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12 CommentsHow to get a job in advertising: Part 3
A job in advertising. For people trying to land their first (or second), getting there can be much less than half the fun. Over the next few weeks, we’ll be asking ad folks who hire their thoughts on getting in.
Today, Grip Partner, Creative Thom Antonio, weighs in.
1) What do you look for in a student design portfolio?
I see so many student portfolios that look just like student portfolios. That is to say, that most don’t add anything to their school projects. What I look for is the student who went beyond the ask. The one who did more, the one who started with an idea and built it out from the idea space rather than from just a nice design “look.” I’m always looking for multi-disciplined multi-taskers and unfortunately most schools seem to be still geared to producing specialists.
2) What kind of spec work do you like to see – and does it have to be advertising?
It’s better if it’s not advertising. I like to see work that challenges. Stuff that creates an experience and a dialogue. Making things pretty is easy – but making things that change behaviours or start discussions is harder.
3) What’s a good way for up-and-comers to build their networks?
Do more work. Build your own story first. Understand who you are networking with before you start talking. Don’t just hit the “send” button.
4) What’s one of the common mistakes you seen young designers make while looking for work?
A lot of designers, both young and those with more experience, usually try to show too much stuff. They think volume will be impressive, but usually that just creates confusion. It’s important to be clear about your role in the work you are showing. I have interviewed different people who have each shown me the same project and claimed it to be theirs; the interviewer usually already knows the real story.
5) Any tips on acing an interview?
Be confident. Don’t make demands. Listen and then talk. Be honest and genuine. Show great ideas and fantastic work. Tell me what you’re thinking. Your pretty resume is not as important as the story in your portfolio.
6) When it comes to hiring and developing new people, what’s one thing our industry tends to do well, and one thing it tends to do poorly?
There is a wealth of talent out there. As an industry, we have tended to hire based on a specific skill set and then pigeonhole. It’s slowly changing by letting great talent find ways to do even greater things. As the traditional divisions of advertising/interactive/design are broken down there will be greater opportunities for ideas to play bigger roles. We also tend to underplay the level of influence we can wield. Being brave is important for talent, agencies, and clients as well.
7) Any other thoughts on getting a design job in advertising?
Don’t get a job in advertising. This business is about so much more. The currency we deal in every day is ideas. So increase your value by creating, sharing and building your ideas. Be a student of life and get a job doing what you love to do.
<UPDATE: Click through read Parts 1, 2, and 4 of this series.
How to be social: Part 4 – Call to action
Welcome to Part 4 in our series on “How to be Social.” Part 1 covered the basic rules of social interaction for brands. Part 1.5 looked at a recent incident where a brand didn’t follow the rules, and the consequences of that decision. Part 2 was an intro to Twitter. Part 3 was a primer on Facebook. The final part of this series is on word-of-mouth marketing.
“Word-of-mouth is the best medium of all” – Bill Bernbach, founder, DDB
First there was print, in which potential customers could read about your product. Then there was radio, where you could tell customers about your brand. Television allowed brands to show their products to customers. Then the Internet allowed customers to interact with brands. All of these channels have been used to communicate a brand’s strengths to customers directly. Word-of-mouth has always been a by-product of two things: advertising and the customer’s experience with the brand. Word-of-mouth has always been the most successful, though most intangible, advertising channel.
In the article “Studies show effectiveness of word-of-mouth” James Pethokoukis reports that “76% of United Kingdom consumers in 2004 said a friend’s recommendation made them feel most comfortable about a product and service versus 15% who said advertising.”
In “TV Ad Effectiveness Much Less by 2010” Marketing Vox online reports that, according to McKinsey & Company research, “real ad spending on prime-time broadcast TV has increased over the last decade by about 40 percent even as viewers have dropped almost 50 percent. But a drop in teen viewing is a major reason the future looks bleak. Teens spend less than half as much time watching TV as typical adults do. Teens also spend 600 percent more time online.”
Bill Bernbach was onto something with this whole word-of-mouth thing. But what does that have to do with social media? Social media, as a platform, is the word-of-mouth media. Social media is a channel where you can not only tell, show, and interact, but you can facilitate word-of-mouth conversations on a mass scale. But social media is only effective when used properly. Our own Dave Hamilton writes in reference to a drop in consumer’s trust of friend’s opinions on brands:
“There are several we can speculate about: economic doom and gloom, a proliferation of empty “fan grab” programs on Facebook, the devolution (in many people’s minds) of FB, Twitter, etc. into mass media, or those suspiciously padded friend lists that number into the thousands.”
Here’s my take on it: As a brand you can not maintain the status quo entering the social media realm. Many brands throw promotions and advertisements into the social space and expect huge returns. Its not going to happen. Simple volleys into the social channel like these will produce similar ROI to standard web ads and interactive initiatives. The key work in social media is social. You can no longer talk at your customers, you have to talk with them, and listen, REALLY listen.
Social Media as customer feedback and service
Good brands do research. They are either trying to improve existing products or services, or trying to create new ones. If a brand has a good social media strategy and structure, then they can leverage feedback from their customer base, while strengthening the relationship between them and their brand stewards. By creating a real communication line between the customers in your social media space to the decision making mechanisms of the brand, they show their stewards a genuine desire to engage with them.
Zappos has long been heralded as an online retailer with the best customer service, period. Just a trip to Zappos.com shows they have earned a Stella Service Elite Award, Business Week’s 2009 Customer Service Champ Award, and many others. Social media is their primary tool for customer service, and has generated their entire customer service policy. Here are some other social policies as reported by Mashable.
Every point counts
This segues nicely to my next point, which is every point of customer interaction is/should be part of your social media strategy. Social media, being the word-of-mouth channel, does not negate the other ways customers and stewards share their experiences with other customers. If a customer gets on the phone with a customer service representative and has a great experience, they are going to tell someone. If they go to a store and have a brilliant experience with a sales representative, they are going to tell somebody. If they have a Twitter account, or a Facebook account, they will tell many people, possibly thousands. This unprompted brand evangelism from regular customers and stewards will have a much higher efficacy rate than social engagement generated by promotion.
The whole brand can be social
In the current socio-economic environment, it is easy for the average consumer to see corporations as faceless, ruthless, even moral-less. What should be an easy sell is reminding customers that every brand and company is made up of everyday people. But parading around one or two employees in front of a camera for a commercial is not enough. Give many employees and departments the responsibility to engage in the social space.
Here at Grip, we encourage every employee to write for Big Orange Slide, regardless of how long they have been here, or what their opinion is. The only rule is that it needs to in some way tie back to the industry. We did not set out to have some utopian work environment, nor were we trying to convince potential clients and colleagues that we are truly a collective of smart individuals working together. It is merely a by-product. But people are noticing that we do practice what we preach, and that Grip truly is a collaborative environment. We couldn’t fake this level of genuineness or passionate debate… right Jim ;) ?
Imagine if at Best Buy, all people on the floor, regardless of whether they were sales people, customer service, or stock people, were encouraged to share anecdotes of their experiences with customers (positive obviously) on Facebook or Twitter? Customers of Best Buy would be able to empathize with the staff and realize that they are people too. In turn, the staff at Best Buy would feel more connected with their jobs, and the people they service, as the customers contribute and share their experiences in return.
Every brand has a slew of opportunities like this. It is up to the brand and its advertising agencies to identify these opportunities and capitalize on them.
The reality of transparency
“Digital will fuck you up” – Mark Comerford. In the age of information, everything about a brand is public knowledge. How you treat your customers, where you source you raw materials, and how you treat your employees, are all available at the click of a button. Zappos again is a company that embraces this fact, as should all other brands. Does that mean a brand needs to change all of its practices immediately? Well, that might be unrealistic. But know that every practice that your company and brand has is well documented, both good and bad. Have a plan on how transparency is going to affect your brand, and the relationships with your customers and stewards. Figure out which practices are problematic, and have a plan on how to resolve them. If your customers bring up a practice that they find undesirable, then open the issue up to discussion and figure out an action plan. Do not shut down the conversation.
Mobilization and ROI
So here are the answers to two things that people have asked me to talk about. There is no secret. How you use the medium is how you mobilize. In other words, if you follow the advice in this series, specifically about open, and genuine dialogue with your customers, they will mobilize themselves. Everyone wants to be a part of something, everyone organizes themselves by what they believe, who they know, and what they buy. “I’m a Bud drinker,” “I like Fords,” “Hey, I like Fords too!” If you create a strategy in which your customers love your product, love the way they are treated, and love they way they can interact with you, they will spread the word without any prompts. So how do you measure the ROI of that?
Conclusion
This series was a primer. An intro to social media, social networking and brands. I hope it helps people to start moving in the right direction to bring their brand to the social media landscape.
I would be disingenuous if I signed the series off. Social media, social networking, and other convergence of technologies, and time tested business practices are happening so rapidly, that new developments, and techniques will become evident with time. Even Facebook has changed since Part 3 was published not 3 weeks ago. You no longer become a fan of a brand, you like a brand. This may seem like a subtle change, but is already having effects on how we approach our social media strategy.
This is a change in the way we as human beings communicate with each other, and therefore is bigger and more volatile than any marketing or advertising trend. It would be like trying to predict how society was going to change when the radio was invented, let alone how advertising was going to change. So there will likely be more articles to come from me on social media, and social networking.
Is “awesome” still awesome?
The English language is a work in progress. Words exist today that didn’t exist a hundred years ago: “Google,” “celebutante” and, the more obvious, “bahookie.” Others have fallen away: “Anon,” “Fie” and, “Yoicks” come readily to mind.
At the same time, some words are misused often enough over time that they change meaning in everyday usage. A perfect example of this is “awesome.”
Today, the word “awesome” is taken to mean something that is really good or sensational. What it really describes, if we are faithful to Oxford, is that which inspires awe – a feeling of reverential respect, mixed with fear.
Awesome storms. Awesome dragons. Awesome ex-spouses . . . You get the idea.
Language evolves. This I am not disputing. But I do wonder whether “awesome” hasn’t lost some of its awesomeness? And I wonder if we care?
How do inter-brand cat fights make you feel about the brands involved?
Here’s an example:
Amid criticism that Apple’s products are becoming Adobe Flash-unfriendly, Steve Jobs’ recently penned a much-discussed open letter. The punchline: “Perhaps Adobe should focus more on creating great HTML5 tools for the future, and less on criticizing Apple for leaving the past behind.”
This was Adobe’s response, printed full-page in last week’s New York Times:
Navel gazing? Or do inter-brand communications like this provide consumer value?
How to get a job in advertising: Part 2
A job in advertising. For people trying to land their first (or second), getting there can be much less than half the fun. Over the next few weeks, we’ll be asking ad folks who hire their thoughts on getting in.
Today, Grip’s Director of Production, Jacoub Bondre, weighs in.
1) How can one person rise to the top in a sea of similarly qualified applicants?
Be fun. Be the type of person people want to work with. With all other things being equal, being nice, personable and interesting will put you over the top. Interesting people do interesting work.
2) What’s the biggest mistake you’ve seen a person make while trying to get a job in advertising?
Every time someone tells me what they don’t want to do, I cringe. Tell me what you want to do, what you wish to accomplish. We all have to do things we don’t want to do from time to time. If you are vocal about it in the interview, then my assumption is you’ll be crabby about it on the job.
3) What do you look for in a resume?
What’s a resume?
4) What do you look for in a student portfolio?
Two things: attention to detail, and good thought. Paying attention to the little things is something anyone can do regardless of experience. It shows me your level of dedication to your work.
Being clever isn’t enough. Showing good deep thinking (even if it is wrong) impresses me.
5) How can an emerging creative make the most of an internship?
Participate, meddle, speak up, over deliver.
When you get to the agency environment, it’s hard for those around you to know your capacity, skill level, and points of interest. If you have capacity, ask people if you can help. If that fails, go around and investigate what other people are doing. Also, if there is a brand, or channel, that interests you more than others, ask if you can sit in.
Lastly, over deliver. If someone asks for X, give them X, then Y and Z. I once asked an intern to design and build a simple webpage to house a demo reel for a client pitch. The next day I had five designed and built webpages that we could choose from. Fantastic!
6) What is an agency’s responsibility to its interns?
An intern is not just cheap labour. As an agency, we need to provide an environment for growth. We need to give interns the opportunity to experience what the industry is like, and give them the opportunity to wow us with their talent. If the intern is exceptional, it is the agency’s responsibility to help them secure employment, through references and connections.
7) Once you have a job, what’s the best way to make sure you keep moving forward in your career?
Do everything that is expected of you. Then do way more. Think about where you want your career to go, and start doing things that someone in that position would do. But never drop the ball on your base responsibilities.
8) Any other thoughts on getting a job in advertising?
Advertising is for the hungry and the passionate. You need to be able to disconnect from reality, and think big under small constraints. The best of us give a shit about everything. From the placement of a legal line on a print ad, to banners, to TV spots. Whatever it is, you need to want to make it perfect.
UPDATE: Click through read Parts 1, 3, and 4 of this series.
Boxed wine is the new milk carton
New advertising opportunity.
To commemorate the recent passing of Australian winemaker Thomas Angove – the man credited with inventing bag-in-a-box wine – some friends and I bought a box of cheap red. (Boxed wine = great for sangria!)
It’s a good idea, right? Not only is boxed wine environmentally friendly (packaged in cardboard) and cheap ($19 for 2 litres), but the French Cross Merlot we bought also has a service panel on its side.
It seems the Ontario winery is renting out the side of its box to Glade scented candles. (See photo.)
Now, I love the idea that wine boxes are the new milk cartons – but at first blush this one seems like a strange marriage of brands.
“Create your atmosphere with Glade” and a bag of wine in a box!?
Besides, I’m thinking that by the time you’re half way through the box (in the bag?), you’re not caring much how things smell.
How to get a job in advertising: Part 1
A job in advertising. For people trying to land their first (or second), getting there can be much less than half the fun. Over the next few weeks, we’ll be asking ad folks who hire their thoughts on getting in.
Today’s guest is Evan Long. He’s Creative Director of Devlin in Toronto.
1) How can one person rise to the top in a sea of similarly qualified applicants?
I know some CDs that will vehemently disagree with me here – they claim they’ll hire an applicant based on the quality of the work in their portfolio, period. That plus whoever is cheapest. However, any CD who isn’t lazy will look for hidden potential that might require some nurturing in an applicant.
The best way to get noticed and to really show off that potential is to make your portfolio a creative execution in and of itself, complete with a theme, a concept, or an idea. Your submission should represent how you’ll “sell yourself” – advertising YOU – it is in its entirety perhaps more important than any single example of your ability.
Really do it up – make your portfolio / pitch clever, unique, and memorable. You’ll beat any other similarly qualified applicant hands down if you do it right. Hell, you’ll beat people MORE qualified.
2) What’s the biggest mistake you’ve seen a person make while trying to get a job in advertising?
I have seen some woefully under-qualified people shop their books around, and it makes for embarrassing situations. If the work is amateurish, boring, tame, or outdated, it makes an interview uncomfortable.
It’s better to put together a collection of awesome spec work that never saw the light of day or was killed by a client if it’s brave and inventive than to show off dull, unchallenging material that DID see the light of day.
Also – and heaven knows I’ve been guilty of this – confidence and personality is a must (especially when a CD is looking to hire a creative person that can potentially talk in front of a group of people), but don’t overdo it or come off as too awesome for your own good. I know everyone wants to be a rock star, but try not to overdo it, oversell it, or be a total dick. It happens a LOT. I want to hire people better or more talented than me, but I don’t want to hire a douche.
3) What do you look for in a resume?
If I’m hiring a writer, I want to see signs of literacy. This sounds bizarre, but so many traditional (read: non-interactive) copywriters focus so much on conceptualization that they forget how to spel or use punctuation
Likewise, non-traditional (read: interactive) copywriters can churn out an encyclopedia’s worth of material on virtually any subject under the sun, but can’t inject any style or personality into it, or can’t collaborate or come up with truly original ideas in a brainstorming session.
If I’m hiring a designer or photographer, I like to see a strong, identifiable (yet versatile) signature style that I can easily remember. This is NOT what I look for in an art director. An art director shouldn’t be locked into a particular look or style… they should be able to work with any style, any theme, or any executional requirement.
Therefore, I tend to gravitate towards portfolios full of TOO MANY examples rather than not enough, and I love it if the examples are really ‘across the board’ in look and feel.
4) What do you look for in a student portfolio?
Obviously, a strong and attention-getting collection of samples is key (duh). However the ability to execute really good work is only, like, HALF of what someone in advertising has to deal with. The other half consists of constant pressure, time management, the ability to take criticism, teamwork, presentation skills, and just general workplace personality.
If a student put the best book ever in front of me but was immature, unable to communicate, take criticism, or connect on a fundamentally human level or just came off as rude, I would never give that person a job.
Like I said, student portfolios are often a better test of a CD then they are of the applicant themselves. Any CD worth their salt will look for potential in a book or in the applicants themselves and then weigh what it’ll take to nurture that potential. Once again, that is often best conveyed through personality, and not through the work itself (oddly enough).
5) Once you have a job, what’s the best way to make sure you keep moving forward in your career?
Conan O’Brien said it best – work hard and be kind. The unconscious temptation within the advertising world to succumb to its basest levels – office politics, megalomania, general ass-kissery and jealousy – will turn you into just another ad guy. I don’t care if you’re a writer, an art director, a strategist, an HR person or the mailroom guy – people can get so caught up in the competitiveness of the ad world that they can’t recognize themselves in the mirror.
A bad reputation WILL follow you around from company to company. Everybody knows everybody. Eventually, you’ll have to start looking for work in countries with names you can’t pronounce because nobody will hire you here.
You’re going to have to deal with incompetent managers, bad account people, gossip, unfair compromises, lawyers, the blame game, and a lot of late nights. Like it or not, it’ll happen. If you can just keep your eye on the prize and do the best work you can and be as nice to everyone around you, you’ll do just fine. Don’t feel like you have to grab the first opportunity for more money or claw your way up the corporate ladder… if you’re patient and legitimately good, elevator doors will eventually open in front of you. You just have to know when to walk through, and when to wait for the next one. It takes learning and failure, but if you stick with it and put up with all the shit, it’ll pan out. I promise. Your time will come; even if it means watching less-qualified people ascend first.
I hear that sleeping your way to the top is also very effective. Or at least it was in the 80s.
6) Any other thoughts on getting a job in advertising?
Remember people – we live in a world of totally integrated media. If you’re great at writing 30-second commercials but are ‘above’ writing copy for an online banner, congrats – you’re a dinosaur. And an asshole.
People just starting out have a HUGE advantage over the tenured pros in that they don’t really carry such baggage.
If you can’t handle branded content, if you’re not willing to learn or adapt, or if you can’t take criticism, can’t listen, or can’t yield to better ideas – even if they come from younger or less experienced creatives or (gasp) non-creatives, you’re barking up the wrong tree. Get the ‘personality’ part of the gig down first, because you’re going to need it.
We can’t predict what advertising is going to look like in five years… if you can believe and demonstrate that you won’t gather moss and will carry your youthful exuberance and good intentions with you, you’re hired.
You can read more from Evan Long at Devlin’s blog, here.
UPDATE: Click through read Parts 2, 3, and 4 of this series.
The Banksy phenomenon
You may not have heard of Banksy before yesterday, but his fame is legend in street culture around the world and it’s growing fast thanks to a new film, which screened at Hot Docs in Toronto last week. Rumour (and a few tagged building sides) suggests he’s also been roaming the streets of Toronto in person.
Banksy is a stencil artist. He creates his work on the street. Like graffiti, but different. Some would say he is a vandal. (One of the measures of his work is how long it lasts before it’s painted over or buffed away by authorities.)
He is more than an artist though. His work is ironic, offering anarchic narratives – he has something to say and the message is as clear as any advertising campaign.
In Banksy’s own words:
“The people who truly deface our neighbourhoods are the companies that scrawl giant slogans across buildings and buses trying to make us feel inadequate unless we buy their stuff. They expect to be able to shout their message in your face from every available surface, and you’re never allowed to answer back. Well they started the fight and the wall is the weapon of choice to hit them back . . .”
Philosophically, there are shades of Gossage. Practically, he’s an underground phenomenon who may just be well on his way to becoming a part of the very establishment he eschews.
Anyone seen the film yet?
Food for thought: The spy who sold out

Forgiving a pretty face
Facebook to agencies: how will people share your story?
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