Full time, fixed term contract commencing July 2019 – 30 March 2020
OUR VALUES: Te Kaupapa o Tāwhiri
Manākitanga: uplifting the mana of all people through care, nurture, and respectful relationships. Pūkengatanga: the pursuit of excellence in all our endeavours.
Whanaungatanga: weaving together a team to create strength, trust, and flexibility.
Kotahitanga: standing together with shared purpose and values.
Purpose of the position
The Digital Content Editor works with the support of the Head of Marketing and Story (HOMS) to manage all matters relating to the writing, editing, and production of digital marketing content, website content, email marketing campaigns, and digital advertising for the 2020 New Zealand Festival, 21 February - 15 March 2020 and other Tāwhiri events including Wellington Jazz Festival, Second Unit, and Lexus Song Quest.
The New Zealand Festival is New Zealand’s biggest celebration of cutting-edge arts. It takes place within Wellington’s cultural community and is a major feature of New Zealand’s creative landscape.
This role reports directly to the HOMS and is supported by a wider Marketing team, interns, and volunteers as required. As needed during busy periods of the Festival campaign this role may supervise contractors such as copywriter/s, freelance writers, graphic designers, videographers, and interface with externals agencies such as web development firms.
1. Planning: With HOMS, develop a critical path and budget for production of digital marketing campaign including the festival website, associated digital publications and adhere to these once approved.
2. Research and Resource Management: Take charge of all matters relating to the research, gathering and management of all resource materials necessary to service the promotional, publicity, and digital publication requirements of the 2020 New Zealand Festival and other events.
3. Production of Content: Produce great quality written and digital content including video, photography, and graphics for owned and paid digital channels including the Festival website, advertising, social media, and email marketing. Ideal candidate has a keen eye for design and experience with the using video as a tool for storytelling and increasing engagement.
4. Web and Digital Channel Management: Produce and maintain the Festival website refresh, produce digital direct marketing campaigns and email newsletters in coordination with Print Content Editor, supervise digital content production for social media channels including video, oversee online advertising campaigns, and other Festival digital content and miscellaneous communications as required.
5. Professional Team Player: Ability to work in a high-pressure collaborative environment, remain level-headed and juggle competing priorities. Work hours will vary day-to-day and flexibility (particularly during Festival times) is essential.
• Devise a comprehensive critical path detailing and scheduling key digital marketing content planning and production areas.
• Develop production budgets and obtain quotes for agreed marketing content, and adhere to that budget when it has been approved.
• Develop an approvals and sign-off proofing system for all digital marketing content including Festival website to ensure that all content published and provided to external suppliers is word perfect and accurate. It is essential that all confirmed Sponsors, Funders, and Supporters are also acknowledged as per their contracts.
Research and Resource Management:
• Source materials necessary to service the promotional, publicity, and publication requirements of the 2020 New Zealand Festival and other events. This includes being responsible for the filing (both electronic and hardcopy) of this material in such a way that it is readily available to other Festival departments, staff, and external agencies.
• Liaise with the Head of Programming, Print Content Editor, and other team members to source from companies/artists up-to-date programming details including repertoire, running times, intervals, photographic, video and other promotional information for the use in digital channels.
• Ensure contractual agreements with artists, or their agents, and other festivals, are fulfilled, in regards to credits, and that these are correctly used in all Festival digital channels.
• Keep up to date with, and informed about, the artistic content of the 2020 Festival.
• Create job description for and recruit (with approval/assistance of HOMS) copywriter, graphic designer, videographer, and/or freelance writers required to create engaging content for digital channels.
• Management: possible line management and support of a small number of staff, namely copywriters, graphic designers, digital coordinator, and freelance writers as required (once approved by the HOMS). You will effectively assign, lead and coordinate their activities to achieve the required results.
• Support the development of Tāwhiri events brand development through adherence to its in-house style guide including an agreed editorial direction and tone of voice.
• In consultation with the HOMS and Marketing team identify, plan, develop, write and edit audience and platform-appropriate written content for owned, paid and partner digital marketing channels.
• Under the direction of the HOMS, liaise with external suppliers to produce high quality visual content as required including video, photography, and design that is consistent with the Festival and Tāwhiri brands.
• Support and contribute to the development and ongoing maintenance of a cross-channel editorial calendar.
• Stay up to date with industry and audience trends to identify and recommend opportunities for innovation and productivity.
Web and Digital Channels:
• Manage the production, editing, and maintenance of the Festival website refresh and other Tāwhiri brand websites as needed.
• In coordination with HOMS and external agencies, monitor, analyse, and interpret digital channel analytics in order to develop tactics to optimize for user experience, page rank, and conversions.
• Compile, write and edit the electronic direct marketing communications (eDMS), and contribute to the production of the festival digital newsletter (ARTicle) as required.
• Liaise closely with internal stakeholders including the Education & Community Coordinator and Programme Manager Writers Week, whose events have unique complimentary digital outputs.
• Under the direction of the HOMS, liaise closely with the Festival’s internal and external graphic & web designers and production houses, in all matters concerning the design, layout and copy for all Tāwhiri websites.
• With support of Digital Marketing Coordinator and HOMS, oversee production of digital advertising campaigns as required.
• With support of HOMS, liaise with the Festival’s appointed creative partners and agencies regarding the design, layout, production and timely delivery of digital Festival marketing, channels, and content.
• Liaise with the Head of Audience and Partnerships to secure all relevant material from corporate sponsors, local and foreign government funding agencies and charitable trusts as stipulated under their sponsorship and funding agreements to ensure that this material is included in all Festival digital channels as agreed.
• Liaise with the Audience Services Manager and Head of Business Services on booking office information to be published on the Festival website and email communications (e.g. booking details, ticket prices & information, venue details, performance time and duration, and all appropriate rules and warnings regarding ticket purchase.)
Pro Team Player:
• Attend and actively participate in departmental and full staff meetings as required.
• Attend training sessions, Festival events, and functions as a Festival team member, along with other general marketing and administrative responsibilities as required.
• Provide the HOMS with regular briefings on developments and progress for all digital channels.
• Provide the HOMS upon completion of the Festival with a full and comprehensive Content Editor’s report, including strengths and weaknesses in relation to the Content Editor's position and responsibilities, and suggestions for the future.
• Undertake other duties to assist the HOMS as required
• Please note that due to the nature of our events, a flexible approach to working hours during Festival periods is essential.
• Minimum 2-3 years proven experience in writing, editing, and producing engaging digital content for a variety of platforms and media, including website content, blogs, e-newsletters and social media
• The ability to copywrite and edit English to a high standard, combining attention to detail with a creative and engaging style
• Strong record keeping and budget management skills
• Excellent time management and forward planning skills
• Ability to think strategically and creatively and carry out responsibilities independently
• Demonstrated ability to work as part of a cohesive team for achievement
• Ability to use content management systems
• Understanding of the importance of SEO and how to produce content optimised for search
• Understanding of digital content strategy, UI and UX, including user journeys across multiple digital products
• Experience with online advertising, web-based ecommerce strategies and tactics
• Experience with videography and using video as a storytelling medium and marketing tool to increase engagement across digital channels including web, social, and email.
• Familiarity with iterative development and continuous improvement in digital product lifecycles
• Experience with Adobe Creative Suite (Photoshop, InDesign, Lightroom, Premier Pro), Word, Excel, Outlook (or equivalent). Experience in Office 365 is a plus.
• Experience in creating content in response to audience metrics and audience strategy
(via Google Analytics, or similar)
Other duties as required
The Digital Content Editor is directly responsible to the HOMS or in their absence the Executive Director.
Applications close 5pm Thursday 18 July 2019.
Ben, your inspiration is worthy of the leadership position you have already been recognised for. As an [old-ish] person I wholeheartedly endorse your ambition and add this observation: - Kiwis are often too fearful of 'what-others-think-of-me' - Tall Poppy syndrome ...
The saddest thing about this post, is a reminder of how sh$t this industry is. A brand puts out an RFI to the industry, which you would guess anyone non-conflicted would have responded to? A local agency (yep, owned by ...
Ok... Can you actually help with this recurring for months now issue that is sooooooooooooooooooooooooo frustrating? I have mac laptop and iphone and ipad. Google authentication keeps saying the same message EVERY time I try to authenticate (to sync Google ...
What about the kiwi employees of who worked hard on the pitch for and will benefit from the BBDO win? https://media0.giphy.com/media/etUF7IcX4Lxs3KCSEH/giphy.gif
It's not uncommon for Kiwibank to use organisations outside of New Zealand. I understand they were using a South African organisation on their failed SAP project. Seems odd for a purpose driven organisation to not "live their brand".
Use the ICG Media network of magazines, blogs, newsletters, video and content creation services to reach the new New Zealand.
Interested in becoming a sponsor?
Contact Vernene Medcalf
Who's it for: NZTA by Clemenger BBDO
Why we like it: This campaign is jarring. The woman in this spot is no actor, her name is Ashleigh and she lost her cousin to drug driving. Every (wo)man and their dog know the dangers of drunk driving in New Zealand, but driving while under the influence of drugs is often overlooked. The campaign is linked to Facebook and Instagram pages where people can share their own experiences on the issue – in a bid to make sure no more people die from drug driving in New Zealand.
Who's it for: Air New Zealand
Why we like it: Air New Zealand is doing what Air New Zealand does, teasing us with something important relating to itself and the All Blacks, launching on 1 August. One cheerful YouTube commenter suggested this series is preempting the release of a new safety video. Please, dear god no. Not another All Blacks safety video. We already had to endure the Men In Black tribute piece that was confusing on many many levels, not least because at the time it was released, the most recent Men In Black film release was three years previous. Also, as someone who has never seen a single film in the franchise, the talking dog was a confusing addition to an airline safety video. And do we dare mention the curse of that video, that its star rapper Israel Dagg wasn't even called up to the world cup team... it's all just too much to process on a Tuesday.
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