Change in the weather

It occurred to me that agencies have a lot in common with the weather. No matter how hard you try to predict it, you really can’t be sure what it’s going to be from one day to the next.

In fact, there are some weather terms that can just as easily be applied to the agency culture as well as the inhabitants. For example:

Jet Stream

You know when the creative director, account supervisor, planner, junior account executive (in charge of the carry-ons) and research director board a plane together to fly to yet another Adweek seminar on Digital Creativity Strategies and Better Banner Ads in the Caribbean? The one you told them about and wanted to go to, except there was no budget for you? That’s the Jet Stream.

The Mean Temperature

Agencies are notoriously angry places. It doesn't take much to set them off. Someone's work sold and yours didn't. You weren't invited to a meeting you should've been at (don't worry-meetings are like buses). No one brought in bagels. Someone looked at you the wrong way. People at agencies have thin skins and long memories. They're not exactly rays of sunshine to begin with, but when they feel they've been wronged they're meaner than a junkyard dog having his anal glands expressed. When you figure out exactly who's mad at who, and how mad they are, that's the Mean Temperature.

High Pressure System

These kind of systems can be created in a number of ways. An approaching deadline. A meeting with HR. Finding out what someone else makes. The creative director wants to "talk" about his/her "idea." These systems can be found daily in the ever changing environment of the agency world.

Unstable Air

This is usually found in meetings where planners are involved. They're almost always telling you their insight that just isn't quite insightful enough. Usually they know it, and as a result aren't making the point as confidently as they'd hoped. Hence, unstable air.

Wind Chill

What you get when that joke you made about the creative director gets back to them.

Warm Front

The new receptionist. That's all I'm sayin'.

Of course, there are many more terms that apply, but I'll leave them for another post. After all, many of you reading this still think of advertising as a fun, glamorous, star-studded business to be in.

And I wouldn't want to rain on your parade.

The first idea

When it’s not a business about fiscal quarters, increasing shareholder value, holding-company leadership bonuses, revenue increasing, maximizing efficiencies (euphemism for cleaning house), and cutting freelancer day rates (cause that’s where the real expense is), advertising is occasionally a business of ideas.

Ideas come at a variety of speeds, and the first one always gets there the fastest. That’s why it’s first, hello?

There are two schools of thought about the first idea. One is that it’s never the right one. The other is that it’s always the right one.

I can’t answer definitively. What I will say is more often than not in my career (pauses to laugh hysterically for using the word "career"), the first idea has been the right one. And if not the right one, then the best one.

The problem is, in advertising the first idea gets a bad rap. People say things like “It’s too obvious.” “You didn’t put any time against it.” “It doesn’t address all 350 bullet points on the brief.” All true at one time or another. Still doesn’t mean it’s not right.

Almost universally in ad agency culture, management likes to put on a show. Or at least watch one.

They like you to work late into the night, fueled on nothing but bad pizza and micro-brewed beer that almost tastes as good as cat pee and smells twice as bad, to show how dedicated and loyal you are to the agency, the client and, most importantly, the creative director.

Hallways are lined with dozens of 4’x8’ foam core boards plastered (just like the creatives) with hundreds of ideas and drawings, none of them as good as the first idea.

Meetings are called to kick around even more ideas. Mostly they're ideas for more meetings.

Even though people are burned out, every angle has been covered, the ideas are all starting to sound the same, and they’ll never present more than three to the client, and none of them are as good as the first one, the show goes on.

Way past the point of exhaustion, when the pizza is gone and the sun's about to come up, eventually someone musters enough awake to say something like “Remember that first idea we had at the beginning, what about that?” Then everyone in the room nods like a shelf of Peyton Manning bobbleheads on the San Andreas fault, and the creative director claims he/she always loved that idea from the beginning.

It’s a riddle wrapped in an enigma wrapped in bullshit.

I suppose thinking it will change anytime soon is futile. And besides, I get paid to come up with all those ideas. As long as the checks continue to clear, I'll keep doing it.

Anyway, my point as you've probably guessed by now is never throw away the first idea.

And always buy stock in foam core.

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.

Are you the gatekeeper?

Once upon a time, when it came to getting into an agency, whether for a full time position or freelance, hopeful creative people sent their books (portfolio of their work in layman's terms) or promo piece (remember promo pieces?) to the creative director. That's because in a kindler, gentler industry, creative directors usually carved out some time - an hour or so a week - to go through books that'd been submitted.

They returned the ones they didn't want with a nice, brief thanks-but-no-thanks note. They called in the owners of the ones they liked for an interview or a meet-and-greet.

They were obviously the most qualified people to do this for a few reasons. For starters, they were creative people themselves. They understood what goes into coming up with an ad, the obstacles encountered in shaping and crafting it to make it great and the hurdles involved in getting it presented and produced. They spoke the language.

They were the first stop on the job tour.

Fast forward to today, where they're the last.

In today's fully-integrated agencies, with their manifestos on their websites, granola in the kitchen next to the Starbucks Via envelopes and planners offering their "insights," there's a position called Creative Resources Director. Or Creative Services Coordinator. Or Talent Relations Supervisor. Or Creative Concierge. However, that's not what they're called by the actual talent.

They're called gatekeepers.

These are the people who make or break you by getting you - or not - into the agency, and getting your work in front of the creative director.

Gatekeepers usually have the full trust and endorsement of the creative directors, even though most of them have never actually worked as a creative in a creative department. Yet there they are, judging on some criteria only they know which books get through and which don't. I imagine it's a carefully worked out formula of quality of work, reputation, freelance budget and have I had my coffee yet.

Gatekeepers, like creative directors (and freelancers), come in all flavors. There are absolutely great ones out there (like the ones at all the agencies where I work - you know who you are, and thank you). These are the ones that return your email, maintain a friendly attitude, negotiate a rate you're both happy with when they bring you in and let you down easy when they don't.

They keep the lines of communication open, and make it clear it's alright to check in every now and then to see what's going on.

Then there are the other kind of gatekeepers. They're what I like to call the meter maids of gatekeeping. They have a uniform so they think they're real policemen. But they're not.

Every creative person has or will run into one of these. They almost go out of their way not to have a relationship with the very people they will at some point want to work for them. They will never answer any emails, yet they will fully expect you to negotiate your day rate to the basement for them when they call you in two hours before they need you. They'll make sure you know how lucky you are they even considered you.

They'll check your availability, and then they'll never check back with you.

In the same way creative people establish reputations around town, so do the gatekeepers. It's well known in the freelance community who the great ones are, just like it's known who the um, less-than-great ones are. Like the French resistance, there actually is a freelance underground where the community has its ways of sharing their gatekeeper experiences with each other. It's a way of looking out for each other even if everyone's competing for the same jobs.

At the end of the day, gatekeepers are something you accept and work with. If they're the good ones - and I can't say this enough, like all the ones I work with - it's always a pleasure dealing with them. If they're the bad ones, you find the grace to muddle through while holding your ground.

By the way, if you happen to be a gatekeeper and you're reading this, you know the meter maid crack wasn't about you, right?

The take rate

Stunning picture of the earthrise as seen from the surface of the moon. I thought I'd go with this picture because when I googled the subject I'm actually going to write about, the pictures were, shall we say, less than savory.

So just gaze at the picture and enjoy while I talk about my perforated septum. As I've mentioned before here, I basically have a hole in my nose between airways that needs to get repaired.

When dealing with medical issues of any kind, especially those involving a potential surgery - major or minor - I always make it a point to find "the guy." In this case, "the guy" is the Chief of Surgery at the world-renown, major metropolitan hospital where I live. He's responsible for all the surgeries in all the specialties. And, come to find out, his specialty is Ear Nose and Throat. He was also Chief of Surgery for that particular department for six years.

Let's say confidence is high he can get the job done,

I met with him last Friday, and we discussed how he might go about performing the surgery. One way, and the way I prefer by far, is closed surgery where he just works through the nasal passages with really small instruments and precision to repair the perforation. The other far less preferable way is open surgery, where he makes a small incision in the center of my nose, then pulls it back revealing the septum more fully. It gives him a better view, and more room to move. And it only leaves a small incision when he's done that eventually heals to be unnoticeable.

See why I went with the picture of the earthrise?

Basically he has to graft a material over the hole in my septum. As we spoke about it, he told me he was going to talk to reps about which materials had the best take rate, that is the percentage of times the material is successfully grafted and holds. There's always the chance it won't take, which would just put me back where I started.

Afterwards, I started thinking about different take rates in advertising. Like the take rate of creative directors who don't want to get their fingerprints all over every idea presented to them (low). The take rate of clients buying the work unchanged (low). The take rate of planners not giving some asinine insight they think is brilliant, like "the consumer wants a better experience to engage with and advocate for."

Yeah. That's just what they want (lower than low).

I was also thinking about the take rate for people remembering this post after they read it. My take was I probably shouldn't think about that.

God nose, it could be worse

This week hasn't gotten off to a great start.

As you'll recall from an earlier post - and there will be a test - I mentioned I had a rather volcanic nosebleed about a week ago. But I saw my ear/nose/throat doctor, decided to buy some stock in saline gel and spray, and let it go at that.

And I didn't have another nosebleed. Until yesterday.

I was leaving the house for a gig at an agency I work at frequently, and I let the dogs out (guess that answers that question) one last time. While I was in the yard, I bent over to pick something up and blew a gasket. Like they say in the movies, it was a gusher.

The creative director at the agency I was supposed to start at has been great, and after having my nose cauterized (this post just gets better and better doesn't it?) today, I should be back on track Friday.

It all got me thinking about people who have it much worse than I do when it comes to nose issues. If there's anywhere size does matter, it's the schnoz, especially when it comes to colds, allergies or, for the overachievers in the audience, fire-hose nosebleeds.

I don't have a large nose or a small nose. I'd place it right in the middle. However, when I was in junior high school, Eddie Petroff decided to place it off to the side.

I was on the bus home from Bancroft Jr. High School in Hollywood. The bus was jammed with kids, and was pulling away from the stop when I saw Eddie walking with his girlfriend Dorinda, who I was friends with. Eddie saw me looking at Dorinda and said something to me, and I said something back. I figured I was fine since the bus was moving.

Well, besides being in a gang called the Diablos (so quaint, they used fists instead of guns), old Eddie was quite the little runner. He ran alongside the bus, and got the driver to stop and let him on. In slow motion, I saw Eddie parting the Red Sea of students, storming down the middle aisle making his way to me.

All together now: Oh shit.

Eddie got to me, grabbed me by the collar, said something stupid that made me wonder, again, why Dorinda was with him, then punched me in the nose and broke it. My friend Sandy was in the seat behind me, and years later, when I asked him why he didn't do anything to help me, he gave me a disarmingly honest answer. He said, "I figured why should I get killed."

Anyway, ever since having my nose broken by Eddie, I've had problems. I've had surgery twice to correct a deviated septum (Septum? Damn near killed 'em!). Apparently during one of those surgeries, my septum was perforated so I now have a small hole in between airways. Sometimes late at night, when the moon is full and the sky is clear, if the air's cold or I'm breathing hard enough, like from walking to the kitchen to stare into the open refrigerator, or looking for the remote, if you listen carefully you can hear my nose whistle.

I'm thinking about taking it on America's Got Talent. Still undecided.

The point, and yes there is one, is despite my nasal distress since junior high and this past week, it could've been worse. Thankfully, it's all manageable.

If someone were to ask me what I think of this post, I'd have to say snot the best I've ever done, but at least it doesn't blow. Sorry, couldn't help myself.

I'll take my leave now with my favorite big nose joke of all time. Pay attention, it happens early around the :47 second mark. Please to enjoy.

Managed risk

I worry too much.

I come by it naturally, being a member of the tribe and all. But I'd like to work on worrying about the things that merit it, as opposed to cluttering my anxiety with things that don't.

For example, my son is going off to college soon. And frankly, I'm thrilled for him but not so much for me. All the worry I have about my kids on a daily basis - the usual parent worries - now have to travel across twelve-hundred miles, two time zones and the fact he'll be a plane ride instead of a quick drive away. But I think that's a legitimate worry, as long as I don't let it be all consuming.

A good example of something I didn't need to worry about was getting to the theater on time today before Tomorrowland started. First, because the theater wasn't even half full on a holiday weekend, and - SPOILER ALERT - I could've gotten there when it was over and it would've been fine.

Despite how it reads, I'm getting better at not worrying so much about the things I can't do anything about. Like crazy, cell-phone using drivers on the road. Or crazy, cell-phone using creative directors at work.

I've found the best thing I can do for myself to get the anxiety needle out of the red is adopt the Elvis Costello theory: I used to be disgusted, now I try to be amused.

Plus I'm told one of the benefits of less stress and anxiety is a more youthful appearance (still waiting for that to happen) and a longer lifespan. Crap, now I'm worried about having to buy younger looking clothes and if I'll have enough money for those extra years.

Oh yeah. Son in college. Guess I don't have to worry about the money.

Bad form

I hate form letters, regardless what form they come in.

I just received one from someone I used to work for. It starts off, "Hi Jeff, my name is (HIS NAME) and as one of my connections I wanted to connect with you..." Blah blah blah.

I wouldn't have used the word connect so close to the word connections. That's just me.

Because this person does know me, I think a better idea would've been to cull through his network and personalize his communication to the people he actually knows. I've known him twelve years. I worked for him. He unceremoniously let me go, then washed his hands of it. Then he didn't bother returning any of my calls or emails.

Does he really think I forgot his name?

Don't get me started.

Anyway, I don't like form letters from faceless corporations, and I like them even less from people I know. They're just one more way the world is depersonalizing communication, while trying to give the impression it's very personal. Meant just for you.

It's the direct mail piece you're holding that addresses you by name. You know, the one five-hundred thousand other people got. It's the human-sounding software that uses voice-recognition to get your credit card balance and answer your questions.

Form letters are the equivalent of saying, "I don't really care, but I want to look like I do." They're a lot like my high school girlfriend that way.

Over the years, like all of us, I've received form letters from publishers rejecting my work, banks rejecting my loan application and potential employers rejecting my resume. I've also gotten them from publishers telling me I might already be a winner, credit card companies telling me I'm pre-approved and politicians earnestly trying to have a conversation with me one-on-one.

Actually one-on-twenty million.

In order for a letter not to be a form letter, the sender has to know you. Not know something about you that can be gleaned from your spending habits or website visits. But know you.

I think the feeling they're shooting for is the one you get when you eat at your local coffee shop and they ask, "The usual?" I'm pretty sure they're not going for, "Your hold time will be seventeen minutes."

I understand the convenience of a form letter, especially when you have hundreds of connections. It's the easy way out. And while I don't like being on the receiving end, more than most people I appreciate easy.

So anyway dear (NAME), I want to thank your for taking your valuable time to read this post. I know you're busy with raising (NUMBER) children, maintaining (NUMBER) cars and traveling (NUMBER) miles to work and back each day. I hope you'll find time on (DAY & DATE) to read my next post.

Feels good, doesn't it?

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.

Wrapper wisdom

As many of you know, and as I've written about here, I've been battling the cough from hell for about three weeks now. In that time, I've consumed my fair share of Chestal homeopathic (not that there's anything wrong with that) cough syrup, prescription hydrocodone cough syrup, hot tea, cups of lemon and honey, and bags and bags of Hall's Cough Drops.

Now, the cough drops are supposed to sooth the cough. But upon closer examination, they actually do so much more.

While I've been hacking up a lung, I've had time to read the inspirational messages found on each Hall's wrapper. They're so proud of the good these messages are doing, they've printed "A PEP TALK IN EVERY DROP™" right there on the wrapper. And yes, they trademarked the line.

Now, if you happened to catch this post, you know I've always been one who believes that inspiration is where you find it. But after reading the lines on the Hall's wrapper, I may have to re-evaluate that opinion.

In addition to the lines shown here, additional lines like "Turn 'can do' into can did!'", "Hi-five yourself.", and the ever popular, "Don't wait to get started." are also waiting to inspire the sick and hacking masses.

Somewhere a fortune cookie company is laughing and saying things like, "Damn, we're a lot better than I thought!"

The truly scary thing to me about these lines is that I know a copywriter wrote them. Either a $25 an hr. junior writer they found on Creative Circle, or, even sadder, a $25 an hr. ex-group creative director who couldn't get hired at McCann an is willing to write cough drop wrappers. It's a cautionary tale either way.

I think I've probably seen all the lines I need to see from Hall's.

It's time to stop being so inspired, and start thinking deeper thoughts.

Negotiate this

In advertising, as in most businesses, there comes that magical time in the interview where they ask you how much you're looking for salary wise. And before answering, you ask them how much they have for the position.

And the game is afoot.

I've never liked negotiating for money. It's not that I'm not good at it (Jewish, hello?), but time and time again it's just frustrating how stupid the things being said on the other side of the table are.

Here are two of my favorites.

They ask what I'm looking for and I tell them. Then they say, "Well, we're paying our current writer $50,000 less than that." To which I say, "Then keep your current writer. I'm sure s/he's great. But if you want me, you're going to have to pony up." Or something to that effect.

Sometimes you have to point out the obvious to them: that whatever anyone else makes has absolutely nothing to do with what you're being paid or your value to the company.

Which brings me to the next moronic statement I've heard many, many times in my, um, career (chuckling cause I said career).

This usually happens once I've had a job for a while where I've performed exceptionally, done great campaigns, have happy clients, been responsible for increased sales, gotten glowing reviews from my bosses, etc. The discussion of increasing my salary begins, and it's met with "Well, if I do that for you then I'd have to do it for everyone."

Hold on cowboy, let's think about that for a minute.

First of all, no, you don't have to do it for everyone. Unless of course you're letting everyone know what everyone makes. In which case then you might have to do it for everyone.

Also, if you have to do it for everyone, does that include that creative director that does nothing all day but look busy while he's actually playing Angry Birds on his iPad? Because if it does, I don't need to work nearly as hard or smart as I do if you have to give the same increase to everyone just because I asked about it.

Salary negotiations are about one thing and one thing only. The number you'll be happy with. And if the people you're negotiating with don't think you're worth that number, then they're not worth your time. It's a lesson that takes a while to learn.

Like buying a house or a car, you have to be prepared to walk away if you don't get the deal you want. It's not always an easy thing to do.

But it's considerably more rewarding than selling yourself short.

The Shithouse Poet

One of the jobs of a copywriter is to find exactly the perfect words to describe what you’re talking about. Revision after revision, you rewrite, hone and whittle the copy down to turn the precise, interesting phrase to perfectly describe your subject.

When you get there, you know it instantly.

And when someone else comes up with it, you know that too.

I have a writer friend of mine I’ve known coming up on twenty years. He’s a writer of some renown in the business, and we’ve worked together as well as crossed paths at a number of agencies over the years.

This one agency we worked at decided to bring in a creative director to bolster its creative chops. So they brought in a guy originally from one of the big cities in California. I won’t say which one.

But it’s known for, among other things, sourdough bread, a bridge and cable cars.

Anyway, this creative director fancied himself a renaissance writer. He'd made his reputation with two big successes: drinking before eight in the morning every day of his life, and making sure no one he ever worked with in that California city remembers him in a vertical position.

I kid. I kid because I love.

Actually the award-winning, nationally recognized work he did for a sparkling water account and, at the time, a brand new car company is where he made his mark. He had a folksy style he thought was appropriate regardless of the account he was working on.

He also had a deep baritone voice he decided would be the voiceover for all the radio and tv we were doing on every account.

Someone thought very highly of himself.

I was talking to my writer friend one day about this creative director, and my friend called him the "shithouse poet."

I was crying I was laughing so hard. It. Was. Perfect. In two exacting words, he'd captured the essence of who this guy had been, was and would always be.

I'm still in awe of it.

Sometimes, out of nowhere, the phrase pops into my head. And when it does, it brings me as much joy as the first time my friend said it.

Sparkling water, cars or anything else, I'm pretty sure the shithouse poet never described anything so perfectly.

Northern exposure

I've always loved San Francisco. And a long time ago, in a galaxy far far away, I had one of the best gigs under the best circumstances ever there.

I like to file it under I won't be seeing a deal like that again.

Basically the head of research I worked with at Tracy Locke became the VP of Marketing for Taco Bell (if I'd known he was going to become a client I would've been a lot nicer to him). FCB San Francisco was their agency. Since I'd always wanted to work in San Francisco, I called him and asked if I could drop his name often and recklessly to get an interview.

He did me one better: he called the creative director and set up the interview for me.

Normally I'd say any way you can get in is good. But when you're a creative person coming in through the client door, you're viewed with a lot of suspicion. All you can do is give it your best and keep showing them you know who's signing your paycheck.

I lived in Santa Monica at the time, and commuted up there early Monday mornings, and back on Friday nights. Obviously this was before I had kids.

My deal was that FCB paid for my commute, all my meals, and the hotel they put me up at each week (the fabulous Tuscan Inn). Plus the cab fare to and from the airport and my house.

I freelanced on Taco Bell for three months, then FCB asked me to come on staff. On the flight back to L.A. that night, I called my wife and told her they'd made me an offer. Coincidentally my wife was interviewing at the now non-existant Stein Robaire Helm at the time, and they'd also made her an offer the very same day. We decided San Francisco was the one we were going to pursue.

Besides FCB covering all my expenses, I also managed to negotiate a six month severance contract (okay, sometimes the client door is a good thing). Today you have as much chance of negotiating a severance contract as you do finding the Holy Grail.

The day my wife and I were going to fly up and look for apartments, my creative director got taken off the business. Never a good sign. We decided to wait and see which way the account was going to go.

The way it went was into review. For the next five months, until we lost it, I worked on both the business and the pitch out of the FCB offices in San Francisco and Chicago to save it.

After freelancing three months, then working on staff for five, I sat out two more months (paid) in Santa Monica while FCB decided what they wanted to do with the Taco Bell group. Although the group knew way before they did exactly what they were going to do.

When they let us all go, I walked away with a check for six months salary. I also left with a lot of new friends I made there. Every time I see or talk to any of them - I'm looking at you Savoy and Martin - I'm grateful for the experience all over again.

Ironically the day I got my severance check I also got my FCB business cards and letterhead.

Guess which one I still have?

Saving me from myself

No doubt about it. Sometimes, more often than I'd care to admit, I'm my own worst enemy.

Fortunately I have friends, good friends, who don't hesitate to roll their eyes, shake their heads and take action to save me from my impulsive ways.

I worked for this creative director at Chiat years ago. The operative words in that sentence are "years ago." And he was a miserable person who made my life and everyone else's he came in contact with miserable. For some reason, this individual was taking up way too much brain space with me yesterday. So I did what I almost always do when that happens.

I wrote a scathing blog post about him that I thought revealed him for the monster he was (today I'm saying "was", because yesterday the thought never occurred to me that he may have changed in the years since we worked together).

But that's not the bad part. The bad part is I posted it.

Within moments, my friend Cameron rode up on his white horse in the form of an email that read, "Wow. This is how you make enemies. And you got a family and a mortgage."

Now if you know anything about me - and why wouldn't you by now - you know that making enemies isn't a particular concern of mine. This wasn't a creative director who held me in high regard anyway, if he held me in any regard at all.

Still, it was a venomous attack on someone who, deserving of it or not, shouldn't have ever been posted. It was me spending way too much time looking backwards instead of forwards.

Two more of my friends, Rich and Rob, also let me know they thought it made me look a lot worse than the person I was writing about. My friend Dale, while he thought it was good that I got it out and down on paper (screen), agreed with them.

So instead of doing what I should've done in the first place, which was not write it, I did the next best thing. I took the post down.

I was yelling at this person and tearing his head off online while criticizing that he used to do the same thing at work. I stooped to his level. Bad move - definitely not proud about it.

Anyway, a big thank you to Cameron, Rich, Rob and Dale for having my back, and good judgement, even if I didn't. Thanks to them I'm coming away from this having learned a valuable lesson.

Don't make enemies until the economy gets better.

Late edition

This won't come as a surprise to anyone who's freelanced more than ten minutes in an agency.

Years ago I was freelancing at McCann and wrote a spot for the McDonnell Douglas C-17 aircraft. Ginormous, window-rattling cargo plane. The idea of the spot was to show how the plane could be used for civilian missions, and showed it bringing supplies to an area that'd been hard hit by an unnamed natural disaster (the best kind). Since the spot required a skill with real people and emotions, I thought Elma Garcia would be a great choice to direct it. So I suggested her to my partner and the creative director: they agreed and we - including me - began talking to her.

Here's the punchline.

Early on in the conversations, when everyone started realizing the spot's potential and how much fun it would be shooting on a base in North Carolina, the creative director suddenly decided my services were no longer needed and cut my gig short. He then went on to shoot the spot with Garcia. Despite the fact he liked to rewrite everything I ever showed him, he wound up shooting this one word-for-word as I'd written it. But just for good measure, he put his name ahead of mine on the copywriting credit (and ahead of the art director's on his credit) on every awards show the spot was entered in. I found this out when I picked up the New York Ad Awards show annual where the spot had won.

At least my name was on it. On a web page I looked at for this post, and I won't say who's page, it's just his name.

I know, so what else is new? Well, that was then and this is now. The ironic part is in the intervening years, I've had many reasons to consider (and still do) that creative director a good friend of mine despite his dickish ways at the time.

Over it. Really.

The reason I even bring it up here, instead of in therapy, is that during those early conversations with Elma, somehow the fact that my Dad worked at Al's Newstand for years came up. Elma couldn't believe it, because she'd shot a print ad using my Dad at the newsstand. The picture you see here.

Needless to say I was beside myself when she sent me the picture. My dad was from Brooklyn, and to me it looked like a classic New York newsstand, instead of one at the corner of Fairfax and Oakwood in L.A.

My Dad used to go to open the newsstand at 4:30 in the morning when all the papers and magazines were delivered. I hated that the heavy metal doors covering the stand weren't on sliders, and he'd have to lift them off one by one and set them to the side. To me it seemed so unfair that Al (who was great to my father for many years) would ask a man my Dad's age to do that.

But my Dad never complained even when he should've. Yet another difference between us.

I'm at a crossroad here, because my instinct is to get sloppy in my beer and go on and on about my Dad. I don't think I will.

Instead what I'll do is just look at the picture, this picture that came to me by grace and chance, and smile while I remember how much he must have enjoyed having his moment.

And how much I enjoyed having my Dad.

Groundhog's meeting

How many times has this happened to you?

You're in a creative meeting with other teams, and the creative director is telling you about the television spot he wants you to come up with. He says the spot should be moving. Should make the consumer feel something besides nauseous or insulted. You should make it unlike anything the competition is doing. Unlike anything that's been seen or done before.

Here's the funny part.

Immediately on the heels of instructing you and your colleagues to make it different, he starts subtly dropping code words that every creative recognizes. Words that tell you to make it exactly like what everyone else is doing.

If you're not in advertising you may have a hard time understanding this. The only way you'd have a harder time is if you were in advertising.

The truth is that in creative meetings at agencies across the country, this kind of thing happens more often than a Charlie Sheen interview. It's the reason so much advertising looks alike.

A writer friend of mine (who had a joke in the meeting that I'm still laughing at) told me that he never bites the hand that feeds him. Excellent advice.

So I'll work on the spot, using the directions I was given. One of which was to make it great.

I'll start by looking at a great spot the competition did.

Where credit's due

Success has many fathers, but failure is an orphan. Nowhere is that truer than in advertising.

When a campaign or an individual spot happens to hit big - locally, regionally and especially nationally - it seems everyone who was in the building, in one meeting, used to work on the business or walked by the conference room while it was being presented is ready to jump on the credit bandwagon.

The industry is lousy with examples of it: VW. Joe Isuzu. Apple. Nike. FedEx. Nissan. The list goes on and on. And on.

In the late 80's, there was a McDonald's campaign called Mac Tonight. It sprang from a local promotion by an operator's group for dinner at McDonald's. It was created by my friend and former art director partner Jim Benedict before we worked together.

Under the agency leadership of Brad Ball and Mark Davis, Jim was given the freedom and support to create a genuinely unique, fun and memorable spot for a client who wasn't particularly known for taking risks. With Jim's vision of a quarter moon leading man, and parody lyrics to Bobby Darin's "Mac The Knife", the spot took off in a way no one saw coming.

Wildly popular, McDonald's picked up the promotion nationally and suddenly it was everywhere.

What happened next was sadly familiar.

The executive creative director at the time (who has since long gone) started giving national press interviews about how he came up with the concept - some bullshit about how he was looking at the moon one night and it just came to him. Jim started getting assigned to other, less visible accounts. And his name was mysteriously absent from both the interviews and award show entries (and the spot won many awards).

To no one's surprise, McDonald's wanted to pool out the character and did in other, lesser spots created by the people who claimed they'd done the original.

To their own credit, the agency leadership was always honorable about rightfully giving the credit to Jim.

But, creatively speaking, low people in high places are a devious mix. If you've worked for one - and eventually we all do - I'm sure you have war stories of your own to tell.

Jim eventually became a creative director at McCann, where he continued to take on the challenge of doing outstandingly creative work for clients that had reputations for being resistant to it (I'm looking at you Nestlé). He died in 1994.

The agency, even in its current incarnation, still displays the spot on its website. And it should. It continues to be a great success story.

For them, and for Jim.