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.
Almost without exception, agencies are embracing a more flexible attitude and approach to work and an overwhelming majority of employees would like to see this continue. But as you get to grips with what the future of work might look like, some aspects of agency life should become less flexible and even non-negotiable. And this is actually a good thing.
Flying in the face of constraints, the winning agencies will be the ones with an uncompromising focus on their culture, focusing on how they can support their people to be their best selves and do era-defining work. An awakening for some perhaps, but really just smart business as the battle for talent ramps up. The quality of agency culture is topping the list of reasons for the top talent to stay or go.
So where does an uncompromising approach pay when it comes to the codes you set, the teams you build and the way you work together?
We know from recent research and extensive work with our clients that a new cultural contract is emerging. Operating with a clear purpose, solid values and an unwavering commitment to wellbeing, diversity and open communication is non-negotiable. Structuring and supporting teams to play to their strengths, build healthy habits and be impact-driven is non-negotiable. Creating a connected working experience that makes the most of time and space wherever you might physically be, is non-negotiable.
We explore this new cultural contract and more in the Future Positive Talent guide, which you can download today. Find out more about what a new era of work demands and gain some critical advice on how to master it.
As a PR agency, we often talk about the importance of building the profile of a business or an individual, but what does that really mean? Here we cover the basics about building a profile – why it’s important, how it helps with day-to-day PR and where to start.
When we talk about having a profile, we mean being known for something – often for a specialism. For a PR agency, our client having a profile will either mean that, when discussing you with a journalist they might know you by name, or by company. Or we will be able to quickly demonstrate your profile by sharing articles and coverage that proves it.
Equally, you or your company might be given a quick Google at some stage. Generally, a range of pieces appearing, not just from your website, demonstrate what you stand for. The same goes for prospects or potential customers or connections – if they search for you, they should ideally see a good range of pieces that represent you and your area of expertise. (We’ve also written more about the benefits good PR brings across your business).
Being known for something in particular will mean you’re more likely to be featured in an article about it. You might become a go-to person on the topic. You could appear on a podcast or at an event all around it. Even if you feel you’re an expert, it’s much harder to convince a journalist to feature your commentary or news if they’ve never heard of you and can’t find much about you online. Especially if you’re up against competitors with ready-made profiles.
Remember, journalists need to be sure they’re speaking to an expert, rather than someone who could be talking a good game without much substance behind it. They can’t risk spending time on an interview otherwise. And, if they do find a good source with a decent profile, they will come back again, and could even remember you if they move positions or publications.
Two main things are important: the consistency of what you’re saying and the regularity of you saying it. Consistency comes back to your key specialisms or areas to push. And it’s not just about talking – it’s also about demonstrating. As an agency, you can do this through sharing creative work to prove your proposition, for example, or, as a business, through your output or your products.
We are happy to work on one-off pushes or launches, or on ongoing PR. But, to build a profile, you need regularity. It’s important to be providing what publications need frequently and consistently. That’s also key if you want to get into a particular publication. We will help you to understand what to target them with and we will keep them on our radar and discuss you with them at every appropriate opportunity. We can only do this with an ongoing relationship.
We often work with people who have never promoted themselves or their business, or worked with a PR consultancy before, so we’re experienced in starting from scratch. It’s an opportunity – a clean slate. But it’s also important to understand that it’s the start of a process of building a profile. PR isn’t about going from zero to hero overnight.
Take Joe Wicks, as an example. He wasn’t really on my radar until his brilliant PE With Joe initiative this time last year. We’re now faithful Friday home PE fans (fancy dress and all!) and you can hardly move for seeing another article or cover story about him. So I could be forgiven for thinking he was an overnight sensation.
But actually, he’s openly talked about his 10 years of hard work behind the scenes, leading to that event. If he’d have hired a PR company 10 years ago (and maybe he did) there’s no way he would have been so in demand. He worked hard on his product, captured the zeitgeist and now his profile is sky high.
OK, so we don’t all have Joe Wicks ambitions (although some might!), but we may want to become a sought-after speaker within our sector, or the go-to professional in our field within our local area. And it’s great to start with a clear objective.
As PR pros, it’s our job to help you define that objective – that’s why we kick off with our Three Lens Messaging Session. And from that, we create a plan which will have clear steps to build towards that ambition.
We’ve landed some great pieces for clients relatively early on in working with them – be that an interview with the BBC, the Evening Standard or The Times. Fantastic. But one piece – even a brilliant piece in a top tier publication – does not make a profile.
Having a profile is about momentum and consistency. Top tier titles might be part of that, but probably sector press will be as well. More about the importance of trade and local press here.
Two final points – it’s not about having advertorials or paid-for pieces. These aren’t always viewed in the same way as editorial. Advertising is part of the mix, but it’s not the same as having an earned profile. And lastly, timing is also crucial. It’s great if you did some activity five years ago, but if there’s nothing since that, your profile isn’t a current one.
For further advice on this, we’ve also written about what you can do to support profile raising through your own channels.
It feels like no time at all since this course launched, we’re onto the third cohort of New Ways of Working already, and I’m thrilled with how it’s going! Would you like to sign up to be a part of the next group, starting on 29 March? The first two sold out and I’d love for you to join me for the third 🤗
It’s been awesome helping people to experiment with new ways of working in their organisations, which have so far included: BJSS (tech consultancy), Mencap (UK charity), Haringey Council, Mercedes-Benz, Ofwat (UK government department), The Co-operative Group, The Soil Association, BIMM (University), plus a US teaching organisation, an Italian marketing consultancy, a US equity management company, and a lovely non-profit organisation here in Bristol.
- By far one of the most useful, practical, engaging, interesting courses I’ve been on. Hats off to you, super well thought out, from a practical, mental and emotional perspective.
- The experimenting methodology gives me the opportunity to not only “take a course” but actually practising in the “real world”.
- The benefits to the business have been tangible and resulted in me thinking about work in a very different way.
- I loved having another colleague on the course and would totally recommend others try to do the same… I loved the organisation of the course, it all felt incredibly “slick.” … I loved Marks humble approach, he listened to us all intently and was patient with us when we needed more time on certain things.
- The experiments each week really helped me grow my comfort towards experimenting further. They gave me the perspective of how much needs to be a done, and an eye for what might be ‘bite-size’.
- I loved Marks generosity, he clearly spends a lot of time preparing and introduced me to very cool tools that we are now using in the organisation.
- As a facilitator, you do add quite a bit of magic sauce to holding the space, and your curation of materials is unbeatable.
If you’re curious about joining the next group (starting on 29 March) then read on for full details.
The course objective is for you to enjoy your job more and to be an even better member of your team. You’ll learn collaboration and leadership skills, how to hold meetings that don’t feel like a chore, and how to make better decisions by quickly seeking and integrating the wisdom of the group. You’ll learn how to give ‘brain-friendly’ feedback, know what’s getting in the way of being a great team, and develop the mindset to help make change happen.
To do this we’ll borrow from the best sources. These include agile, self-management, organisational psychology, and the most progressive companies on the planet. Here’s a sneak peek of the course platform:
The course is led by me, Mark Eddleston. I’m a new ways of working consultant, coach, facilitator and Founder of Reinventing Work. Since 2015 I’ve been practising new ways of working and synthesising the mountain of information that’s out there. The New Ways of Working course is something of a greatest hits. We’ll fast forward to the trusted, tried and tested patterns that are found in some of the world’s most progressive organisations.
On this course, you’ll be practising and learning all the way. You’ll get better at listening, teamwork, and self-organising. There will be pre-work ahead of each weekly meet on Zoom. You will have the chance to ask questions and to form a community on Slack. You’ll become familiar with Notion, where course content is shared, and with Focusmate which will help you to get through the content. You’ll experience Mural and Liberating Structures. Each week you will design an experiment that will be implemented in your own team. You’ll form partnerships with classmates who will help you, hold you accountable and be depending on you. Throughout, you’ll be experiencing some of the best collaborations tools and practices out there.
Throughout the course, you will learn structures that you can pop in your pocket, take back to work and use immediately.
Expect practical, interactive and participatory. Each week the format looks like this:
So it’s a weekly commitment of at least 6 hours, some of which will take place during work time.
The five-week course begins on Monday, 29 March 2021. We meet every Monday at 18.00 – 20.00 GMT, wrapping up on 26 April 2021.
This course is for you if you are:
To secure your place double-check the eligibility criteria ☝️ then send a note to confirm ([email protected]) and I’ll generate an invoice right away.
Please note that cohorts are limited to 12 places.
I’m a new ways of working consultant, coach, and facilitator and I came across new ways of working in New Zealand in 2015 after spending a pretty frustrating decade in traditional workplaces. It was the first time I found consistent fulfilment in work. This beautiful and challenging experience was with a law firm and community organisation that features on the distinguished Corporate Rebels ‘bucket list’. Once you taste this way of working, it’s impossible to go back. I’ve now been a member of staff in three organisations that embraced progressive leadership, so come with plenty of lived experience.
I’m co-founder of Reinventing Work, a global community and playground for people interested in decentralised, purposeful and self-organised ways of working. So far we’ve gathered in over 25 cities across five continents, including in Bristol (where it began) London, Berlin, Melbourne, Montreal and New York. I’ve delivered online sessions to thousands, spoken about new ways of working at The University of Oxford, and facilitated at Meaning Fringe. I’ve also appeared on the wonderful Leadermorphosis podcast and the University of the West of England’s MSc Occupational Psychology programme discussing the future of work.
My website: https://www.marco.work.
Bristol educator boomsatsuma is expanding, teaming up with George Ferguson to drive for change, with new studios in the Tobacco Factory, to host four creative BA (Hons) degrees.
Work is underway installing the purpose-built education facility, which will welcome students in September 2021. It will comprise two new film studios, a screening lecture space, computer suite, games lab, darkroom and specially designed creative space, where students can develop and discuss ideas in an inspiring environment.
Mark Curtis, boomsatsuma director, states:
“We’re very excited to be located at the Tobacco Factory, what a great place to live, learn and tap into the opportunities afforded by the Bristol Creative industries. Tobacco Factory’s success perfectly illustrates what can be achieved by and for the people of our city. This is a significant investment for the future, bringing higher education into this part of the city, which we expect will enrich opportunity in the area to fuel the next creative generation, for film production with a progressive cross-over into virtual production and the games industry. If you want to see change do something different.”
The new degrees have all been accredited by Bath Spa University, whose Head of School of Creative Industries, Dr Susan McMillan, who is also a board member of Bristol Creative Industries, is excited at the potential positive, saying:
“I am a huge supporter of boomsatsuma: they are reaching parts that Universities and other colleges cannot reach, as well as developing future creative talent in new and exciting ways.
“The creative industries deliver significant economic, social and reputational value to Bristol, the region, and the UK’s economy. The pandemic has had a negative effect on education and severely compromised the future for young people. boomsatsuma and their move to the Tobacco Factory creates a real opportunity to lead on rebuilding our creative sector by nurturing and developing the socially diverse, creative young talent, creative employers will need, post-pandemic.”
Freya Billington, newly appointed course director of boomsatsuma’s two new BA (Hons) Filmmaking degrees – production and post-production – enthuses about the new facility:
“In keeping with boomsatsuma’s ethos, this degree has been designed alongside our industry partners to specifically address where the skill shortages are and help develop graduates that are completely prepared and ready for employment. The two pathways, Production and Post-Production, allow for students to engage with and develop an understanding of the whole filmmaking process but also specialise up to a professional level in their chosen field. Whilst the studios will be equipped with current Industry-standard equipment and software, capping the intake also enables a focus on each student’s individual career and personal development.”
Alongside the Film degree, the Tobacco Factory will house boomsatsuma’s Games Art VFX BA (Hons) and Documentary Photography BA (Hons) degrees, in addition to the Bristol School of Acting’s new partnership, located in Tobacco Factory Theatres, with its Acting for Screen BA (Hons) and accelerated Acting for Stage & Screen BA (Hons). Freya continues:
“We will be limiting spaces to 20 spaces per pathway to ensure personalised teaching, attracting students nationally, but are also making sure there are opportunities for local communities.
“We are going to proactively collaborate between the degree courses. The mutual benefits for filmmakers, actors, games VR & VFX developers and photographers to work together under one roof is a fabulous plus for these students. I’m sure the fact that there’s a ground floor café and bar will also be appreciated!”
Building on 13 years of successfully delivering post-16 level 3 diplomas in digital and creative qualifications, the new location strengthens boomsatsuma’s partnerships, adding to course locations with Bristol creative companies at The Royal Photographic Society, The Bottle Yard Studios, Films @ 59, Ashton Gate Stadium and the Engine Shed.
The South Bristol location is an important link for education opportunities for the diverse, often overlooked communities of Bristol, into creative industries within the region. This is an ethos close to the heart of George Ferguson CBE, the city’s first independent Mayor, architect, sustainability campaigner, community champion and creator of the Tobacco Factory mixed use project. He states:
“I am thrilled at the prospect of boomsatsuma adding to the great creative community that has grown up around the Tobacco Factory project. I have watched their growth with interest and they are a perfect fit with our mission to benefit South Bristol culturally and economically.
“Education and the creative arts are such strong drivers for positive change and the social and environmental benefits that follow, which is more important than ever as we fight our way out of the dire time that we have all been through.
“Tobacco Factory has always looked to encourage and host enterprises that bring opportunity to this part of the city, and give a platform for the untapped, diverse talent that is all around us. Education will fuel Bristol’s creative community with relevant, local skills, bringing us new messages and viewpoints on life.
“We are delighted to be part of what we see as a sustainable recovery from this culturally and economically bruising pandemic. We could not have a better start than giving our young people the chance to grow and meet their full potential.”
Applications are open for courses at https://www.boomsatsuma.education
Pictured Left to Right: Mark Curtis. Freya Billington.George Ferguson.
JonesMillbank, Bristol-based video production company, marked their 10 year anniversary last week. Having collaborated together since 2008, Co-Founders Russell Jones and Adam Millbank founded JonesMillbank in February 2011 and have become a mainstay of Bristol’s creative community.
“It goes without saying that the last year has certainly been the most interesting and challenging of the last 10. It’s somewhat odd that we found ourselves forced into the freelance world following the financial crisis of 2008, and now 10 years after founding the company we’re adapting to the next one” said Russell.
“It’s been an amazing 10 years, and like most anniversaries it’s gone both fast and slow; some elements of our work have changed dramatically whilst others have remained remarkably similar.”
“That’s particularly true of equipment vs content; we used to film on magnetic MiniDV tapes where you’d have to capture footage in real-time by playing the tape back like a VHS, and now we’re shooting in 8K raw on 1TB solid state drives. And yet what’s in front of the lens is still predominantly people and their stories”.
“The last year has certainly been interesting, but way more successful than we ever thought it would be when the proverbial was hitting the fan and projects were getting postponed and cancelled left, right and centre back in March 2020.”
“In fact September 2020 turned out to be our busiest month on record. We managed to adapt rapidly; we directed two music videos for IDLES, a new sector for us, our animation capabilities flourished, and we helped our clients continue communicating through virtual tours and live streams alongside ‘traditional’ video content.”
JonesMillbank boast a broad range of cross-sector clients, with recent projects for The Royal Mint, University of Bristol, Universal Music, Toshiba, NHS, Bristol City Council and Battersea.
Adam added: “Graduating into a recession and then marking ten years in lockdown has bookended the last decade of working interestingly. Despite all the changes, the challenges, the highs and lows, what’s been constant is the absolute love for what we do. Telling stories will always be the most interesting and engaging thing I can imagine doing and to have been able to do it with the friend I graduated with has been nothing short of a privilege.”
“I think what’s ensured that JonesMillbank has had such a solid foundation throughout the last decade is the fact that although both myself and Russell are quite different people we understand each other so well and can make joint decisions on what we do. Just like any good long term relationship!”
“We’ve always pushed ourselves to get the most value out of budgets and when I think back to the very first pieces we created the attitude was just the same. It wasn’t easy back then to get a company to take a chance on two individuals with no real portfolio or experience so we can appreciate all the risks people took with us in the early days”.
“We’ve traveled the world and met the most interesting people along the way and who knows what the next decade has in store. Seeing the team grow, the projects get more ambitious and the pure enjoyment that we all get from being creative every day is something I’m hugely grateful for.”
On the 10-year anniversary, Russell said “we usually try to make the most of things like this, with previous Christmas parties seeing us spend a few days in Athens, Bucharest, Warsaw and Bruges. So we’ve decided to delay our party until the summer when we can celebrate and commemorate properly with the whole team and their families. Everyone was bored of Zoom a long time ago!”
***
JonesMillbank are a passionate full-service video production company
They work exclusively in-house with a talented team of multi-disciplined creatives, all the while telling authentic stories long before it was cool for a range of clients such as University of Bristol, Battersea, The Royal Mint and IDLES.
jonesmillbank.com
01173706372
[email protected]
You’ve probably heard of the term ‘evergreen content’, but what does it really mean and how do you make the most of it? Evergreen content is basically content that keeps on giving. It is something that remains relevant over a long period of time (so is not time-sensitive), has good search engine optimisation, and continues to drive traffic long after it’s first posted.
Though all of your blogs and other online content aren’t likely to disappear after posting, evergreen content is content that people will always need, want and search for. Typically lists, industry resources, how-to guides, top tips and product reviews lend themselves well to evergreen content, but ultimately to make content that’s ‘evergreen’ you must ensure it remains fresh and of interest to your target readers.
Now you know what evergreen content is you might be asking why it matters. Here are some important reasons why you absolutely need it:
Evergreen content ultimately saves time and energy while still achieving great results. It is a necessary part of maintaining website traffic and coverage views.
Despite what you may think, even the biggest and best publications rely on this content and not the splashy, fleeting news headline.
Now let’s talk about how to write evergreen content and how to make that content work hard for your business:
Get to writing up your evergreen content now and save yourself a lot of stress and energy later. Go forth and provide constant value to your reader, while your evergreen content provides constant value to your business.
You know the world has changed significantly and that agencies need to change too. Agencies have to meet the new standards that will impact more and more as we move into 2021. We’re sure that you’ll have made some changes to your business – but will they be enough to drive the success you’re looking for?
When it comes to your own business, identifying and implementing the changes that will really make a difference isn’t easy. There’s a need to know what’s really going on, to rethink your approach and be brave about it. And that’s much easier to achieve when armed with new insights and prompted to look at things differently. Our Future Positive guide will provide an understanding of what it takes to achieve agency success when there are new standards at play. It covers all the fundamentals relating to clients, talent and how to create value – and provides critical advice on many different actions you should consider.
We know that clients’ structures, knowledge and expectations are changing significantly, so agencies can no longer rely on historical relationships. Nor on their past approaches to winning new business. We know that top talent is also demanding more choice, flexibility and meaning, making it more challenging than ever to attract and retain good people. We know that high profitability is now an obligation not an option, and that value depends on many factors beyond the simple financials. So there’s a lot to think about and a lot to be positive about too, so take a look.
The Future Positive guide will encourage you to think bigger or do better in different ways in whatever areas are most critical for you. For example, how to sharpen your strategy, improve profitability, strengthen client relationships, win more business, optimise your team’s performance, create a winning culture. And we’re always here to talk so get in touch. We’ll share what we know and explain how other agencies have turned these current challenges into new opportunities.