How Much Are You Worth?


A few Fridays ago I posted some tips on being a Starving Creative. I mentioned asking someone else for more advice on the topic since I still have a hard time telling the difference between a nickel and a quarter. (I'm an immigrant and where I'm from our money makes sense. And has colours.)  Well, I've kept my promise. 

I interviewed Anne Hubben, former creative recruiter and current career & life coach and blogger. She's always given me amazing advice and her blog, The Satisfaction Quotient is teeming with information, insights and goodness.

She did me (and you) a huge favour by answering some questions on salary, job offers, packages, raises and those little bits that make up the big decision of where you're going to work and for how much.

(Please note that everything depends on the city you're in, the type and the size of the agency. These are all averages and ranges.)

Q: What is the average start range for a junior? 

An average starting salary for an art director or copywriter could be anywhere from 35k to 55k.  That range covers right out of school to juniors with 1 to 2 years experience.

Q: What factors make up how much an agency is willing to pay you?

It depends on the size of the agency, where you live and sometimes the type of work. The larger agencies tend to pay more, and the smaller agencies usually pay less. 

In cities like NYC, SF, Boston or Chicago, 40-45k would be a good starting point when you're a recent graduate. For 45k it would be expected that you've had an internship or two.  But I hear that some places do still offer 35k so don't be insulted if that's your offer.

If you've had two years of experience at an agency, then you're probably looking at 50-55k.  Agencies have salary grades that they work with so it's not just an arbitrary number.  I recently found an excellent explanation on how salaries are figured out here.  

In addition to your experience, as a creative your portfolio is as important as you are.  Hiring managers pay attention to what's in your book and how you present it. They want to know what was produced and what wasn't.   Are you talking about your team and giving credit where it's due?  Are you excited about the work?  Also, people don't want to see a "safe" book from someone who has just graduated.   If you're playing it safe in school, then what's going to happen with a real client? 

Q:  What should a junior be looking at in their offer package?

They need to consider the whole package and not just the base salary. What are the benefits?  Is there a 401k and when can you start contributing to it? Does the company offer any sort of a contribution to it?  Are there any additional perks, like do they offer education of any sort? Some agencies will reimburse you for classes that are relevant to your field of expertise.   Also, will you have a mentor of some sort?  That could be your new boss or some agencies will connect you with someone else.

At this point in your career, you might be willing to take a lower salary if you're going to learn a lot.

Q: How do you know if it's a good offer or not?

If you're happy with it. Or you might want to ask someone that you trust like a recruiter or a coach :-) or someone who has been in the industry longer than you.  You could also check out Glass Door.  

Q: What if you have more than one offer and one is a bit better but you'd rather work at the other place?

Only you know what matters to you most. For the majority of creative people that I've met, it's more about the work that they'll be doing than the salary.   

Every creative I've met wants to be working on interesting, engaging and creative projects.  You also have to keep your portfolio in mind. If you get paid a lot, but have nothing good to put in your book when you leave, then it can affect where you go next.  Some hot agencies take advantage of this too.  They know that they're hot and you're dying to work there, so they don't have to pay juniors as much.  But in the end, it's probably worth it because you'll have great work for your portfolio and a name on your resume that gets people's attention.

Q:  As a junior, is it ok to counter offer?

If you're right out of school, I don't think a counter offer would be a good idea.  It just comes across as presumptuous.  

When I was a recruiter, I would work very closely with a candidate throughout the process to make sure I knew what they were looking for monetarily.  I would then get the offer approved, sometimes fighting for that particular number and if I then made the offer and was counter offered, I'd be annoyed.

Q:  If you accept a lower pay now, how can you make sure you are eligible for a raise later? 

You should make sure you know what the review process is at the agency.   i.e. how many times a year is it? Who gives you your review?  How are you evaluated? Will it be clear what your goals are?

But don't assume that if there's a review in 3 months, you'll be eligible for a raise. Ask how soon you would be eligible for a raise.   Also some companies use spot bonuses to keep you happy until you're eligible for a raise. It would be okay to ask if that's an option.  But don't assume anything.  Always make sure everyone's clear on expectations.

Q: On average, how much is a raise?

It's usually 3 to 5%.  But it could be less in a recession, so keep that in mind also, pay attention to how the company is doing.  Typically, you can potentially get more of a "raise" by switching companies. But that's not a reason to switch every year. That would be bad form.

Q: How can you increase your worth to an agency?

Do great work that gets produced by the client, become invaluable to your team, in fact, be the one that other teams ask for when they need help, communicate well, speak up, but know when to keep quiet too, be willing to do grunt work, and take chances when you have the opportunity to.  Watch the superstars and learn from them, be humble, but figure out how to advocate for yourself. (That's where a mentor can be invaluable).

Before you get a job, if you know you don't interview well (it can be tough for shy people) then work with someone to get better.  

Also, always, always be working on improving your portfolio. Ask people what they think and learn to take criticism well. You don't have to take the advice, but be able to hear it graciously.

Q: Off-topic - what does a career coach do and how could you help a junior?

We're probably all a little different, so I'll tell you what I do. I help people at all levels, from recent grad to ECD, navigate their careers. That might be helping you with stuff like we're talking about today, or adjusting to your new boss, or if you're more senior, managing a new team. I also help people strategize on a job search, which often includes improving or fine-tuning your portfolio, resume, cover letters.

As you know, for juniors, it can be really overwhelming figuring out all this stuff, so I work with them on basics like how to network effectively, what do headhunters actually do, when is it time to leave a job, how do you ask for a raise, etc. That's why your site is so fantastic.  People just need a place to go where they can figure this stuff out. 
                                                                  --- 

 Check out Ann's blog and call her up if you need any coaching.

Here's an idea: Keep it simple.

Simplicity is king! Bow down to him and give him sacrifices of lambs and virgin's blood. Worship him! Ruler of all things easy to understand and quick to get! Oh, ye great majesty of awesome and exactitude. (Ok I got a little carried away there. Let me get it together. Ahem.) 


When coming up with ideas, the simpler the better.

The minute you start having to tell a backstory, explain some sort of complex technology or do a set up presentation, you've already lost. You should be able to explain your idea in three sentences or less.

In school I had a teacher that said your idea should be simple enough to write on a napkin (normal size font and kerning of course)

Initially I thought this was ridiculous. I'm a writer dude, let me write. But more words don't make an idea better. They just make it wordier.


You should be aiming for clear, complete and concise ideas.

And BIG of course. If your idea is not big, don't bring it. (The bigger, clearer, completer and conciser your idea is, the better, more creative, more impactful, more awesome your ads/campaign is going to be.) (Yes I made up a bunch of words just now. I'm a writer dude, let me write.)

Earlier this year, I told my students they should be able to pitch their ideas in 140 characters or less. I call this the Tweet Test. (Don't go stealing my idea name. I'll hunt you down like a wild animal.)

If you can't express a complete thought in 140 characters you need to rethink it. If no one gets the idea now, no one will get your ad later.

(I made this up. And probably could've cut it down by 50-90  characters.)

 

Must Read: The Copy Book

This post is a merge between a Lesson from Other Blogs and a book review.  This post is also me being lazy and just copy and pasting. This post will also change your life. (Maybe.)

George at Ad Aged did a great review of this great book I definitely want to check out. It's called The Copy Book and I'm a copywriter, so I'm already salivating.

Maybe we could do a competition for this one like I did for the Breaking in Book, instead this time if you comment, I'll buy myself a copy. No? Not as fun? Fine. Whatever. (Grumble grumble)

As usual, I bolded things because I like blackness.


A book. 

Wednesday, August 31, 2011

 


I don't know where I got the recommendation, but recently I heard about "The Copy Book--How some of the best advertising writers in the world write their advertising." It's a D and AD book published by Taschen and you, like me, can get it through Amazon for about $40. http://www.taschen.com/pages/en/catalogue/design/all/06766/facts.dad_the_copy_book.htm

The book is a compendium of some of the best work by some of the industry's best writers: My old boss, Steve Hayden; my blogging friend, Dave Trott; and people I've always admired: David Abbott, Ed McCabe, Bob Levenson, Tom Thomas and a couple dozen more.

The book, which is unusual for awards books today, is full of ads of substance. With beautifully written copy that presents a compelling argument or tells a story. It's a book that recognizes the power of words. Full of ads that cater not to the lowest common denominator but that recognize that there are thoughtful, intelligent people in the world who can actually read--and will--if you offer them something worthwhile.

There are, sadly, people in our business who stop investing in their careers once they're in their jobs. They form a tight solipsistic circle and learn only from people around them--never allowing an outside or extraneous thought inside their closed system. You should never stop learning. And with this book, for just $40 or so, you can learn from some of the best.
                                                                               ----

Get the The Copy Book on Amazon now
See screenshots of the book's innards at Taschen

Back2Work: Falling in and out of love with your job

Great creative are students of advertising, art and culture. They are always soaking up new information and insights, hunting inspiration and coming up with different ways to merge the two to create something that will move people.

If you don’t feel that way about advertising, feel free to exit this blog, drop out of whatever ad program you’re in, delete your portfolio, and find something you genuinely love and enjoy doing to pursue. You will be miserable in this industry if you are not truly passionate about it. (Like this adgeek.)

Granted you won’t be in love with advertising every day. There will be those days when you’re not in the mood for advertising. Or advertising is being annoying and needy. Or it messes up your plans for the long weekend. Or it’s being difficult to deal with.

It’s not always a bed of roses. (If you haven’t read Don’t Get a Job in Advertising yet, read it and run little pony.) It’s easy to get burnt out, frustrated, drained and derailed.

Every working creative will tell you, sometimes you just fall out of love with advertising. 
The problem is, advertising isn’t going to try to win you back. There will be no love letters or song dedications on the radio to you. You either have to actively work to reignite the fire or go look for a teaching job.

Ways to keep the passion alive:
·      Look at award show entries. Seeing the great ideas and campaigns out there always reminds refuels me. If someone else could create this, then what awesomeness can I create? Check out Cannes Lion Winners  or One Show Awards 

·      Look at what new campaigns are coming out. Sometimes this makes me feel the way looking at award-winning stuff does. Sometimes it makes me feel like “Shoot, I can do waaay better than that.” But either way, it pushes me to start thinking and creating. Which is all that matters. Try Ads of the World  or Creativity Online
 
·      Take a break. Go on vacation. Go out of town for the weekend. Change your pace and switch up your environment so you can properly relax, relate and release. Well since I started this precedent of giving sample sites, hmm, how about Kayak or Last Minute?
·      Talk to your friends who are brokers, lawyers, nurses and unemployed. Advertising doesn’t see so bad after all, does it? Crabs, I don't know what to link this to. Um. Here. Article: 1/3 of companies block social media
·      Enter a competition. There are ad competitions going on all the time. Find one and put your all into it. It’s not necessary about winning (though who doesn't love winning?) but it’s more about getting that unfettered, unfiltered creative process going again. No clients, no budget, no account people, no limitations. Fly little bird, fly free! (I don’t know why I’m fixated on little animals today.) Check out the YoungGuns and Student ADDYs.




Every relationship takes work and your relationship with your career is no different. How successful and happy you are depends on you.

Get to work.

Reality check: Your book will never be finished


Sorry to break it to you. (It's Friday and I'm here to check your reality. You're welcome.) There will always be something you can change, something you can make better. Always.

Every time you ask someone for feedback, they're going to point out a different thing that you could do differently. Fix that and show them again, and they'll find something else. And someone else will tell you if only this one this was different (which is pretty much the way you had it before you listened to that other guy's feedback) then it'd be better.

Sound confusing? Because it is.

Most of my classes for my English degree in undergrad were poetry writing workshops and at the end we had to present a final portfolio with fully revised, near-perfect poems (little did I know how much it'd prepare me for portfolio school.)

I always put this quote on my cover page  
"A poem is never finished, only abandoned." - Paul Valery

Left to my own devices, I'd still be working on some of those poems. Changing a the to an a. Adding commas. Deleting commas. Putting my right foot in. Taking my right foot out. Shaking it all about.

It's a vicious cycle. (That repeated itself all through portfolio school. And now sometimes at work.)

So while you're working on your portfolio now, keep working. Keep pushing. Keep making changes and seeing how they look, how they feel, how people respond to them.

* Always save each version with a new version name. You never know when you might need to go back.

* Write down all feedback you get whether or not you are going to use it. Look and see what trends arise. If two or more people say the same thing then you should probably make that change.

* Try different things. If you're not sure the layout is working, start all over and do a whole new layout and see how that one feels. If you're stuck on the headlines, start over and write all new copy. What if it weren't headline driven? What if it were long copy instead? There are several answers to the same problem so keep exploring different solutions.

* Play creative Jenga. Take away one thing and see if your ad still stands. Then take away another thing. And another until it is at its simplest, purest and more straightforward without toppling over. (This is what you should aim for in most of your work. I see too many ads that are overdesigned and overwritten and overthought. The simpler the better.)

And know that there will come a time when you're just going to have to say "Okay, pencils down" and abandon your portfolio. (Only for a while though, because it may get hungry, or sick,  or lonely. Or think that you don't love it and get depressed and take drugs and become a stripper. Nobody wants their portfolio to turn into a stripper.)

BABY FOOD FOR CREATIVES: Inspiration: Sites That Spark Creativity

BABY FOOD FOR CREATIVES: Inspiration: Sites That Spark Creativity: One of the best things about working in Advertising is that gallivanting across the whole world wide web isn't slacking off, it's part of th...

Use Your Past Life

Everything happens for a reason. My motto is "Everything is a lesson and every lesson is a blessing." (I have a lot of mottos.)

Every part of my past is beneficial to my present and my future.
Including my pre-copywriting jobs working as a hostess, bartender, sales associate and my internships in the account management department.

All of these things make me a better creative and employee.

How does your previous work experience help you as a creative?

Look at your background and see what transferrable skills you have that will make you a more attractive candidate to an agency.

Agencies are looking for people who have had different experiences and different stories to tell. Your colourful background can be used as a selling point to not only help people to remember you, but to show some of what you have to offer.

Here are some ways you can use your past life to propel your present:


Retail: Working as a sales associate in a store, you have experience talking to a wide range of people, finding solutions based on their needs and tastes, turning features into benefits, and getting someone to buy something. You also have experience standing for long periods of time, making things look presentable and orderly and smiling even when you don't mean it.

All of these can translate to your job as a creative. (Well, maybe except the standing one. Unless you like standing.)
You're going to have to take features and turn them into benefits to show people how having 400 more megapixels makes their life better. Being able to translate boring product features into useful and captivating benefits is a must-have skill.

Service: As a waiter, bartender or hostess, you have to smile and be personable all the time, you have to know how to make people feel comfortable and special, you have to sell dishes or drinks to them based on their needs and tastes and you have to be able to relate to a wide range of people.
Many people forget advertising is a service industry. We are constantly catering to our clients and our consumers. So knowing how to be kind, hospitable and believable in your work and in your behaviour are very important.

You're going to have to know how to talk to a wide range of people - you may be a 24 year old from Miami, but your target market for this campaign is 45 year old moms for the Midwest. Knowing how to relate to and address different people is an extremely valuable skill.
Office: Whether as a receptionist, account person, mail room guy or accountant, your background working in a professional/ corporate setting is attractive to employers because it shows that you have some business sense. In an office you have to work with deadlines and time-sensitive materials. You have to be organised, attentive, personable and professional.
As a creative, it helps to have business sense because your clients are looking at sales and budgets and want to raise one and lower the other. Your job is to find creative solutions to business problems.

Plus, you're still working in an office and though the dress code may be different,  a lot of the same rules apply.

So don't sell yourself short. Just because you don't have any agency experience yet, doesn't mean you're not a value to an agency. You just have to know what to highlight and how, when working on your resume and talking about yourself. All of your experiences add up to make you great, so use them to your advantage. Plus, nothing beats real world experience.

(Get an internship though. Seriously, this will give you a leg up.)

Inspiration - Resumes That Win

Creative resumes need to be... (wait for it)... Creative.

As a copywriter, art director or designer, your resume is the perfect canvas for you to showcase your style, personality and skills. Oh, and your experience and awards and whatever other fancy things you'd like to show off.

Unlike other (boring) jobs and industries, having your weird hobbies, the fact that you've lived in 18 different countries or your obsession with jelly beans on your resume actually helps.

Agencies are looking for diverse talent - that means people with different backgrounds and experiences and creative thinkers - people who can take something mundane (like a resume) and turn it into something fun and interesting. So every chance you have to show this, use it.

Of course your resumes need to have the content to back up the creativity.

Resume must haves: 
* All of your contact information and your site.
* Your advertising work experience.
* If you don't have much ad work experience, list your non-ad work and write a quick sentence on how it helps you in the ad game.
* Your skills: Photoshop, Flash, nunchucks.
* Your education
* Any awards or other qualifications or interests
* NO TYPOS (seriously, I will come to your house and stab you with a freshly-sharpened pencil if I see a misspelling or poor grammar on your resume.)

Here are some cool/interesting resumes I found on the Internet.


















See more at 1WD.com, inspirationfeed.com and hongkiat.com

Back2Work: Surviving The Feast & The Famine

Feast or Famine. I never understood that term until I got into advertising. (I don't think I ever heard it until then either.)

You literally go through periods of time when you have a million projects (sometimes with the same deadline) and then you have periods when you spend days on end searching the corners of the whole world wide web.

Here are some tips on how to make the most out of both periods so you don't jump off a bridge. (Being too bored or too busy elicit the same response from my brain: jump)



Feast: On average you'll have about 3 or so projects at a time, with varying deadlines and importance. (If you can't handle 3 project at a time, you should quit and go work at a Dairy Queen.) There will times when you get a hot project on top of everything or a deadline changes and things get a crazy, or if you have a CD that ignores you like I did at one of my first jobs, then you'll have 10 projects at a time. (No I'm not bitter. Much. It made me stronger.)

Anyway, where was I? Oh, what to do when in Feast mode:
1. Make a list of all your projects and deadlines. Prioritise them based on importance, date and size. Now get to work.

2. Come in early. Stay late. Eat lunch at your desk. Do whatever it takes to get your work done. Your motto should be "by any means necessary."

3. If you absolutely can't handle it, ask for more time. Tell your boss or a project manager that you'll be able to do better work if you had a bit more time and see if they can move a deadline a day or two.

4. Don't whine, fuss or stress yourself out. For one, you look like a brat. Everybody goes through times when they're too busy to breathe. It's the nature of the game. Two, when you stress out, you disrupt your productivity. You end up spending more time complaining or feeling overwhelmed than actually doing the work or you make foolish mistakes because you're not focused. Get it together.

Plus, remember, a famine is coming. This craziness is only for a time. My personal motto is "What doesn't kill me will make me stronger, and THIS WILL NOT KILL ME." So suck it up and keep working.

Famine: And then there are those periods where you are on the opposite side of the pendulum and things are so slow you feel like you're going backward. Maybe you're waiting for client feedback, have just one small project, or are just in a place in the schedule where there's not much going on. Here's how to make the best of times of Famine:

1. Take some time to breathe. Enjoy having the time to chat with coworkers, peruse the Internet and take a proper lunch break.  Check out some of the latest ads online. Catch up on your emails. Read some articles.

2. Ask for more work. Ask if anybody needs help. This makes you look proactive, which is always good.

3. Stay productive. Find other ways you can keep busy. Work on your blog. Update your book. Write a newsletter for your team. Start thinking of new ideas for future projects - Christmas is coming - what ideas can you do there?

4. Don't be an asshole. Don't interrupt folks who are working. Don't come late and/or leave early. Don't watch TV shows at your desk. Don't put your feet up and play Words With Friends or Brickbreaker all day. This is still a place of business and though you might not be working right now, you're still employed there.

Reality Check: I don't remember you.

However, I will smile and laugh with you and pretend like I do until I remember or someone else comes by and helps me out.

Nothing against you in particular, it just happens sometimes.

Yes, we met before. We probably chatted and we may have exchanged business cards and a joke or two, however, I don't remember your name, or anything about you to be honest.

And I'm just me. I don't meet that many people. But imagine a creative director or a recruiter. Imagine how many emails they must get in a day. How many business cards they hand out. How many short conversations they have between here and there. It adds up and it's hard to keep track of every face, name and story.

This is why you have to stand out (I wrote about this here) and you cannot be afraid to remind people who you are.

In emails: Refresh their memory on when and where you met, maybe even give a reference to what you talked about to recreate the context and then state your business.

You don't have to attach photos or anything, just keep it simple: "Hey, I'm Julie, we met at the Nerdfest last Tuesday, I was wearing hot pink glasses."

In person: Don't be afraid to reintroduce yourself. Having a convo with someone who doesn't remember you is a waste of your time. Going through who you are a second time will help reenforce the information and hopefully they'll remember this time.

Don't act annoyed that they don't remember or try to hard to job their memory. Just start anew and try to do a better job of standing out. 

On LinkedIn: Always include a note with your invitation to connect. Say who you are and where you know them from.

I HATE getting messages that someone indicated that we're colleagues or friends when I have no idea who they are. (Lies! All lies!) I used to decline automatically (stranger danger) but I've started writing back and asking who they are, hoping it'd prompt people to realise we're not on Twitter, this is the grown up league.

Don't take the forgetfulness personally. And maybe it'll work to your advantage - consider it a second chance to leave a great impression. 

What Not To Put In Your Book

Anything you didn't work on.

Rule of thumb: If you didn't actually create anything original or play an integral role in the campaign then don't put it in your book.

Your portfolio is a representation of you and your skills. Putting something that you didn't come up with, write or design in your book is not only lying but it's also stealing.

Christopher Columbus got in a boat, landed (accidentally) on some islands where there were already people living there, put down and flag and said he discovered said place, and went on to name it. How do you "discover" something that people already know about?

And how are you going to do some resizes or edit some body copy and decide that this is your campaign?

Don't Columbus people's work. It's stealing and it's ugly.

As an intern/freelancer/junior you will probably be working on a lot of other people's stuff. That doesn't mean you can put the whole campaign in your book. It's not yours.

If you created a small piece of an overall campaign, only show that small piece. But don't put in the full thing as if you were at all the brainstorm sessions, working out the intricacies, pitching to the client or staying up late getting the assets ready for hand off.

Just because your mouse touched it or you were in a meeting or two, doesn't make it yours. There were already people on that land - um, I mean campaign - you cannot claim it.

Recruiters and creative directors are going to assume the work in your book is yours. Some will ask hows or whys and it's gonna be hard to answer those questions if you didn't actually play an integral role on that stuff. If you get hired, they'll expect you to do similar work and if you can't... *cue menacing music*

Feel free to list it on your resume as clients you worked on, but if you can't explicitly say "I came up with this" or "I wrote that" then don't put it in. 

Plus, don't be an asshole. Or Columbus.

Inspiration: World Art & Ads

When hunting inspiration, skip outside of your hometown, past your city lines and across the ocean.

Looking at work from other countries (or even better - visiting other countries) is a surefire way to stir up some inspiration and get your creative juices flowing.

Ads of the World is a great resource for that. They post print and TV spots from all around the world (hence the name). It's also a great place to check if someone's already done your idea somewhere else.

How can you merge some of what you see abroad with things here and create something new, interesting and relevant? How can you make your work stand out and be a one-of-a-kind creation?

I came across these beautiful ads for the Mozambique Music Awards on Kiss My Black Ads (one of my fav blogs) and thought I'd share.






Do you love it? Hate it?
How can you make it better?
What would you do differently?
How can you use a similar technique in your work?

Go go Gadget Inspiration!

Picking a partner

eHarmony needs to create site for creatives that matches you with the right partner.

You think dating is tough... *face palm* Finding a great copywriter or art director to work with is even harder.

Your partner is your work wife/husband. You sit together, work, eat, whine, win, lose and cry together. You bring all your awesome copywriting skills to the table and they bring all these amazing art direction skills and together you can do anything.

You need someone to bounce ideas off of. To help you push things further. To lay stuff out or write headlines. To go to meetings when you're busy/sick and to stand up with you when you're presenting and nervous.


Having a great partner makes everything easier/better. EVERYTHING.

I'm always concerned about schools that don't have people work with partners. When you get to an agency you're most likely going to have to. Maybe not the same person all the time if you're on a rotating team (I worked with 5 to 8 different ADs at one place, which made me feel promiscuous at times but I mostly loved it because I have commitment issues.) but you're almost always going to be working with at least one other person. So start looking for the right now now.

Plus, if you find the right person in school, you can interview for jobs with them, which makes the process easier for everyone.

Tips on Partner Picking 

Shop around. If you can, partner up with different people and see who you click well with. You need to be on the same wavelength personally and professionally. Especially professionally. I've worked with people who have great personalities but were mediocre art directors. There are also people who are great copywriters but are assholes. Find the right balance for you.

Know your style. What is your work ethic like? Do you prefer working at night or in the morning? Do you prefer concepting on your own first or brainstorming together off the bat? Knowing how you like to work and what your needs and expectations are will help you find someone that matches.

Find a complement. Look for someone who has a similar work style as you but also look for someone who makes up for what you lack. I'm not into movies and TV shows, so it helps when I have a partner who is because they balance us out when it comes to pop culture (and give me the recaps so I don't look stupid in conversations).

Pick someone better than you. Choose someone whose work you admire and respect. It will make you work harder and be better.

Set goals. Talk about your goals - whether it's just for this project or for the long term. You don't want to approach something thinking you want to enter this for awards while your partner is thinking they want to get this done so they can go nap. Have a few conversations to make sure you're on the same page before going into anything.

Hang out. Spend some non-working time with your partner. You're going to be with them for majority of your day and you're going to share a lot of frustration, disappointment and late nights together so make sure this is someone you somewhat enjoy being around.

Be good. If you're a good writer/art director, people will want to work with you. If you have a great attitude and even better work ethic, folks will be knocking on your door.

Hard Work doesn't always pay off

Input does not always equal output. 


I know, I know. I always run off at the mouth about how you have to work hard and you have to put in the hours and time and blah blah blah and now here I come this good Friday morning to tell you that sometimes you can work your ass off and still end up empty-handed. 


Well. That's life, kids. It's unfair. Punch the air and keep it moving. 

Sometimes, you spend 18 out of 24 hours for 6 out of 7 days and not come up with a good idea.

Other times, you take a nap, watch The Laffalympics, eat some cheese sticks, and boom, you have an amazing idea.

It makes no sense really.

It's one of the most frustrating parts of the creative process, and something you are going to have to learn to accept.

That's just how it is. No matter how hard you try and how much you push, that great line or awesome layout or one simple connection to bring your entire campaign together - just will not come. (Jerk) 


When you start feeling like a hamster in a wheel, take a moment to breathe and remind yourself it's okay - it may come later, or it may not come at all. But no matter what, it's okay. 

Consider being stuck an exercise -- look at it more like running on a treadmill than hitting a wall -- and over time, you'll learn the best ways to deal with it and how to work your way out of it. 

Also, you'll learn not to take yourself too seriously. The more you stress about not getting it, the harder it'll be to get it. 

Step away from it. Take a break and go do something completely unrelated to rest your brain and ease your stress. Go back to it in a few hours or days with new eyes and new energy and see if you can make something happen now.

Do something different. Start on a new idea, new project, new way to stimulate your brain. Don't just fatigue yourself on this one thing that you want to make right. There are often several right answers. So start on something else, get your confidence back up and who knows, you may come up with something
better than what you were stuck on anyway.

Work smarter, not harder. Sometimes it's not about how many hours you put in but how much you put into your hours. If you're working on this problem until 2 a.m. but you're hungry, tired or cranky, you're essentially wasting time. Eat, get some rest, refuel your brain and work when you're ready and roaring to go. Find out when you are most effective, and do the heavy-hitting then.

Crowdsource. Ask for a second, third, eighteenth opinion. Take their feedback + suggestions and see what you can add/change/omit to work your way out of this hole.

Know when to keep at it and when to let it go. Runners have that wall. So do creatives.
Sometimes it just takes time. And sometimes it just doesn't come. Just rest, shake yourself off and start running in a new direction. 



Oh, the joys of being a creative!


Article: What I Wish Someone Had Told Me

Almost everything I write here fits under "What I wish someone had told me." So I was extra excited to come across this article by my old boss's boss (I mentioned him earlier this week) whom I respect and adore. As usual, I bolded my fav parts.
 
What I Wish Someone Had Told Me
From The Ad Buzz

Mat Zucker is Chief Creative Officer of OgilvyOne Worldwide, New York and advertising correspondent for The Faster Times. Winner of a clutch of industry awards from Clio and Caples to Effie and One Show, he’s among the earliest ad creatives who started working in digital, creating the earliest brand web experiences, e-commerce plays and podcasting. You can follow him on Twitter: @matzucker.


WHAT I WISH SOMEONE HAD TOLD ME

by Mat Zucker
I might sound like an alta cocker (Yiddish for old man), but since January when I had two interns in to shadow me, I’ve been musing over what I’ve learned since I started 18 years ago as a creative assistant. Of course, I believe you should make your own choices, find your own path and that all experience is cumulative — there are really no mistakes to make and you’re silly if you try to over plan. But here are six things I wish I had known, which would have at least saved me some effort and anguish:

1. YOU ARE WHAT YOU PRODUCE

It’s acceptable in your first 2-3 years if your personal portfolio or ‘book’ has mostly spec, or un-produced ideas. In fact, my book the first three years in the business had mostly original spec from my first job search out of college plus radio and coupon ads produced in my first year as a junior copywriter (Today’s equivalent assignments would probably be online ads and email). One coupon ad was for Rayovac Renewable Batteries. The headline in greedy 1990s-speak: “Why pay for new batteries when you can just charge them?” Slowly, I started to replace the fun, fake work with produced good work. A funny campaign for Stella D’oro Baked Goods. A tasty radio/web campaign for Nabisco Cream of Wheat. The rule of thumb I’ve followed since is: Produce at least one solid piece or campaign each year and one standout thing with award-winning potential every other. You need to demonstrate you’re a working creative whose clients will buy his ideas and can get work in market. It’s harder than you think to produce work. Sometimes the best creatives are regularly tapped as the ‘outsider team’ for zany ideas or consistently assigned to new business pitches. The agency benefits in showing off bold, but the creatives have to worry if any of their work sees light of day. I try to keep an eye on our talent and ask what they’ve produced over the last year. The onus, however, is on them to raise a flag with me or their supervisor if they haven’t. We already know what you now do: Your book is your career.

2. THE COOL BRANDS AREN'T THE ONLY COOL BRANDS.
You might think you only want to work on Nike, Doritos, Mercedes and Axe, and that’s a natural instinct since they’re known and lovable. But a lot of seemingly cool brands (I won’t name names) are actually quite painful to work on; the bright attraction of their brand blinds you to the disappointing reality. Many have famously difficult client organizations, and you can go months — or forever —without producing any work (see above: “You Are What You Produce”). Great work has been executed for them and you should wonder if you want to be the one who creates the second or third best work for it? My resume is more of a smart brand vs. cool brand history. In my first job in advertising, I did ads for Nabisco Cream of Wheat and EggBeaters, while my buddies across the hall got Nabisco Oreo and Chips Ahoy!. I worked in New York on AT&T while our San Francisco office got to do Levi’s. What I have learned though is that trying to make “regular” brands more compelling is a respectable creative challenge and one to which I wish more top creatives were attracted. Reality check: It’s tough to win Cannes Lions with serious business-to-business client, but there’s also an inside secret that a lot of heavy-lifting clients pay agencies better for this tougher work and thus, the salaries for folks who work on their brands can be higher. Mix it up between fun and serious brands to show you’re not a light weight. I wish I had.

3. LEARN TYPOGRAPHY
Sure, it’s an idea business, but it’s also a craft business. If you’re a copywriter, your craft is how you persuade — from headline to punctuation. If you’re art director, it’s both the dramatic style you choose and the seeming minutae of layout. If you’re an account person, it could be endless decks that sell the strategy. I believe every one in every role would benefit from learning about typography. Our choice in and use of type, after all, shapes the first impression on nearly anything — a slide, a site, an ad, an app— we show. Why turn people off in the first few seconds if you can turn them on? I admittedly ignored type for too long. As a copywriter at big agencies, my design sensibility had never been great. I realized I’d never be a great creative director if I didn’t improve my taste and know how to operate beyond perfect and lovely Helvetica. So I quit my job at the big agency for a creative director job at a design-driven web shop. They would learn from me about advertising and ideas, and I would glean from them design and craft. The gamble worked. Instantly, I was surrounded by top designers and an appreciation of things like type, grid, layout — and yes, I got better fast. You should too.

4. AWARDS MATTER. MANY MORE THAN MOST.
When I started out in 1992 as a creative assistant then junior copywriter, I didn’t understand the value of awards. I certainly didn’t chase them down, or try to do work to win them. I was happy to simply satisfy my creative director and the client and hopefully get my work in market so my mom would see it. I would win a few along the way, but nothing earth shattering. Other creative teams, however, totally believed in them, and they would go on to win many of the big ones and benefit from both the caliber of the work and the rewards. I think back to then, and I’m jealous I didn’t take them more seriously and be a better student of them. Awards such as the One Show and Cannes Lions help the industry benchmark what great looks like and they have become increasingly important in the business. Many respected clients go to the Cannes Festvial and there are studies and proof that creativity and effectiveness are interlinked. So unless you’re a complete idiot or conscious-less douche, you don’t have to worry about compromising the client, and you’ll probably make better work. Plus, be selfish: you’re adding some insurance to your career; as you get older, awards are part of a measure of the quality of your experience, not just the length of tenure.

5. KNOW YOUR CONTENT BETTER THAN ANYONE ELSE.
On some level, I think I always knew this as a copywriter, but it’s true for anyone who wants to succeed: do great work and be respected as an expert. You want to not merely read the brief handed to you, but devour the original source material about your client’s products, attend the focus groups, comb the product background, scour the client’s annual report, find articles in BusinessWeek, and even read analyst reports. Traditional copywriters used to do this; they would walk the factory floor, talk to customers, get involved in everything. Nowadays, I see too many creatives who expect others to pull the material and explain everything to them. I’m not saying don’t tap all the people who can help you. I love good planners, for example, because they help me translate the knowledge at hand into insights I can use. I love great account people because they can help me see the forest for the trees. But don’t be lazy and stay at surface level and rely on everyone else. Clients notice and remember who truly knows their business down to the widgets they produce and the number of factories they have in which countries. Your judgment as a creative and future creative director gets stronger and we trust you more if you do. And when you get in really deep, I’ve found it’s easier to swing very, very big.

6. RELATIONSHIPS MATTER
I had no idea that some of the first people I would work with I would work again with three jobs from then. One brilliant strategy person became my client ten years later and a very senior account person helped me find work when I was unemployed (she said it was because I always knew my material cold — see #5 above). I’ve worked with many of the same art directors and copywriters and hired several again and again, and of course, several became life-long friends. I’ve also found the schmucks and losers usually remain so. That’s good to know so you can stay away from them.