I should’ve been an account exec. Or a media buyer. Or an account planner. I’ve never known anyone of these persuasions who has remained unemployed for very long. Even if they weren’t very good. It’s true. The good ones (and I will readily admit that I have worked with many good account folks) seem to hop around at will. Even the sad sacks who couldn’t write a brief, analyze a DMA or control a focus group of zombies never seem to have much of an issue, either. Just flash a resume with good accounts on it and you’re good to go. Need proof of your contribution to said accounts’ successes? Heck no! You don’t need no stinkin’ portfolio. You worked on the account. It didn’t go bankrupt. How bad could you be?Creatives, of course, don’t get this luxury. I know many creatives who are quite brilliant at what they do, yet can’t seem to catch a break. Why? Their books are, shall we say, good. Not make-Alex-Bogusky-rage-with-jealousy-and-brain-Andrew-Keller-with-a-titanium-lion great. Just books full of solid work produced for a bunch of non-visionary clients. Probably at middle-of-the-road agencies you may not have heard of in cities in flyover country that aren’t Chicago or Minneapolis.
So these guys continue to look. Maybe they catch a break because they know a guy who knows a gal who knows another dude and they get on with a decent shop. But probably not. The probably end up at another no-rep place toiling away at sell sheets and arguing over why reflex blue went out of style in 1989.
And that’s just sad. Because a book really tells you so little about someone’s ability. It doesn’t tell you how well they interpret a brief. Or if they can help develop strategy. Or if they’re comfortable on set. Or in the edit suite. Or directing voice talent. Or selling ideas to the client. Or if the ads in their book are the only decent ideas they ever had.
And their book certainly won’t tell you if they’re easy to work with. Maybe every partner they’ve ever had has requested a team divorce. Maybe he hits on every intern (I’ve known this guy, haven’t you?). Maybe he steals ideas. Or trots out the same concepts for every client. Maybe he’s just a tool.
I’ve been on every side of this equation. I’ve hired folks based on their books that didn’t pan out. I’ve hired folks in spite of their books because I saw something in their own selves that was worth the gamble – and it paid off. I’ve also gotten a job (way, way back in the day) in spite of having a lackluster book, and am now banging my head against slamming agency doors because my book is pretty good but not laced with One Show award winners.
So maybe the next time you skim someone’s book, you should view it a broader context. Find out about their current agency – is it known for great work or phoning it in? If you see hints of greatness unrealized or evidence of good concepts squelched by client edicts, ask for the stories behind the ads.
Ads aren’t created in vacuums. So, when someone’s livelihood is on the line, don’t judge them that way. After all, we aren’t consumers. We’re fellow ad slingers.
Later,
Fox