Author: creativecircle

If you’ve ever taken a look at an ad agency personnel list of titles, you may wonder, “What does any company need with 20 vice presidents?”

Here’s a brief guide to decoding agency creative titles, what they mean, and how much (and what kind of) experience they typically require. Rising to the top of the food chain isn’t simply about putting in your time and winning awards: each rung on the ladder requires a unique skillset. And, rather counter-intuitively, the higher you rise, the less time you’ll actually spend doing creative work. Read on to figure out which rung you want to aim for.

Junior Copywriter/Art Director

Junior creatives usually have between 1 – 3 years of experience. Many junior art directors start out as production artists and then graphic designers before they get the title of art director; though occasionally, if you’ve come from a portfolio school and you have great work and student awards, you may be able to skip ahead. However, copywriters don’t usually start as proofreaders or copyeditors, as those are almost entirely different career paths.

Junior creatives are above interns, but might not be getting the juicy assignments yet. At this point, junior creatives are carrying out creative direction from people above them: they’re told what the creative concept is and asked to execute smaller projects based on that vision. They usually have minimal client interaction.

Copywriter/Art Director

These people typically have between 3 – 5 years of experience. Since they’ve worked for a while and paid their dues, they’re participating in the more high-profile work including concept development and broadcast, and may even be involved in client presentations. At this point in your career, you will start being asked to share strategic insight.

Senior Copywriter/Art Director

The usual amount of experience for this position is 5 – 7 years. This is the stage where you’ll really be able to leave an imprint on a brand by sharing your strategic vision, contributing to the development of creative briefs, and having a greater say over how the creative work gets brought to life. You will also mentor the junior creatives, and you may be asked to delegate assignments and schedule work in your department.

Associate Creative Director (ACD), art/copy

Moving up to Associate Creative Director is when you start to leave the day-to-day creative work behind. Instead, you’ll focus more on working with clients as well as Account and Strategic Planning to oversee and drive business for a brand. ACDs usually (but not always) work on a few brands at the same time. They are also involved in pitches and new business presentations. ACDs are usually expected to have between 7 – 10 years of experience, but there are plenty of wunderkinds out there who make it into this position with as few as 4 years in the business.

Creative Director (CD)

This is one of the big jumps that requires not only talent and tenure, but true leadership and people skills. In addition to overseeing all of the creative, Creative Directors are tasked with operational duties, such as budgeting and planning creative resources. They also may need to help the agency achieve financial milestones. At this point, you won’t have a lot of day-to-day creative responsibilities (i.e., you’re probably not writing or designing much), but your creative imprint will be huge. A good Creative Director is equally knowledgeable about art and copy, as well as all the technical aspects of bringing the work to life.

Executive Creative Director (ECD)

Responsibilities vary from agency to agency, but the job of the Executive Creative Director is to solve business problems for both the agency and its clients. On the agency side, this means helping to shape the agency’s public persona or profile—for example, think about how creatives like Alex Bogusky, Lee Clow, and David Droga have defined their agencies. ECDs also determine how the agency presents itself through marketing and partnerships or alliances, and help decide which clients to court, which can shape the agency in a profound way. Often, ECDs are brought on as an agency partner, meaning they have a financial stake in the agency.

Now, about those Vice President titles…

A lot, but not all, people who make it to ACD levels and above also get Vice President pinned onto their titles. It does not mean they get to run the agency if something happens to the president. Often, this title is given out in lieu of a big raise – which may seem like a backhanded compliment, but it’s assumed that creatives move around often, so they’ll be able to cash in when they get to their next agency. It’s also a way for an agency to give the client confidence, like, “Hey, we have our A-Team working on your account!”

Even though there definitely is a hierarchy, you don’t need to keep climbing it to have a successful and enjoyable career. I know senior copywriters who do their job well, win awards, and rule at presentations, but have no desire to move up to new titles because they just don’t enjoy all of the client management duties. And generally, as you move up the ladder, it’s expected that you’ll commit more of your life to your job, so there’s also that to consider.

Whether you want to eventually have your name on the building, or you simply want to do fun work and get paid well, the best advice is to focus on being your best at the job you already have. People will notice, and you’ll get opportunities to either move up or keep doing more of what you love.

Lisa is a seasoned advertising copywriter who lives in Los Angeles. Her background includes both in-house and agency work on Fortune 500 and global accounts in the consumer and healthcare/pharmaceutical fields. She excels at words, fashion, and cats. If you want to work with Lisa, contact Creative Circle Los Angeles.

When most people start dreaming of a career in advertising, they’re probably thinking about a gleaming, multi-story complex on Madison Avenue or one of the sprawling, modern campuses occupied by Deutsch or TBWA\Chiat\Day here on the West Coast. It probably never crosses their mind that they could end up in a quiet, unassuming office complex that shares a parking lot with a mattress outlet.

Working at a small, independent agency—by which I mean anywhere from 5 to 35 people—is not for everyone’s temperament or goals. But I loved my time at the “mom and pop shops” I worked at. Here are a few reasons to at least consider a smaller workplace, and a few more reasons why you just might be suited to a larger agency.

At smaller shops, you get to do a little of everything.

These days, many agencies are broken out by specialty (e.g. digital, social, experiential), and if you do end up at a full-service shop, it’s probably to do one thing on one account. Smaller agencies tend to do it all. In a typical month, one of my small agency freelance clients sends me jobs that include naming, annual reports, taglines, social media, and packaging.

The pros: If you’re starting out, it can be a great way to try new things, build a portfolio, and figure out what you’re interested in. Freelancing at a small agency allows experienced professionals the opportunity to flex their creative muscles.

The cons: Because the industry is so highly specific, many employers want to see deep portfolios that showcase a particular skill, so it may take time to build it at a smaller agency. To help keep your portfolio robust and relevant, you may need to consider extracurriculars, such as portfolio classes, writing workshops, or additional freelancing.

You’ll become intimately acquainted with your coworkers.

When you work in a small agency, it’s unavoidable that you will get to know everything about your coworkers.

The pros: Almost no drama, and it can even feel like a family. If you’re an introvert, you’ll appreciate that you won’t have to schmooze as much or juggle as many professional relationships.

The cons: With a small agency, if the personality fit isn’t dead-on, it can be painful. Depending on who you are, you may get bored or crave more social interaction.

Small agencies have much less bureaucracy.

Most large agencies have multiple layers of management, which means there are highly specific ways of doing things—and that’s everything from buying a new design magazine to switching your benefits to just getting the signature line in your email changed. Smaller agencies usually make it up as they go along.

The pros: Much more flexibility. At the corporate agencies, you need to schedule a single vacation day weeks or even months in advance. And unlike the bigger agencies and networks where there’s a picture of the president on the wall in the lobby—and good luck getting a hold of that guy—at a small shop, you’re probably sitting about 10 feet away from your boss.

The cons: No HR department might mean there is no one standard for conduct. If you’re employed by an agency in one of the big global networks and you have a problem with the way someone acts or the way things are being run, there are procedures and protocols in place for making you feel heard and taking steps to change. And whereas larger agencies tend to put a lot of thought into rolling out policies and initiatives, smaller agencies may not have structured policies yet, which can mean a feeling of instability.

The overall quality of life is different.

Often, small agencies are founded by talented but burnt-out people who have paid their dues and now want to set their own hours and never again have to work until 1 a.m. These agencies likely serve local clients, which means less need to travel.

The pros: You can have a life outside of work, including making plans during the week. It’s been my experience that small agency owners have a deeper appreciation for work life/balance. They don’t want to work late, and they don’t want their employees to, either.

The cons: Many people spend decades on the agency merry-go-round—because it can be really exciting. In a big shop, as you rise through the ranks, get a shinier title, and work on $$$ projects, you’ll have the opportunity to travel to big cities, do sophisticated presentations to executives at Fortune 500 companies, and even make commercials that millions of people will see. If that’s what matters to you, you may need to look to a larger shop to find it.

What it all comes down to…

It’s easy to assume that having a big, “brand name” agency on your resume will open professional doors for you. But what will keep those doors open is having a book full of thoughtful, well-executed work. If you’re considering a small agency, go in with your eyes open and make sure you’ll get to do the kind of innovative creative work that will impress your future creative directors. You just might end up loving it so much you decide to open your own shop one day.

Lisa is a seasoned advertising copywriter who lives in Los Angeles. Her background includes both in-house and agency work on Fortune 500 and global accounts in the consumer and healthcare/pharmaceutical fields. She excels at words, fashion, and cats. If you want to work with Lisa, contact Creative Circle Los Angeles.

Once you’ve been offered that great job you’ve been waiting for, the next – and maybe most uncomfortable – stage is negotiating your salary. Having a solid idea of what your skills are worth in the workplace can help you advance and make a better living.

Know your worth.

Keeping up to date on your industry and how much others are making in your field can help you understand your own worth. Some due diligence on your part goes a long way. Utilizing websites such as Glassdoor or PayScale will help in being knowledgeable about salaries for your local market. These websites are fairly accurate in pay rates because members who work at the actual company anonymously post their salaries. After reviewing these sources, you should have a good grasp on the typical salary range for your job, experience level and city of residence.

Know the value you bring.

It’s important to know that your worth and value are not the same thing. Your current value as a professional should include essentially all your special skills, expertise and even your level of likability. If a company values the skills you bring to the job and you’ve hit it off with them, they’ll know that other companies will like you too. Your value makes you an asset worth fighting for, and being aware of that value can give you an edge during negotiations.

Be upfront about it.

Once you know your ideal salary, you should be prepared to explain why you deserve that amount. Before you rattle off your salary demands, though, try and let the company put a number on the table first. You may be surprised to find this number is higher or lower than expected. If their offer is higher or on par with what you want, then great! If it is lower than you were expecting, then it’s the time for you to talk about your salary requirements and why you are worth the extra investment to the company. Be sure to use an exact number, not a range.

For example, if the company is offering you $45,000 per year and you know you need $50,000 minimum to be comfortable with moving forward, counter with $55,000. Being firm with your counter doesn’t have to come off as aggressive as it may seem. Add a little polish to your wording – something along the lines of, “I am thrilled about this opportunity and would love to get started right away if we can come to an agreement on salary. Is there room in the budget to come to the $55,000 mark?” Pause here and let them reply. If it’s a favorable response, then great. If it’s unfavorable, then try one last effort with a statement such as, “I don’t want to let salary disagreements ruin this opportunity, so I could try and meet you in the middle if you can make it work.” You’ll be surprised what you find out just by giving it two shots instead of one.

Consider your alternatives.

A disagreement in a starting salary pay is not the end of the negotiation. There are still several aspects that can be negotiated. Remote days, health benefits, sick days, vacation days and a mutually agreed future performance review to visit pay again are just a few things that can be worked out. We all can agree a remote day or two in your PJs with your laptop is worth something. The money you will save on gas and eating out for lunch will help offset the difference in starting pay. Health benefits are also a big way to save additional money. Some companies don’t start benefits until 90 days after your hire date, but you may be able to move this down to 30 days or even day 1. Be sure to open the conversation around this if you are looking for an alternate route to solving salary disparities.

Know how to handle the outcome.

If you end up accepting a lower salary, stay motivated and show your passion to prove you’re worth the additional investment from the company. It’s always a good idea to mention that you’ll happily accept the position regardless of the salary difference to get your foot in the door, prove your worth and become an asset to the company. If you put in the work and show them what you’ve promised, there should be no reason the difference in salary requirements should last too long.

In the end, you both want what is fair and reasonable for your position and the market where you’re working. The process is all about coming to an understanding as to what both parties think is fair. Be prepared, and remember money is not the only thing on the table. Most employers don’t have the budget to fulfill higher salaries, but remote days, vacation days, sick days, health benefits and future pay increases are easy for them to work out if they really like you.

Many people choose not to negotiate and just take what the company offers because they need a job. It’s a personal choice, but determining your worth and going out on a limb to negotiate a better salary will in turn give you a better chance to live the life you want.

Krista is a Creative Circle candidate, creative writer and content creator in Los Angeles. Her background includes news, marketing, copywriting and editing. If you are interested in working with Krista, please contact Creative Circle LA.

It doesn’t matter if you’re a freelancer or a new full-time employee: finding yourself in a new environment and joining up with an established team can be a challenge —especially if, like many creatives, you don’t consider yourself a “people person.” Some people live for meeting new colleagues and eagerly throw themselves into a new work dynamic, while others (like myself)…well, you may never relish it, but you can coach yourself into being a valuable team player, right from the start.

1. Make a Good First Impression

Go in looking professional and appropriate. (Truth be told, I think it’s a good idea to err on the slightly-more-professional-looking side for the first week.) Don’t go out of your way to solicit conversations, but be polite, forthcoming, and attentive. It doesn’t hurt to have your “elevator pitch” rehearsed, since you may be asked about your qualifications or what you can bring to the team.

2. Get to Know the Team

On your first day you’ll probably meet a lot of people – and then promptly forget all of their names. You may feel like a nerd, but there’s nothing wrong with carrying around a small pad to jot notes down on. Try to learn the essentials, such as where they sit, what hours they work, contact info, if they prefer phone calls to email, etc..

3. Roles and Responsibilities

Getting acquainted also means understanding roles within the team: finding out who does what, and when and why you’ll work with them. It’s especially important to find out who the point-person is: the person you can go to with questions about the job, team, process or project. This is usually a project manager/coordinator or even a traffic manager.

4. Don’t Try Too Hard to Fit In

I’ll just come right out and say it: it can feel lonely being the new freelancer on a team, but you’re not there to make friends. Initially, keep conversations professional. Naturally, as people warm up to you, there will be plenty of opportunity for interpersonal relating, water-cooler conversations, and coffee runs. But during the first few weeks when you should be establishing that you’re a competent member of their team, just chill and focus on the work.

5. Ask as Many Questions as You Need to

Even if you’re brought in for having special expertise in a design program, you have a background in a specific industry, or you’ve even worked with the client before, you won’t know everything about the assignment—nor should you be expected to. Consider your teammates the experts, and ask about anything you don’t understand or need clarification on. Asking questions is a good way to show that you’re engaged, and it can make people feel respected. Most importantly, having the right information is what will help you do your best work.

6. Be Flexible

Being part of a team means other people have input, too. Look at it like this: the fact that you were brought on means your supervisor already recognizes your skills and creativity. Give other people credit for their good ideas, and let them have input on yours.

It’s great to advocate for your ideas – especially if you have facts, experience, or research that supports them – but get used to letting go. No matter how much a rockstar you are, it’s going to happen a lot during your career, so if you can do it with grace and quickness, you (and your work) will be better for it.

7. Don’t Be Afraid to Set Your Own Boundaries

All those things you have to respect about your coworkers—they should respect about you, too. You may not always be able to say, “I won’t take phone calls or answer emails after 7 p.m.,” but you should be able to have lunch, take breaks, and enjoy a working environment that doesn’t negatively affect your health or your ability to do your job.

As a freelancer, you may think you have to “suck it up” and accept it when people ignore you or brusquely give you orders. Being slightly rude is one thing, but it’s never OK for someone to yell at you, threaten you, demean you, or otherwise treat you badly. If this happens, talk to your supervisor. Or if it IS your supervisor, talk to your recruiter or rep.

Don’t forget to focus on the job!

It’s true that working in advertising and marketing can feel like a popularity contest, but, in my experience, the best way to quickly become a valued team member is to show up every day and do your very best work. Don’t worry about trying to make people like you — just keep solving their professional problems and making the company look good, and then the trust and the relationships will follow.

Lisa is a seasoned advertising copywriter who lives in Los Angeles. Her background includes both in-house and agency work on Fortune 500 and global accounts in the consumer and healthcare/pharmaceutical fields. She excels at words, fashion, and cats. If you want to work with Lisa, contact Creative Circle Los Angeles.

As a creative professional, you’re at one of two phases in your creative career. Either you’ve been in the industry for years (some more than others) or you’re fresh out of school / an immersive course. No matter what your current occupational status is, though, one thing should be constant: you should put your best foot, or work, forward.

Throughout my time in the creative community, I’ve reviewed well over 10,000 portfolios and interviewed upwards of 4,000 creative candidates. Each candidate is unique and each portfolio – and the presentation of it – is just as unique. Putting together and showing off your portfolio can be a large undertaking, but here are some tips that are sure to make the task less daunting.

Be selective.

You may have terabytes upon terabytes of work that you want to share, but be sure to limit the amount of work in your portfolio! Ideally, you will have 10-12 top quality pieces that highlight the best work you’ve produced in recent years. If you’re just starting out and don’t have that many portfolio-worthy pieces, show as much work as you can, even if it’s spec work – as long as it’s high quality. There’s no reason to showcase lesser quality work for the sake of a bigger portfolio.

You’ll also have a very short amount of time to grab someone’s attention, so reel them in with stunning work! Lead with the absolute best piece that you have. Moving beyond the first piece, your portfolio should show that you have range and you can solve a variety of design problems. Hold off on showing multiple executions in the same style or genre. You’ll want to diversify and allow your portfolio to speak to different viewers.

Be you.

Your portfolio is meant to be a strong representation of you, so it should explain who you are, what you do and what you’re looking for. Show your personal brand, and let your personality come through a bit. Set the stage for your work to wow!

In my opinion, every creative professional should have a personal brand. It’s important to extend your brand beyond your portfolio and resume and include any professionally relevant social channels. Having a personal brand doesn’t necessarily mean developing a logo or a suite of collateral, it can be as simple as making color and font choices that remain consistent across your portfolio and resume. Not only will personal branding allow your portfolio to stand out, it will show the world that you’ve got yourself together!

Be detailed.

When your newly refined portfolio lands you an interview, you’ve got to be prepared to talk through the work. Think of it as an addition to your elevator pitch – know it inside and out, backward and forward. Since the work is yours, you should be able to speak casually about and defend the choices you made. Your color choices, type treatments, layout, copy tone and voice are all subject to questioning – even down to whether the piece is parallax vs. responsive. Sharing process documentation can help convey your creative process, but even if you don’t have it, at least be able to talk about various iterations that you went through and why the previous versions didn’t make the cut.

If you have a project in your portfolio that was a collaboration, call out what part you contributed to. Did you handle the conceptual / ideation process or did you flesh out the copy? Were you responsible for the User Experience research or the Interface / Interaction design execution? Be honest about your abilities: you don’t want to misrepresent your creative prowess.

Be up-to-date.

Remember, your portfolio is ever-evolving and will continue to grow with your career. Finding a balance between working and updating your portfolio may prove to be difficult over time, but you’ll always want to keep your portfolio current. Pro tip: don’t go too far back into the archives searching for good work. Keep your portfolio filled with fresh executions that go back no further than 4-5 years.

Also, go digital! I love quality paper selections, spot varnishes and debossing, but let’s be honest, with mobile representing 65% of digital media time, it’s clear that to be relevant, you must be digital / mobile friendly. Building your own website to showcase your portfolio is always great. However, for those of us that are “front end development averse,” there are a number of platforms that support creative portfolios – Krop, Behance, Dribbble and Artrepreneur are all great options.

If you’re looking for an even more comprehensive resource, take a look at our Portfolio Guide for further tips and best practices. Most importantly, be confident in yourself and your work!

Engage. Evolve. Create something great!

Brian is the Lead Creative Recruiter at Creative Circle New York. He and his team represent and place digital and creative talent in New York City and the surrounding areas. Brian brings over ten years of experience in the creative staffing industry, leading recruitment efforts and partnering with creative professionals and agencies, start ups and companies in need of creative solutions.