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  • HUSTLE AND FLOW: 6 RULES FOR ACHIEVING FLOW

    • 20 May 2012
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    Flickr_-_
    Photo: Un expédition aérienne board game (1895)/trialsanderrors on Flickr

    I have been teaching myself game design. I’m doing it by reading a book called Rules Of Play by Katie Salen and Eric Zimmerman. The authors talk a lot about “meaningful play”. The basic idea is you are not just designing cards and rules. You are designing an experience. Chess is not about the pieces. It’s about how the players play those pieces in an attempt to outwit each other. The pieces themselves could be anything, really. It is the choices and decisions the players make that really make the game.

    The optimal player experience you’re going for when you design a game is a state called Flow. This is that state where you feel you are in control of your own fate. It is a state of “focused and engaged happiness”. And according to the authors, there are four things a player needs for flow to happen:

    1. A task the player has a chance of completing.

    2. The ability to concentrate on what he or she is doing.

    3. Clear goals.

    4. Immediate feedback.

    During flow, players don’t have any concerns for everyday worries. They are too “into” the choices they are making. They are not even thinking of themselves anymore. They are “in” the game. They are the soldier landing at Omaha beach. They are the bishop looking for a way to take the queen. Even time itself seems to slow down. And once the player emerges from the other side and has successfully completed his or her mission, the feeling is one of intense exhilaration.

    But flow isn’t just a game thing. In fact, it’s what we all strive for everyday. And since I’ve gone freelance, I have had some time to think about the things that kill flow. One of the biggest is meetings. They are notorious flow-killers. Email is another one.

    This past month, I spent my weeks in another city working at an agency there. My days were spent solving problems for their clients. And some nights were spent that way, too. But other nights I got to dive deep into designing the game I’m working on. I found myself writing rules at one in the morning. And I realized, I had been in flow. I wrote and rewrote the entire rulebook in two weeks, something I had been messing around with for a couple of months but couldn’t figure out.

    Flow is awesome. But I don’t want to have to move hundreds of miles away from friends and family to get it. So, how can we design flow into the games of our lives? Here are my rules for freelance flow:

    1. Know your task. Are you supposed to write a script or build a new interface? If you don't know, you're never gonna feel the flow.

    2. Set a measurable goal for yourself. "I will come up with ten ideas for campaigns in the next four hours. I will not stop for coffee breaks." Write it down.

    3. Cancel your meetings. In fact, start a rule that you need to have one or two days a week where there are no meetings allowed. Or at least some mornings. Try to schedule three hour blocks for yourself. Tell people you have a doctor’s appointment. Get out of the office and work somewhere else. Get shit done.

    4. Shut off the Internet. Impossible, you say? Not true. A program like Freedom does the trick. It literally turns off your Internet for any amount of time that you specify. And you can’t get back on before the time is up without rebooting your machine. Check out the video here.

    5. For crying out loud, if your phone bings or vibrates every time you get an email, shut that shit off. It is literally making you insane. And me too. If people really need you to do something NOW, they can call you. Again, schedule time to check email. Because you know most of it is stupid crap from Fab.com.

    6. Employ the ancient art of Sitzfleisch. This is one of those awesome German words that there’s not an English equivalent for. It literally translates to “sit-flesh”. But what it really means is keep your butt in the chair and just do it. (This is how the Germans became engineering gurus.) Do not get up to have a coffee. Do not get up to walk the dog. Just sit there in that chair until you are done with your task.

    Writing a blog entry, for instance.

    Okay, Daisy. Time for walkies.

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  • NOTHING'S GONNA STOP ME NOW

    • 7 May 2012
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    Screen_shot_2012-05-07_at_10

    As I write this, I'm doing my new commute, which entails getting on a plane at the ungodly hour of six in the morning and flying to another city for the week. My tray table is crooked. The plane took off late. But, as Louis CK reminds us all, I'm sitting in a chair in the sky going three hundred miles an hour. Add to that the fact that I've got a gig for the month and I feel pretty lucky indeed. Having to hustle for every paycheck makes you acutely aware of the little things.
     
    Another thing I've become very aware of: the possibilities for me are endless. It is at once empowering and daunting being able to literally do anything you set your mind to. The little gigs. The big gigs. The personal projects.

    But I am not special. It is there for all of us, staff people included. You can work anywhere you've ever wanted. With people you've always admired (inside or outside your company). You can even live in a different city from Monday to Friday. All you need to do is know what you want.

    And that’s the hard part. Most people don't really know what they want. But here's how to figure it out: write it all down. The things you want to do. Projects you'd love to work on. People you'd love to work with. Foods you'd like to try. Cities you'd like to work in. Write it all down in a big list. Take your entire lunch hour today. Or your commute home tonight. And get it all down on paper. Write down whatever you want. Then sleep on it tonight. Then write down more tomorrow.

    Once you've got a nice long list, categorize it. And then do one action that gets you one step closer to something really big. For example, one list might be companies you'd love to work for. Here's an action for that: Get on LinkedIn and follow every one of those companies. LinkedIn will then suggest more companies like those companies. Follow those too. Then search within all those companies for the hiring managers or talent scouts. Follow their twitter feeds. Connect with them on LinkedIn. All of this should take about thirty minutes at most. Done.

    Your brain will start trying to mess you up while you're doing all this. It will say things like "We shouldn't do this until we've got our website up, dude." Don't let it stop you. Do the action. Write down the "doing the website" thing on your list to get your brain to shut up. Then go back to doing what you were doing. Your brain will have other excuses. Write down actions that can fix those excuses too. No matter how long they seem like they'll take. Need to take a class in robotics to do the job? Write it down. Then go back to the original action. And get it done.

    If you write down everything you want and take just one action per day towards one of them, I guarantee you will start having those things within the month. Keep the list handy. Send me a note and tell me what goal you've accomplished. I'd love to hear your story.

    And if it doesn’t work, try this.

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  • BREAKING THE RULES!

    • 30 Apr 2012
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    I've been really busy. Like travelling-and-shooting-and-then-working-in-an-agency-in-another-city busy. I've only been home on weekends, and they've been filled with soccer games and Three Stooges movies with the kids. So I haven't been blogging. And I haven't been hanging out with friends. I'm breaking rules #8 and #9 of my Freelancer Rules from back in January. #8 is Sing Your Own Praises. #9 is Make Time For Your Favorite People.

    #8 is solved easily enough: Below is a bunch of stuff I've done recently. I understand if you'd rather skip it. After all, it's an ad for me. But I think there's some good learning for others in there if you can stomach all the PR stuff. Okay. I'm going to start right after this giant picture of a Meagaphone Badge.

    Megaphone

    I'm featured in Ad Age tomorrow! :) I got a call a few weeks back from a reporter over there asking for some thoughts about the Freelance life. She even said she wanted to use one of my posts as asidebar to the article. And she did. So awesome. I had actually called her a few weeks back asking her to read my blog and maybe have me write a recurring article about Freelancing or something. It paid off when she decided to write an article about Freelancers. Nugget for you: Call reporters at industry magazines with story ideas. They might not go for them, but you'll get on their radar. This stuff works! Okay, back to me.

    Advertising Awards season is coming up. And for a Freelancer, this can be a rough time. If you haven't produced, it's another year where you don't have anything in the shows. Well, I was lucky this year because some stuff of mine from when I was at JWT was entered and is being shortlisted in the Webby's and the One Show. But what's even cooler is a Spec Ad I did after I went solo has been shortlisted in the Spec category at the AICP.

    Screen_shot_2012-04-30_at_12

    Who needs a client? Who needs an agency? All you need is a production company and an idea. I got together with Ted Melfi of Gartner, a super cool guy at a super cool company. He even flew me out to L.A. to shoot with him. It was fun. It was a great experience with a great director. I'd work with him again for a paying client in a second. And... it might just win an award. Nugget for you: The AICP has a spec category! And I'm shortlisted in it! Oh wait. That was about me again. Sorry.

    Finally, I'm really excited about the new project I'm working on. It's a sports-related dice and card game. That's right, I've nerded out and become a game-designer. More on that later.

    Now, I need to work on rule #9. Because I miss you, favorite people. I really, really do.

     

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  • VACATION 2: FREELANCER IN PARADISE

    • 8 Apr 2012
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    Last time I went on vacation, I was about a month into freelancing and my gig went on hold just as we were heading out to Disney. I spent the entire week regretting not being more on top of new business but trying desperately not to worry and enjoy the time with my family.

    Well, it’s about six months later and the family and I just got back from a week in Jamaica. We had booked a beautiful villa in the mountains above Montego Bay with a pool and green grass and a staff to cook meals and make drinks. It was all fairly cheap because my wife got us a great deal by booking it directly through the owner on one of those Vacation Rental By Owner websites. So I planned to really take the week off and use a couple of hours a day to do a bit of networking and work on a new personal project. (Speaking of which, my last personal project, a comic book about my Dad, is now for sale at ComixPress. Spread the word!)

    But the Freelance Gods had other ideas. My partner and I got a call about a gig right before I left that went through the weekend and into my vacation week. Of course, I said yes. I would work from the pool, I told myself. And it would be fine. I did. And it was.

    But then another gig came in. It would start just as this one was finishing. And it would go through my vacation week, the following Easter weekend and into next week.

    Of course, I said yes.

    So I spent a part of every vacation day at my computer. I tried to work very early in the morning and be done by mid-afternoon, in time to take a dip in the pool, make a few rum drinks and maybe bounce on the trampoline with the kids. One afternoon we went to Margaritaville, a cheesy restaurant in Montego Bay and I swam with my sons in the Caribbean. We ate every meal as a family. We talked and laughed and played games. But I still feel like I was cheating. Like I should have said No to the jobs and the networking and even the personal projects and just read a book and dozed all day.

    Oh, who am I kidding?

    My name is Tom. And I’m a freelance-aholic.

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  • IT'S A MAD, MAD, MAD, MAD, MAD MEN WORLD.

    • 26 Mar 2012
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    248953-mad-men-season-five
    The fifth season of Mad Men, the television show about 1960s advertising on Madison Avenue, premiered tonight on AMC. I watched it. I played the 8-bit YouTube game. Some people actually dressed up and went to watching parties. That's the power of story. We all wanted to see what Don Draper (I mean, Dick Whitman) would do next.

    So what's so powerful about this particular story? I went back and looked at the ads that made me want to be in advertising in the first place. I re-read about some of the people who were my heroes when I was in school - the Real Mad Men. And I think I may have it...

    It's about reinvention.

    Dick Whitman created Don Draper from scratch. The poor son of a prostitute became a well-paid, suit wearing expert in the art of seduction. People like George Lois and Jerry Della Femina did the same thing. Okay, so maybe their mothers weren't prostitutes. (Don't hit me, George.) But they weren't exactly the kind of guys Madison Avenue was looking for in the late Fifties and early Sixties. For one thing, they weren't WASPs.

    Jerry-della-femina--001
    The Creative Revolution was also a cultural revolution in our business. Guys who couldn't get their foot in the door at J. Walter Thompson or BBDO started their own agencies. In 1960, George Lois, the son of a pair of Greek Immigrants, started Papert Koenig Lois. In 1967, Jerry Della Femina, a poor Italian kid from Brooklyn, started Della Femina Travisano & Partners.

    I remember devouring Jerry Della Femina's book From Those Wonderful Folks Who Gave You Pearl Harbor. And George Lois' Esquire magazine covers were an inspiration. They were the guys who made a lower middle class Irish-German kid from Union, New Jersey think that he had a snowball's chance in hell of making it in "Advertising".

    George-lois-esquire
    And now, as a Freelancer, I find myself reinventing every single day. Making it up as I go along. Working on stories for brands. Writing comic books. Building sites. Designing games. And writing a blog about it all.

    A lot has changed since 1966. But a lot still stays the same. Humans still yearn to make something more of themselves. Maybe it used to be about sparking a Revolution. And now it's about making some revolutionary new app. Maybe it used to be about getting your name on the door. And now there is no door.

    But your name can be bigger than ever. That's up to you.

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  • 5 THINGS I DIDN'T LEARN AT SXSW

    • 19 Mar 2012
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    Welcome
    Last year, I went to SXSW Interactive, the "launching pad for creative content" that invades Austin, TX every year in March. I went to panels. I foursquared my every move. I ate a Bacone®, which was marinated pork and cole slaw in a bacon waffle cone (yes, it was delicious). And all of it was paid for by the wonderful people at JWT, New York.

    This year was different.

    It wasn't that I wouldn't have paid for a ticket to Austin, a pass to the seminars and even a dirty Super 8 motel room on the highway. I got that kind of folding, yo. :) It's just that I was too busy. This is where the realities of a life of Freelance start to mess with you. Not only was JWT paying my way last year, they were also paying my salary while I was there. This year, I had a gig the week of SXSW and I didn't want to turn it down. I know, call me a waaambulance.

    But neverfear, good readers! Through the wonders of the Google machine, you and I can now go back in time and find all the coolest things from SXSW. Let's peruse them while I drink a can of Lone Star beer and play a SXSW playlist on Spotify. It will almost be like we were there together.

    Okay, so first we're going to Google "Best SXSW Seminars of 2012". We find that Mashable's Pete Cashmore has a nice little slideshow of The Best SXSW Panels 2012. These were sponsored by Ogilvy and drawn by the people of Imagethink.net while the seminars were happening. They're a great way to get the feeling of what was talked about if you can't fit in the room. Or if you were busy having a Bacone®.

    Sxsw_2012_logo-l

    START ME UP Looking through the pretty pictures, we find one called The StartUp of You. Looks promising for the Freelancer in me. A couple of clicks and I find an article about this keynote by LinkedIn cofounder Reid Hoffman. He's written a book called The StartUp of You. I'll be reading that. I particularly like what he says about being in "Permanent Beta". You are never a finished product. You are always a work in progress. I call this Wiki Work. You keep changing and adding things as you get better. Me likey.

    GETTING SUPERBETTER ALL THE TIME Next we find a talk called A Crash Course In Becoming SuperBetter, by Jane McGonigal. I had already been tipped off to Jane's new site SuperBetter, which gamifys (or is it gamifies? or gameifys?) all of life's challenges. I like the idea. So now we google that seminar and we find that somebody has made a Storify out of it. Storify happens to be one of the darlings of SXSW this year. It is a web platform where you can curate all the content on a given topic yourself. And here's a good old-fashioned article on Jane McGonigal and her idea. I feel Superbetter already.

    TURTLE EGGS AND YOU Another panel I would have totally passed up free ribs for was New Yorker cartoonist Matthew Diffee's talk How To Be An Idea Factory. I especially like his advice to be like a mother sea turtle, laying your eggs (er, ideas) in the sand and knowing that some are going to live and some are going to be eaten by ravenous predators. The strong will survive. And there's nothing you can do about it. Matt is also the artist who did my favorite New Yorker cartoon ever. I include it here and hope he doesn't sue.

    Matthewdiffee_facepainting_newyorker_100

    WE DON'T NEED NO STINKING BADGES There is a badgeless revolution taking over SXSW. People who don't buy badges have made their own network of parties and off-campus events. Like suburbs around a city. This could get interesting. There's even a twitter page. Maybe I didn't even need to buy a badge. Just a ticket and a dirty hotel room. Next year, my friends. Next year.

    JAY-Z TIME Okay, that's enough learnin' for one post. You guys ready to party? I got us tickets to the American Express Jay-Z Show. Just click here for the full-length concert. And tell everyone you were there. But you have to say I brought you. And that we didn't have badges. Because we crazy like that, yo.

    By the way, I've already bought my ticket to Cannes. See you there. :)

     

     

     

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  • We're All Bogart

    • 4 Mar 2012
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    Humphrey_bogart_by_karsh_library_and_archives_canada
    There was a time when every Hollywood actor had a staff job. Bogart got his paychecks from Warner Brothers. Jimmy Stewart was an MGM man. They were under contract and were paid every week, whether they were making a film or not. As were the directors. And the cameramen. How did the studios cover the cost of all this? Well, it just so happened that the studios also owned the theaters. So they pumped out lots of crappy movies and stuck four of them in a theater with one good one. Boom. Instant Profit.

    Then they got sued.

    After the government declared that they were a monopoly, the studios were forced to sell off their theaters, so they had nowhere to run the bad movies anymore. Then television came along and people started being able to watch stuff in their houses for free. The studios started to lose money. It was the end of the Golden Age.

    Eventually, the studios adapted. They decided that they couldn't afford to pay all these talented people to sit around. From that point on, they would only hire the right people for each movie. And when that movie was over, those people would stop working together and go on to do some other movie for whichever studio could book them. And suddenly the writers, directors and actors were on their own, for better or worse. Some became Bogarts. Some ended up like Norma Desmond in Hollywood Boulevard.

    In a recent Forbes article entitled Will There Be A Hollywood Ending For Madison Avenue?, Avi Dan says this is basically what's happening at the big ad agencies today. Indeed, holding companies have begun putting together dream teams for the top assignments. And even building new agencies around pitches. They are pulling from their agencies and spending 13.4% of their staffing money on freelancers. The article even cites WPP's decision, after the last recession, to start making even more use of Freelancers. That's good news for the talented.

    But I had another thought: What happened to all those actors, writers and directors? Well, they got agents. Indeed, the Golden Age of the Talent Agent began in the 1950s, exactly when the studios gave up on their staffing structure.

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    Myron Selznick, one of the very first talent agents in Hollywood, was way ahead of his time.

    So, is it time for the Advertising Talent Agent? Maybe. But CAA can't do it. Because the best agents in Hollywood came from inside the system and so it must be for advertising. They need to have good reputations among creatives and agencies. Heck, they could end up dealing directly with clients. Imagine a communications Talent Agency that could put together a dream team of strategist, creative, account and production stars.

     Maybe this is what agencies will become. Or maybe sites like WorkingNotWorking, which was created by the freelancers themselves, will grow to become the agents of tomorrow. What do you think? Add your thoughts to the comments section.

    Then get yourself an Entourage. You may need one.

    ----------------------

    Want to get "We're All Freelance" delivered right to your email every week? Of course you do! And, as a special bonus, you'll always know when I am free for freelance. Yay! Just click here.

     

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  • MY EVIL PLAN TO RULE THE WORLD. OR, MENTORING.

    • 20 Feb 2012
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    427147_10150705107399575_781814574_11531553_240685513_n

    Photoshopping by Gerardo Blumenkrantz

    Over the years, I have met and managed some pretty amazing young people. In fact, it seems like they keep getting younger and younger. It's as if, any minute now, I'm going to meet an infant at an industry party who tells me that he's just won a Gold Lion at Cannes and were there Lions in "my day" and could I please direct him to the bathroom, as it is time for his diaper changing.

    I'm kidding. Mentoring is important, both for those being mentored and those who are doing the mentoring. Because teaching is the best way to truly learn something. And, also, agencies will pay you a lot more if you can manage people and inspire them. Oh, and there's one more incentive...

    Someday, those kids are going to hire you freelance.

    I would say it to the interns and first year copywriters who were showing me their work and they always laughed. But I was completely and utterly serious. If I did my job right, these kids would grow up to become the leaders of the industry, thus giving me a lot of friends who were leaders of the industry. Yes, my caring and patient mentoring was all a smoke screen for my rampantly selfish ambition! (Maniacal laugh. Maniacal laugh.)

    Even if you're not a manager, you can still follow the plan: Just be nice to everyone. Interns. Junior planners. Assistant editors. The first-year client who doesn't know his ass from his elbow. Have compassion for them. Help them get things done. Learn something from them. They will never suspect that you're just putting away karma in your karmic 401k. They'll think you really like them. (Maniacal laugh. Maniacal laugh.)

    This may sound hard but really it's not. I mean, we're not building rockets to go to mars. It's just advertising. And one of the best things about advertising is that it's filled with creative people who like to laugh and have fun and want to make stuff. In fact, you may end up really liking them. In which case, your evil plan to rule the world is still totally on. You just have to lose the maniacal laugh.

    Oh, and if you're staff, there's the fear: They're going to replace you with one of these little whippersnappers, so why should you help them? Maybe. But there's a lot you know that they don't know. Like how to talk to the first-year client who doesn't know his ass from his elbow. And who Paul McCartney is. And if you're the one helping to make sure these whippersnappers know what they're doing and getting it done, then the powers that be aren't going to want to get rid of you. No way. You're the Hipster Whisperer.

    And if they do get rid of you, get a bottle of champagne. Because you're golden. Because suddenly, you're freelance. And you know a lot of people in very important places. And the phone rings. And it's that first-year client. And now he runs the marketing fora giant soft-drink company. And he needs an ad agency.

    Wanna start one?

     

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  • ticker-tape parades and superbowl ads

    • 6 Feb 2012
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    • Critique Shazam Super Bowl advertising television
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    Ticker-tape

    When I worked at BBDO, I used to joke that we were making buggy whips (television ads) while the digital agencies turned out the newfangled Model-Ts (digital stuff). Now, we made really, really good buggy whips. Probably the best buggy whips you've ever seen. They had leather handles and a bit of peacock feather at the end. They were crafted with love and attention. But they were still buggy whips. A vestige of the past.

    I was reminded of this this morning, when I heard that the Super Bowl Champion New York Giants would be having a "ticker-tape" parade in lower Manhattan. According to Wikipedia, the first ticker-tape parade was held spontaneously on October 28, 1886 at the dedication of the Statue of Liberty in New York City. Ticker-tape was the paper output of the "ticker", a remotely driven device used by brokerages to provide updated stock quotes to investors. Think of them as the Bloomberg Terminals of the nineteenth and early twentieth centuries. The streaming tape gave a celebratory feel to a parade, falling from the tall buildings like snow.

    The Super Bowl itself is a ticker-tape parade of sorts: Big companies throwing big television ads at one of the only big crowds left on television. And there is something beautiful about it. And celebratory. And American. Everybody loves it. So why not?

    Also, since we're reveling in the spectacle of it all, why not have a "my favorite Super Bowl ad monday morning Quarterback blog post"? Sure, it doesn't make a difference one way or another, but what else are you gonna do on a Monday afternoon in advertising? I mean, the Super Bowl is a year away!

    I liked the Fiat ad. A nice little metaphor for the product with some amazing acting and a hot Italian woman. What more can an ad guy want? The strategy seems spot on, as they say in Europe: It comes from an true insight about the product and the target. And with so many car ads, including a long, hoarse voiceover from Clint Eastwood (which I thought paled in comparison with last year's Eminem ad, by the way), it broke through nicely. Maybe because I thought it was an Axe ad.

    One big miss was a regional ad from BMW. Three passengers shiver in the car while one (the driver) is moaning "oh yes!" Then they all grab the steering wheel. A super says "The heated steering wheel. Sharing optional." Now, a heated steering wheel is a pretty nice feature for a luxury car. But the tone of the ad was so slapstick, I wasn't thinking about the luxury of the car. And shouldn't a luxury car have kept EVERYONE warm and toasty? I mean, people shivering in your $60,000 automobile? Really? And, when you're playing your regional ad in New York, you gotta treat it like it's national, kids.

    The other big miss was the technology. No one seemed to be embracing it. Except for Shazam, the technology that can "listen" to audio and provide a link to your smartphone. Everyone seemed to want you to Shazam their ad. My neighbor tried to pull out his smartphone and comply. But it was over before he could get his Apps open. It strikes me as something akin to the QR code. Lots of agencies touting it, but who's gonna use it? Maybe for very specific goals.

    Maybe we should give everyone ticker-tape machines.

    Nasa_tickertape_apollo_19700915

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  • How I became a professional illustrator

    • 23 Jan 2012
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    It happened.

    I got paid to draw things.

    And I'm not talking about the fiverr illustrations i did this fall. Those were just practice. This was a real job from a real paying client with real business goals.

    Getting paid to do illustration has been a goal of mine for a while. But it was always one of those "someday maybe" goals that sit around in the back of the drawer collecting dust. But the important thing is that I had it as a goal and I wrote it down. Because the opportunity came like a flash.

    My phone rang. It was my old Quiznos client from my days at Cliff Freeman. I was freelancing at an agency in the city. My partner and I were waiting for feedback. I had some time to talk. So I answered the call.

    "Hey, Tom," Chris said. "I've been seeing your drawings on Facebook. You think you can do a quick-turnaround thing for me?"

    Here are some phrases that entered my brain:

    You don't have time for this.

    You shouldn't bite off more than you can chew.

    He doesn't have a big budget. It's not worth your time.

    "Sure thing," I said. Here's why: I remembered my goal. I had written it down. And now here was the universe handing it to me on a platter. No, it wasn't the cover of Time magazine and I wasn't going to get famous from any of it. But that wasn't my goal. My goal was to be hired as a professional illustrator.

    So I spent the next forty-five minutes drawing on my ipad. And I sent them. And they used them.

    And here they are: the pieces de resistance(s).

    Photo
    See the little spot illustrations? Look closer... 
    Photo-1
    Okay. So they're just little doodles. Like I said, I don't think I'm going to get in any illustration annuals with them. (Maybe that should be the next goal.) But my illustrations will be on every Quiznos box from here to Los Angeles. I am offically a pro.

    The moral of the story: Write down your goals. Even the "someday, maybe" ones. And when the universe drops an opportunity in your lap to fulfill a goal, recognize it.

    And do it.

    Now, does anybody know any illustration reps?

    ----------------------------------

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  • About

    After 19 years of staff jobs, I left my job as an Advertising Executive Creative Director in September of 2011 to explore new opportunities and to make things I've always wanted to make. It made me realize, I had been freelance the whole time. And you are too.

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