<?xml version="1.0" encoding="utf-8"?> <rss version="2.0"> <channel> <title>Marketing Remote Jobs | Find Remote Marketing Positions</title> <link>https://www.marketingremotejobs.app</link> <description>Discover top remote marketing jobs worldwide. Find remote positions in digital marketing, content, SEO, social media, and more. Apply to work-from-home marketing roles today.</description> <lastBuildDate>Wed, 04 Feb 2026 09:06:28 GMT</lastBuildDate> <docs>https://validator.w3.org/feed/docs/rss2.html</docs> <generator>https://github.com/jpmonette/feed</generator> <language>en</language> <image> <title>Marketing Remote Jobs | Find Remote Marketing Positions</title> <url>https://www.marketingremotejobs.app/images/logo-512.png</url> <link>https://www.marketingremotejobs.app</link> </image> <copyright>All rights reserved 2024, MarketingRemoteJobs.app</copyright> <category>Bitcoin News</category> <item> <title><![CDATA[Holdcos Dominate Media, Indies Rule Everything Else: The Shifting Landscape of Agency Pitches]]></title> <link>https://www.marketingremotejobs.app/article/holdcos-dominate-media-indies-rule-everything-else-the-shifting-landscape-of-agency-pitches</link> <guid>holdcos-dominate-media-indies-rule-everything-else-the-shifting-landscape-of-agency-pitches</guid> <pubDate>Wed, 04 Feb 2026 09:00:25 GMT</pubDate> <description>< TrinityP3’s New Business Report analyses data from 440 pitches in 2025, identifying the agencies that had the most wins across and the most active client sectors. It focused purely on volume of wins, not the size of the prize. That research that is already carried out by RECMA and COMvergence for media agencies. What makes the report unique is that it reveals the results of many pitches that have not been made public. The report found food manufacturing was the most active category, followed by tourism and travel, banking, healthcare and technology. Other trends picked up by the report is that many companies are no longer looking for ‘agency of record’ partners, and instead are shopping around for specialists. In fact, specialist agencies heavily dominated pitch wins for a growing number of sole-service briefs in social, PR and CX, according to the report. A high profile example of this is the Optus’ pitch roster that B&T first revealed last June. The telco supplemented holdco creative and media muscle with specialists. Accenture Song to handle media and creative (via Droga5), while also adding Apparent as its specialist B2B creative partner and BRX for production. Woolley said that five years ago, far fewer companies appointed agencies to carry out specialist services. “Clients are looking beyond just needing a media agency and a creative agency. It’s growth in these other specialist areas that’s different,” he said. The rise of project work was another trend. Woolley is aware of one agency that pitched 100 times in 2025 with 70 per cent of briefs for project work. “There’s also a lot more project work happening because clients are finding that they’re either doing some services in-house or they’re getting a one-stop shop, usually a network agency or large indie and always have to add these smaller specialists in. Smaller clients are also pitching because they’re looking for a better deal.”  ## The Top 10s The agency that won the most pitches in 2025 was **Atomic 212°**, which notched up 31 wins. Hero won the most creative pitches and Apparent picked up the most non-media pitch wins (see lists below). B&T caught up with the leaders of all three to find out why they believe they have been so prolific in the past year. Atomic 212° chief executive Rory Heffernan told B&T the agency is careful in the pitches that it chooses to take on and is always transparent with the client. “Every single pitch is bespoke to exactly what that client needs. And the reason we can do that sustainably is that we have built the capability and the team plan, to provide that human element for the client,” he said. “The client knows up front who’s the team on the ground, what’s the technology, and whether we would need to hire or add additional resources. It’s crystal clear in terms of what they get from day one.” Atomic 212° said it also benefits by having an ‘indie’ spirit backed by the tools and resources of Publicis Groupe, which it joined a year ago. “Our positioning is that we can understand your business challenge and build a solution for you that’s going to give you a competitive advantage…there’s just as much of that innovation going into existing clients as there is in pitching.” Apparent managing director Suzy Smiley said that in the past 18 months, the agency has added “expert leadership” across all disciplines, “forming a team with strong chemistry that flows throughout the business” “Clients want to partner with an agency that understands their business and can seamlessly integrate customer-first marketing programs that deliver results,” she said.. “I believe clients are choosing us for our passion, high energy and our ability to run alongside their teams as marketing partners.” Like Atomic 212°, creative pitch win leader Hero tries to avoid pitching where possible. “Most of our new clients come through referrals or recent work that‘s piqued someone’s interest. Otherwise pitches themselves are very much a lottery for us and I doubt we’re any better or worse at it than anyone else,” Hero creative chairman Ben Lilley said. Lilley believes that Hero’s promise to ‘turn brand into Heros’ is resonating and AI has been a “game changer” with work including Mastercard Transit Tales, Toyota C-HR Diamond Collection and Fujifilm Mindography. “Right now, being independent is of course a major advantage too. I think more than ever, clients want direct access to their agency’s decision‑makers and to have senior people working on their business,” he added. “Our model is deliberately streamlined to offer just that: senior access, strategic rigour and creative innovation, backed by real-world impact and results.” ## Top 10 (in alphabetical order) - Atomic 212° - Apparent - Sparro by Brainlabs - Emotive - Havas - Hatched - Hero - Initiative - Nunn Media - Today The Brave. ## Top 10 Media Agencies by Tenders Won (alphabetical order) - Atomic 212° - Sparro by Brainlabs - Havas - Hatched - Initiative - Mediahub - Mindshare - Nunn Media - PHD - UM. ## Top 10 Creative Agencies by Tenders Won (alphabetical order) - 72andSunny - Apparent - BMF - Born - DDB - Droga5 - Emotive - Hero - Special - Today The Brave. To obtain the full TrinityP3 2025 New Business Report, including detailed breakdowns across more than 440 individual pitches, [visit the TrinityP3 website](https://www.trinityp3.com/agency-new-business-report/).]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>agencypitches</category> <category>holdcos</category> <category>indieagencies</category> <category>marketingtrends</category> <category>specialistagencies</category> <enclosure url="https://www.bandt.com.au/information/uploads/2026/02/TrinityP3Pitches-750x500.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[Why Pepsi's Super Bowl Ad Backlash Reveals a Dangerous Marketing Obsession]]></title> <link>https://www.marketingremotejobs.app/article/why-pepsis-super-bowl-ad-backlash-reveals-a-dangerous-marketing-obsession</link> <guid>why-pepsis-super-bowl-ad-backlash-reveals-a-dangerous-marketing-obsession</guid> <pubDate>Mon, 02 Feb 2026 17:00:28 GMT</pubDate> <description>< The main pushback around Pepsi's new spot, which System1 has tested, is that using Coca-Cola's DBAs in the ad will weaken the creative by building fewer memories for Pepsi and more for Coke. Or, as the more eloquent LinkedIn posts put it, 'It's a Coke ad!' This should cause marketers great concern and keep creatives up at night. Could the use of competitor DBAs not add more creative strength than take away? Say through attention, fame, emotion, memory formation? Of course, to answer that question, marketers would have to believe there's more to advertising than distinctive asset use. Which anyone holding this POV clearly doesn't. We've become distinctiveness-obsessed, at the cost of any other view of creativity. ## New Research Proving It I've just released a [new book](https://system1group.com/the-creative-dividend) after researching the US and European markets, representing $140bn in market share from the Effie Insights database. Connecting all the campaigns to System1's creative testing. B2B, B2C, challenger brands, category leaders, you name it... It's a modern handbook on advertising effectiveness. And, unsurprisingly, we didn't discover that distinctiveness was the only output of creativity that mattered. It's 100% part of it, but it plays a role alongside three other key indicators of advertising effectiveness.  We found that distinctiveness is very much the hygiene factor of effectiveness. You need the ad's effort to be attributed to you. Crucially, we measure consumer brand recognition in the new research, rather than 'I reckon the use of that bear means this ad isn't distinctive for Pepsi.' However, we found that **emotion** (and its role in building more favorable memory structures), **showmanship** (and how it creates attention, trust and fame) and **consistency** (and its role in supercharging strategy) all build on top of distinctiveness to deliver profit in their own ways. My favorite insight comes from [linking creative measurement to Effie's data.](https://system1group.com/the-creative-dividend) Distinctiveness is so very important; it means increasing your media spend leads to a higher likelihood of revenue. But revenue is table stakes (77% of campaigns report revenue increase), it's profit that matters. Distinctiveness alone struggles to increase the likelihood of profit without emotion. Distinctiveness turns media spend into revenue, but emotion turns revenue into profit. Maybe this entertaining, culturally relevant, creative idea that uses Coca-Cola's assets increases the emotional appeal to the ad while still managing high distinctiveness? But, of course, we can't think like this with our singular blinkered view of distinctiveness on.  Now, you may think I'm being too harsh on some well-meaning marketing thinking, but I don't think marketers have become distinctiveness-obsessed because of a few mean tweets after I [posted in favor of the Pepsi](https://www.linkedin.com/posts/andrew-tindall_is-this-accidenlty-an-ad-for-coca-cola-or-activity-7422993965152374784-LQVz?utm_source=share&utm_medium=member_desktop&rcm=ACoAAAzLmmwB4l_E4aVIXmRv2I-tLLAUytLhSsw) team's new ad. The data in this new colossal research sadly demonstrates how many marketers are being led down the DBA garden path, without a care for a broader view on creativity. When you combine these four views of creativity with media spend, **Excess Share of Creativity (ESOC)** emerges. This is the creative advantage that actually manages to enter the market. It beautifully captures not only whether a marketer has managed to create a better ad, but also whether they've noticed this and fought to get more budget behind that better ad so it can do the work it deserves. ESOC significantly predicts share growth and exponentially predicts profit growth.  You can see whether marketers are any good at planning creative and media together like this through the Advertising Planning Matrix, which I stupidly shoved at the back of this new book. 38% of campaigns in this huge new research dataset are 'Busy Work' and only 17% are growth drivers. We are rather terrible at recognizing creativity and backing it with media to achieve ESOC.  But what's more revealing is what creatively holds the 21% of campaigns in 'Paid Noise' back from achieving their true potential. Only 30% of campaigns are below their category for distinctiveness, 73% are below the average emotional response and 69% fall behind on showmanship (the use of character, story, humor, etc). These campaigns with the largest media spend are nailing their DBA use, but the rest is missing. A lack of emotion and entertainment is holding them back. The creative lights are on, but no one's home. So, from the data, the most impactful way we can dramatically increase the chance of share and profit growth is to get these huge campaigns that are falling behind creatively but smashing distinctiveness to focus on making ads that also make consumers feel something. Distinctiveness is the perfect foundation on which to build all of this. Which leads us to the Pepsi Super Bowl ad... [We've tested it](https://testyourad.system1group.com/report/493f9fab-3d56-43d9-91a1-18e875713422?advertCategoryId=2003) using the same research in this huge new research (System1's Test Your Ad) and not only is it more distinctive than the category, but it has more showmanship and, most importantly, it's one of the most emotional Super Bowl ads we've tested. And the brilliant Pepsi team isn't just saving it for game day. They have realized they have creative gold and they are backing it to properly achieve an Excess Share of Creativity. I think this is marketing excellence and a great example of the benefits of judging advertising beyond just distinctiveness. Distinctiveness is very, very important, but let's not lose sight of everything else that is.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>advertising</category> <category>creativity</category> <category>branding</category> <category>marketingstrategy</category> <category>superbowl</category> <enclosure url="https://thedrum-media.imgix.net//thedrum-user-assets-prod/s3/images/original/pepsi-1770031740.jpg?w=1280&ar=default&fit=crop&crop=faces&auto=format" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[80 Vintage Ads That Show How Marketing Has Evolved (And What We Can Learn)]]></title> <link>https://www.marketingremotejobs.app/article/80-vintage-ads-that-show-how-marketing-has-evolved-and-what-we-can-learn</link> <guid>80-vintage-ads-that-show-how-marketing-has-evolved-and-what-we-can-learn</guid> <pubDate>Sat, 31 Jan 2026 17:00:25 GMT</pubDate> <description>< We might be exposed to more ads and commercials today than ever before in human history, but the idea of advertising itself is certainly not a new concept. According to Instapage, the first signs of advertisements actually appeared in ancient Egyptian steel carvings from 2000 BC. Meanwhile, the first printed ad was published in 1472, when William Caxton decided to advertise a book by posting flyers on church doors in England. Over 200 years later, the first newspaper ad in the United States was published in 1704. And by 1835, Americans were advertising on big billboards all across the country, with some of the first ads encouraging viewers to see the Ringling Bros and Barnum & Bailey circus. Advertising through the mail, however, didn’t become popular until Sears started sending out postcards in 1892.  Advertising completely changed in the 20th Century when companies had the opportunity to reach their customers directly through the radio. In 1922, the cost of a 10-minute advertising slot on the radio cost $50, or what would be about $965 today. Then, in 1935, George Gallup started utilizing **market research**, which allowed companies to find out information about their consumers and determine the best ways to advertise to them. Advertising was also forever changed after companies were given the opportunity to start marketing via television. This began in 1941, and it became the main method of reaching customers for the next 70 years.  Of course, advertising through magazines was also extremely popular during the 20th Century, as most, if not all, of the ads in this article were featured in print. Many of these ads, especially the older ones, look quite foreign to us today because they have *so many words*. Nowadays, most of our attention spans have been ruined by social media and short-form content, so the idea of reading multiple paragraphs of an advertisement sounds like a huge waste of time. We can barely suffer through 15 seconds of ads on YouTube! But back in the day, when this was one of the only ways to reach customers, it worked brilliantly. By the mid 1990s, companies finally had the opportunity to reach consumers through their computers. And according to Okoone, even that has transformed drastically over the past few decades. It started out with simple banner ads, which soon turned into **search engine advertising**. And by 2005, digital advertising was a multi-billion dollar industry. Google was the first to utilize this kind of marketing to its full potential, but Yahoo and Microsoft were successful as well.  Once social media exploded in popularity, it absolutely changed the advertising game. The advantages that these platforms had, Okoone explains, is large amounts of **user-generated data**. This made it much easier to target consumers with ads for products and services that they would genuinely be interested in. And now, as we all know, if you start talking about a specific product or issue, Instagram will suspiciously start showing you ads for exactly what you were discussing. Just like any other industry, though, advertising is constantly changing. So Forbes notes that companies need to learn how to adapt if they want to keep up. Figuring out how to utilize popular platforms is a necessity. Nowadays, many companies need to create a TikTok account or use **influencer marketing** to get the word out about their products. It’s not easy to grab consumers’ attention anymore, so businesses can’t rely on the same strategies that yielded success five or ten years ago. It’s also crucial for companies to optimize efficiency if they want to remain competitive. “In December 2020, we teamed up with a well-known brand to produce a TV commercial through creator content filmed entirely remotely,” Corbett Drummey wrote for Forbes. “The brand quickly received 118 video assets from creators, reduced its production time by 50% and cut 30% of its traditional production cost. The success of this unique piece of content resulted from testing a new agile approach.”  Are you enjoying this list full of blasts from the past? Keep upvoting the ads that definitely would have caught your eye if you saw them in a magazine, and let us know in the comments below if you remember any other famous marketing campaigns from your youth.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>vintageads</category> <category>marketinghistory</category> <category>advertising</category> <category>digitalmarketing</category> <category>socialmedia</category> <enclosure url="https://static.boredpanda.com/blog/wp-content/uploads/2026/01/interesting-vintage-ads-collections-fb4.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[YouGov Reveals 2026's Top Brands: Amazon, WhatsApp, and St. Jude Lead the Pack]]></title> <link>https://www.marketingremotejobs.app/article/yougov-reveals-2026s-top-brands-amazon-whatsapp-and-st-jude-lead-the-pack</link> <guid>yougov-reveals-2026s-top-brands-amazon-whatsapp-and-st-jude-lead-the-pack</guid> <pubDate>Sat, 31 Jan 2026 09:00:36 GMT</pubDate> <description><![CDATA[# YouGov's 2026 Best Brand Rankings: Key Insights for Marketers Market research giant YouGov has released its **Best Brand Rankings 2026**, highlighting the strongest brands in the U.S. and globally. The list is based on 6 million consumer surveys across 28 markets, scoring brands on metrics like **impression, quality, value, customer satisfaction, corporate reputation, and recommendations**. ## U.S. Top 10 Brands: Consistency and Everyday Relevance In the U.S., the top 10 brands are dominated by household names that have become part of daily life: 1. **Amazon** 2. Band-Aid 3. Dawn 4. Dove 5. Samsung 6. **St. Jude Children’s Research Hospital** 7. M&M’s 8. Amazon Prime 9. YouTube 10. Tylenol **Amazon** maintains its No. 1 spot, with consumers praising it for being **fast, easy, and comprehensive**, setting the standard for modern shopping. However, concerns about ethics, product quality, and authenticity were noted. **St. Jude Children’s Research Hospital** stands out as an outlier among tech and consumer brands, ranking highly in the advocacy and giving sector. YouGov tailors questions to measure value for charities by assessing whether they provide good value for the time or money invested by supporters. Ray Martin, CEO at YouGov America, emphasized: "In both the U.S. and globally, the strongest performers are brands that have become part of everyday life, consistently meeting consumer expectations around **quality, value, and experience**." ## Global Top 10 Brands: Tech and Athletic Dominance Globally, the top 10 features tech platforms and athletic brands: 1. **WhatsApp** 2. Samsung 3. YouTube 4. Google 5. Adidas 6. Nike 7. Netflix 8. Dettol 9. Colgate 10. Toyota Brandy Hecke, senior enterprise account director at YouGov, noted: "The strongest brands today aren’t necessarily the loudest. They are the most embedded. Many of these brands are at the top because they sit naturally in everyday routines." She added that **habit beats hype**, with platforms like YouTube and WhatsApp performing well because people return to them instinctively. ## Most Improved Brands in the U.S. The survey also highlights the most-improved brands based on year-over-year scores: 1. **Cheerios** 2. Reese’s 3. Skechers 4. General Mills 5. Lindt 6. Jersey Mike’s 7. Band-Aid 8. Johnson & Johnson 9. Dunkin’ 10. Tyson **Cheerios** boosted its visibility with a major campaign promoting its new higher protein cereal and brought back a limited-edition frosted lemon flavor, generating buzz and engagement. Ryan Gross, senior vice president at YouGov, explained: "Ongoing **product innovation and portfolio updates** keep a brand like Cheerios relevant while evolving consumer tastes change." Brands like **Skechers** and **Reese’s** capitalized on cultural moments, such as the Super Bowl, with campaigns that reinforced their identities. ## Key Takeaways for Marketers - **Value and trust** are critical for brand health in the U.S., as highlighted by YouGov executives. - Strong brands focus on **doing the right things repeatedly** in ways that fit into people’s lives, rather than just doing more. - **Consistency and delivery** build trust, as seen with brands like Samsung and Toyota. - Brands that perform well combine **scale with everyday relevance** and score high on quality and recommendations. The full list is available for download on YouGov's website.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>yougov</category> <category>brandrankings</category> <category>marketinginsights</category> <category>topbrands</category> <category>consumersurveys</category> <enclosure url="https://uploads.nationaljeweler.com/uploads/fe34b67f1bb89400a07d1e8d6198fa35.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Surprise Media Shake-Up: Hotel Billionaire Buys Nine's Radio Stations in $50M Deal]]></title> <link>https://www.marketingremotejobs.app/article/surprise-media-shake-up-hotel-billionaire-buys-nines-radio-stations-in-50m-deal</link> <guid>surprise-media-shake-up-hotel-billionaire-buys-nines-radio-stations-in-50m-deal</guid> <pubDate>Fri, 30 Jan 2026 09:00:25 GMT</pubDate> <description>< **Arthur Laundy** owns more than 90 pubs, bars and hotels across NSW and is seen as the biggest competitor to Justin Hemmes’ Merivale. The family’s surprising move into media has been seen as not only a **smart business decision** but a **strong political move**. “In pure business terms, buying cash-generating assets for a fraction of their cost of just a few years ago, is the type of deal that explains why billionaires are billionaires. And for someone worth almost $2 billion, spending $50 million on something is hardly betting the farm,” continued Walton. “Given the well known political leanings in the family, this move may well be to help protect and grow **conservative voices in the media**. Radio stations 2GB and the *Sydney Morning Herald* were always odd bedfellows, so perhaps there is a desire to ‘free’ up the content (i.e. turn right). It could well help the networks strengthen their identity and link to their core audiences given they will emerge from under Nine’s corporate umbrella. But watch out for a new owner without hands-on media experience falling into the ‘everything is for sale’ trap, which will undermine the very listener relationships that this purchase may be aiming to strengthen.” **Virginia Hyland**, CEO of SQUAD M&A also saw the play as a political one. “The sale of the talk radio network to Laundy is not simply a financial transaction; it’s a **strategic repositioning of influence**. For a business leader like Laundy, radio offers more than commercial return — it provides a platform to participate in opinion, shape conversation and exert soft influence across civic, social and political discourse. In that context, Nine’s move sharpens its focus on scalable, commercially driven media infrastructure, while Laundy’s entry reflects a different motivation: one rooted in voice, advocacy and presence in public debate,” said Hyland.  However, **Darren Woolley**, founder and global CEO at Trinity P3 saw this move by the lord of the lager as strictly a **business opportunity**. “Is this an Australian-scale version of what happens in the US with all the billionaires buying media outlets?” he said. He wondered if this is an opportunity for the Laundys to promote their other businesses of running venues across the nation. “You may as well pay the money to yourself indirectly and, hopefully, get some sort of tax benefit at the same time,” he suggested. On the other side of the sale, Woolley said that the reshuffle of Nine’s portfolio was a **calculated play**. “This is a strategic investment for Nine, offloading the difficult radio network business, because they’ve never seemed to be able to fully integrated into the rest of the offering. And you would think that being a broadcast business primarily, with a publishing arm, that that they would have been able to do that, but it was always a struggle. Whereas QMS is a strong investment, because you’ve seen outdoor spending hold up pretty well over the last five years.”  **Paul Sinkinson**, managing director, Australia and Asia of Analytic Partners, thought the move was “surprising” even despite Nine’s efforts at “shaking things up”. “It’s encouraging to see a media company thinking differently, rather than doing more of the same,” he told *B&T*. “When you look at Nine’s own statements, the rationale starts to make sense: out-of-home is fairly resilient and it’s one of the few channels still experiencing sustained growth. In that context, the acquisition feels logical, particularly when you compare it to channels like radio, which haven’t seen the same momentum.”  But he did see this as an exciting opening for TVCs and billboards to be utilised in a more creative way. “There’s also an interesting opportunity around how this could evolve buying and targeting. Purely demographic-based buys are increasingly limiting – we’ve seen consistently stronger results when campaigns move beyond that approach. This acquisition potentially brings Nine closer to more sophisticated targeting, especially when you consider how out-of-home data and behavioural datasets have evolved in recent years,” said Sinkinson. “Where I’d really love to see this go is in creativity. For a long time, we’ve talked about how many out-of-home billboards are effectively just the end frame of a TVC. If planning and creative discussions are happening together earlier and more holistically, this could unlock a step-change in creative quality for out-of-home. That, for me, is one of the most exciting possibilities to come out of this move.” Meanwhile, **Taylor Fielding**, CEO of TFM Digital, had this to say: “Nine has historically been very broadcast-focused, so for many this is a surprising but understandable repositioning. For us, QMS has been a great digital OOH partner. They have some of the best placements for local campaigns, have remained very future-focused and we’ve been trading their amazing assets for a number of years. “This news is very relevant for our multi-location clients as it will support and supercharge connection to hyper-local audiences. It will make Nine’s ecosystem very competitive if Matt Stanton’s ‘Sofa to Street’ positioning delivers as promised.”]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>media</category> <category>acquisition</category> <category>radio</category> <category>advertising</category> <category>industry</category> <enclosure url="https://www.bandt.com.au/information/uploads/2026/01/arthur-laundy-1.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[From Marketing Manager to Director: Naomi Berwin's Career Leap at Hachette Children's Group]]></title> <link>https://www.marketingremotejobs.app/article/from-marketing-manager-to-director-naomi-berwins-career-leap-at-hachette-childrens-group</link> <guid>from-marketing-manager-to-director-naomi-berwins-career-leap-at-hachette-childrens-group</guid> <pubDate>Thu, 29 Jan 2026 17:00:54 GMT</pubDate> <description><![CDATA[## Naomi Berwin's Promotion at Hachette Children's Group **Hachette Children's Group** has announced the promotion of **Naomi Berwin** to the position of **marketing and brand director**. This move highlights the company's commitment to strengthening its marketing leadership and brand strategy in the competitive children's publishing industry. ### What This Promotion Means for Hachette Berwin's elevation to director level signals Hachette's focus on **integrated marketing approaches** that combine traditional book marketing with modern brand-building techniques. As marketing and brand director, she will likely oversee campaigns that span multiple channels and platforms, ensuring consistency and impact across Hachette's children's book portfolio. ### The Role of Marketing in Publishing In today's publishing landscape, **marketing directors** play crucial roles in connecting books with their target audiences. For children's books specifically, this involves not just promoting individual titles but building **lasting brand relationships** with parents, educators, and young readers themselves. Berwin's promotion suggests Hachette recognizes the importance of this strategic approach. ### Career Advancement in Publishing This promotion serves as an inspiring example of **career growth within the publishing industry**. Berwin's journey from her previous position to director demonstrates how professionals can advance by combining marketing expertise with brand vision. Such moves are particularly noteworthy in an industry where leadership roles often require both creative and business acumen. ### Looking Ahead While specific details about Berwin's new responsibilities weren't provided in the original announcement, her promotion typically involves overseeing **marketing strategy**, **brand development**, and potentially **team leadership** within Hachette Children's Group. This could influence how the publisher approaches everything from book launches to long-term brand positioning in the children's market.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>publishing</category> <category>career</category> <category>marketing</category> <category>promotion</category> <category>branding</category> <enclosure url="https://drsw10gc90t0z.cloudfront.net/AcuCustom/Sitename/DAM/634/Naomi-Berwin1.jpg" length="0" type="image/jpg"/> </item> </channel> </rss>