I can't wait for the movie

So it’s a book review. I don’t do them often, but sometimes—like Glenn Close in Fatal Attraction—a book comes along that simply will not be ignored.

Like most ads, this book review comes with a disclaimer. I’ve been friends with the author for somewhere in the neighborhood of thirty years, and I may have had a hand in editing this book.

And by the way, it’s a finely edited book.

The book I’m talking about is Stones & Sticks by Cameron Day. It’s the thrilling conclusion to the advertising trilogy, along with Chew With Your Mind Open and Spittin' Chiclets, that we didn’t know we needed but now can’t live without.

In Stones & Sticks, Cameron, who has clearly earned every gray hair on his LinkedIn profile, delivers a masterclass on what it’s like to sit atop the creative food chain.

Spoiler alert: it’s not all cappuccinos and Cannes Lions.

This isn’t just a book—it’s a survival guide for anyone who’s made it to the big chair with “Creative” in the title, and discovered that it comes with less creating and more fending off crises.

From managing tantrum-prone copywriters and art directors to explaining why your budget really needs those extra drone shots, Cameron walks us through his journey in the high-stakes chaos of wielding ultimate responsibility with wit, wisdom, and just the right amount of jaded sarcasm.

Added bonus—if you’re looking for a fun drinking game, take a shot every time he drops an f-bomb.

The writing is sharp, as if every sentence were honed during a midnight brainstorm fueled by stale donuts and cold pizza, two items that are somehow always available at agencies. Yet beneath the humor lies a treasure trove of practical advice only someone who’s been through the advertising wars with a view from the top could offer. The anecdotes about managing clients who think “just make it pop” is a strategy will leave you laughing and crying—sometimes simultaneously.

What makes Stones & Sticks truly stand out is its brutal honesty. Cameron doesn’t shy away from the burnout, the compromises, or the sheer number of acronyms you’ll pretend to understand during boardroom presentations.

But it also reminds us why we fell in love with advertising in the first place: the thrill of turning a half-baked idea into something iconic.

By the time you close the book, which if you’re like me you’ll wind up doing in one reading, you’ll feel both inspired and slightly terrified—a perfect encapsulation of what it means to be a Creative Director or Executive CD.

Whether you’re an intern dreaming of greatness, or a grizzled vet wondering if it’s too late to start a llama farm, this is the book you need.

If it were a campaign, it’d win gold at the One Show. And the client might even approve the first draft.

The envelope please

There are conflicting perceptions about what it's like to work in advertising.

The first, and I believe more commonly held belief, is that it's a contemptible, gutter occupation right down there with used car salesman, personal injury lawyer and income tax auditor.

The second is that it's a glamour-filled, creatively-driven, Hollywood-adjacent profession loaded with travel to exotic places and awards with stupid names that take up lots of shelf space.

Both are correct. But sometimes the pendulum swings more to one side than the other.

Case in point would be the assignment my art director partner and I just got: to design a window envelope for one of our clients.

Now, I say my art director and I, but this kind of assignment is what I like to call "an art problem." My partner, being the perfectionist she is, will attack this assignment with the same intensity she'd give a global branding campaign. Me? I'll probably head out for lunch.

The point is all that glitters isn't gold pencils when it comes to assignments in ad agencies.

Just because I had nothing better to do, when we kicked-off the assignment (yes we had a kick-off for an envelope), I asked about the strategy, data indicating need for an envelope, wanted to see examples of competing envelopes, needed to hear any "insights" the planner had on envelopes.

You can't do the job if you don't have the information. And even if I had the information I couldn't do the job. Art problem.

So in between social and digital campaigns, national branding brainstorming, new product introduction campaigns and assorted other communication channel assignments, I'll be right there in spirit with my partner while she designs the four or five window envelope options the client will want to see.

But as far as this particular assignment goes, I'm mailing it in.

Travelin' man

Depending how much you enjoy packing five days worth of clothes into a carry-on, TSA pat downs, crying babies (on the plane, not at the agency), and off brand hotels your per diem more than covers (always a bad sign), travel can be one of the better perks of working at an advertising agency.

In the early stages of my career (pauses to consider fraudulent use of the word "career"), it seemed everyone was looking for a reason to walk the jetway as often as possible. It usually boiled down to one of three: an out-of-town client meeting, shooting on location (“We open on the Eiffel Tower...”) and the occasional new business pitch (“Every agency needs a casino…”).

A fourth reason that comes up a few times a year is award shows (Cannes) and seminars (wherever Adweek’s having one this week), but those are usually reserved for agency brass. After all they're the ones who've been working on their acceptance speech for your work for a couple weeks, so they should at least get to go.

Traveling for work on someone else’s dime is an easy inconvenience to get used to. Right up until you come home and realize the baby you left a week ago grew two inches while you were away.

Or you missed the piano recital your middle-schooler has been practicing for two months.

And that thing you wanted to do around the house didn’t get done by itself.

Travel happens to be on my mind because I’m currently on an out-of-town gig in San Francisco. A city I love, working with people I enjoy a great deal. If I wasn’t being put up in a hotel that's like the Hotel Earle in Barton Fink - without the warmth - the trip would be perfect.

Since the advent of digital, email and FaceTime, the need to travel doesn’t rear its head very often. I’ve worked for agencies in cities all across the country right from the pampered poodle comfort of my own living room. And let’s just say when I did I was always dressed for the office. Mine, not theirs.

For whatever reason, this San Francisco agency, who I’ve worked with from home for a year and a half, decided for this particular project they wanted me in the office live and in person this week. Happy to oblige.

So here’s the bottom line: Yes I miss the dog (when he’s behaving). Yes I miss the family (when they're behaving). I do miss having my own car (when it's behaving), although I’m getting to be the Lyft king of San Francisco and now know more about Lyft drivers than I ever wanted to.

On the flip side, at the end of the day, I get to walk out the door, be smacked in the face by the breeze coming in off the bay, and I'm in San Francisco. I like to file this under "things could be worse."

To sum it up then, travel is good this time. Missing home is tolerable (I'll be back tonight). I'm in a great city, with lots of chowder and sourdough. And, most importantly, the checks clear.

Now if you’ll excuse me, I have to go present a storyboard to the creative director.

In the first frame, we open on the Eiffel Tower.

A little foggy on the subject

When I worked at FCB in San Francisco, I developed the very enjoyable habit of going to the San Francisco Ad Awards show every year. Not only was it a way to see the outstanding creative work being done around town, it gave me a great excuse to go up north and catch up with my many friends who live there. Sadly, the SF ad show eventually went the way of southern California’s Belding awards.

Which means I can still go see my friends, I just can’t write it off (as easily).

I remember one year, the show was being held at the historic Fillmore, where icons like Jimi Hendrix, The Grateful Dead, Jefferson Airplane and Muddy Waters played. You could feel history in the hall.

At this particular awards show, George Zimmer, founder and former CEO of Men’s Wearhouse, was the master of ceremonies. He made a joke wondering why all these other accounts were winning awards for their creativity but his wasn’t. I can only assume it was a rhetorical question.

Every year I went, there was the usual grousing from losing agencies about how Goodby would steal the show - much the same way people used to complain about Chiat walking off with the Beldings every year, until they changed the rules and judging criteria. Funny how sometimes entry fees speak louder than the work.

Anyway, the SF show always seemed to be a lot looser and more freewheeling.

I remember the funniest line of the night was from a presenter who starting talking about how grateful he was for his career in advertising, and then rattled off all the things he wouldn’t want to be in life.

At the top of the list was Hal Riney’s liver.

Even then it was a gutsy line. But it just speaks to the no-holds-barred fun the SF show used to be.

In a couple weeks, I'll be heading back up to go to the wedding of a good friend of mine. I'm looking forward to the wedding, the city and the feeling of possibility and originality that seems to go with it.

And if I have time, I'll catch a show at the Fillmore.

Wrongful Termination - Chapter 8

Jack Sheridan finished questioning Barbara Beckwith, as well as the rest of the creative department. What he learned wasn’t going to make his job any easier.

It seemed during his career, Dean Montaine had made a lot of enemies, even for an ad man. The creative part was the way he made them. Naturally, he’d plagiarized work from other creative teams who worked for him and represented it as his own. This was nothing new. The practice was rampant throughout ad agencies, especially if it was a good idea. Many of the most famous ad campaigns of the last fifty years have over a hundred teams claiming ownership. Some on campaigns that came out before they were born. For example, everyone seems to have worked on Volkswagen in the sixties. Montaine had even taken credit for the classic ad campaign for the original Volkswagen Beetle, despite the fact his resume didn’t list Doyle Dane Bernbach, the agency that created the ads.

But the thing Dean did that made him so insidious was this: he made you think he was on your side. That he was going to the mat for you. He made you believe he was your friend.

It was a lot of little things really. The way he asked questions about other creatives, leaning in to you, then lowering his voice to a soft whisper that implied an unstated confidence between two professionals. If the creative team in his office was junior, he’d give them lots of attention. Ask what they thought of something he’d written. They’d be wowed. After all, Dean had taken credit for creating a successful national campaign for the popular French mineral water Clair, as well as a start up car company, Neptune. Junior teams didn’t know that in fact he’d stolen those ideas from juniors at the agency.

Upper management was no friend of his either.

On more than one occasion, Dean worked for an agency freelance, only to try and ingratiate himself with the creative department and general manager, then organized a mutiny to squeeze out the executive creative director who’d brought him in in the first place. Sometimes he succeeded.

Then there were the people who ran awards shows. They hated him. Advertising awards are the guilty pleasure of every agency creative. If you ask, creatives roll their eyes at the idea of them. They make a big show of taking refuge behind the fact good work is it’s own reward. But inside every copywriter and art director is a little insecure kid looking for approval and validation. They love winning awards. They love saying they’ve won awards. They love schmoozing at the awards shows. They love getting drunk and seeing if the rumors are true about the media girls at the awards shows. If all creatives hated awards the way they profess to, the shows would never sell out, or be able to charge their obscene entry fees.

Of course, one way to help your chances of winning is to enter lots of ads. Which is exactly what Montaine did year after year. He had the agencies he worked for spend a fortune on entry fees. And he entered lots of work that wasn’t his. The problem was, the people who'd actually done the work also entered it. So when the shows received different entry forms with credits that didn’t jive, they called Dean to clear them up. He always told them the other people were lying. The award show officials knew better.

The women in his life hated him. All of them. His daughter. His wife. His ex-wives. His mistress. In fact, a woman didn’t even have to have a relationship with Dean to hate him. She just had to have a conversation.

When Dean was at one of the bars he frequented, somewhere between a nice buzz and completely passed out, if he saw a woman sitting alone he'd strike up a conversation with her. It didn’t matter if they were waiting for someone, or if they were obvious about not wanting to talk to an overaged hippie. None of it mattered. His usual line would go like this.

“Excuse me, ever see that Clint Eastwood movie where they hang him by mistake?” If the girl said yes, he said, “You know, even when he was swinging from the tree he wasn’t as hung as I am.”

Believe it or not, every once in a while it worked. But when it didn’t, it could be brutal. He'd been slapped, spit on, kicked, had hot coffee thrown at him and been beaten to a pulp by boyfriends who'd shown up while he was still there laughing at his own juvenile joke.

Even when he thought he was being funny, it wasn’t hard to hate Dean.

How much is that Gold Pencil in the window?

It's no secret ad agencies like bright, shiny objects. Especially when they happen to arrive in the form of advertising awards.

Well, good news for everyone looking for something to fill up all that empty shelf space: it's awards show season.

That time of year when, without perspective, prejudice or any ability to be realistic about what work actually has a chance of being recognized, agencies frantically, desperately and with an overabundance of misplaced optimism round up almost all the ads they've done for the year and enter them.

A good friend of mine is the awards-entry wrangler at one of the largest shops in town. For years, this shop set the benchmark for creative work not just in L.A., but across the country and around the world. Sadly, for a variety of reasons - not the least of which is who used to oversee the creative and who oversees it now - this shop's glory days are at least 15 years gone. They've lost people, accounts and their reputation as a place where only greatness got out the door.

That not withstanding, this year they'll spend in the neighborhood of $200,000 on award show entries.

And yes, raises are still frozen.

Like creative work, and creatives themselves, not all awards shows are created equal. There are shows, like the One Show, that everyone wants to win. Clios are still nice to have, although their reputation has been permanently tarnished by a fiasco that happened years ago. There isn't a creative around who doesn't like to see his/her work in Communication Arts Advertising Annual. Addy Awards are regional and national - I wonder if the person who writes their copy selling the show itself is eligible? Effie awards are given for how effective the work has been. Account people love it when the agency wins those.

Here's the thing. Awards are like pizza: even when they're bad, they're still pretty good (I almost used another example but this is a family blog).

And with over, well over, 75 advertising award shows to enter, there's a lot of winning to be had. You just have to pick the proper...tier...of show to participate in.

Even though some of these shows feel like they'll go on forever when you attend them, they don't all go on indefinitely in real life. Southern California's Belding Awards and Northern California's original San Francisco Awards show are two examples.

The Beldings were scandalized years ago when a creative produced a commercial the client hadn't approved, bought time and ran it at midnight on a tv station in Palookaville, Nebraska so it would qualify, and then actually won a Belding for it. He was eventually exposed for the fraud, and it resulted in a complete overhaul of the Belding rules and requirements. The show ambled on for a few more years, then basically died because no one cared anymore.

The SFAS went away because Goodby was sweeping the show every year. It finally pissed "competing" agencies off so badly they didn't bother entering work in the show anymore.

No entry fees, no Buck Rogers.

Is it wise in these economic times to spend so much on award shows? I don't know. I do know that everyone - the teams doing the work, the creative director, the account people, the holding companies and especially the clients - love talking and pointing to their award-winning work. It does give one a sense of recognition and appreciation that's become a lost art at agencies.

The subject of the names that go on those entry forms are a whole other topic. I addressed it a little bit here, but I'll save the bigger rant about that for another post.

Instead I'll just wish everyone good luck. And if for some reason those judges can't see the brilliance in your ad, don't sweat it.

Awards shows are like buses. There'll be another one along any minute.