Leftovers

I know what you're thinking. Here comes a post about holiday leftovers, turkey sandwiches, tryptophan naps and the best way to store pumpkin pie (kidding - there's never leftover pumpkin pie).

As good as that sounds, no. I'm talking about a different kind of leftovers. The creative kind.

Every person who works in the creative department of an ad agency - copywriter, art director, creative director, producer - has ideas, campaigns, starting thoughts, visuals, jokes, taglines, directors and media placement suggestions for work that never was. Work they loved that, for reasons ranging from "I don't get it" to "It'll scare them," in other words the ridiculous absurd, never saw the light of day. Never made it out the door.

Of course, like holiday leftovers, if stored and handled properly you can always heat them up and serve them at a later time. The word for this, in agency parlance, is "repurposing."

I'm a big fan of repurposing, especially in an era of parody products with extremely little to differentiate them except the advertising. Repurposing works especially well if you're lucky enough to draw a good hand and get a creative director that can't remember what they had for breakfast, much less what you showed them two days ago. The campaign they killed on Monday is the same one they love on Wednesday. Second time's a charm.

A lot of people tsk tsk the idea of leftovers, but it's the word that throws them. Just because an idea's a leftover doesn't mean it's not original. Or entertaining. Or attention getting. Or right for the brand. It just means it was killed the first time, and deserves a second chance - which can come in the form of a new client, new creative director or new agency.

And who among us couldn't use a second chance.

Case in point: I just re-read this post and I'd love a second chance at writing it. And if you've read this far, I'm betting you're willing to give it to me.

We're all freelancers

My friend, fellow blogger and dog-surfing instructor Rich Siegel – who runs Round Seventeen – put up a post today called Too Many Freelancers.

The gist of it is far too many of our staff brethren are packing it in for the seemingly greener, albeit much more competitive, grass of the freelance life, although not all of them are suited for it. Of course, he’s right.

But I’d like to offer another point of view. We’re all freelancers, whether we’re on staff or not.

It’s a quaint notion, a carryover from the Mad Men era, or a time you could work at IBM for forty-four years and have a nice pension at the end of it to see you through the rest of your days, that having a full-time gig at an ad agency somehow equals job security.

Ask the teams that work at Mitsubishi’s new agency every two years how secure their jobs are. The creative teams on Dell Computers can probably whip up a spreadsheet showing why that theory is wrong. Take a drive with the former creative director at Doner, Mazda’s old agency for thirteen years that created the Zoom Zoom campaign, and ask him how he feels about job security. The battlefield is littered with examples.

My point is we’re all just one agency review, one client loss, one new marketing director, one client’s wife’s opinion, one budget shift to digital, one creative director in a bad mood away from being shown the door.

Don’t get me wrong: I very much like the idea of job security. I also like the idea that I’m six-foot-two, a hundred eighty five pounds, totally ripped and get mistaken for Chris Hemsworth on a daily basis. But just because I like it don’t make it so.

The Round Seventeen post talks about Smiling and Dialing, Dry Spells and Making Nice, all daily chores freelancers are far too familiar with.

But they occur on the staff side as well.

Staffers get paranoid when it slows down, and try to look busy in case management is doing bed check. Not so much politically motivated as a survival strategy, staffers can be found making nice to people most in a position to turn the idea of job security into a reality. And day in and day out,the phone lines are always open to other agencies. Especially if an account's rumored to be shaky (SPOILER ALERT: They all are. Always).

So if you're on staff at an agency, thinking about making the leap to the freelance life, congratulations. You already did.

Revisionist history

With the number of revisions almost every project seems to go through now, it seems like clients are less interested in making the work better, and more interested in securing their place in the Guinness Book Of World Records.

To my colleagues in the creative department, this isn’t exactly breaking news. But what has changed is the sheer volume of revisions.

Where it once was a middle-management client trying to show how he made an invaluable contribution to the process by changing the copy from sometimes to always, it’s now evolved into a cage match to see who can initiate the most changes.

The other thing is there are now more layers than ever. There's lower-middle management. Middle-middle management. Upper-middle management. Lower-upper management, and so on. Everyone who comes in contact with the copy feels like it's in their job description to have an opinion. And of course we all know what opinions are like.

My friend Rich Siegel even paid homage to the practice of client revisions by naming his book and well-written blog Round Seventeen. Every time I see that name, all I do is wish seventeen was where the revisions stopped.

There's an old adage about clients getting the work they deserve. Or maybe it's just karma. Either way, never is that more true than when the project manager brings the deck back for revision 68 (yes, actual number).

I think I’ve posted this story before, but it’s worth posting again. One time Paul Keye, a Creative Director/Copywriter and President of his now legendary creative agency, the long gone Keye Donna Perlstein, was in a client meeting. As the client was carefully scrutinizing the copy, at one point he turned to Paul and said, “I think it would read better if we changed an to the." Seeing the reaction on Keye’s face, the client followed up with, “What can I say? I’m a frustrated copywriter.”

To which Paul Keye said, “No. I’m the frustrated copywriter. You’re an asshole."

It would all run a lot smoother if the people who had the final say had the final say the first time around. Sure, it'd mean the middle-management types would have to actually find other ways to justify their almost six-figure salaries, and titles like Assistant Vice President Of Enterprise Integrated Product Analytics & Corporate Audience Targeting.

But if they really wanted to look smart, they could do it by focusing more on their jobs and less on ours. Their job is to make sure the work is on strategy. It'd be a far better use of their time if they stuck to that. It'd also go a long way towards making their corporate overlords and the bottom line more successful.

And the agency less resentful.

I have the negatives

Here’s a client comment every copywriter gets – some more than others – about a headline they’ve written at some point along the way.

”It’s too negative.”

I get it a lot. In fact, I got it today.

Despite the fact the second half of the line paid off the first part of the line beautifully and, dare I say it, positively, the client was having none of it.

My headline included the word “won’t.” Apparently that’s on the list of random negative trigger words, along with “can’t”, “shouldn’t”, “doesn’t”, “didn’t” and I’m sure a bunch more I won’t (there’s that word again) know until I present them and they’re shot down.

Mid-level clients are not big picture thinkers. Their tendency is to have crippling tunnelvision, and overthink everything, especially how much of their ass to cover. It’s why they examine headlines on a word-by-word basis, as opposed to taking in and reflecting on the entire line, the bigger meaning, the brand tone of voice and the overall message being conveyed.

Obviously to live in the purgatory that is middle management, one must have their sense of humor surgically removed. I believe they keep it downstairs in the pathology lab, next to the jars of middle manager brains.

I kid. Middle managers don't have brains.

It’d be a great business if clients read headlines and copy, and then reacted as if they were real people instead of what they think they are: experts in the life of the mind.

So my lesson for today, courtesy of this middle-management, ass-kissing, overthinking, boot-licking, water-toting, brown-nosing, apple-polishing, favor-currying, toady little suck-up is to try to be more positive.

How am I doing so far?

Manifesto

Sung to the tune of the Eagles' Desperado:

Manifesto, why don’t you come to your senses

You’ve been full of pretenses for so long now

Oh you’re a hard one

I know that you got your reasons

These words that are pleasin’ you

Don’t matter no how

Fancy sentences don’t impress judges boy

You know they’re just a fable

They’re wanted by a client you ain’t met

Now it seems to me award shows

Like the ones you see on cable

Leave you filled with nothin’ but regret

Manifesto, oh, you ain’t getting shorter

Cause it’s the first quarter, the budget’s approved

And creative, oh creative, well that’s just some people talkin’

Your prison is balkin' when good words are removed

Write a spot you’re proud of this time

Don’t squander it you’re in your prime

It’s the only way to get an increase in pay

You’ll have your highs and lows

Ain’t it funny how this assignment blows, cliché

Manifesto, why don’t you come to your senses

They’ve paid your expenses, go write something great

It’s now or never, a book piece is just what you’re needin’

You better stop your concedin’

You better stop your concedin’

You better stop your concedin’

Before it’s too late

Hepinstall!

I like to think I have a pretty objective assessment of my talent when it comes to writing. Essentially, I'm not bad. In fact most of the time I'm pretty good. And occasionally, I bat one out of the park.

On those days, when I'm feeling pretty good about myself knowing I've said exactly what I wanted to say, I walk with a little spring in my step. A certain joie de vivre if you will, knowing I've strung a few choice words together people will enjoy reading and thinking about.

Those are the days I try not to think about Kathy Hepinstall. Because if I do, then I have to face the cold, bright glare of harsh reality that I can't come close to how very good she is.

Hepinstall is a writer's writer. Reading her words are a joy. I don't know how she manages to make me feel awe and jealousy at the same time, but somehow she pulls it off.

She has the priceless ability to make readers feel deeply, surprise them and then leave them breathless. For a sample of what I'm talking about, have a gander at her latest blogpost Jesus Would Take The Middle Seat.

I like to imagine the words don't come easy to her, and that she struggles with the same angst and durang I do every time she faces a blank page. I'd like to think that. It would bring me enormous misery-loves-company joy. But reading her work, seeing the ease, flow and specificity of the words tells another story.

Kathy's also written four or five novels - I've lost count. My idea of being productive is leaving a note on the door for the UPS guy. Clearly we have different approaches.

If I were half the writer she is, I'd be twice the writer I am.

Which tells me I should start thinking about math teacher as an alternative career choice.

Brace for no impact

My good friend, former office wife and best-selling author Janice MacLeod had a way of putting what we do (what she used to do) in perspective, summing it up in six precise, well-chosen words.

We’re creating a legacy of garbage.

Besides agency holding companies, the digital team and the person who schedules the meetings, I don’t know of anyone who can’t wait for more advertising to burn their eyes. They say the average person is exposed to roughly anywhere between 500 and 7,000 advertising messages a day.

Whichever number is right, it’s too damn much.

No wonder advertising doesn’t have the impact it once did. If it ever really did. Sure there are quantitative and qualitative studies showing the effectiveness of any given message in any medium. Except digital. No one buys anything because of digital, no matter what the guy in the knit cap and ironic t-shirt says.

They can test the results as much as they want, but as an old friend used to say to me, "The only thing testing proves is that testing works."

There’s a lot of job justification that goes on in advertising. It’s the reason Powerpoint was invented. But every time I sit through a presentation where someone is telling me how effective the advertising has been, I’m reminded of William Goldman’s great line about Hollywood: No one knows anything.

Advertised cold bottled water during the heat wave and sales went up? Who could’ve seen that coming?

There are $6000 rebates on cars during December, and year end car sales set records? Must’ve been that exceptional retail car spot, you know, the one with the running footage and giant supers.

I could go into what I think of brand loyalty, but Bob Hoffman over at The Ad Contrarian said it perfectly. I suppose there’s an argument to be made that consumers wouldn’t know about these deals if advertising didn’t tell them. Fair enough, but like so much of retail advertising, the ads are just the messenger. The deal is the closer.

There are only a handful of ads with enough inherent greatness and lasting impact to make you want to talk about them reverentially. The go-to example is the Apple 1984 spot directed by Ridley Scott.

Seeing it thirty years later, it still stands up and stands out as one of the greatest commercials of all time. You can never underestimate the power of a great looking blonde with a sledgehammer.

If I was looking for a profession where I could create something lasting people loved, talked about and made them feel glad every time they saw or thought of it, I might not have chosen this one.

On the other hand, Michelangelo never got to stay in a penthouse at the Essex House for a shoot on the company dime. So I suppose it all evens out.

What am I getting into?

My final repost of the week, then it's back to all new articles I'm not sure you'll want to read the first time. Anyway, this classic from November 16, 2010 asks the question we should all be asking before we start anything.

Who among us hasn't asked themselves that ominous question? I for one have asked it any number of times in my life.

On my wedding day.

Signing escrow papers.

Buying a German sports car.

Buying a German Sheperd.

Having children (still asking).

I think the fact that I'm a freelancer just puts me in more situations where it becomes a reasonable question to ask.

For example, I find myself asking it right after I get the phone call or email inquiring about my availability. Again when I hear their reaction to my day rate. Yet again after I cave and let them negotiate my day rate down - usually in tandem with, "What the f&#% was I thinking?"

Regardless of the account, even if it's something I want to work on, when I hear what it is the question comes up again.

It's always top of mind when I hear who they want me to work with, whether I've worked with that person before or not.

And if the office is a hellish, brain-deadening, soul-killing commute to a foreign and frightening land, for example Orange County, I ask myself the question on the crawl in.

Then, just before I enter the brick building, designer warehouse, high-rise tower, faux-hip loft, converted fire station, hotel or craftsman house where the offices are located, I pause for a tentative moment outside, look at the doorway I'm about to go through, and ask it again.

But here's the thing: the question itself is a cruel tease. Because it can't be answered until you're actually there.

Of course by no means does that imply everyone won't try to answer it for you. But it's really one of those questions, like, "How much of this can I take?" "Is it worth the pain?" and "Is Super Shuttle hiring?", that only you can answer for yourself.

If I'm being honest with myself, and if you know anything about me you know that's something I hate doing, I have to say the answer I almost always arrive at is "something great".

I wonder if you asked yourself the question before you started reading this post.

It's okay. I don't need to know the answer.

Well shut my mouth

Tonight's repost from April 6, 2012 is a tale that's hush-hush, on the Q.T. and very confidential.

It's not brain surgery or rocket science, but some ad agencies would have you think it is.

I recently had to sign an NDA (a Non-Disclosure Agreement, sometimes called a confidentiality agreement) before this one firm would hire me for a freelance gig. It's become common practice the last few years. But here's my question: what exactly are they protecting?

If you work on a fast food account, you get asked to work on other fast food accounts. Same for cars. Same for airlines. Same for most categories. Like any profession (stops and laughs hysterically for using the word "profession"....okay, regaining composure...), leveraging your experience is what keeps you employed.

No one goes from one job to the next yakking about everything they did, saw, wrote and learned at the last one. You just assimilate it all into your own personal database.

Just like the borg, except without all that nasty face metal.

Agencies like to flatter themselves that what they do is so proprietary, their processes so innovative, that spilling the beans will cause them "irreparable damage and financial loss and hardship."

Here's the reality check: there are no beans to spill.

Every agency has a catchy name for their process. You say tomato, I say tom-ah-to. They're all doing the same things to win, keep and grow business. And the idea that your car client doesn't know what the other guys car client is up to is a sweet notion from a bygone era.

A copywriter friend of mine was fired from an agency because he had the unmitigated gall to post an ad he'd done on his website, along with all the other ads he's done. It's a common practice. But his agency blew a fuse, saying he was not only violating his confidentiality agreement but was trying to steal the business. Neither of which was true. To my way of thinking there are felonies and misdemeanors: if they were upset he didn't ask first, they should've reminded him to next time and moved on.

Here's the thing large agencies have in common with small ones: the level of paranoia, based on nothing, is genuinely frightening.

Does an account get stolen from time to time? Of course. Do employees get poached from one agency to another? Sure. But if either were genuinely happy where they were in the first place, it would be a lot harder to do.

The other thing about these agreements is there's usually a time period attached to them. Agencies don't want you to write on an account in the same category for 1, 2 or 3 years without getting signed permission from them.

Good luck with that.

In case you don't know, this is how I make my living. I can be writing on Taco Bell one day, and Del Taco the next. Or Land Rover and Chevy Tahoe. Southwest or Jet Blue. That's the nature of freelance.

Fortunately I know how to use the strikethough option before I sign one of these contracts.

Don't misunderstand what I'm saying. I believe your word and honor are all you have, and if you sign a contract you should abide by it.

But some contracts, like the one on the back of your ticket in the parking lot, just aren't worth the paper they're printed on.

I'd tell you which ones, but I'm not at liberty to say.

Like a version

If there's one thing ad agencies are it's repetitive. Let me say that again - see what I did there? Especially when it comes to revising the work.

As anyone who works in the creative department of an agency knows, sometimes a project will come around an absurd amount of times. My friend Rich Siegel named his blog Round Seventeen as an homage to the number of times he's had to revise copy.

I'll see your Round Seventeen, and raise you the revision number I had on a piece of car copy yesterday. The number was 68. Now, if you're reading this post as a civilian, I suppose you're thinking with all those versions the copy must change dramatically from one to the next.

Not so much.

Revisions come from all sorts of places. Proofreaders. Account people. Low level clients. Mid-level clients. The big cheese client. Legal. The product guy. The client's wife. The cleaning crew on the third floor. It goes on and on. It's usually a word or two they obsess over ("Is this too light? Too flip? Too...you know...). More often than not, it just a change for change sake so they can feel like they were part of the process, and get their name on the credits when they fill out the award-show entry forms.

I hear the Client's Wife category is going to sweep the shows this year.

There's an old adage, one I subscribe to, that says the secret to great writing is rewriting. It's a nice thought, but working in an agency will knock that sentiment into the next zip code mighty quick.

Anyway, old Albert had it right. And I'll be he got it on the first try.

Due due

This is going to be a bitch and moan post. It'll be a big cup of whine, with a "do you hear the violins?" chaser.

You can't say you haven't been warned. So here we go.

Sure the freelance life looks pretty glamorous from the outside, but it's actually all knuckles and know-how.

Especially when it comes to getting paid.

Regardless of what you think from reading this blog - and don't lie to me - I'm actually pretty good at this writing thing.

I'm especially good at writing invoices. I do the work, then BAM! I Quick Draw McGraw an invoice faster than you can say "payable in 60 days."

Usually when I work for an agency as a temporary employee, as I do at most places (let's have a moment of silence for the endangered 1099), I'm on their employee pay schedule, which is usually twice a month. Occasionally, once a week. By the way, nothing but love for those shops.

But on the rare occasion when I'm 1099'd, I find the payment schedule is somewhat, what's the word, erratic.

The longest I ever had to wait to get paid was four and a half months. I won't name names - Disney - but it was an absurd amount of time to get what I imagine is less money than Bob Iger spends on valet parking in a week.

Still, it's nice to know occasionally even a global company like Disney needs my help to float them. Happy to oblige.

Here's the thing: I like the companies I work for. All I'm saying is I'd like them a lot more if they showed their appreciation by saying it with cash and paying on time.

Now if you'll excuse me, I have to go make a phone call. Right after I check the mailbox.

Technically, no

Agencies like to put copywriters in silos. There are the car writers. Fast food writers. Pharma writers. Fashion writers. Packaged-goods writers.

Then there are tech writers, which as you might imagine are a hot commodity these days what with agencies and clients drinking the digital Kool-Aid in big, sloppy gulps.

The good news no two definitions of a tech writer are the same.

Every single time in my career (sorry, taking a time out to laugh hysterically for using the word career) when I’ve been asked if I’m a tech writer I’ve always said no. Then when they ask the inevitable follow up question, which makes zero sense given my answer to the first question – can you write tech? – I always say yes.

And I’ve always gotten the gig.

Here’s my approach to tech: someone else will fill in the blanks. I do what I always do - write consumer facing copy that’ll be conversational and fun to read, and explains the technology of whatever it is I’m writing about in an everyman kind of way.

Kind of like the Apple website, except with better headlines (there goes that gig).

Then, when it comes to the actual tech part, the hardcore specs and stats, I let someone else fill in the blanks. I know they can do it better. They know they can do it better. The American people know they can do it better.

I’ve worked on Pioneer Electronics and Western Digital. Sony VAIO and Motorola. Verizon Wireless and Sharp Electronics. I’ve written web content for a zillion clients. The list goes on and on. And judging by how many digital agencies are popping up like weeds, and how many new tech companies are appearing daily, the list is no doubt going to get even longer.

Which means technically there should be plenty to keep me busy.

Drinking it all in

I don't think I have to tell you that over five years ago, I wrote a post about the many, many branch offices I work out of.

And by branch offices I mean Starbucks.

You may be a little cynical and think I'm bringing this up because it's a Saturday night, and I'm too lazy to think of anything new to write about. Well, no. Not entirely.

The reason I bring it up is because today I found myself working on a freelance gig at the Sunset Beach Starbucks for a few hours. And I noticed the customers who came in and out were very, how you say, beachy.

I've never worked at that office before. But I decided to widen my horizons a bit. I was tired of seeing the same people at the ones I usually work at. Plus it was a hot, sunny day and being near the water sounded like a good idea.

It made me realize even when I'm doing the same thing, there's a way to change it up. It's a lesson I could probably apply to a few other areas of my life.

I know, I should write fortune cookies or Hallmark cards - what can I say, that's what I thought.

I think I'm going to institute a new policy: every time I go work at a Starbucks, it's going to be a different one. God knows there isn't a shortage of them. I think seeing different kinds of people - how you say, clientele - helps the creative process along. That alone is reason enough to work there.

Well, that and a half-caf venti Carmel Macchiato.

Reading the signals

Since phones aren't actually used much for calling people anymore, there needs to be a better way to get in touch with people when you need them. Sure, texting is fun, but sometimes you have to wait a while before the person texts you back.

What we need is the next text. I'd like to nominate the bat signal.

Every time Lt. Gordon shined that sucker in the sky - and it's a lucky thing Gotham had cloudy nighttime weather - Batman would show in minutes.

I call that proof of concept.

When you're born, besides diaper rash and a Social Security number, every baby should get their own sky symbol to be used later in life on their individualized signals.

Not only would it bring people to you when you want them, it would stimulate the economy by providing work to thousands of designers and graphic artists. Copywriters would get work out of it too, because we all know eventually advertising agencies would find a way to convince people to sell space on their signals for headlines and marketing messages.

Bat ching!

The other thing is the sky is a much bigger screen than even the iPhone 6 Plus. A summoning signal can't help but get noticed, if not by the person it's intended for, at least by someone who knows them.

Then they could send a text and tell them to look up.

Five good things about advertising. You read that right.

I don't know whether you've noticed, but every once in a great while I use this blog to rag on advertising, the monster egos, the hipster planners and the open space seating (don't get me started).

But don't get the wrong idea. Despite my occasional rants, there are great things about working in advertising you don't get in, say, the insurance industry. Or working for the DMV. For example getting to dress like a fourteen-year old every day. Free food every single place you turn. Enjoying some of the most creative people you'll ever meet in any business on a daily basis.

Plus covered parking if you get to work early enough. So I hear.

Anyway it occurred to me I've had some great things happen as a result of being in the biz, and I don't talk about them nearly enough. But all of that's about to change. Here are five good things that've happened because I'm in the business I'm in:

1. I met my wife.

Of all the things that've happened and I've experienced since I've worked in advertising, I have to say the very best has been meeting my wife.

And when I say I have to say, I mean I have to say.

She was on an agency tour her first day, and they brought her around to the creative directors' office where I happened to be. I saw her in the doorway and thought "She's kind of cute." She saw me and thought, "OK, I can work with this."

She is the wind beneath my wings, the woman behind the man. She is my editor - yes I have one - and my best friend. She has the patience of a saint, although she doesn't really need it because being married to me is a walk in the park. Central Park at midnight, but still.

She makes me, my writing and my life better than it had any chance of being without her.

Well I think I've banked enough marriage points for one night, don't you? Love you honey.

2. I saw Springsteen in Atlanta.

I've worked on Taco Bell at three different agencies in my career (pauses until giggles are over for using the word career). And all three times, I had a great relationship with the client.

The first agency I worked on the account, the client was also a Springsteen fan. So when she went on a thirteen-market store tour, one of the stops was Atlanta, and it happened to be the same night as Springsteen was playing at the Omni.

She called their local market agency, and had them get some killer seats for the concert (media people can do anything). Then she called my agency in L.A., and told them to fly me to Atlanta so I could see the show with her and a few franchisees. My creative director told her I was swamped and wouldn't be able to make the trip. She told him she wasn't asking.

Next thing I knew, I was in a Lincoln Town Car on my way to LAX for a flight to Atlanta. That was a great day in advertising. And it was a great show.

3. I talked to Lee Clow about German Shepherds.

If you're not in advertising and don't know who Lee Clow is, suffice it to say he's an advertising legend. The real deal. Google him now.

If you're in advertising and you don't know who Lee Clow is, then you're not in advertising.

I freelanced for almost a year at Chiat Day, working on the Uncle Ben's account. I sat right behind Lee's office. Since Chiat is an extremely dog friendly agency, one day I brought the world's greatest dog, my long-haired German Shepherd Max to work with me. He was two and half at the time.

I started to walk Max past Lee's office, and Lee, who was with a group of people across the agency, saw him and immediately came over to us. He got down on his knees, started petting Max and asking me about him. Then he took us in his office, where he showed me pictures of his shepherds, both past and present. One of them looked startlingly like Max.

We talked about a half hour, not just about the dogs but about advertising in general, life, family, and then the shepherds again. Then he had to get back to the meeting he'd left when he came over to us. When Max and I came out of his office, the Associate Creative Director who'd brought me in for the job saw us walking out with him. He came up to me after and said, "What was that about?" To which I replied, "Geez it gets so old. Every day, it's 'Jeff, how would you do it?'"

4. I overcame my fear of flying.

You'd never know it now, but I used to have a horrible fear of flying. Now I just have a horrible fear of flying coach.

I'd go out of my way and do just about anything not to get on a plane. One time, I took at train to San Antonio, Texas for a client meeting. At the time, the head of the agency thought I was being creative. Today he'd just think I'm an idiot.

Anyway, years ago I wound up freelancing at Foote, Cone and Belding in San Francisco. I lived in Santa Monica. But I figured it was only an hour flight twice a week, and the odds were in my favor I'd be fine.

Turns out my first week, I flew to San Francisco, then to Dallas for focus groups, then back to San Francisco, then to Atlanta (also for focus groups), then back to San Francisco, then to L.A. for a friend's going away party, then back up to San Francisco. Seven flights the first week. There were also weeks I'd go back and forth from L.A. two or three times.

I earned a lot of United miles, got upgraded frequently and learned to love flying. A friend of mine even gave me a charm that says Flyboy. Of course statistically, flying is still the safest way to travel. And the nicest. Did I mention the upgrades?

5. The friends I keep.

Maybe the best thing about working in advertising are the people I get to work with (for the most part - you know who you are). I get to hang with exceptionally creative people I learn from, and who force me to raise my game every time. We're in the advertising foxhole together, and it makes even the worst days more bearable.

There you have it. Now you can't accuse me of not saying anything nice about advertising. And if I'm going to be truthful, there are many other good things to say about it. So much so, I was thinking maybe I should turn this into an ongoing series of posts, like my wildly successful Don't Ask, Guilty Pleasures or Things I Love About Costco series. But then, I had another thought.

Let's not get carried away.

Blame him

You want to know whose fault it is that I'm in advertising? It's his.

A long time ago, in a lifetime far, far away, I saw a job post on the UCLA job board for a position in the mailroom at an ad agency in Century City. I'd never given much thought to advertising, but I did give a little thought to paying my bills and my rent. So I interviewed for the position, turned on the charm and humor we all know and love and got the gig.

Come to find out the agency was Wells, Rich, Greene. And the creative director who arrived from New York shortly after I got there was Howie Cohen.

By the time Howie got there, I'm not sure which of my jobs I was on at the agency. I'd started in the mailroom, where I got to make my rounds, and talk with everyone every day. A social butterfly even back then.

Then I got promoted to running the stat camera (look it up) in the studio. Except it wasn't in the studio. It was in a small, badly ventilated room next to the studio. Since the camera used a lot of fragrant chemicals to develop the film, I'd have to hold my breath a lot, then run out of the room after I'd taken a shot of whatever camera ready art I was working with.

From there, I was bumped up to traffic person - excuse me, project manager. If you look in the Guiness Book of World Records, you'll see that I was the worst traffic person that's ever held the job. True fact.

Anyway, my grand plan, since I was a theater arts major, was to become an agency producer. I figured if I did that, I'd make all these contacts. I could get an agent and start my illustrious film career.

But a funny thing happened on the way to my three-picture deal.

One day, there were no creative people at the agency. A team was down in Rio on a shoot for Brittania Jeans. Another team was out sick. Yet a third team was at a client meeting. This all happened to be on a day when a Bran Chex print ad had to be written and presented. The account guy, a short man who looked like he was wearing those plastic glasses with the fake nose - except they were both his - was running around the agency trying to scrounge up someone to write the ad.

He called Howie, who wasn't in that day, and asked who he should get to write the ad. And Howie said "Give it to Jeff."

So I wrote it. While it didn't win any awards, I'm pretty sure it's still the best written ad for a high-fiber cereal Reader's Digest has ever run.

Shortly after that, Howie promoted me to junior copywriter. Honestly, it was thrilling. I was excited to be working with the team, Howie and his partner Bob Pasqualina, who had created the legendary "I can't believe I ate the whole thing" Alka-Seltzer commercial.

As you might imagine, earning his bona fides working in New York advertising during that time, Howie has many, many stories that only someone who lived it can tell. And nobody tells a better story than Howie. If you want to read some good ones, definitely have a peek at his blog MadMensch.com.

I'm happy to say Howie is still working his magic in the world of advertising. I'm still working mine as well, although so far nothing I've done has made it to the Advertising Hall Of Fame. Yes, I said so far. Keep hope alive.

Anyway, I don't know if I ever actually thanked Howie and told him how grateful I am for launching me into a career I didn't even know I wanted. But if I haven't, I'm doing it now.

And by the way, for all the creative directors I may work for in the future, if you don't like something I write, now you know who to talk to.

From beautiful downtown Burbank

There are a lot of reasons I like writing radio. But I think the main one is that for the most part, people leave me alone. I'm pretty free to do what I want.

There aren't agency sleepwalkers jockeying to be at casting sessions, sneaking in to watch director reels and making comments suggestions as if they were asked.

Radio also doesn't have the glamour and excitement attached to it that television does, probably because there's no where near the money being spent on production and media.

Fine by me.

In my opinion, I'd rather be sitting in a recording studio than an editing bay any day. It's infinitely more fun. And I get to work with a caliber of talent that's unparalleled. Every time out, sometimes over many, many takes, they give it their best. (Although my theory is if you can't get what you need in ten takes, you have the wrong person on one side of the glass or the other).

The very first radio spot I ever did was for Jack In The Box. We recorded it in the big room at the long gone Wally Heider Studios in Hollywood, and the incomparable Jimmy Hite was the engineer. Since it was my first radio spot, my creative director was with me at the session. And even he couldn't believe the talent we had in the room.

Either I wasn't paying much attention to the budget, or the client wasn't. My first spot was a cast of seven legendary voice over talents. Jack Angel. Joanie Gerber. Tress MacNeille. Bob Ridgely. Brian Cummings. Frank Welker. And Gary Owens.

Gary was the consummate professional. He had the quintessential announcer's baritone and also a comedian's timing and sensibility. Between takes he'd joke about Dan Rowan and Dick Martin of Laugh In, where he'd first become a household name as the show announcer. And when it was time to get back to business, he'd look at me and ask, "Is that what you were looking for?"

That was the one and only time I ever worked with him. And I'm not gonna lie to you - I was starstruck not only with Gary, but with everyone in the booth.

Gary Owens passed away yesterday at the age of 80. So I'd just like to say thanks Gary, for taking direction from a kid who really didn't know what he was doing yet, and for making me feel that I was doing it right.

Rest in peace.

Let's keep this short

Today is Super Bowl Sunday, so it probably doesn't matter what I write since no one will be reading it (I know, why is this day different from any other?)?

I've written here a couple of times, here and here, about my futile, humiliating, nothing-can-make-me-feel-more- stupid-with-the-possible-exception-of-my-children attempts to become a contestant on Jeopardy.

However, as I was watching the show the other night, it hit me like a bolt of what is lightning (see what I did there?). I've been applying for the wrong position.

Instead of contestant, I should be going for Jeopardy category writer. It's not like I don't know how to bring the funny. Depending on who you ask, I do it for a living. And those category titles and answers are short. Nothing I like better than short copy, with the possible exception of the paycheck that comes with writing it.

I always think the categories reflect the writer's personal tastes. So it'll come as a surprise to no one that my first Jeopardy categories would be Springsteen, Breaking Bad, The Godfather, Sushi Bars, German cars, Helen Mirren and Potpourri (have to keep some traditions alive).

Moving on to the double Jeopardy round, which is always harder, I'd have Movie Palaces, Star Trek, Stand-Up Comics, Seinfeld (I know he's a stand-up, but really, a category unto himself), Is This Thing On and Star Wars Geography (This planet was destroyed by the Death Star super laser in Episode IV: A New Hope...).

Unfortunately you can't go online to apply for the category writer job, so I'll have to see who I know and how to get stuff to them.

Another great job for me would be lotto winner. Working on that one as well.

By the way, it was Alderaan.

Open for business

As I was just saying the other day to my good friend Rich Siegel, creator, curator and pledge drive MC for his Round Seventeen blog, Rich I said, you can never have enough posts slamming open space office seating.

I've written many times about the particular challenges to getting anything productive done in that environment, including here. Rich has also displayed a few well-written tirades about it, like this one for example. But it's not just a couple of malcontent, disgruntled and yet extremely talented and worth every penny and more of their day rate copywriters doing the complaining.

The monumental failure of open space floor plans has also been well-covered in many publications I'm proud to say I've stolen from some of the finer agency mailrooms around town. Fortune to Fast Company, the Washington Post to New York Magazine, and everything in between.

Now, it's one thing to bitch and moan when you're one of the cogs in a giant holding company wheel who's forced to work at the picnic table. It's quite another when the company who set it up that way realizes the insanity of it and warns you about it.

I noticed a help wanted ad, a section of which is shown above, that lets you know just what you're getting into should you decide to work with them. In case it's not legible on that Kaypro II screen (employee offices aren't the only place they're saving money), here's what it says:

Ability to work and write in an open office environment with a considerable amount of distractions and interruptions.

I don't know the exact definition of the phrase "mixed message", but I have an idea this is pretty damn close.

What they're saying is, "Hey, we know it's virtually impossible to get anything done in this office setup, but we don't care. Deal with it." Fair enough. I suppose we all have our own choice to make.

But if a company tells me, brags to me, they had a bad idea that's making them less productive, my job more difficult and they're sticking with it because it's cheaper to have me overcome their stupid obstacles than it is for them to change it, my choice would be a resounding, unequivocal no thank you.

Right after I hear what day rate they're offering.

In the bag

Whether we like it or not, everyone in the ad biz deals with demographics – the quantifiable statistics of a certain group - every day.

Age, household income, habits, geographical location, political leanings, purchasing habits, consideration cycles, tv shows watched. Every thing you do and everything you are is broken down so advertisers can talk to you in a way you'll allegedly want to listen to.

It’s frightening how much information is available on any given group of people at any given moment.

What a lot of people in different demos have in common is they all take a great amount of pride in classifying themselves as non-conformists. Unique in their category. Of course, were that true, we wouldn’t be able to lump them in the same category.

One group in particular, and I have some first-hand experience with this, likes to think of themselves as rugged individualists, blazing their own trail, living life on their terms - loners not playing by anyone’s rules but their own.

Copywriters.

And while they may be marching to their own drum in other areas of life, many fall right in step with each other when it comes to a common accessory: their laptop bag.

The bag of choice? The Swiss Army backpack.

I can only speak for myself here, but the reason I love this bag is all the storage options. Zippers and pockets and nets, oh my. For someone like me, who uses the "just in case" theory whenever I pack - which is the reason I look like I'm moving in when I go on an overnight business trip - the Swiss Army backpack lets me carry every thing I need for almost any imaginary contingency I run into.

For example, I've had a deck of Bicycle playing cards in one of the netted side pockets for years. It's a holdover from when my good friend, sometimes art director partner and co-conspirator Mike Stone and I took magic classes at the Magic Castle (the first thing we learned was how to make $265 disappear). You never know, I might've been walking down the street or in a client meeting and had the sudden and unstoppable urge to show someone Stopped Aces, or The Matchmaker.

Pick a card, any card.

One of the zippered compartments has a varied assortment of computer connection cords that may be from my Powerbook 3400. Or my Macintosh Performa 6210. Maybe my Powerbook G4. I'm not sure - I've never used them.

Yet another compartment is my portable medicine chest: Aspirin. Ocean Nasal Spray. Coricidin. Pepto Bismal. Each and every one of them years past their expiration date. But at least they've been stored in a cool, dry place.

In the netted pocket on the other side is a bottle of water that should only be used to water plants. If you want to kill the plants.

And in the vast, canyon-like laptop compartment, which is what I initially bought the backpack for, is nothing. I long ago traded carrying the backpack around for a smaller, lighter Incase laptop bag. It doesn't let me carry nearly as much, but that's probably a good thing.

I guess just owning the Swiss Army bag puts me in the demo with all the other copywriters that have one. And I know what you're thinking: Just like every other writer, he's probably going to end this post with some snappy, clever line that has several meanings and works on so many levels.

But, being the non-conformist I am, I won't.