easier for your reputation to spread as communities tend to organise around verticals, with conferences, trades and awards etc, and the money you can make tends to be higher because verticals place a premium on deep expertise.
Once you’ve decided on your positioning statement, you should test it by answering some key questions.
David grouped them as “quick tests” and “better tests”.
Is it the typical “more better” nonsense?
By this David means you don’t need to use superlatives in your positioning. Being “more better” than someone else is not a strategy. “Just state clearly what it is you do”, David said.
Could a prospect self-select themselves into or out of the running?
Prospects should be able to read your positioning statement and know straight away whether or not your business is right for them. This means you won’t waste your time on pitching unsuitable clients.
Do you have an unfair advantage in maintaining the claims you are making?
Do you have some things that other people don’t have? Perhaps it’s unique research insights or you’ve delivered the service many times before.
Are the claims readily verifiable to an outsider before they hire you?
David said: “There are a lot of things that your clients love about you, but they can’t really test the veracity of those claims until they become a client. So it’s good, for example, that you’re responsive or that you listen carefully. But how can they verify that because there’s nobody out there saying ‘you know what, we tried to listen to our clients, and it just slowed things down, so we don’t do that anymore’.
“There are a lot of things that are true that are not a part of the positioning discussion, they are just there. You want to distinguish between why clients come to you, and why clients stay with you. They stay with you because of some of these other things, but that’s not why they come to you in the first place.”
Would you let a client of yours get away with a lack of precision in your claims?
You probably have some clients who want to make claims about their product or service that you don’t think are courageous or strong enough. But if you’re really honest, are you doing the same? You should be “bold and unique” with your positioning, David said.
How many competitors are there who occupy the same expert positioning as you?
David said that the number of competitors in your geographic client area should be between 10 and 200. If it’s fewer than 10, your positioning is probably not viable unless you’re starting something very new and you’re the first, or one of the first, to market. If you have more than 200 competitors, David advised that you should work on narrowing your positioning down.
How many client prospects are there that you could address?
David said that number should be between 2,000 and 10,000. Many will probably not hire you, but could they hire you if they wanted because your positioning fits their needs?
10 immediate, unrehearsed “aha” moments between peers
David gave the analogy of sitting on a train and striking up a conversation with a fellow passenger who he discovers works in marketing like he does. “I know a fair bit about marketing but I still expect to have 10 “aha” moments from the other person because they are positioned in a different space than I am. I want to have 10 of those “aha” moments in a 10 or 15 minute conversation.”
Your positioning needs to be such that you surprise others in your sector. If not, David said, then you’re probably not positioned well enough because you haven’t focused in an area and dived in deep enough.
Do you never run out of topics to write about?
When writing blog posts, do you sometimes think “I don’t know what to write about that is interesting or hasn’t been written about by lots of other people already?”. If the answer is yes, that’s a sign that your positioning probably isn’t right. “The deeper and tighter your positioning, the more things you can write about that are interesting to a smaller segment of the population,” David said. “Positioning is an exercise in exclusion, not inclusion.”
David shared some key tips for writing a positioning statement.
You do [this] for [these]
Your positioning statement needs to answer two questions: What do you do? Who do you do it for?
Keep it snappy
Your positioning statement should be no more than 12 words. Don’t use a lot of adjectives or adverbs and avoid superlative statements. ”Be brutally objective and rational in your statement. Let other parts of your website provide the ‘we’re the best’ and ‘we’re amazing’ messages.”
Scare yourself a little
Smart positioning decisions are made when people look at everything they do and decide honestly what should be included. That might mean leaving something out because there are too many competitors or it’s not your best work. That’s a painful decision to make”, David said, but scaring yourself a bit is no bad thing.
Socialise but don’t democratise
When coming up with your positioning statement, it is important you bring everyone along by involving your team, listening to feedback and answering questions well, but you (the managing director/chief executive/president etc) have got to make the final decision.
If all else fails, reluctantly build a sub-brand
If you settle on a positioning statement but you realise you only have very limited examples of how you fit and you’re nervous about jumping in with both feet, David said you can create a sub-brand. This is useful for a generalist business that is doing lots of things for lots of people but wants the advantage of a tight positioning.
Let us know how you get on with writing your positioning statement by tweeting us at @Bristol_CI.
Join the next Bristol Creative Industries event on 2 March: Clubhouse as a media platform.
Over the past year there has also been a small increase in the percentage of black women working in IT positions, from 0.3% in 2019 to 0.7% in 20201, according to the BCS’ study based on Office for National Statistics (ONS) employment data.
However the founders of the Black Codher team (Image below: left to right Oyin Adebayo , Olaolu Dada and Charlene Hunter) believe there is a gold mine of talent amongst the black community that companies are not yet tapping into.
Black women are still heavily under-represented in IT and, by comparison, across other occupations their level of representation is 2.5 times higher (according to BCS chartered Institute for IT). The Black Codher programme specifically targets this issue head on by taking on women who would not be able to afford learning these skills by offering training and providing job readiness for the tech industry for free. The programme is facilitated by professionals who work in tech and is supported by the work of mentors who are also tech professionals to ensure the 50 women are fully immersed in a learning experience that empowers them and is attractive for higher paid employment.
In August 2020 , two Black female run Start-ups, Niyo Enterprise and Coding Black Females started the Black Codher programme a free 6-month coding bootcamp funded by West Midlands Combined Authority (WMCA) for black women unemployed or in low-skilled employment.
The Black Codher team comprised of the founders of Niyo Enterprise and Coding Black Females won a £250,000 fund to facilitate this coding bootcamp specifically for black females aged 18 and above, unemployed or in low skilled employment. The 50 women have spent 30 weeks immersed in an intensive learning experience that empowers them, and they are now ready for higher paid employment as Full Stack Developers.
“Black Codher is a way for black women who have always been curious about technology to explore their chosen career and make a good income.” This programme has attracted national attention and is on it’s way to bringing change to Black women who have committed to the 6 month intensive course.
40% of the UK’s black households experience income poverty or work in low skill employment and the tech industry is a very diverse industry that offers opportunities for people from diverse backgrounds to benefit from. The passion of the Black Codher directors is to directly improve life chances, increase career prospects and income.
The Bootcamp has opened applications for the 2021/22 cohort and will be bringing economic empowerment for black women through training them with skills useful in tech and digital occupations.
Features and benefits of this bootcamp include.
(Deadline 28th Feb 2021, to apply go to: https://blackcodher.com/apply)
2021 brings with it a welcome wave of change in how we think about work.
Now, more than ever, people are empowered to drive their own careers. But to thrive in this environment needs a shift in mindset and some core behaviours.
This series of four bitesize sessions with Katie Scotland is designed to help everyone grow … to use your strengths to feel more confident, have more impact, build better relationships and create more inspiring ways of working together.
Each session takes the latest thinking from inspiring sources and practical experience, and packages it up for you in simple frameworks and actionable steps to get you started.
Everything in these sessions can be applied to yourself and your team so, not only can it help you grow, you can build your own leadership to help those around you grow too.
MINDSET : Thursday 11th March 9.30 (1 hour Zoom)
Growth comes when you use your strengths to lean into challenges and solve problems.
FEEDBACK : Thursday 25th March 9.30 (1 hour Zoom)
Growth comes when you are clear on your strengths, and what is holding you back.
GOAL-SETTING : Thursday 15th April 9.30 (1 hour Zoom)
Growth comes when you are focused on how you make an impact.
PSYCHOLOGICAL SAFETY : 29th April 9.30 (1 hour Zoom)
Growth comes when you step into things you might not have done before, without the fear of ‘getting it wrong’… when you share your voice and ideas, knowing that the people around you have your back.
… anyone at any level who wants to learn or feel more equipped, whether you are a seasoned business leader or at the start of your career… in a small team or large organisation.
You can find out more and book your place for each individual session via the links above.
Places are £30+VAT per session (BCI members), £45+VAT non-members
“Katie has a real skill for helping you find the gems that will enable your growth. She is empathetic and honest, gently challenging your preconceptions to help you see yourself in a fresh light – leaving you not only clearer about what and why, but with realistic and tangible steps towards how.” ~ Kate Lenton, Taxi Studio
Katie Scotland is a leadership and career coach.
Katie has studied and practiced coaching and leadership development over the last 7 years, working with individuals from early career to C-Suite, from small business to large organisations (for the likes of OVO Energy, Iris Worldwide, Taxi Studio and Loom Digital).
Katie focuses on turning inspiration into action, helping people and businesses reimagine their futures and creating practical plans to get there.
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