The Art Of Client Service, Revised And Updated Edition Part 9

Once a Client, Always a Client I had lunch the other day with a client. Not a current client; I haven't worked with this individual in more than a decade. But I've made it a point to stay in touch. After all these years, it's looking pretty unlikely that we'll ever get to work together again. It doesn't matter. had lunch the other day with a client. Not a current client; I haven't worked with this individual in more than a decade. But I've made it a point to stay in touch. After all these years, it's looking pretty unlikely that we'll ever get to work together again. It doesn't matter.

Once a client and I are no longer working together, I don't decide to stay in touch based on how likely that client is to run a big account again. My view is that once you've been my client, you'll always be my client.

If you're my client and are open to staying in contact after we're no longer working together, I'll make sure we do. If there's a way I can be of help, I'll do my best.

That client whom I had lunch with is now a friend. He's served as a job reference. He's recommended me to possible clients and potential employers. I've done the same for him. As I said, he's not likely to be my client again, but it doesn't matter.

PART THREE.

Style and Substance

CHAPTER 56.

Make an Investment in Your Personal Style.

Early in my career, I worked for a very smart, very personable, and outrageously funny executive. He was a big guy, kind of a bowling ball with legs. A client described him as "an unmade waterbed." That moniker captured his rumpled, shirttail-out, tie-askew style.

He could pull this off because of his outsized personality and big brain. It wouldn't work for most other people, and even if it did, I wouldn't recommend it.

That's because you are the agency's lead representative to your client, the manifestation of the agency's brand and culture. So regardless if the style you cultivate is Chicago conservative, New York downtown hip, or San Francisco laid-back, grooming counts. It affects how others see you and how they judge you professionally. It can affect how you feel about yourself.

I suggest you do what it takes to get the styling details right, from a decent haircut to a decent pair of shoes, to everything in between. It's more about investing time and attention than dollars and cents. It's a matter of taste. I know guys who wear expensive suits and still manage to look disheveled. I know other guys who wear a sport shirt and jeans and look completely pulled together. I know women who spend a fortune on clothes but don't get the look right. I know other women who bargain bas.e.m.e.nt shop and look terrific.

After years of increasing casualization casualization of corporate dress, there has been a shift back toward business suits, for both men and women. Yet business casual is far from dead. If anything, the rules, if there are any rules, are more confusing than ever. Do you wear a suit? When is casual okay? What exactly is meant by of corporate dress, there has been a shift back toward business suits, for both men and women. Yet business casual is far from dead. If anything, the rules, if there are any rules, are more confusing than ever. Do you wear a suit? When is casual okay? What exactly is meant by casual? casual?

Your agency probably has a style; it might even have a dress code. If that's the case, take your cues from what you see or what the rules say. If not, here are a few suggestions.

[image]If you're meeting with a client, adapt the client's dress code. For example, if your client wears khakis, you can do the same, but take it up a notch. Instead of wearing a polo shirt, put on a dress shirt, and add a sport coat. Wear a great pair of loafers. Add a cool watch. Carry a good briefcase. Women can wear a blouse and skirt, a sweater and slacks, or anything else a notch above casual, instead of a suit. For example, if your client wears khakis, you can do the same, but take it up a notch. Instead of wearing a polo shirt, put on a dress shirt, and add a sport coat. Wear a great pair of loafers. Add a cool watch. Carry a good briefcase. Women can wear a blouse and skirt, a sweater and slacks, or anything else a notch above casual, instead of a suit.[image] Casual Casual is not code for slovenly. is not code for slovenly. If you're not meeting with clients and the agency is a dress-casual place, then dress casually, but don't take casual too far. Plus, keep a dress shirt or blouse in your office, in case you have to meet with a client unexpectedly. If you're not meeting with clients and the agency is a dress-casual place, then dress casually, but don't take casual too far. Plus, keep a dress shirt or blouse in your office, in case you have to meet with a client unexpectedly.[image] You can push casual a bit further in the summer. You can push casual a bit further in the summer. When it's really hot, get rid of the jacket, unless you have to have one to meet with your client. When it's really hot, get rid of the jacket, unless you have to have one to meet with your client.[image] Think about wearing a suit, but dress it down a bit. Think about wearing a suit, but dress it down a bit. No tie. Maybe a sport shirt or sweater rather than a dress shirt or blouse. Hipper shoes rather than wingtips or pumps. No tie. Maybe a sport shirt or sweater rather than a dress shirt or blouse. Hipper shoes rather than wingtips or pumps.[image] Suede is great. Suede is great. If you wear leather shoes, you have to keep them polished. Suede shoes take a minute to brush; no polishing required. If you wear leather shoes, you have to keep them polished. Suede shoes take a minute to brush; no polishing required.[image] Invest in a few suits that are the best you can afford. Invest in a few suits that are the best you can afford. It's better to have a few well-tailored items than more items of lower quality. They will fit you better and will last longer. That means staying away from trendy, highly perishable design, fabrics, and patterns, and instead gravitating toward cla.s.sic design in muted fabrics and patterns. If you get bored with the same three or four suits in your wardrobe, don't buy another suit. Buy a new shirt or tie, or blouse, to change the look. It's better to have a few well-tailored items than more items of lower quality. They will fit you better and will last longer. That means staying away from trendy, highly perishable design, fabrics, and patterns, and instead gravitating toward cla.s.sic design in muted fabrics and patterns. If you get bored with the same three or four suits in your wardrobe, don't buy another suit. Buy a new shirt or tie, or blouse, to change the look.[image] If your client is out of town, or if you have to travel, buy clothes that travel. If your client is out of town, or if you have to travel, buy clothes that travel. For example, in suits, crepe wool is great. It holds its shape, resists wrinkles, and packs well. For example, in suits, crepe wool is great. It holds its shape, resists wrinkles, and packs well.[image] Ask for style help if you need it. Ask for style help if you need it. Take a long look in the mirror. If you don't have what it takes to style yourself, admit it and find some help. I have a colleague in the business who always looks great. He didn't have a clue on how to dress, but he was smart enough to enlist the help of a friend who does. Now he never shops alone. Take a long look in the mirror. If you don't have what it takes to style yourself, admit it and find some help. I have a colleague in the business who always looks great. He didn't have a clue on how to dress, but he was smart enough to enlist the help of a friend who does. Now he never shops alone.[image] Think in terms of a uniform. Think in terms of a uniform. Men have done this for years, and so have some women I know. For men, the uniform used to be a pinstripe suit, white shirt, stripped tie, wingtip shoes. That's not the uniform I'd suggest for most agency people, but the concept makes sense. It allows you to mix and match various pieces in your wardrobe. It allows you to work with fewer items, which allows you to invest a little more in each piece. It makes packing for travel easier. Lots of New Yorkers have made black their uniform color. They can get dressed in the dark. Not that black isn't cool, but you don't have to be quite so strict, or so somber. Confining your business wardrobe to just a few colors-black, blue, and gray, for example-does make dressing easier. Men have done this for years, and so have some women I know. For men, the uniform used to be a pinstripe suit, white shirt, stripped tie, wingtip shoes. That's not the uniform I'd suggest for most agency people, but the concept makes sense. It allows you to mix and match various pieces in your wardrobe. It allows you to work with fewer items, which allows you to invest a little more in each piece. It makes packing for travel easier. Lots of New Yorkers have made black their uniform color. They can get dressed in the dark. Not that black isn't cool, but you don't have to be quite so strict, or so somber. Confining your business wardrobe to just a few colors-black, blue, and gray, for example-does make dressing easier.

Style won't make or break your career. There are dozens of successful account people who don't have a clue about fashion. There are others who know how to dress, but that's all they know (the cla.s.sic "empty suit"). Still, it's a compet.i.tive world, and you need every edge you can get. Looking good is just one more detail in a business that is all about details. So why not get this one right? It just might make a difference.

CHAPTER 57.

Invest Some Time (Again) in These Books Four years ago, when I compiled my list of 15 books that every account person should read, I asked myself, "Will these books endure?" At the time, I had no idea I would be sitting down today to revisit the list to see what I could discard and what I could add.

The good news: All 15 books pa.s.sed the endurance test. In fairness, some-like David Ogilvy's or Strunk and White's-had pa.s.sed the test well before I recommended them. But the jury was still out on others, like The Tipping Point The Tipping Point or or The Do-It-Yourself Lobotomy. The Do-It-Yourself Lobotomy. But even these newer books remain as powerful and relevant today as they were years ago. But even these newer books remain as powerful and relevant today as they were years ago.

The bad news: There are too many books! In the last four years, I don't know how many hundreds of t.i.tles have appeared on the market, many of them truly worthy of inclusion. But my initial premise remains: to give you a short list of books, not an interminable one.

My way of dealing with this is twofold: 1. I'm going to kind of punt by recommending you read two I'm going to kind of punt by recommending you read two Adweek Adweek articles by agency hero Tom Messner. Tom wrote "The New Testament" on December 12, 2005, and "The Old Testament" on January 16, 2006. In "The New Testament," Tom wrote about a wide range of terrific recent books that had little overlap with my list. In "The Old Testament," he wrote about the cla.s.sics, a few of which appear here. But together, these lists make for interesting bedtime reading, and I encourage you to seek them out. articles by agency hero Tom Messner. Tom wrote "The New Testament" on December 12, 2005, and "The Old Testament" on January 16, 2006. In "The New Testament," Tom wrote about a wide range of terrific recent books that had little overlap with my list. In "The Old Testament," he wrote about the cla.s.sics, a few of which appear here. But together, these lists make for interesting bedtime reading, and I encourage you to seek them out. 2. 2. I've selected five new books to add to my earlier list. The selection is admittedly imperfect, and I'm certain you could do as well or better with your own picks. I've selected five new books to add to my earlier list. The selection is admittedly imperfect, and I'm certain you could do as well or better with your own picks.

That said, and in no particular order, my five choices follow: 1. Malcolm Gladwell made the list with his first book, Malcolm Gladwell made the list with his first book, The Tipping Point. The Tipping Point. He makes the list again with his second book, He makes the list again with his second book, Blink. Blink. He's so smart and writes so well that I've no doubt that when he publishes his third book, it will make the list, too. He's that good. He's so smart and writes so well that I've no doubt that when he publishes his third book, it will make the list, too. He's that good. 2. 2. One of the notable omissions in the previous book list was in media. Fortunately, David Verklin came to the rescue. Even if he wasn't the author of this book's introduction, I'd happily recommend One of the notable omissions in the previous book list was in media. Fortunately, David Verklin came to the rescue. Even if he wasn't the author of this book's introduction, I'd happily recommend Watch This Listen Up Click Here, Watch This Listen Up Click Here, which he wrote with Bernice Kanner. It's a terrific way to make sense of the ongoing media revolution. which he wrote with Bernice Kanner. It's a terrific way to make sense of the ongoing media revolution. 3. 3. You should read Marty Neumeier's You should read Marty Neumeier's The Brand Gap The Brand Gap for the sheer pleasure of experiencing a book written by an amazing visual thinker. It offers a unified definition of what a brand is, and I admire the ambition inherent in that argument. for the sheer pleasure of experiencing a book written by an amazing visual thinker. It offers a unified definition of what a brand is, and I admire the ambition inherent in that argument. 4. 4. I suppose I suppose Juicing the Orange Juicing the Orange could be viewed as one long advertis.e.m.e.nt for the Fallon agency. But even if it is, who cares? The stories are great, and authors Pat Fallon and Fred Senn display unusual candor and humor in revisiting some of the agency's best work. Of all the new books on creative, this one stands out. could be viewed as one long advertis.e.m.e.nt for the Fallon agency. But even if it is, who cares? The stories are great, and authors Pat Fallon and Fred Senn display unusual candor and humor in revisiting some of the agency's best work. Of all the new books on creative, this one stands out. 5. 5. Choosing a fifth and final book posed the biggest challenge. I thought of Douglas Atkins's book, Choosing a fifth and final book posed the biggest challenge. I thought of Douglas Atkins's book, The Culting of Brands, The Culting of Brands, which a client recommended. Jon Steel's which a client recommended. Jon Steel's Perfect Pitch Perfect Pitch also came to mind, as did Erich Joachimshtaler's also came to mind, as did Erich Joachimshtaler's Hidden in Plain Sight, Hidden in Plain Sight, which talks about seeking simplicity in looking for a client's next big idea. But most of these are on Messner's list, and that was good enough for me. In the end, I looked back, not forward, to Tom Kelley's which talks about seeking simplicity in looking for a client's next big idea. But most of these are on Messner's list, and that was good enough for me. In the end, I looked back, not forward, to Tom Kelley's The Art of Innovation, The Art of Innovation, published in 2001. I chose it because it's not about advertising-it is about how to create new products-and because it is about how to encourage a culture of creativity. Kelley talks at length about his firm Ideo, and all I can say is that I wish I was creative enough to work there. published in 2001. I chose it because it's not about advertising-it is about how to create new products-and because it is about how to encourage a culture of creativity. Kelley talks at length about his firm Ideo, and all I can say is that I wish I was creative enough to work there.

So there you have it: 5 new books to add to the list of 15.

ON COMMUNICATING.

1. Strunk, William, and E. B. White. Strunk, William, and E. B. White. The Elements of Style, The Elements of Style, 4th ed. (Allyn & Bacon, 2000). 4th ed. (Allyn & Bacon, 2000). 2. 2. Zinsser, William. Zinsser, William. On Writing Well, On Writing Well, 6th ed. (Harper Perennial, 1998). 6th ed. (Harper Perennial, 1998). 3. 3. Roman, Kenneth, and Joel Raphaelson. Roman, Kenneth, and Joel Raphaelson. Writing That Works Writing That Works (Quill/HarperCollins, 2000). (Quill/HarperCollins, 2000). 4. 4. Hoff, Ron. Hoff, Ron. I Can See You Naked I Can See You Naked (Andrews and McNeel, 1992). (Andrews and McNeel, 1992).

ON CLIENT RELATIONSHIPS.

5. Maister, David H., Charles H. Green, and Robert M. Galford. Maister, David H., Charles H. Green, and Robert M. Galford. The Trusted Advisor The Trusted Advisor (Free Press, 2000). (Free Press, 2000). 6 6. Sheth, Jagdish, and Andrew Sobel. Sheth, Jagdish, and Andrew Sobel. Clients for Life Clients for Life (Simon & Schuster, 2000). (Simon & Schuster, 2000). 7. 7. Solomon, Robert. Solomon, Robert. The Art of Client Service The Art of Client Service (Kaplan Publishing, 2008). (Kaplan Publishing, 2008).

ON CREATIVITY AND ADVERTISING.

8. Monahan, Tom. Monahan, Tom. The Do-It-Yourself Lobotomy The Do-It-Yourself Lobotomy (John Wiley & Sons, 2002). (John Wiley & Sons, 2002). 9. 9. Sullivan, Luke. Sullivan, Luke. Hey Whipple, Squeeze This Hey Whipple, Squeeze This (John Wiley & Sons, 1998). (John Wiley & Sons, 1998). 10. 10. Ogilvy, David. Ogilvy, David. Ogilvy on Advertising Ogilvy on Advertising (Vintage Books, 1985). (Vintage Books, 1985).

ON STRATEGY.

11. Ries, Al, and Jack Trout. Ries, Al, and Jack Trout. Positioning: The Battle for Your Mind Positioning: The Battle for Your Mind (McGraw-Hill Trade, 2000). (McGraw-Hill Trade, 2000). 12. 12. Morgan, Adam. Morgan, Adam. Eating the Big Fish Eating the Big Fish (John Wiley & Sons, 1999). (John Wiley & Sons, 1999). 13. 13. Steel, Jon. Steel, Jon. Truth, Lies, and Advertising Truth, Lies, and Advertising (John Wiley & Sons, 1998). (John Wiley & Sons, 1998). 14. 14. Gladwell, Malcolm. Gladwell, Malcolm. The Tipping Point The Tipping Point (Little, Brown & Company, 2000). (Little, Brown & Company, 2000).

ON BUSINESS LEADERSHIP.

15. Collins, Jim. Collins, Jim. Good to Great Good to Great (HarperBusiness, 2001). (HarperBusiness, 2001).

FIVE NEW BOOKS.

16. Fallon, Pat, and Fed Senn. Fallon, Pat, and Fed Senn. Juicing the Orange Juicing the Orange (Boston: Harvard Business School Press, 2006). (Boston: Harvard Business School Press, 2006). 17. 17. Gladwell, Malcolm. Gladwell, Malcolm. Blink: The Power of Thinking Without Thinking Blink: The Power of Thinking Without Thinking (Boston: Little, Brown and Company, 2005). (Boston: Little, Brown and Company, 2005). 18. 18. Kelley, Tom, and Jonathan Littman. Kelley, Tom, and Jonathan Littman. The Art of Innovation The Art of Innovation (New York: Doubleday, 2001). (New York: Doubleday, 2001). 19. 19. Neumeier, Marty. Neumeier, Marty. The Brand Gap: How to Bridge the Distance Between Business Strategy and Design The Brand Gap: How to Bridge the Distance Between Business Strategy and Design (Indianapolis, IN: New Riders, 2006). (Indianapolis, IN: New Riders, 2006). 20. 20. Verklin, David, and Bernice Kanner. Verklin, David, and Bernice Kanner. Watch This Listen Up Click Here Watch This Listen Up Click Here (Hoboken, NJ: John Wiley & Sons, 2007). (Hoboken, NJ: John Wiley & Sons, 2007).

One more thing . . .

CHAPTER 58.

Remember to Say "Thank You"

It's amazing how much power those two words have. A simple thank you-to colleagues for their a.s.sistance, to clients for their business-should be a given. Yet it often is not. People a.s.sume that others know they are grateful. Account people in particular shouldn't fall into that trap. Go out of your way to say thanks, for the smallest favor, for the biggest help, and for anything in between.

I worked for one agency boss who was one of the most demanding people I ever met. People always seemed willing to go the extra mile for him, though. There were lots of reasons, but I'm convinced one of them was that he regularly acknowledged the contributions of his staff.

He would leave a voicemail message, or send a handwritten note. If you did something special, you'd find flowers on your desk the following morning, or a gift certificate. It really wasn't just the magnitude of his gestures that mattered; it simply was that he made made them. People I know still speak with affection about this boss, even when they have something critical to say about him. them. People I know still speak with affection about this boss, even when they have something critical to say about him.

I worked for another agency boss who almost never thanked her people for their efforts. People didn't go the extra mile for this boss, at least not willingly. They generally expressed anger, not affection, for her. She just didn't get it. It was if she found it embarra.s.sing or awkward to show appreciation for the work of her staff. I once remember being astonished at a rare "thank you" call from her. I hadn't received such a call from her in years.

I don't think a day goes by without my writing a handwritten note or an e-mail to someone, to say "thanks for the help," or "I appreciate the quick turn-around," or something similar. I also stop by people's offices to say thanks in person. I call clients to do the same. It takes so little effort, and it delivers so much benefit. It feels good to say thank you. People appreciate being acknowledged. And it makes it easier to be critical or demanding when you need to be.

The longest section of Brain Surgery for Suits Brain Surgery for Suits was my acknowledgments section. I recognized by name 92 colleagues, clients, friends, and family members, and I'm certain I could have doubled the list and still not included everyone who deserved to be acknowledged. I won't subject you to a list of that length, but I do want to thank some groups of people and a few individuals. was my acknowledgments section. I recognized by name 92 colleagues, clients, friends, and family members, and I'm certain I could have doubled the list and still not included everyone who deserved to be acknowledged. I won't subject you to a list of that length, but I do want to thank some groups of people and a few individuals.

To all my colleagues, clients, and friends in the business, you have my deepest appreciation for all you've shared with me, and all you've taught me these many years. To the agency executives who helped me with the account person's reading list, thank you for your thoughtful contributions, and your encouragement as I struggled with this book.

My agent, Jim Donovan, deserves more credit than I can offer for his terrific advice and steadfast support. My editor at Kaplan, Shannon Berning, was also terrifically supportive, as were Joshua Martino and Dominique Polfliet. I want to thank Tom Nelson and Jaydee Jana for their cover design. I especially want to thank David Verklin for his thoughtful Foreword to the book.

The person I want to thank most of all is my wife Roberta, who remains the soul of my life.

AFTER YOU 'RE DONE What Makes a Great Account Person?

I was interviewing a candidate for an entry-level a.s.sistant account executive's position. She was fresh out of college, her work experience was limited to summer jobs and internships, but she was smart, aggressive, funny, and self-confident. For some reason that eluded me, she wanted to be an account person. I figured I might be working for her in ten years. was interviewing a candidate for an entry-level a.s.sistant account executive's position. She was fresh out of college, her work experience was limited to summer jobs and internships, but she was smart, aggressive, funny, and self-confident. For some reason that eluded me, she wanted to be an account person. I figured I might be working for her in ten years.

After questioning this promising young person about everything from why she chose to study history in college to what she was currently reading, I asked if she had any questions for me. She replied, "I have only one." I figured she would ask me about the agency's goals, how I became such a self-important success, or something else grand and sweeping of that nature. But she surprised me.

"What makes a great account person?" she asked.

Simple question. Complicated answer. If you put this to 100 people in advertising, you would get 100 different answers.

Here's what I told her: It's more about skills and qualities than about education and experience. A degree in literature or philosophy might be more valuable than an MBA.Tending bar will teach you more than will working in a company that has no clue about collaboration or client service.

It used to be that agencies would train their account people extensively.These days that's increasingly rare. The training is shorter and less complete, and fewer agencies invest in it. But that doesn't place a set of handcuffs on you. Just because agencies don't teach doesn't mean you can't learn. You simply have to take greater responsibility for your own on-the-job training. Agencies offer plenty of opportunity for that, if you're willing to invest the time and effort. It might be between midnight and 8:00 AM; it might be on Sat.u.r.day and Sunday. If you want to learn, that's just what it might take.

Speaking of nights and weekends, new business is one of the best places to learn. In new business the agency moves at warp speed, ideas are the currency you trade in, and some of the agency's smartest and most senior people inevitably are a.s.signed to work on the pitch. Volunteer to help. You'll have to work nights and weekends on top of the nights and weekends you're already working. All you might get to do is fold, collate, and staple, but you will get to observe. You will get to interact with senior people.You'll get to see them tackle a tough marketing challenge and how they solve it. If you're lucky, you'll get to partic.i.p.ate in some small way in helping the agency win.You'll feel some of the heat that gets generated by one of these things.

Now what about skills? Communication is at the top of the list, both written and oral.You've got to be good on paper. An agency might teach you to write a conference report, a creative brief, a point-of-view letter, a strategy deck, or at least show you examples that you can use as "go-bys." What the agency won't teach, shouldn't have to teach, is concision and clarity, style and organization. These you must develop yourself. Start by reading William Strunk and E. B. White's The Elements of Style and William Zinsser's On Writing Well. Follow what they say and, no matter how good (or bad) your writing is, it will get better.

You also have to be good on your feet-in meetings, on the phone, in presentations, over dinner, or wherever else you connect with clients and colleagues.You can learn to be a competent presenter at an agency; you'll probably have the chance to present to your colleagues and your boss, if not your clients. If you work at it, if you practice, if you have an instinct for it, you just might become good enough to bring tears to the eyes of your audience.

No one is going to teach you to be good in the moment, to know what to say and just how to say it. No one is going to teach you what not to say, and when it's smart to hold your tongue.

Communicating isn't just about what you say, it's about listening and really hearing what the other person says. It's about the ability to interpret the subtext, not just the text, of any communication.

When it comes to skills, communication is the one every account executive must master.

There is one other skill that separates good account people from great account people: the ability to generate ideas. Many good account people have great integrity and solid judgment. They are masters of their discipline, communicate well, are good with clients, supportive of colleagues, and excellent at process. They may rise to very senior levels in their agencies, even to CEO. But if they are not idea generators, they fall short of being great.

Ideas are the blood and bone of advertising and marketing. Any competent agency can make an ad, but great agencies make ads fueled by invention, driven by ideas. Likewise, any competent account person can run a piece of business, but great account people can grow a piece of business by bringing ideas to clients that solve problems and capitalize on opportunities.

There are other things that matter-good quant.i.tative and a.n.a.lytical capabilities, an orientation to organization and detail-but nothing matters more than the ability to communicate well and the ability to generate ideas. Ideas, and the ability to communicate them effectively, distinguish great account people from good.

When it comes to qualities, there are two that stand above all others: integrity and judgment.

Integrity has always been an essential quality of the best account people, but in the wake of recent business scandals, it has become even more critical. Integrity is key to building trust with clients and colleagues. Judgment is key to arriving at the right decision when the circ.u.mstances are less than completely clear.

Account people need integrity and judgment in abundance to navigate what are increasingly complex issues and relationships that characterize the advertising and marketing communications business. The high-integrity account person takes ownership of problems. The high-judgment account person has the ability to resolve them fairly for all parties.

Great account people embody other qualities: patience, discipline, grace under pressure, a sense of humor, meticulousness, a sense of ownership, a spirit of collaboration, self-effacement, a sense of context, a service orientation. All of these are incredibly important.

Without patience, you have no hope of dealing with difficult clients and wayward colleagues.

Without discipline, you will never be able to focus on the task at hand.

Without grace under pressure, you will crumble under pressure. There is pressure in our business. At times it is intense.

Without a sense of humor, you will be unable to see that what we do is not brain surgery, and that we are not looking for a cure for cancer. We do advertising; it's critically important to our clients, but it is not a life or death matter.

Without meticulousness, you will make mistakes, and not catch the mistakes of others. An acc.u.mulation of small errors can undermine a client relationship.

Without a sense of ownership, you will not take full responsibility for delivering for your clients, and you will not step up when things go wrong.Your colleagues won't respect you, and your clients won't trust you.

Without a spirit of collaboration, you will be unable to marshal the full resources of the agency to the benefit of the client.

Without self-effacement, you will be dissatisfied with the lack of recognition account people receive.

Without a sense of context, you will see the details but not the larger purpose they serve.

Without a service orientation, you have no hope of helping your colleagues and clients achieve their goals.

With that I paused. I wondered if the candidate sitting across from me was sorry she asked. No question I got a little carried away with my answer, but she seemed to be still with me. She was a good listener, and she was patient.

I concluded my monologue by saying that if I were to reduce this to four guiding principles, they would be integrity and judgment, communication and ideas. Then I grabbed a piece of paper and drew this sketch: "Does any of this make sense?" I asked.

"All of it," she replied. "Maybe I should be a copywriter." I laughed. But she must have heard me, because today she runs an agency.

ABOUT THE AUTHOR.