10 job hunting tips for this year’s graduating class.

As a mid-level writer looking for work, I would affirm that every one of these points (except #4, perhaps) makes just as much sense now as it did when I got out of portfolio school five years ago. As to becoming digital, I can't even count the number of job postings I've seen that have mentioned social media, iPhone apps, and the like. Everyone wants it, so we'd better have it.

And as to creating one's own brand, in a recession I've found this even more urgent than usual, because with dozens of others like me out there scrapping for the same underpaid freelance gig, what's going to distinguish me from the rabid masses? I've been doing this in a somewhat half-hearted and diffuse way, but thanks Edward for the reminder.

Oh, and finally, that last one--like many wise sayings--is the simplest, yet hardest.
.-= Nate Davisu00c2u00b4s last blog ..iamnatedavis: @arstechnica So Apple's looking for another gizmo that will flop on release but be the subject of breathless rumors ten years later? =-.

G:
Like everyone else you're partly a victim of the economy. Not sure what's in your book, but I hope it's not traditional advertising. As for the real stuff, if it's not good enough have a combination of both in your book, and use the work that's below your talent level as the excuse to why you're looking for a better gig.

It's a really strange thing. One one hand, people want to know you can produce real work for real clients, on the other hand when you do, recruiters will say it's more boring then your spec work. Perhaps I was at an agency where the work wasn't as good as it could be, but I never thought I'd be back at square one after two years. It's really a terrible catch 22. Especially these days.
.-= golublogu00c2u00b4s last blog ..poetry as found on commercial breaks =-.

Steve,
Thank you so much for your comment and time. I actually agree with much of what you are saying. I didn't mean to suggest that digital proclivity is the exclusive domain of the 20-something, rather that it's inherently more natural. They have never known anything else. Yes, you may be, and I may be fully vested in digital and technology, but in my experience there are many 40 year-olds (even 35 year-olds)in traditional advertising who have had to be dragged screaming and kicking into the space. When I teach college courses and meet with gen-we folks, they don't even think about it. They just live. Again, not saying there aren't lots of 40-somethings who do get it, just that it's often a quality more evident in people who are younger.

I recently came across your blog through a link to your entry titled: u00e2u0080u009c10 job hunting tips for this yearu00e2u0080u0099s graduating class.u00e2u0080u009d While your post was geared for newly minted graduates seeking to enter the advertising field, I thought it gave sound overall advice (Tip #u00e2u0080u0099s 2,3,4,6,7,8,10) for anyone looking for a job in todayu00e2u0080u0099s market. However, when it comes to Tip #7, u00e2u0080u009cBe as digital as you can,u00e2u0080u009d I disagree with your assertion of: u00e2u0080u009cOne advantage you have over those 40 year olds still populating creative departments is your comfort with all things digital.u00e2u0080u009d

I feel that youu00e2u0080u0099re implying that anyone over the age of 40 does not possess the same digital savvy as someone under the age of 40. This couldnu00e2u0080u0099t be further from the truth. I say this because I believe that the true professional will proactively keep up with the latest trends, developments, best practices, operational efficiencies, and tools of the trade to stay current and relevant in their industry of occupation. Failure to do so results in the perception that the employee in question doesnu00e2u0080u0099t u00e2u0080u009cget it,u00e2u0080u009d but u00e2u0080u009cthe younger employees do.u00e2u0080u009d Iu00e2u0080u0099ll add that youu00e2u0080u0099re a prime example of the true professional and that youu00e2u0080u0099re being as digital as you can be (to borrow your phrasing)---Iu00e2u0080u0099ll be honest, I Googled you, so I know you have a Facebook page, a Twitter feed, a LinkedIn profile, and of course a blog.

Iu00e2u0080u0099d say that because of your digital involvement, your comfort level is on par with the under 40-somethings. I will agree that Gen-Y has a u00e2u0080u009cnatural comfort levelu00e2u0080u009d with the digital medium, but only because they were born into a world where the digital medium was firmly established and stands along side print, radio, and TV. They donu00e2u0080u0099t know of a world without the Internet. Plus, the digital medium is a major part of their social and popular culture.

The 40-somethings you refer to in tip #7, Gen-X and Baby Boomers, were not born into a world with a digital medium, they witnessed the birth and commercialization of it. You, your peers, and those 40-somethings were there when Radio Shack released their first home computer as did Apple and Commodore. You bore witness to the emergence of the Internet via AOL, Compuserve, Prodigy, and Delphi. You, your peers, and those 40-somethings adapted to and adopted this disruptive technology to the point that it now a fixture to whatever degree in your lives. It's an aspect of your lives but not a probably not a driving force.

Again, I thought your blog entry gave very sound advice, but in light of how a true professional should conduct their professional life, Iu00e2u0080u0099d say that a natural familiarity does not make for a competitive advantage.

Best regards,
Steve

Steven Lastniku00e2u0080u0099s last blog post..A Charlie Brown Ad Agency

As a junior copywriter with just under two years at a "second-rate" agency, I fought tooth and nail for my campaigns and every time, I was either rejected or told to tweak them so much that (I knew) they wouldn't be worth putting in my book. I always stood up for my work, but it only seemed to make things worse between the CD and myself. I stopped caring about the work I was doing and started producing work that I knew they wanted. This is also when I started looking for the kind of agency where I could do "first-rate" work. When I realized I had nothing to put in my book worthy of those "first-rate" agencies, I started pushing for campaigns I could use. Needless to say, it didn't work. I left four months ago and started freelancing to build my book. It's not "agency" work... but it allows me to fine-tune my talents in a brighter light. Hopefully it helps me become a better copywriter and find the job that allows me to flourish in my career.

I figure that if you want it bad enough, you'll get it. So, whether you take the first job you can get or you hold out - just keep true to you (and work your butt off).

:::sarah:::

Hurley:
You definitely don't want to sell out and do bad work. But here's to hoping there're agencies whose reputations may not yet be equal to that of Crispin or Goodby doing great work. (In fact you see them in the books every year because someone there is carrying the torch for great work and fighting to get it done.) My post was initially done to provide some guidance to fearful grads coming out this spring in the midst of a devastating economy. Interestingly, the worse things become, the more great work becomes essential. With less money in media, the idea has to stand out, call attention to itself, be worthy of word of mouth.
Edward

BTW I've been fired from at least two agencies for refusing to lower my standards.

In the real world, it's hard to say no to a paying job. Especially, in this economy.
Ideally you should work on your book while you're working at the crappy agency, but the reality is crappy agencies suck the life out of you. They lower your standards. These agencies will work you to the bone doing work you can't put in your book. They demoralize you on a daily basis. So rarely do you have energy or time to work on stuff on the side.
But that being said, I've been able to sneak in good work here and there. Work that has gotten me into some good shops.
It's a fight.
You just gotta be strong enough to pick yourself up after you've been knocked down a 100 times.

Jason:
Would love your list of all stars who started at lesser shops.

I agree. Students should hold out for that great job, if they can. But if you can't afford to, it's not the end of the world. This was Norm Grey's advice when I was a student at Circus and he had many examples of all-stars who started with "any job". I've been at agencies and seen kids come in from parts unknown and just kill it and go on to to become stars.

10 years later, I'm grappling with a similar decision. Do I take work at a less than desirable place or hold out for better? Given the economy it might be any port in a storm.

Stan, I have always agreed with and echoed your sentiment. In fact, to every student who has asked, I always told them that the most important job of their career will be their first. It's a lot easier to move from a creative shop to Wieden (or better yet, from Wieden to your next gig), than it is from a generic-brand agency to Wieden. But in this recession - which could very well still become a depression - all bets are off. I think what Edward is saying is right on...practice your craft and get paid for it. And if you must, work on your book outside of the agency.

There's also an argument to be made against becoming damaged goods. If you hold out for the best job for months or a year, agencies start questioning your employability. Easier to get work when you have it, as they say.

First, congratulations to Joel. (This is how Bob Dylan got his start, too). I am a big believer that talent is only part of it. Courage, conviction, determination are the other three ingredients you need. Never met anyone who failed if he or she had the last three to go with the talent. Interesting debate about any job vs hold out for best agency. I started with the "any job" so it worked for me. I also graduated in the midst of a severe recession in 1976. I think people need to do what's right for them. I do know of a woman who started at Leo Burnett working on Virginia Slims and 15 years later she had nothing but 1000 cigarette billboards in her book. She actually sent it to me. I was mortified. First because of the cigarettes, and second because I could not imagine how someone would go to art school, get into the business they love and end up doing that. So, yeah, Ronan and Stan have a point. I am talking to this year's graduating class at the Creative Circus this Thursday. Will see what they think about all of this.

I thank you for the great advice! And proving what I've been considering these past 7 months to be sound thinking. I graduated from a portfolio school 7 months ago and moved back with the parents until employment comes around. They've been trying to convince me to stay in Wichita but I know my mind will not be used to it's fullest in this conservative city. I've decided to sell my car with hopes of getting enough money to keep me afloat while I sleep on couches in NY, spending every day with a smile on my face while searching for that opportunity.

As a teacher at Parson's for the senior portfolio class I can't agree more with your tips. But here is an additonaly one: enter into the One Show, Addy, etc. student competitions. Last year my students did real well in them and those that did got jobs at great agencies immediately.

Before reading the comments, I was thinking the exact same thing that Stan was. It's a huge catch 22. You need work, but the decisions you make are more crucial than you'll ever know. If there were only one thing I could change about my career -- one thing -- it would be to go back to the very beginning and make that first decision much, much better.

A bad creative atmosphere is a snowball. It'll build a bigger cocoon around you that is eventually impossible to get out of.

My advice to students... work at Starbucks until you can get a "good" gig, even if it's not your A+ first choice... don't go to a C+ shop, or you'll spend your entire career at C+ shops. Trust me.

A great comment. Didn't mean that one should compromise standards, but there is a lot to be learned by mastering the craft through practice. I can also assure you that there are many many well known creative folks who started at lesser known agencies, got real life experience while continuing to work on their book and then made the jump. When they did, they had experienced real assignments, gotten used to rejection, and had probably dealt with clients and account folks. All of which contributed to their career growth in one way or another. Its partly up to the individual. And in this economy, there may not be as many choices. Even the good agencies have cut staff. Thanks for taking the time to share your thoughts.

Great advice Mr. Boches, thanks for sharing.

I agree with everything but #5 (Take any job that lets you practice your craft).

Lesser known, lesser creative shops are lesser known and lesser creative for a reason. They do not provide the opportunities or support to allow good work to get produced. And creatives are judged harshly on their work. No CD has ever cared how much I struggled to make a bad assignment for an unmanaged client at a hack agency on a ridiculous budget as good as possible. And yes, there ARE bad assignments, if the support system isnu00e2u0080u0099t there.

For students, thier enthusiasm and potential put them a step above a junior creative at a crappy agency. Their books of great spec ads are widely accepted. They lose that edge as soon as they take a jobu00e2u0080u00a6 employers start to expect produced work (and you canu00e2u0080u0099t put bad stuff in your book).

In this business, every step you take down makes it harder and harder to step back up.

Unless youu00e2u0080u0099re in danger of being thrown out onto the street or have kids to support (and students are usually used to living on less), wait it out! 90% of advertising out there is horrible. Who do you think is doing it? The former students who settled for less and got stuck on the lower steps.

I am pretty sure Mr. Baldacci is an EVP/CD for a good shop like Arnold because he waited on a good shop like Mullen.

-Stan