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Hi there, I’ve been told that Deloitte (London, UK) is going to make me an offer but haven’t heard back and it’s been over two weeks. The recruiter mentioned it would be around the “m2 grade”. Any idea what this pay range is? … I have 3 YOE working in NHS finance and have applied for a position in Risk Advisory, public sector. Curious what life at Deloitte is like? Does a work life balance exist?
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Your second bullet is 100 PERCENT WRONG. It’s that kind of thinking that makes it so hard for underrepresented minorities / people who can’t afford ad school / anyone looking to change careers to get a job in this industry.
So you’re saying you never contacted your old work friend on LinkedIn who’s now at Droga or Wieden and asked them to pass around a link to your book?
Chief
Yeah I gotta disagree with this. All 4 points should be about how good their portfolio is.
I don’t care if we have mutual connections or what name agency youve worked at. I want to know that you’re a top creative with smart thinking and craft.
Chief
They exist believe it or not. Great creatives occasionally come out of obscure or mediocre agencies. And sometimes they’re shy, and don’t make many contacts.
I think putting too much stock in the agency names where people have worked or who they know can lead you to hire the all too common social-butterfly-with-rich-parents-who-isnt-very-creative-or-hard-working
One of the best group creative directors at Grey right now was hired from Publicis NY, which is infamously not a creative shop.
Anyway im not criticizing you, i just think that approach will cause you to make some bad hires and miss some good ones
Chief
LOL my boss gets all 4 points yet they’ve been fired from their last 3 gigs.
I agree hiring is overcomplicated but it’s not this simple either.
Chief
I’d give that one 2 points.
Yeah I gotta disagree. My bullet points would be:
1. Is their book good?
2. Is their style right for what I’m hiring them for (that doesn’t mean prior category experience, it means right concepting skills + right tone of voice as a cw or aesthetic as an ad)
3. If we do have mutual connections, do our mutual connections that I respect vouch for them? (Very different than do we have mutual connections)
4. Do I enjoy speaking with them on the call? (For me, I’d look for someone friendly, nice, interesting, and enthusiastic when speaking about creativity)
Most creatives I look up have 50+ connections with me. By the time I’m cd it’ll be higher. Outside of junior roles i can’t imagine a situation where all of the candidates don’t have tons of connections. It won’t mean anything to tell them apart, and if someone doesn’t but has good work, I’d just assume they’re not into LinkedIn or spent part of their career in a different city 🤷♂️
I hate professional looking portfolios with no ideas….
You’d be surprised - and dismayed.
There are only two factors that should go into hiring someone.
1) have they done great work
2) do they seem like a nice person you’d like to work with
End of story
Right. But you’ve got to ask questions to be certain they were the brains behind the great work. There is an entire cohort of people who got credit for great work they were only marginally involved with and you quickly realize they lack the fundamental skills to serve the day to day needs of a tough client.
All right, it looks like my quick list is unpopular. Here’s the opposite of the list:
• Past agencies known for bad work.
• No shared LinkedIn connections.
• No creative roles in their past.
• Ads in the portfolio look rough.
You’ll hire someone with these points as long as their portfolio is great, right?
I’d like that in writing.
I’m going to call many of you out here. You’re not telling the truth. A majority of you disregard spec work in books. Lots of past discussions on Fishbowl about spec where most people give negative points for having spec in there.
The truth is you have your recruiter create a posting, and then barely sort through the 500 applicants, because you’ll wind up hiring a friend of a coworker who lied about being on a big campaign. That’s what really happens, and it’s unfair.
Do something different than what you’ve always done before. Anything. My ideas on this post got shot down. Fine. At least I gave it a try. What are your thoughts on making hiring better, for real? Because the “just look for a great portfolio and a cool personality” method is not what you’re actually doing.
1. Can they think? Ask them to describe a few business problems their work had to solve and how they forged the solutions. Try to listen between the lines to see how much credit they give to others as well as how clearly and simply they answer. If they can’t articulate simply the basics here, that’s a red flag.
2. Who are their ad heroes (and why)? If I hear names like Luke Sullivan, David Abbott, Droga, Greg Hahn, Hegarty, Serpa, Judy John, Charlotte Moore, Fenske, Kash Sree, Khai Meng, Janet Camp, Bogusky/Keller, etc., I know they’re aiming high enough and they know the Canon. It’s always better to hire “students” of the business and “ad nerds” (as Anselmo Ramos calls them) because they come hard wired knowing what great ideas look and feel like.
3. What kind of work do they like doing? NEVER hire people whose answers don’t match what the role requires or where you, as a CD, want to push it. We must play to people’s strengths if we plan on setting them up to succeed.
4. What campaigns are they jealous of and why? You’ll learn a lot about what matters to the candidate and how aware they are of the details that go into making work great.