<?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>Thu, 05 Mar 2026 03:27:57 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[My £1,800 Book Marketing Disaster: What I Learned About Outsourcing and Avoiding Scams]]></title> <link>https://www.marketingremotejobs.app/article/my-1-800-book-marketing-disaster-what-i-learned-about-outsourcing-and-avoiding-scams</link> <guid>my-1-800-book-marketing-disaster-what-i-learned-about-outsourcing-and-avoiding-scams</guid> <pubDate>Wed, 04 Mar 2026 17:00:29 GMT</pubDate> <description>< *Photo by Ron Lach* Have you ever felt like you've been suckered, albeit mostly due to your own idiocy? If you have, you'll know that even worse than the money you've wasted is the sense of embarrassment and humiliation you feel. In what follows, I want to share my own misadventures in book marketing—embarrassing though they are—in the hope that they serve as a lesson and a warning, along with what they taught me about marketing books, or, rather how **not to market them**. ## The Context: An Experimental Press In 2022, I set up an experimental press called Caw Press with the goal of publishing nonfiction by scholars that was written (and priced) for the public but not dictated by what the publishing industry thinks the public want. Our first—and to date only—book was a collection of essays I wrote called **Silent But Deadly: The Underlying Cultural Patterns of Everyday Behaviour**. I once read an interview with Sara Blakely, the founder of Spanx, where she advised "hiring your weaknesses." For this reason, I decided from the outset that **book marketing would need to be outsourced**. ## Finding a Marketing Firm Although I was aware of some good firms through my masters in Canada, as I was now living in the UK, I wanted a London-based firm. I therefore started where you might expect, with a Google search. One UK company kept showing up on top 10 lists, and they, in turn, quickly became the top of my own list. Frequently characterized as "award-winning," albeit mostly by themselves, their website seemed impressive, and was full of pictures of celebrities. In hindsight, this was my first mistake. It was only later that I realized that they didn't make any claims about actually **representing these celebrities**, although their website was clearly designed to cultivate this impression. **Without further ado, I initiated contact and had a phone meeting with the director.** In the meeting, it became clear that I was being interviewed, rather than the other way around. They were a boutique firm, I was told, and selective about the projects they took on. The director emphasized that they couldn't guarantee sales, but they could guarantee media coverage. It was this guarantee, he said, that separated them from other book marketing firms. I ended the call convinced that I had found the right company and nervous that my profile and book wouldn't be compelling enough to take on. While waiting on tenterhooks to hear back, I didn't follow up with the other two companies on my list, which was my second mistake. ## The Proposal and Red Flags **A few days later, I received a proposal for a book marketing campaign.** Immensely relieved that they thought I was worth taking on as a client, the proposed fee was nevertheless eye-wateringly high—£4,599 plus VAT, putting it close to £4,599 total (over USD$6,700, for reference). The campaign proposal looked very impressive at first glance. Beyond articles in the national press and broadcast radio interviews, they promised to secure coverage in a variety of additional publications, none of which I'd heard of except **Reader's Digest**—although that alone got my attention. **Still, once I started looking into the other publications they promised to secure coverage in, I became a little concerned.** One looked like a blatant content mill. Moreover, it explicitly stated on its "Advertise with us" page that "Unlike many online publishers, all our writers and editors are in-house," suggesting that the firm was basically offering a paid advertorial. All the additional publications they named had a low-quality feel and didn't seem likely to reach my target audience. With alarm bells now quietly starting to ring, I asked point blank whether they were essentially paying these companies for advertorials. I was assured that "Unlike advertorial/sponsored content, our content can be (and occasionally is) edited or rejected, even at the last minute." My numerous questions were reframed as a positive part of the process that enabled them to clarify the kind of coverage I wanted so they could develop a more customized campaign. **In hindsight, this is when I should have walked away.** Clearly, there was already a mismatch between the price they were charging and the quality of the coverage they were offering—something I would have known if I'd bothered to contact the other two companies on my list. However, I made my third mistake, which was to ignore my misgivings and ask for a modified proposal focusing on national media coverage without radio interviews. I also asked for placement in **Reader's Digest** alone, although I didn't want an author interview but a book excerpt. Did they think this was possible? They assured me it was and a modified proposal was duly sent. Significantly, the price dropped to £1,999 plus VAT. I knew that paying for marketing was a gamble that might not pay off, but I saw this as part of an experiment for the budding press (albeit an expensive one) to figure out what did and didn't work in terms of marketing. Sure, it was still a lot of money, but, I told myself, much less than it had initially been. Besides, **what if it actually worked**? ## Working with the Publicist **With the contract now in place, I proceeded to the next steps with my assigned publicist.** Here is where I had my first rude awakening. I was expecting someone I could bounce ideas off, drawing on their expertise to ask questions. Should I put up an advance reading copy on NetGalley? Should I be pitching articles in publishing outlets myself? Could we draw attention to the tendency to confuse my name with that of the actress Kristen Bell as part of the marketing plan? But the publicist wasn't interested in answering these questions. He didn't know anything about NetGalley and, even worse, had no idea who Kristen Bell was. From his point of view, he had two jobs and two jobs only: to finalize the **Reader's Digest** excerpt and write an article that would result in coverage in the national press. I created the condensed excerpt for **Reader's Digest** and he worked on an article that would become the basis of the national coverage. Naturally, he wanted to play up the fart angle. Initially, I didn't have a problem with this. After all, I'd deliberately chosen that name for the book on the premise that it would attract attention, although the subtitle made it clear that this was not its sole focus. But it soon became painfully evident that our goals—never aligned to begin with—had now explicitly diverged. **My goal was to increase the profile of the book amongst people who might buy it. His goal was to get me national press coverage of any kind so they could fulfill this term on my contract.** And for him, that meant something highly sensationalized. Not insisting on a more balanced piece was my fourth mistake, although I repeatedly expressed my reservations, because it seemed to me that any newspaper likely to pick up the story would not cater to the sort of audience likely to purchase the book. Still, what did I know? They were the experts. Who was I to teach them how to suck eggs, when that's precisely what I'd hired them for in the first place. ## The Results: A Marketing Disaster Probably inevitably, the only newspaper to pick up the story was the **Sun**, a tabloid paper (owned, ironically, by Murdoch himself) whose greatest claim to fame is inventing the Page Three Girl—boobs and farts are basically their bread and butter. However, they had reworked the article into something bearing little resemblance to the piece I'd seen (and markedly worse than the version I'd reluctantly approved, which I hadn't thought possible). To give you a flavor of its content, it was officially authored by "Alex Gass" and titled "Geeky bum time: I'm an expert on farts and have written a book all about why we pass wind." Mainly an excuse for the **Sun** to discuss "farty facts" and "fart slang," it inaccurately described my book as a history of farts. Although I'm as fond of the fart Olympics as the next person (fonder, probably), the article made me sound vaguely unhinged. For instance, it didn't say I'm an expert on the **anthropology** of farting. It just said that I **say** I'm an expert on farts, which isn't quite the same thing. I cringed when I read it and prayed that no one I knew—and especially my university—would see it. **Suffice to say, the article did not lead to a single sale.** Moreover, the book marketing firm wasn't even aware of its existence. I found out it had been published purely because I was contacted to do a radio interview on the basis of the piece. Now, in theory, that sounds great, but given the misleading nature of the coverage in the **Sun**, these were the sort of jokey interviews that are accompanied by fart soundtracks. I stopped agreeing to them when I realized that no one actually wanted to have a conversation about the anthropology of farting. Unlike me, however, the firm was ecstatic with the coverage. From their point of view, their job was now done—and I had the article and radio interviews to prove it! The icing on this particular cake was the **Reader's Digest** excerpt, which appeared on their website shortly after the **Sun** article came out. Riddled with typographic and formatting errors, it was branded as "Partnership Promotion"/"Promoted Content." As I'd suspected all along, they were paying for placement and had given themselves a hefty commission for brokering it. Knowing that publishers typically pay for book excerpts rather than the other way around, and in light of their earlier assurances that they did not pay for publication, I expressed concerns that I'd been misled. Although they insisted that this was all just a big misunderstanding with the magazine, to placate me, they offered to pull the piece and refund me £500, which I immediately agreed to. (For the record, I later got the book excerpt published in **Sapiens**, an online anthropology magazine and, yes, they paid for it.) In the end, I paid a sum total of the £1,500 plus VAT (£1,800 in all) for a single article in the **Sun** that was never going to sell any books. The worst part is that I got **exactly** what they promised, so I couldn't even claim that I'd been ripped off, although I broadly felt that I had been. While I felt they were misleading, this wasn't a scam, although they probably skated close to some legal boundaries in terms of what they **didn't** disclose. (For instance, it turns out that the director of the firm is the editor-in-chief of one of the publications they offered to secure publication in.) It's even possible that their approach works for some authors, as they do seem to have some genuine endorsements on their website. Still, it was clearly never going to work for me and, more to the point, that was never their goal. ## Key Lessons Learned First, don't rely exclusively on information provided on Google searches to find book marketing companies. Beyond the fact that they pay for placement, a lot of sites providing "helpful" lists of services simply take these companies' claims at face value, especially if they appear to be verified elsewhere. But this means that all a company has to do is pay for a few sponsored Q&A posts in an online content mill where they describe themselves as "award-winning." **Et voilà**, they have achieved independent verification of their claim by Wikipedia's standards. It's critical that you do due diligence **beyond** superficial checks. Are their claims verified? In other words, is anything they claim backed up by concrete evidence that holds up to scrutiny? Look beyond the hype. Because marketing is their schtick, it's unwise to take anything at face value. Do separate searches on the authors listed on their website to independently verify what coverage they have received and where. Second, if you have misgivings—**any at all**—don't proceed. I know it's a cliché, but listen to your gut. Unfortunately, this is where hopes and dreams get in the way. Hopes and dreams are clearly critical to producing a book. None of us would do it if we didn't think we were creating something that people might want to read. But when it comes to marketing, you must get your head firmly out the clouds, and away from the smoke being blown up your arse, and become a hard-nosed realist. Third, does what they are proposing make sense for your intended market? Sure, I'd heard of **Reader's Digest**, but its reputation in 1985, where it could be found in toilets across Australia, was **very** different to its reputation in 2022. (In point of fact, the UK edition folded less two years later.) A good book marketer will care about reaching audiences who might actually want to read your book. A model of "guaranteed publicity" means less than nothing if it doesn't target the audience you are aiming to reach. You should have a sense of who your audience is and so should they. If they don't care about this, the flag isn't just red, it's on fire. Fourth, before you approach anyone, think about what you want to spend on marketing and **be realistic**. The money I spent on **Silent But Deadly** (sadly, there were other failed marketing experiments) has basically guaranteed that I will never break even on it. Given that the entire premise of Caw Press is that the books are affordable to the public (i.e., trade paperback prices), my profit margins on each book sale are very low. This is because nonfiction is more popular in print and my model relies on low capital outlays at the outset, limiting me to print-on-demand. Based on what I spent on producing, marketing and distributing this book, I would need to sell at least 2,000 copies just to break even. In hindsight, and given what I now know about how many copies of books publishers typically sell, I'm both amazed and appalled by my optimism that this was feasible. You see, I'd forgotten the critical caveat to Sara Blakely's advice, which is to "hire your weaknesses **as soon as you can afford to**." In hindsight, before leaping into paying for overpriced marketing that was clearly never going to work, I should have done far more to explore it myself. **This brings me to my final point. The problem is that I didn't just want to outsource marketing; I wanted to outsource even thinking about it.** This is something no writer or publisher can afford to do. In fact, I doubt that my lessons—hard won though they were for me—will surprise a single reader of this site, simply because good advice on how to market books (and how **not** to market them) is so freely abundant, if I'd actually bothered to look for it. So, here I am, four years later, with a press that still lingers in the experimental stage. Older and hopefully wiser, I've decided that one more test book is required before I give up on the idea entirely. I'm thinking of this as basically a do-over, where I correct all the mistakes I made the first time around. Because I still might not know how to successfully market a book, but at least I now know how **not** to market one.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>bookmarketing</category> <category>outsourcing</category> <category>marketingmistakes</category> <category>publishing</category> <category>strategy</category> <enclosure url="https://janefriedman.com/wp-content/uploads/2026/03/bell_marketing_missteps-social.png" length="0" type="image/png"/> </item> <item> <title><![CDATA[How Awkward Coming-Out Conversations Forged Advertising's Most Courageous Leaders]]></title> <link>https://www.marketingremotejobs.app/article/how-awkward-coming-out-conversations-forged-advertisings-most-courageous-leaders</link> <guid>how-awkward-coming-out-conversations-forged-advertisings-most-courageous-leaders</guid> <pubDate>Tue, 03 Mar 2026 09:00:29 GMT</pubDate> <description>< Galipienzo noted that protecting herself meant "choosing distance" – "the most freeing decision I've ever made." She emphasized: **"We often treat awkward as something to avoid. But awkward can mean someone is grappling, learning, stretching beyond what they know. An awkward conversation can become a bridge."** ## Life-Changing Moments of Truth Tag creative director Adam Ibrahim believes coming out to himself was "the most challenging mountain to climb." He shared a dramatic story from 2014 when, during an emergency evacuation from Annapurna Base Camp in Nepal, an avalanche nearly claimed his life. "What flashed clear as day in my mind was a revelation of my true self. An immediate clarity of who I was and an extreme sorrow that I was never able to experience my truth," he recalled. After escaping the snow, "I took my first breath as a gay man. Never looked back."  ## Cultural Barriers and Breakthroughs OMD diverse director Charles Xu grew up gay in China in a traditional family and never formally came out. His father discovered his sexuality through "love letters" accidentally left behind when Xu moved to Australia. "For years, we argued or avoided the topic," Xu said. But during one visit, his father nervously asked about his "best friend from uni" and eventually said: **"You're not that young anymore. You should find another guy who can look after you."**  ## The Transformative Power of Honesty Nine's director of strategy & effectiveness, Stewart Gurney, described his 2000 coming-out moment in London when he blurted out "no but I have a boyfriend" to his mother during an Eastenders episode. "Cue months of various chats, tears, questions and gradual acceptance," he said. "It created a new level of confidence in me, made me feel stronger, braver and tougher. For her, it opened her eyes to a whole new world she had previously been closed off from."  MiQ ANZ managing director Fi Roberts discovered her sexuality through 1995's "Xena: The Warrior Princess" with its "very unsubtle lesbian undertones." She spent five years denying her identity because she was terrified of being "unlovable." When she finally told school friends using a confusing "red and blue socks" metaphor, one friend cut through: **"Fi, you're saying you like girls, right? We already know and love you... but seriously, what was with the socks?"** Their instant acceptance gave her courage for future conversations.  ## Modern Coming-Out Stories QMS large format product & trading director Christopher Haintz came out in 2008 via text message on a Motorola Razr during the last night of schoolies, fueled by "half a bottle of Bombay Sapphire gin." "If I was going to come out, it was my story to tell, and I wanted to control the narrative," he explained. To his surprise, almost everyone was fine with it. Years later, he realized he'd never actually come out to his mother as gay – they laughed about it over Thai food.  These stories collectively reveal how **awkward conversations about identity** have shaped advertising leaders, giving them resilience, empathy, and the courage to be authentic in both personal and professional spheres.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>lgbtq</category> <category>diversity</category> <category>leadership</category> <category>advertising</category> <category>inclusion</category> <enclosure url="https://www.bandt.com.au/information/uploads/2026/03/adland-convos.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[WPP's Identity Crisis: Why the Marketing Giant Can't Follow Its Own Advice]]></title> <link>https://www.marketingremotejobs.app/article/wpps-identity-crisis-why-the-marketing-giant-cant-follow-its-own-advice</link> <guid>wpps-identity-crisis-why-the-marketing-giant-cant-follow-its-own-advice</guid> <pubDate>Mon, 02 Mar 2026 17:00:37 GMT</pubDate> <description><![CDATA[## The Contradiction at the Heart of WPP Cindy Rose recently announced that **WPP is shifting from a holding company to a unified operating brand**, with four divisions—WPP Media, WPP Creative, WPP Production, and WPP Enterprise Solutions—all integrated under an AI platform called **WPP Open**. This move aims to transform WPP from a house of brands into a branded house, but the reality reveals deeper issues. ### A History of Constant Restructuring Rose is WPP's **third CEO in eight years**, during which the company has undergone two major McKinsey reviews, three restructures, five network mergers, and sold 30 subsidiaries. Headcount has dropped from 130,000 to under 100,000, and the **average tenure of senior management is just 1.2 years**. This isn't a company in transition—it's one where transition has become the norm. ### The Brand Architecture Dilemma In her announcement, Rose presented two conflicting strategies: - **Strategy 1**: WPP as a single operating company, a branded house like McKinsey. - **Strategy 2**: WPP maintaining 10–15 agency brands, operating as a house of brands like VW Group. This lack of clarity is extraordinary for a marketing firm. If a client approached Ogilvy (or WPP Enterprise Solutions) with such a structure, they'd be charged half a million pounds to explain why **you cannot be both a branded house and a house of brands**. ### The Cost of Chaos Every restructure sends signals to clients, employees, and investors. **Major clients like Mars, Paramount, and Coca-Cola North America have left for Publicis**, which has executed a single, consistent strategic vision over the past decade. Meanwhile, WPP's 2025 revenue fell 8%, operating profit dropped 23%, and its **share price hit its lowest level since 2009**, falling another 9% after Rose's announcement. ### The Irony of Inconsistency WPP's core proposition is **long-term strategy, consistency, and brand equity**—principles it fails to apply to itself. The company advises clients against short-term fixes but has chased structural fixes for a decade. It preaches brand consistency but has rotated through three CEOs and multiple operating models in eight years. ### The Elevate28 Plan The new transition plan, **Elevate28**, aims for growth by 2028, but it feels like another temporary fix. Strategy isn't about hazy plans named after achievement dates; it's about **consistent choices that compound into competitive advantage**. Publicis understood this, investing relentlessly in a single direction to become the largest advertising company in the world. ### What's Next for WPP? WPP hasn't lacked plans—it's lacked the **organizational quality to produce proper ones and the patience to see them through**. Too many strategies are worse than none. The company may continue to whittle itself down until it's less relevant or gone entirely, a shame given its once-incredible pedigree. *Mark Ritson is a former professor, award-winning columnist, and brand consultant. He is the founder of the MiniMBA in Marketing.*]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>wpp</category> <category>brandstrategy</category> <category>marketing</category> <category>restructuring</category> <category>industryanalysis</category> <enclosure url="https://thedrum-media.imgix.net/thedrum-user-assets-prod/s3/images/original/wpp-investor-day-installation-1772455195.jpg?w=1280&ar=default&fit=crop&crop=faces&auto=format" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Why AI Ads Fail: The Secret to Balancing Technology with Human Soul in Marketing]]></title> <link>https://www.marketingremotejobs.app/article/why-ai-ads-fail-the-secret-to-balancing-technology-with-human-soul-in-marketing</link> <guid>why-ai-ads-fail-the-secret-to-balancing-technology-with-human-soul-in-marketing</guid> <pubDate>Sun, 01 Mar 2026 09:00:33 GMT</pubDate> <description>< It missed the mark because it seemed to **lack intent**. I can't tell if they were going for realism or wanted it to be clear they had used GenAI instead of CGI or VFX. I think that ambiguity led to a disconnect with their audiences. Furthermore, the overall lack of visual coherence made the narrative, which felt negative at best, difficult to follow. **Coca-Cola's Christmas ad** (both of them...they've made two now!) also gets an honourable mention. AI allows us to do things never before possible, or cover gaps in budget and time. None of these issues should plague the drinks giant, so it is sad to see they used such a powerful tool to simply replicate what they have always done... albeit with worse quality than when they used practical effects (which they clearly can afford).  ## What's the best AI ad you've seen and why did it work? I think one of the best and first uses of genAI in a commercial ad was last year's **'Original Source - Nature Hits different.'** This was a perfect blend of traditional production, supplemented with GenAI visuals, to create over-the-top effects that resulted in a crazy, immersive experience representing the smells and invigorating sensations of using Original Source. It's intentional and plays into the sometimes hallucinogenic nature of AI generations. They're not scared of, or trying to hide, the fact that they have used this tool in the ad; Therefore, audiences don't feel misled, so they are happy to go along for the ride. > Only brands with soul will thrive in the AI slop-era A notable mention was this spec ad for **Liquid Death - 'Pulled Over'**, which again leans into the absurdity of AI and uses it to push the boundaries of what was usually creatively possible. It also stays true to the brand's disruptive spirit and tone. The quality of GenAI video has greatly improved since then, but it's still consistent enough for the audience to focus on the silly, somewhat macabre narrative at the heart of the ad. And that's the point: the assets are driven by the story, not the tools used to create them. **AI should empower creativity; it's not a replacement.**  ## Why are some audiences so opposed to AI advertising? I don't think audiences are inherently opposed to AI, as long as it serves a purpose and remains authentic. There will always be initial resistance to something new, but if the quality and standards remain at the levels audiences and clients expect, it means they can focus on the message, not the tools used to create it. And there already seems to be a shift towards more acceptance of AI-generated content as it becomes more commonplace. What audiences don't like (and never have) is **being misled**. This is why the pursuit of consistency and accuracy around products and their RTBs in AI-generated assets is critical. AI should supplement creativity, much like CGI or visual effects. Even when realism is the aim, it should never sell falsehoods, or we really will lose consumers' trust. **Only brands with soul will thrive in the AI slop-era.** The lazy, generic, and uninspiring content won’t stand out. The smartest brands are using GenAI to make better content, not simply more of it. AI may be a multiplier, but it is not a shortcut.  ## How can advertisers that use AI win over AI sceptics? Winning over AI sceptics starts with **trust and transparency**. Advertisers can win over AI sceptics by proving that AI is being used to improve marketing operations, not replace human creativity. At Incubeta, that means embedding AI into workflows to accelerate insight generation and automate repetitive production tasks. For example, we recently built tooling that uses AI to analyse creative assets at a granular level — things like branding placement, calls to action, imagery, and emotional cues — and maps those directly to live performance data. The outcome is a clearer picture of why certain creative elements are driving results, so human teams can make smarter decisions, faster. One brand using this approach saw a **102% lift in click-through rate** and a **37% reduction in cost per lead**.  ## How can creatives leverage AI effectively in advertising? Using **AI-powered creative delivery** to scale personalised assets across 100+ markets from a single modular template is one of the most effective uses of AI in advertising. It removes the production bottlenecks that prevent good ideas from scaling. Traditionally, a global campaign might require a separate team to manually adapt assets for each market by translating copy, swapping imagery, adjusting pricing, and formatting for local currencies. > The fundamentals of relevance, emotion, and clarity haven't changed AI changes that equation dramatically. In the hospitality sector, for instance, brands operating across dozens of countries have used modular creative templates combined with AI-powered delivery to produce thousands of localised ad variations from a single master asset by automatically pulling in live room rates, local languages, and geo-specific destinations. The creative work happens once; the AI handles the permutations. The practical outcome in cases like this has been a **cost-per-acquisition drop of over 50%**. AI doesn't make the creative decisions, but it can execute creative at a scale no human production team realistically could. Beyond production scaling, AI is increasingly useful at the briefing and testing stage. Creatives can use generative tools to rapidly prototype multiple directions before committing budget to production, or to stress-test whether a concept holds up across different audience segments and cultural contexts. What previously required focus groups and weeks of iteration can now surface meaningful signals much faster. The big caveat worth stating is that AI works best when the creative strategy is already sound. It amplifies what's there, so a weak idea at scale is still a weak idea. But the fundamentals of relevance, emotion, and clarity haven't changed. AI removes the notion that good personalisation is too expensive or too slow to execute.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>ai</category> <category>advertising</category> <category>marketingstrategy</category> <category>branding</category> <category>creativity</category> <enclosure url="https://cdn.mos.cms.futurecdn.net/ZczfEYdDoAY5LHrkeZpvyn-1000-80.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[How a Bold Cold Email to a CEO Landed Me My Dream Job When Nothing Else Worked]]></title> <link>https://www.marketingremotejobs.app/article/how-a-bold-cold-email-to-a-ceo-landed-me-my-dream-job-when-nothing-else-worked</link> <guid>how-a-bold-cold-email-to-a-ceo-landed-me-my-dream-job-when-nothing-else-worked</guid> <pubDate>Sun, 01 Mar 2026 17:00:24 GMT</pubDate> <description>< *Marketing professional Cathy Xie cold emailed the CEO of the job she wanted with the subject line: "My landlord inspired this email."* ## Mass Applying Left Me Drained In 2024, I founded a startup aimed at helping students and new grads with unconventional backgrounds pivot into tech and navigate the job market. Unfortunately, we had to shut down about a year and a half later due to changes in the market. It's a little ironic that **the tech job market** is what put me back on the job hunt. After mass applying to roles across marketing, product, and growth, largely targeting tech and AI companies, I felt drained. I was also spending so much time doom-scrolling on TikTok, watching video after video of young Gen Z job seekers talking about their frustrations with the job market. Job searching was always in the back of my mind, and I knew it was time to try a different approach. ## Referrals and Niche Startup Boards Only Helped Me So Much The first route I tried was referrals, but those were not a huge success. My next approach was scouring niche startup boards, subscribing to free newsletters that posted about **startups hiring**, and even following LinkedIn creators who report on startups that had just raised. Then I'd apply directly through the company's website and try to email someone on the team who would likely be my manager for that position. Though I didn't end up with a job from that approach, it was still a great way to network. My last approach, **cold emailing a founder**, ultimately landed me my new role. I'd been following this founder's journey on LinkedIn for a while because I was passionate about his startup's mission to address the housing crisis in major cities. He posted that he was hiring a marketing manager and included a link to apply. I thought to myself, "I am not applying the traditional way again." I had just come across a social media post from someone about how **cold emailing** helped them achieve so many of their life goals, and how rejection was redirection. It made me think maybe I should just email the founder directly. I had nothing to lose. ## The Founder Responded to My Email I know, as a founder, you get thousands of emails, so I needed to make sure my email was one he had to open. It was also important to me to make my email as **personal as possible** because I think it's a lost art. Especially with AI, we've become overly formal with writing. My subject line was "My landlord inspired this email" because I thought it was funny and might grab his attention. In the body, I introduced myself, described my past roles and how they prepared me for this job, and wrote about my passion for and interest in the startup itself. I tried to keep it personable and a little funny. I kept it around 150 words, so it was short and sweet. He responded just over a week later by emailing me back and messaging me on LinkedIn to set up an intro call with him and the CMO. After **two more interviews**, including an intro to a case study and a case study presentation, I was offered the role of marketing manager. The job has been great so far, and my team is amazing. ## Here's My Advice for Job Seekers The first two questions a lot of people ask themselves when applying to a job are "How should I write my résumé?" and "How should I write my cover letter?" However, I think the question you should ask yourself instead is, **"How can I get the attention of this person?"** Once you ask yourself how you can get in front of a person, you open up so many ways to approach this job hunt, rather than just doing the traditional cold application. With this wave of AI, it's so easy not to put in effort with job applications and just mass apply. But I think what comes with getting people's attention is **putting in the effort**. You can spend a few hours cold applying and maybe get one or two automated emails, or you can spend those hours doing a couple of very **personalized outreaches**. It will take effort, but I think it's important to put that effort in if you want to stand out in today's job market.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>coldemail</category> <category>jobsearch</category> <category>careeradvice</category> <category>marketing</category> <category>personalbranding</category> <enclosure url="https://i.insider.com/69a1d69cfd4fbd083f29369c?width=1200&format=jpeg" length="0" type="image//69a1d69cfd4fbd083f29369c"/> </item> <item> <title><![CDATA[From Disney Magic to Military Trust: How USAA's New Marketing Leader Will Transform Brand Strategy]]></title> <link>https://www.marketingremotejobs.app/article/from-disney-magic-to-military-trust-how-usaas-new-marketing-leader-will-transform-brand-strategy</link> <guid>from-disney-magic-to-military-trust-how-usaas-new-marketing-leader-will-transform-brand-strategy</guid> <pubDate>Sat, 28 Feb 2026 17:00:23 GMT</pubDate> <description><![CDATA[# USAA Appoints Chris Curtin as New Chief Marketing Officer A significant leadership shift is happening at **USAA**, one of San Antonio's largest employers, as the company welcomes **Chris Curtin** as its new **Chief Marketing Officer**. This appointment signals a strategic move to strengthen the company's marketing approach and deepen connections with the military community it serves. ## A Proven Track Record in Marketing Leadership Chris Curtin brings an impressive background to USAA, having previously served as **Chief Marketing Officer at Sam's Club**. His career includes leadership roles at major corporations like **Visa**, **Bank of America**, and **The Walt Disney Company**. At Disney, he was known for blending creative, fun ideas with analytical rigor to drive growth—a combination that will likely benefit USAA's marketing efforts. ## Focusing on Trust and Value-Driven Marketing In his new role, Curtin will focus on **strengthening value-driven marketing** and building **deeper, trust-based connections** with USAA's members. The company's mission resonates deeply with him, as he stated: "Our members deserve marketing that earns their trust along with clarity about value, personal advice and recognition for the service that defines their lives." Curtin emphasized that his focus will be on "continuing to build modern experiences that translate into tangible value" for members. ## Leadership's Vision for the Future USAA President and CEO **Juan C. Andrade** highlighted how this leadership addition reflects the company's ongoing commitment to service excellence and operational strength. "Chris will help us tell our story with clarity and purpose, ensuring our marketing reflects the real value of USAA membership," Andrade said. He added that the leadership team is focused on "strengthening how we deliver protection, advice and experience-led value for the military community we are privileged to serve." ## About USAA USAA provides **insurance, banking, and retirement services** to 14 million members of the U.S. military, veterans, and their families. Headquartered in San Antonio, the company operates in eight U.S. cities and three international locations, employing more than 38,000 people globally. Curtin officially begins his new role on **March 2**, marking the start of what promises to be an exciting chapter in USAA's marketing evolution.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>usaa</category> <category>cmo</category> <category>marketingleadership</category> <category>military</category> <category>brandstrategy</category> <enclosure url="https://s.hdnux.com/photos/01/33/37/10/23982605/6/rawImage.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[The Truth About Expensive Products: Are You Falling for Marketing Scams?]]></title> <link>https://www.marketingremotejobs.app/article/the-truth-about-expensive-products-are-you-falling-for-marketing-scams</link> <guid>the-truth-about-expensive-products-are-you-falling-for-marketing-scams</guid> <pubDate>Sat, 28 Feb 2026 09:00:24 GMT</pubDate> <description><![CDATA[# The Truth About Expensive Products: Are You Falling for Marketing Scams? Have you ever wondered if that high-priced item is really worth the extra cash? A recent Reddit discussion revealed that many **luxury products** are often just **marketing gimmicks** with little to no added value. Here’s a breakdown of what people are saying about overpriced items that might not be worth your money. ## High Thread Count Sheets: A Marketing Illusion One user shared insights from the textile industry: **High thread count sheets** beyond 400-450 TC are essentially a **scam**. Thread count measures yarns per square inch, but after 200 TC, the weave is tight, requiring smaller yarns. Makers twist fine yarns or bond fabric layers to inflate numbers for marketing, offering no real benefit and potentially causing pilling. ## Leggings and Fast Fashion: Minimal Differences Another user noted that **expensive leggings** often show little difference from affordable ones like Old Navy’s compression leggings, which can last years without wear. ## Designer Handbags: Paying for the Logo With **designer handbags**, you’re mostly paying for the **logo**, not superior quality. Many brands rely on branding over craftsmanship. ## Ultra-Luxury Bottled Water: Tap in Fancy Glass **Ultra-luxury bottled water** is often just tap water in nicer packaging, sold at unreasonable prices. ## High-End Restaurants: Microscopic Portions Some **high-end restaurants** serve tiny portions that leave diners hungry, questioning the value of a $200 meal. ## Charcuterie Boards: Adult Lunchables **Charcuterie boards** are likened to expensive adult Lunchables, costing up to $85 for simple ingredients served on wood. ## Home Gym Equipment: Overkill for Most **High-end home gym equipment** may offer no extra benefits for average users compared to basic models, with pro-level features unnecessary for most. ## Bottle Service at Nightclubs: Pricey Alcohol Paying $500 for **bottle service at nightclubs** is seen as excessive, especially for regular occurrences. ## Luxury Apartments: Poor Soundproofing **Modern luxury apartments** with paper-thin walls fail to provide a true luxury lifestyle due to noise issues. ## Private Liberal Art Colleges: High Tuition, Same Education **Private liberal art colleges** with high tuition may offer similar education to public colleges at a fraction of the cost. ## High-End Vodka: Marketing Over Quality **High-end vodka** brands often have average quality, with prices set high to create a luxury perception, despite minimal differences from cheaper options. ## Electronics: Unnecessary Upgrades **Electronics** like Chromebooks and iPhones can last years without upgrades, with the urge to buy new versions driven by **marketing** rather than real need. ## Eyeglass Frames: Mass-Produced in China **Designer eyeglass frames** marketed as "made in Italy" are often mass-produced in China and assembled elsewhere, with high prices for basic materials. ## Skincare and Makeup: Overpriced Formulas **Expensive skincare** and **makeup**, including "medical grade" products, may use unregulated terms and offer formulas available cheaper elsewhere, like drugstore alternatives. ## Fancy Kitchen Supplies: Unnecessary Splurges **Fancy kitchen supplies** from high-end stores can be matched in quality by budget options, with minimal differences in functionality. This article highlights how **marketing strategies** can inflate prices without delivering real value, encouraging consumers to think critically before splurging on luxury items.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>marketing</category> <category>luxury</category> <category>scams</category> <category>consumer</category> <category>value</category> <enclosure url="https://cdn.cookielaw.org/logos/a2fdc8ea-c07a-4e1a-9c6e-d481efbe7ce8/7563f3a7-11b4-41c2-a90c-4338c28f8e41/5d72adc8-9d07-4b69-b222-fd58960c59fb/buzzfeed_logo.png" length="0" type="image/png"/> </item> </channel> </rss>