Australasian Housing Institute (AHI) is a not-for-profit professional association of people involved in the social housing industry in Australia and New Zealand. One of their key offerings to members is a quarterly journal called HousingWORKS that features articles and opinion pieces written by sector professionals, as well as industry profiles and interviews.
Given that HousingWORKS is a very important communication not only for the AHI but also for the Australian and New Zealand industry as a whole, the AHI goes to great lengths to make it the best publication it can possibly be. This has meant securing professional writing and editing services to ensure the content is always in prime condition.
Bakewood’s responsibilities for HousingWORKS are three-fold: editing contributor articles and then liaising with contributors to gain editorial approval and gathering additional information such as images and biographies; the research and writing of interview articles like member profiles and career exposés; and proofreading of the final publication before it goes to print.
The AHI executive team chooses a theme for each edition and then makes the call to members for contributions. Once the articles start flowing in, Bakewood steps up to the plate, nurturing and crafting the publication through to its final state, which is usually a 40 to 48-page full colour print magazine.
While HousingWORKS may not be available to the general public, it is well received by its professional brethren, often read from cover to cover and responsible for inciting debate across the industry.
Bakewood’s role in HousingWORKS has not gone unnoticed, and is openly acknowledged by the small staff at the helm of the AHI. The strong relationship between Bakewood and AHI has also resulted in Bakewood being asked to write, edit and proofread their annual report.
The team at City of Melbourne had big ambitions for their blog. They wanted to see the unique stories of Melbourne businesses shared with a much wider audience.
The What's On website and blog showed potential as a first-choice online destination for both Melburnians and visitors to the city alike. In order to do so, they needed to significantly increase the output of their top-notch multimedia content.
City of Melbourne came to Bakewood in their search for a provider who could service the multi-facetted needs of their brief on a weekly basis across the course of the year.
We were asked to respect the marketing strategy already devised by the City of Melbourne team and continually pitch new ideas in accordance with this strategy.
Our responsibilities included the research, fact checking and writing of posts, as well as visiting venues to take striking photos that fit within the format of a blog.
On occasion, we also shot 90-second videos that are professional and engaging, and showcase the best of Melbourne while still meeting the turnaround times and budgetary restrictions of a production intended primarily for social media purposes.
While working with Bakewood, City of Melbourne noted an increase of blog traffic.
Such an increase not only helped the team promote businesses and events within the City of Melbourne; it also facilitated more accurate charting of blog trends. For example, Bakewood’s ‘list posts’ were deemed popular and, consequently, we increased the frequency of this style of post.
We also worked on City of Melbourne’s 30 Days of Christmas campaign in 2014, which required us to produce a blog post per day, including weekends, from 25th November to Christmas Day. That specific campaign recorded an increase in traffic and a decrease in bounce rates from 2013.
Our achievements with What's On have seen Bakewood produce a number of promotional and research videos for other departments within the City of Melbourne.
The Greek Community of Melbourne was established in 1897 making it the oldest Greek organisation in Australia and the second oldest of the diaspora after the Greek Community of Alexandria-Egypt.
Such a proud tradition extends into all areas of Greek life in Melbourne; the community’s arts and cultural events being one such area that enables everyone to ‘go a little Greek’, even if they’re not of Greek extraction themselves.
At the centre of such cultural celebrations is the annual Greek Film Festival that is largely organised from Melbourne but tours nationally to Sydney, Perth, Brisbane and Canberra. With such a broad offering of films, the Greek Community takes great pains to ensure their program appeals to all Australians and, consequently, communicating the inclusive elements of the program is of utmost importance to them.
Bakewood initially came to the attention of the Greek Community through our long relationship with Melbourne International Film Festival (MIFF). The Greek Film Festival organisers asked Bakewood to replicate the services offered to MIFF but taking the unique challenges of an ethnic film festival into account.
A major challenge has been the research of films, often only marketed in Greek, which have not toured extensively on the international film festival circuit. Another challenge has been the identification of aspects in the film that will attract an appropriate Australian audience regardless of cultural background.
Having considerable experience in festivals, especially film, meant Bakewood has been able to overcome such challenges and, as one of the few non-Greeks working on the Festival, offer the valuable outsider perspective they have needed.
The Greek Film Festival continues to sit at the heart of the Greek Community of Melbourne’s cultural events, and draws bigger box office numbers with every passing year – not to mention a cracking opening night party that has been known to feature the celebratory smashing of a plate or two (or three)!
The Greek Community’s no-fuss attitude to producing their Festival program – and their appreciation of the hard work that goes into creating it – does not escape Bakewood, and we always look forward to that time of year when we're asked to go Greek with them again.
As one of the oldest film festivals in the world, Melbourne International Film Festival (MIFF) boasts a dedicated following of discerning cinema-goers.
The program guide is the Festival’s primary marketing tool and one that is dissected by its readers down to the tiniest detail. Not surprisingly, such a large and comprehensive document needs to be created to exacting standards that meet the scrutiny of the most knowledgeable film consumer.
Having developed a relationship with MIFF as a journalist with a specialty in cinema, Bakewood’s Emma Westwood initially secured the position of MIFF Program Editor in 2006. She stepped down from that role in 2008 but has continued her working relationship with MIFF under the guise of Bakewood in consecutive years since then.
Under Emma’s editorial stewardship, the MIFF program guide underwent some significant changes – such as the inclusion of a ‘hook’ at the beginning, and screening times at the conclusion, of each film synopsis. These have become standard features of the approximately 65-page guide.
Nowadays, both Emma and her team at Bakewood, among other writers, assist the current editor of the MIFF guide, Melanie Sheridan, in researching and writing synopses that market individual films without misrepresenting them. These synopses are produced at a fast turnaround and high volume to meet unflinching print deadlines, as well as the launch of the program on the Festival’s website.
MIFF brought $9.1 million into the local economy during the 2013 event, according to Roy Morgan Market Research.
As one of Melbourne’s most anticipated annual events, it continues to grow with every Festival in the approach to its 70th year, as does the expectation around the release of the coveted program guide.
ParentPaperwork is the brainchild of entrepreneurial wizards Fiona Boyd and David Eedle. As parents of three children, they realised there had to be a better way to coordinate and manage the mountains of forms and documents exchanged daily between parents and schools. That’s how they came up with the online platform ParentPaperwork.
As fans and friends of Fiona and David, Bakewood closely followed ParentPaperwork’s startup journey throughout 2014. We were excited when they won a StartUp Victoria pitch night, thrilled when they secured a seed round of $350,000, and ecstatic when they asked us to assist them with populating their digital channels.
David and Fiona are both progressive individuals when it comes to digital content. They saw the power in using their company blog and social media to help establish ParentPaperwork as experts in the edtech arena. They also wanted to create a level of transparency with their business right from the outset.
Bakewood set about blogging for ParentPaperwork on a weekly basis on topics such as privacy and security of data, teacher workload and paper reduction/environmental issues.
We were also asked to create an eBook that could be used as a free giveaway when registering for more information about ParentPaperwork online. And we were asked to produce video testimonials that show how ParentPaper integrates into the lifestyles of its users (parents, teachers and school administrators).
The wins keep coming for ParentPaperwork, and we at Bakewood feel very privileged to be able to witness the journey, and contribute at least a little bit to this success, right from the very beginning.
We're going to be watching them even more closely in 2016, as ParentPaperwork have kindly asked us to join them in their office co-working space from 1st February.
Not many organisations can accurately call themselves market leaders but that is a claim Apsley and Company confidently makes. Back in the mid-1990s, Apsley introduced home fragrance diffusers to the Australian market and – largely through the brands Scented Space®, Abode Aroma® and Scentsia® – they have set the standard others now follow.
In remaining at the forefront of a highly competitive retail market, Apsley recognised the need to constantly reinvent the way they presented their premium fragrances, and it became apparent that evocative copywriting was one of the more powerful means for communicating their ‘scentsory experiences’.
They started the search for a copywriter who had the imagination to bring the many layers of their fragrances into vivid detail.
Apsley and Company initially engaged the services of Bakewood’s Emma Westwood as the company’s first ever copywriter. She fully familiarised herself with Apsley’s international brands and helped define the ‘vocabulary’ behind these brands as a foundation on which to build.
Apsley’s fearless co-founder, Helen Armstrong, has been intent on pushing the strong link between scent and memory/experience. Emma works on compelling ways to detail individual fragrances and their experiential relationships while remaining faithful to the distinct marketing angles of product lines.
Over many years, Emma has created such a strong relationship with Apsley that the company has continued its working partnership with her new enterprise, Bakewood.
Although still a family-owned business operating from Melbourne, Australia, Apsley and Company is a fully-fledged international enterprise selling into markets as diverse as the UK, Middle East and Asia.
Apsley and Company has released over 20 million products internationally, and created in excess of 2,000 SKUs (stock keeping units), and shows no sign of slowing pace.
While Emma has written close to 150 fragrance descriptions (but who’s counting?), she always gets a thrill out of grabbing the thesaurus and coming up with new ones, just like this:
Seville – Blood Orange
Indulge in the citrus-sprayed air of Spain in spring with freshly picked orange stirred into wild strawberries, jasmine and rhubarb.
Sport is about so much more than merely winning or losing...
Sport is passion, love, heartbreak, joy and comfort. It's warmth, fraternity, isolation, despair and anxiety. It's the old woollen footy jumper in your draw, the wood-framed tennis racquet handed down to you from a generation long gone, and the scarf knitted by grandma for your seventh birthday that still accompanies you to games.
Sport is ritual. Sport is life.
Respected sportswriters John Harms and Paul Daffey first started The Footy Almanac book in 2007 and website in 2009. Since then, it has grown into a community of writers and readers who revel in both the emotional and visceral side of sport and sporting life.
As a long-time fan and contributor to The Footy Almanac website, Bakewood’s Steve Baker met John Harms through writing circles, and soon realised a meeting of the minds and hearts between The Footy Almanac and Bakewood.
After successfully pitching the idea of a weekly podcast for the 2014 season, John and his team saw first-hand the quality of Bakewood’s work. So, when it was time to bring in some external talent to help grow the website, Bakewood seemed a natural fit.
Our unique experience across audio, text and video platforms, as well as our insight into what makes the Almanac tick, enabled Bakewood to contribute to the editorial coordination of The Footy Almanac.
Along with the invaluable help of a dedicated team of volunteers, Bakewood helped ensure reader submissions were regularly uploaded onto The Footy Almanac site in a way that engaged audiences, promoted discussion, and attracted new readers and contributors.
We were also responsible for assisting with the Almanac’s social media presence, continuing the focus on community.
When assuming content coordination duties in 2015, Bakewood helped increase traffic to The Footy Almanac by over 15% compared to the same period in previous years. The brand’s social media presence also grew (e.g. 226 additional followers in two months of managing the Twitter account).
We also helped promote further diversity of writing on the Almanac with The Foody Almanac and Almanac Music added as writing categories in February 2015.
Bakewood assisted the Almanac with the strategy and implementation of a highly successful crowdfunding campaign in March 2015 that increased exposure of the website and surpassed its goal of $20,000. Funds raised from crowdfunding are being used to facilitate the re-design of the website and the creation of the eBook, Long Bombs to Snake.
Digital print company Doculink is one of those commercial enterprises you’ve heard about but can’t really believe exist; one that has grown in leaps and bounds for 20 years but never produced a single piece of marketing collateral.
Riding on the reputation of their CEO, Kim Mitchell – who was one of the founding members of Australia’s first instant print company, Pink Panther – Doculink gained an enviable client base through word of mouth. Rather than become arrogant about it, they recognised the time was nigh to give their brand a refresh and extend their influence beyond Kim’s reach.
The first step for Doculink was to create a website, and that’s where Bakewood stepped into the picture.
Apart from information in tender documents, Doculink’s web copy was to be created from scratch. This posed a definite challenge – to determine and communicate the specific culture behind Doculink, as well as why the business had been so successful so far, while also trying to put a new, readable spin on the detailing of their digital print services.
Luckily, Kim was willing to embrace creativity and incorporate a sense of humour into their web content. Consequently, Bakewood came up with copy that is fresh, interesting and Doculink-specific. The web copy has then been repurposed for other marketing materials such as brochures, direct mail and client gifts.
Bakewood was also asked to research and create articles for LinkedIn and blogging purposes to assist in positioning Doculink as experts in their field.
For the first time in the company’s history, Doculink now has the words to express their point of difference. This has not only helped introduce Doculink to new clients, it’s also boosted staff morale equipping them with the kind of marketing collateral they can distribute with pride.
Not only that, but the excitement generated through the new website has spurred Doculink to overhaul the whole office, including spiffy new signage and updated look for their reception area.
There is no question about it – Melbourne Symphony Orchestra (MSO) holds a beloved place in the Melbourne cultural landscape, as well as the broader national scene, as the oldest professional orchestra in Australia (first performing in 1905).
The MSO recognised that orchestral music lovers and potential new audiences are active online, and the right content not only generates engagement but also encourages ticket sales.
Accordingly, their sights turned to social media and their methods to sharable content, most specifically video content that would show the orchestra in many different guises and raise the hair on the back of potential concertgoers’ necks.
Having seen Bakewood’s work with City of Melbourne, Melbourne Symphony Orchestra knew Bakewood could create tight, creative video content that met strict budget parameters.
What also resonated hugely with the MSO was our agility and can-do attitude, which means extraordinary requirements to ensure content goes live within 24 hours have been attended to without a hitch.
The MSO is responsible for approximately 50 performances per year. Given their small marketing and publicity team, Bakewood was expected to act like another member of that team responding to ticket sale trends, unanticipated events/ideas and the demands of audience engagement at the drop of a hat. No fuss.
With their digital presence, the MSO has demonstrated that classical music can be as modern and progressive as any other form of music. Surely, Mozart would be impressed with their unerring dedication to innovation.
The Orchestra boasts over 40,000 likes on Facebook and almost 11,000 followers on Twitter. More importantly, their social media feeds show strong engagement with large numbers of shares and competition participation.
Bakewood has ably assisted the MSO with new and thrilling ways of presenting video content to an already hungry online community of Orchestra fans.
Affectionately known as ‘The Comedy Festival’ to locals, Melbourne International Comedy Festival (MICF) is one of those annual events that literally takes over the city in an upswell of excitement.
Way before Bakewood, Emma Westwood was a bit of a ‘gal about town’ in her job as Arts Editor for Inpress magazine. Part of her extra-curricular responsibilities involved judging Raw Comedy and The Barry Awards for The Comedy Festival, which saw her take on the gargantuan task of watching in excess of 50 performances every Festival.
Not surprisingly, Emma became quite familiar with the Festival so, when she left her media role, she was freed up to offer The Comedy Festival a helping hand with the creation of their marketing materials. They were pleased to have her on-board because they wanted someone who could doctor the UK touring guff to appeal to Australian audiences.
For close to a decade, Emma – and now Bakewood – has tackled the research and come up with promotional copy for Festival special events and Festival-produced international artists (as opposed to the copy for independent artists that make up the bulk of the Festival offering).
This copy includes long-form web content, short-form program guide blurb, and poster and flyer content such as quotable quotes from celebrities and/or media publications, and catchy taglines.
The biggest hurdle in creating colourful copy for The Comedy Festival is making sure the characteristics of each artist are clearly defined, which can be difficult when there is a bunch of stand-up comedians with no themes or specific storylines in their shows. Given Emma’s experience, she has been able to overcome this challenge and astutely communicate the differences between comedians in a highly sellable manner.
Melbourne International Comedy Festival grows hugely with each successive year, and is firmly entrenched on the global circuit as one of the three largest comedy festivals in the world. These results speak for themselves.
Emma is also proud to have pioneered the use of a hyphen when referring to ‘stand-up’ in The Comedy Festival vocabulary (but not when used as a verb).