A couple posts back, Bukes asked two really good questions.
Q: As a junior, how realistic is it to get to work on anything other than the “bill paying” projects?
Greg says: That depends on the size of the agency. If you’re in a small shop with only a few teams, you’ll work on pretty much everything. If you join a larger shop, the chances diminish. That’s why you’ll hear the mantra, “Take advantage of every opportunity.” You only get to work on tray liners? Make them tray liners worth entering into the One Show. You’ve only got a table tent? Make it more than a table tent.
Jim says: I wholeheartedly agree. Every project counts. And if it’s a tray liner, do the best tray liner anyone has ever seen. Then bring ideas for posters and napkins and in-store posters and anything else you can think of. I was offered my very first job because of an assignment to re-design the McDonald’s employee application during an internship. My partner and I wanted more stuff for our books, so we did in-store posters, drive-thru posters, menu signs and, yes, tray liners. The creative was okay, but the creative directors were just impressed that we took the initiative.
As a junior, you want to prove that you’re a source of great ideas. And nobody’s going to fault you if you say, “I know the assignment didn’t call for stunts, but we had this idea we thought could be really cool.” Just MAKE SURE YOU DO THE ASSIGNMENT first. It’s not “We didn’t want to do tray liners so we did a spot.” It’s “We did these tray liners AND had this other idea.”
Q: How long should you do that before you can expect to start building your professional book?
Greg says: You start building your professional book the day you start earning a paycheck. Not feeling like you’re getting enough great creative? You’ve got two choices: 1) quit and find another job, 2) start doing great creative. Give the clients something more than they asked for. If it’s good enough, most agencies will pay to run and enter it. Or go out and get a pro bono client. I shortlisted at Cannes this year with a client that I went out and found on my own. I had some great creative directors and producers help bring it to life. But if I hadn’t made the cold call, I wouldn’t have it on my reel.
Jim says: Keep in mind, high-profile assignments aren’t always all they’re cracked up to be. There’s a lot to be said about the tiny assignment nobody cares about. As a writer, I LOVE to do radio because (and shhhh, this is a secret), nobody gives a shit about radio. Creative directors nod along and check their blackberries when you present it, then it’s usually a junior client approving it. Compared with political, high-profile projects where you might have 9 creative reviews before the work even leaves the agency, assignments that nobody else cares about can be rewarding in more ways than one.