Connections in this industry are invaluable, and Brainco is the perfect school for making connections. Whether you are meeting Art Directors to collaborate with, or visiting the agency where your teacher works, you are constantly meeting peers and mentors in the business. The program teaches you how to make ads, certainly, but it also prepares you for the culture of advertising.

Informational interviews were essential in helping me hone my portfolio. I wanted to get my book in front of as many people as possible, and through my Brainco connections, I was able to gain access to agencies in Minneapolis, and in cities across the country as well. There are a lot of former Brainco students out there, and they are always willing to lend a hand.

Portfolio:  http://cargocollective.com/chill

Something I did after I graduated:
I enjoyed the Geek Squad campaign because it was my first produced work. It was also my chance as an intern to show that I could be as creative as the full time folks. The interns were asked to come up with one concept. The veterans were to come up with the bulk of the creative. My designer and I got together over the weekend and knocked out several ideas. In the end it was our ideas that won out.

Congratulations to all our Brainco students who won Gold, Silver and Merit awards at the 2011 Minnesota, Ad Fed’s -”The Show”.

Brainco–Minneapolis, MN

It’s been way too long in coming. For those of you who kept asking “When are you going to update that thing?” – thank you for your patience. I hope it was worth the wait. Although it’s been years since our last redo, in our defense, we’ve had a lot going on. Our little school that started 16 years ago has become one of the top advertising and design schools in the country offering programs in Copywriting, Art Direction, Graphic Design, Web Design and Account Service.  We’ve endured moving 3 times.  We’ve seen our best students graduate and take jobs at agencies and design firms all over the world. We’ve competed against the best schools in the country and won every major industry award imaginable. You can’t walk into an agency in Minneapolis that doesn’t have one of our teachers, students or graduates strolling down it’s halls.

It’s been pretty amazing how much has happened in such a short time. And, believe it or not, we’re just getting started. I’m glad we finally got around to telling you about it.

Whether you’re a prospective student, a potential instructor, a current student, a college professor, an alumni, or some one looking to hire some of the most professional graduates in the industry, I hope you find what you’re looking for. If you don’t, let me know. I’ll see what I can do.

Regards,

Ed Prentiss
President
Brainco–Minneapolis, MN

Fast Track:
This accelerated 5 quarter program is designed for students who want a nuts and bolts program that will get them up and running and working on their portfolios right from the start. Included in this program is the opportunity for an externship at a leading ad agency or design firm.

Portfolio Builder:

This new fast-paced 3 quarter program is perfect for students who have some previous experience or a partial portfolio.

Don’t wait! It’s not too late to register for the Fall. Get on the fast track with our new Fast Track or Portfolio Builder programs. We also have a great new lending program that will help you make your dream job a reality. Call now for more information 952-931-0303 or email us at admissions@brainco.org.

“A year from now you will wish you had started today.” – Anonymous

Remember that when you start looking for a job, you are the product and your portfolio is your key marketing piece. It is as much a reflection of your design skills as everything in it. Give your portfolio the same attention to detail and personal touch that you would to any creative challenge.

Some tips for building a strong portfolio:

The First Impression
Your first portfolio piece — your resume — must leave a good first impression. This single piece of paper speaks volumes. Your choice of typography, layout, information, and paper stock all contribute to that all-important first impression. Don’t underestimate this “first” piece of your book.

Save the Best for Last…
And first. Your opening sample should be your best, most visually provoking piece — a springboard into conversation about your work. Leave your next most-stunning piece as your final board, creating a lasting impression. I recommend a “picket fence” portfolio layout: Strong – Weak – Weak – Strong – Weak – Weak – Strong – Weak – Weak – Strong. I am not implying that any of your pieces are, or should be, weak. Truly weak pieces shouldn’t be shown, but some will be stronger than others. Stagger these less-striking pieces accordingly.

Keep in mind that you don’t need to explain every piece – potential employers can see good design skills and concepts. Use your stronger pieces as opportunities to talk about your strategic thinking or any special techniques in which you are skilled.

The Magic Number
An average of 10 to 20 samples in a creative portfolio is good. Too many pieces can send mixed signals, because it usually shows off more of your weaker pieces. But do not limit yourself to few samples as you will want to demonstrate the breadth and depth of your abilities.

Detail, Details, Details
Your samples should be clean. You will be showing your pieces to people who recognize and appreciate high quality work. Impress them! Don’t put yourself in the position of having to apologize for bad production or damaged pieces.

Spend some time making sure your work fits a common format – one that allows you the flexibility to add and subtract work. This gives you the ability to customize your portfolio for the interview at hand.

Test Your Book
Ask your instructors and classmates for specific feedback on your portfolio, or better yet, go for informational interviews to test the waters before you present your book for THE job interview of your dreams.

Cover All Your Bases
You won’t always be present when your portfolio is reviewed, so make sure it communicates its major messages without you. A few ideas:

- Consider adding brief text for each piece (e.g., a statement of the design problem and solution, client, and/or budget).

- Provide an extra copy of your resume and plenty of business cards in your book so that the viewer has materials for their reference files. Make sure these materials can easily be read after being photocopied or faxed so they can be easily passed along to others.

- Consider creating a leave-behind collateral piece that showcases your strongest pieces. The interviewer may be looking to hire someone in the future, and you want to be in their reference file. Your leave-behind can be sent with your thank you note.

Follow Through
An old-fashioned thank you note that echoes the design of your resume is not only polite (good manners are important), but is another opportunity to reinforce the marketing of “you”.

About Eddie Hofmeister: Eddie is a self-employed design professional and entrepreneur living in Minneapolis. This trimester, she is at Brainco passing on her passion for typography. She spent part of her formal education in Phorzheim Germany in the basement of the Fachhochschule für Gestaltung hand setting metal type for the fun of it.

Eddie Hofmeister Design can be found at www.hofmeister-design.com

As the former Admissions Director for Brainco, it didn’t take long before I’d heard all of the excuses. I had almost 300 people contact us about attending Brainco one term, yet only a fraction of those people actually did anything about it. Why is that? Excuses. We’ve all got ‘em. Here are the ones that I heard time and time again.

1. I can’t afford it. This is the big one. You know you want to do it, but you’re not sure how you can pay for it. Well guess what? WE HAVE A FINANCIAL PLAN FOR EVERYONE. If you really want to go to Brainco, we can work with you to make it happen. Cross this one off your list.
2. I already have a book. So did I. I marched into Carmichael Lynch with a half-baked book many years ago. I didn’t get a job offer. I got Brainco’s phone number. I later took my wife’s last name when I married in hopes that they wouldn’t remember me if I returned. One very insightful student summed it up perfectly when he said in his initial inquiry to Brainco, “If I show my portfolio to my family, it’s a very good portfolio. If I show it to Leo Burnett, it’s crap.” Have you seen the books coming out of Brainco? If your work doesn’t measure up, you don’t have a book, you only have an excuse. And a bad one at that.
3. I’m not sure I want to go back to school / I already have a degree in advertising / I only need a class or two. This one comes in many forms. The reality is; no one is here because they want to go to school, they’re here because they want to change their life. There are no shortcuts. If you want to run with the best, you need to learn from the best. If you’ve uttered any one or all of these excuses and still can’t figure out why you can’t get a job, we need to talk.
4. I’m not sure I can do it. Odds are you can’t. 100% of the people that never try, never do it. They just keep on doing what they’re doing and occasionally check in with us to see how we’re doing. We’re doing great. We’re changing people’s lives. People that didn’t think they could do it are doing it. It takes commitment and a lot of hard work, but you can do it. We wouldn’t have a school if we didn’t believe otherwise.
5. I’m going to another school. Great. At least you’re committed to making a change. That’s the first step. So what steps did you take to determine which school is right for you? Don’t tell me you blindly followed your friend to cooking school. That’s not the kind of commitment I’m talking about. You need to go to a school that can get you where you need to be. This isn’t another 2 years of avoiding work. You need to go somewhere that’s going to push you to the best whatever-it-is you want to be. If you’re not ready to work for it, I can tell you that Brainco is not the right school for you. Need some help figuring it out? Check out these articles.
• The Most Important Factor in Choosing a School
• How to Choose a School & Why You Need One

6. The timing is just not right. Next session. Next year. Next life. I’ll be the first to tell you this excuse has some validity. I’ve heard some pretty tragic stories from some people that really wanted to make it happen. Sometimes the timing isn’t right. But what’s your story? Examine why you’re pushing off school. Does it have anything to do with the other reasons listed above? Cross those off your list. If you know this is something you need to do, you’re just delaying the inevitable. At some point you’re likely to delay it right into another unsatisfying career. It only gets more difficult with time.
7. I know someone in the business. So do we. Hundreds of people. CEOs, Creative Directors, Account Managers, Lead Designers, you name it. We know people all over the country. Networking plays a vital role in starting a career in this business…but so does talent. Don’t expect to get a job because your Gamma, Delta, Melta buddy has a hotshot job at an agency. You’d be lucky to find yourself slaving over the copier and fetching coffee for the person living your dream. That’s your dream…take it back.
8. I’m already smart and creative. Prove it. Come in, blow us away and we’ll get you a job in the business. That means showing us how smart and creative you are. If all you can do is tell us that you’re smart and creative, you’ve got along way to go.
9. Too much noise. Friends. Parents. Pets. Everyone will be questioning why you’re considering going back to school. They don’t understand. At this point, hopefully you do. If you need help managing the noise, by all means bring these people with you to your meeting at Brainco. They haven’t had the luxury of doing the research you’ve done. We’ll help set them straight.
10. I’m already in the business. Of course you are. And you’re working in the job you always dreamed of, right? Not if you came looking for us. There’s a part of you that knows you could be doing better – better agency, better work, better coffee. What are you waiting for? Do something about it.

Actually, there’s one more.

11. Seems like a lot of work. It is. If that’s the best excuse you’ve got, you don’t want it bad enough. Keep doing what you’re doing. We’re only interested in the people that really want it. Those are the people that will succeed.

If you recognize yourself in any of the statements above, it’s time to stop making excuses and get into Brainco. The people that want to make it in this business don’t have time for excuses. They’re done dreaming. They’re busy making it happen.

Now it’s your turn.

We asked the question: When choosing an agency, what is the most important factor? The results are in.

1. Location (5.1%)
2. Salary (2.5%)
3. Quality of creative work (48.3%)
4. People, your co-workers (14.4%)
5. Leadership and culture (16.1%)
6. Pop machine (0.8%)

According to our survey results, professionals value quality of creative work most. We asked a few professionals to comment in more detail on what most influences their choice of agency and why. Here’s what they said.

Ryan Carlson, Designer,Twin Six, Minneapolis, MN
Obviously they are all important, but for me C (Quality of creative work) and D (People, your co-workers) are the big two. I think you can combine those into FIT, finding a good fit is really the most important thing. First, you’ve gotta have some respect for and admiration of the work the agency / firm is already doing. That’s not to say that you should only look at places that have work like yours – but work that you think is good. Second, it’s hard to work with people you don’t like. It doesn’t matter to me if the place is the most top-notch shop in town, if the people that work there aren’t cool – then I wouldn’t want to work there anyway. So, find a good fit: a place that does work you respect with people that you could see as your friends.

Charlie Ross, Design Director 11below, Minneapolis, MN
When I was in school I always believed I was going to get paid a decent salary straight out of school. My soon-to-be employers did not share this belief. So really, if it wasn’t the money, then I wanted to be somewhere where I was going to be challenged. I left school thinking that I knew a lot about design. I did, until I started my first job. Being challenged allowed my work to get stronger, and eventually my portfolio and my salary started to reflect that.

I have worked at places that have challenged the way I think on a daily basis, and I have worked at places where I felt there was no one there who knew how to give me criticism, or challenge me to make my work better. (And that’s a tough place to be.) If I don’t come into work every day believing I am going to learn something new that day, or create something new that day, I eventually won’t want to come in to work.

Dana Markee, Creative Director, Freelance, Los Angeles, CA
d. People, your co-workers

I actually think, for me, this is the most important factor in choosing an agency. I have a really strong personality so it’s important for me to be around people who understand me. It’s hard to know what people will be like at an agency when you’re just there for an interview, but look around and ask questions. Are people your age? Do they dress like you? Does the environment feel good? You know where you fit in, and don’t go somewhere you don’t, you won’t be happy and neither will they.

The key is: It’s just a job. Don’t piss anyone off, you can always leave and find another one.

Susan Newbauer Young, Copywriter, Saatchi and Saatchi  New York, NY

E. Leadership and culture.

When I work with a creative director that I’m inspired by and respect, it’s easier to work hard. I don’t regret the long hours or sacrifices as much- even if shit never gets produced. The whole process is so much more fun when I feel motivated and I don’t have to deal with a negative environment or office politics.

Riley Kane, Creative Diector, Mono, Minneapolis, MN
The agency culture and people are extremely important to your mental health and quality of life.

That said, I’d still vote for ‘quality of creative work’. Advertising just isn’t a very interesting profession unless you’re doing creative work you can be proud of.

I meet with a lot people that are desperate to break into the advertising & design industry. Some have degrees in advertising, communications or design from reputable universities. Some have portfolios they’ve developed at technical and/or art schools. Others are looking for a career change and hoping to leverage experience in a related field. All of them have a strong desire to get into the business. Almost everyone asks the same question, “Why can’t I get in the business?”

It’s the same question I asked after graduating with an advertising degree from the University of Kansas many years ago. I did my school, now where’s my job? I had a five-year reality check before someone kindly pointed me in Brainco’s direction.

We all know that the first step to getting help is admitting that you have a problem. Here’s a checklist for helping you decide if you need help.

1) Your degree is no good here.
So you’ve got a college degree. Great. On the account side of the business, this is often a necessity. On the creative side it holds about as much weight as your Tae Kwon Do certificate. You need a portfolio. A good portfolio. End of story.

2) Portfolio? What portfolio?
You want to be a creative? You have to have a portfolio. Your portfolio should contain a diverse sampling of quality work that demonstrates your abilities. Emphasis on the quality. We recommend somewhere in the range of 18-24 pieces.

Copywriters and Art Directors should have 6 good campaigns that demonstrate more than a sophomoric sense of humor. If you’re carrying around a bunch of condom ads, ditch them now. There’s a lot of bad advertising out there. If you’re using these ads as the bar for where you need to be, you need to raise the bar. Check out the student work in CMYK and on the Brainco website. There’s your bar.

Designers need to demonstrate the ability to integrate their designs beyond the typical logo and letterhead. Strong concepts are a necessity. Use different materials, tangible objects and an innovative approach. It’s no longer good enough to say you did it because, “it looks good.” There’s more to design than knowledge of fonts and colors. Understanding the software is just a small part of the equation. Start putting purpose into the mix. Check out the Brainco student design work.

Interactive Designers need the same purpose as designers with a high emphasis on functionality and usability. If your designs are not intuitive enough for a basic user, they’re no good. The goal is blow their minds not mess with them.

Prospective Account people can edge out the competition by demonstrating their skills in a well-organized portfolio of creative briefs, research documents and the resulting creative work. Show them that you know the business and have the experience necessary to succeed. Without it, you’re just like any other applicant with a 4-year degree and a dream.

3) How’s your network?Not your computer network, your professional network. Do you have contacts in the industry that you can meet with to get some good honest advice? You’re going to need them. Showing your face around an agency once or twice isn’t enough. You need to get to know people. Create some top-of-mind awareness for yourself. Getting a job is part talent, part luck and all timing. Surrounding yourself with professionals without coming across as a stalker can be difficult…unless they’re your teachers.

4) Setting your sights
Are you content to be designing the next brochure for your father-in-law’s construction company or do you want to work on Super Bowl commercials, redesign Diet Coke’s identity or manage the Nike account. If your sights are set high, you’re going need 3 things: raw talent, patience and help from people that can put you on the path to a great career.

5) The Personal Equation
Sometimes people forget that in the end, companies are hiring you…a person. Be conscious of your behavior, but not self-conscious. Have confidence, but don’t be over confident. Show some humility. The greatest student portfolios can’t overcome an attitude problem. I say, “Don’t bust out your ego ’til you bring home the Clio.” Right now, all you’ve got is potential.

It may be reassuring to know that you’re not the only one in this position. The best thing you can do is create more value in your product – you. Learn more, get better, get a job.

Set up a time to meet with us. We’ll help you sort it out.

Here are my top ten tips for creating and maintaining a winning portfolio:

1. Always show your best work. Quantity is not a substitute for quality.
2. Show your ability to think strategically and in broad terms.
3. Communicate that you can execute on that strategy or vision.
4. Make sure your portfolio matches the position you’re looking for.
5. Create a portfolio that can speak for itself (in case you don’t get an opportunity to show it).
6. Get qualified feedback from a reliable source in the industry before the interview.
7. Be open to negative feedback and use it as an opportunity to learn and improve.
8. Remember that the content of the portfolio is more important than the case.
9. Save original samples and make multiple copies to mail or leave behind.
10. Finally, how many pieces should be in a portfolio? Enough to prove you can do the job.

A common problem for many students: They want feedback on their portfolios but they don’t want to show their work to industry leaders while it’s still a work in progress. (One side note-your portfolio is always a work in progress). Students are afraid they’ll make a bad first impression with a weak presentation. They are right.

When I was in school I knew I didn’t want to work in New York so I chose that city for my trial run. I was from the east coast and wanted to look at other job markets. New York City was close to my house and was the perfect place to find some really great creatives to tear my book apart. I just called some agencies and asked if they had anyone that would be willing to look at my book and give me feedback. Everyone I met with was helpful except for some jerk named Billy. In just two days of interviewing, I found out that I had a lot of work to do. I got great feedback from some pretty senior folks and since I wasn’t looking for a job I didn’t feel I did any perception damage from having an unfinished book. I went back and re-worked all my ads based on the feedback. I also tossed all the ads that just weren’t working. Several months later, when I finally graduated I returned to New York for one more round of critiques. I actually got a few job offers on my second trip but declined them, politely of course. After making a few minor tweaks to my portfolio I felt much more comfortable when I headed out to interview around the country.

If you want to try the same technique here’s a few suggestions:

This works for creatives as well as account service students.
Account service students may not have a portfolios to review, but they shouldn’t underestimate the value of these interviews. When you get back home ask the interviewer to give you a critique of how you presented yourself.

Try to find strong advertising and design markets for your interviews.
If you can’t travel to a major city to get some feedback, make sure that you are seeking out the best agencies in the cities you can get to. Also, don’t be afraid to try to get some feedback by e-mail. Sometimes you can find a creative who will take the time to critique over the phone or internet.

Out-of-towners get seen.
Call or write ahead and let them know you will only be in town for a few days. Often times they will make room for you if they can because they know your time is limited.

Plan your trips around vacations.
This is a great way to save money. Maybe going to Seattle with Mom and Dad this year might not be such a bad thing

Distant relatives come in handy.
Especially if they have an apartment in San Francisco with a very comfortable and free floor.

Don’t waste anyone’s time.
Be upfront about your whole interview process

Be polite.
Even to jerks named Billy

Send a thank you.
I don’t always remember who sends me one but I definitely remember who doesn’t.

Don’t just hear what you want to hear.
This is the time to really test your book. If you hear from ten people that something’s not working and one person who likes it, trust the ten.

Testing your book and interviewing skills in a practice city is a great way to build confidence and get the bugs out of your portfolio. If you make any mistakes or need to change anything, you have plenty of time to get your act together before you contact your dream agency.

I know you have a lot going on so I really appreciate all that you’ve done in opening this link. There are so many things you could be reading on the internet right now and the fact that you’re reading this means a lot to me. If I can ever do anything to repay your kindness please do not hesitate to contact me.

See, now that wasn’t so bad was it? A little formal perhaps. And the subject of this month’s article-thank you notes. Why would I choose to write an entire article on thank you notes? Because they matter. They let people know that you’re a thoughtful person and that you understand that as professionals our time is very valuable.

I have interviewed thousands of students and they often neglect to follow up with a simple thanks. And in their own way those students are still sending me a message. A message that goes something like this:

“Boy are you lucky that I came to visit you last week. I really did you a favor just by showing up and asking questions. Lots of questions. In fact, how could you even think that anything could be more important than me and my career aspirations? In case you forgot my name, I’m not going to tell you. I won’t be giving you any reason to contact me in the future, unless of course you have something great to give me, then look me up. Also, I’m either egocentric or lazy but you’ll never know which.”

If people go out of their way to help you out, the least you can do is drop them a line thanking them for helping you out. And who should get a thank you note? Anyone and everyone. Make them short, to the point and sincere. Then send them out into the job hunting universe like little pieces of Karma.

Good luck. And thank you.

In the third edition of his irreverent bestseller, veteran copywriter Luke Sullivan returns with an updated version of his warts-and-all look at advertising. Part how-to and part expose, Hey Whipple, Squeeze This is both an insider’s guide to coming up with great ideas as well as an unapologetic send-up of everything in the industry that kinda sucks.

The word “school” will mislead you. There is learning – though it often takes a year before you see any progress – and there are classes and teachers and students. Desks, if you’re lucky.

But school also means earning a degree. If you don’t believe me, tell someone you’re thinking about advertising school, and I’ll guarantee you the conversation won’t end before they’ll ask, “So, is this a master’s program?”

Explaining what advertising schools are makes them sound like one of those “get your degree at home” infomercials. That’s not a bad analogy – minus the part about earning a degree – because the first one opened as a night school class to help students build portfolios. Other schools began in living rooms and clubhouses at apartment buildings. Most of these schools are so young they could order dinner from a children’s menu.

Tuition is still full price, though.

It’s worth it because your portfolio is your resume, your credentials, your personality, what you can offer an agency, neatly bound in 15-20 samples. When I was finishing undergrad, a professor told me, “Ad schools offer space to work and feedback on the work. That makes them valuable.” He was right. Ten years ago, the portfolio you and your buddy who’s a Photoshop whiz put together may have been awesome. Advertising schools changed the standards. Now, how do you compete with a book from students who spent two whole years building their books under the guidance of the same people who might one day hire them? For some of you, that may be a rhetorical question. For others it may be a question you ask seriously. The answer is the same: You don’t. So you join ‘em.

If I’ve convinced you advertising schools are necessary, then the next question – and it’s a serious one – is how to decide between them. If Newsweek did one of those College Ranking reports, they would have a hard time filling in the charts and data needed to rank one school above the other 4 or 5 out there. The teachers come and go, which might affect the classes they can offer. Some years there are good students who win awards in the industry. The school looks great. A few years later, students graduate from the same school but are never heard from again.

The best school is the one where you can function within the school’s dysfunction. Newsweek can’t decide for you, and neither can your friend who graduated from the school three years ago. The industry is based on deadlines, sure. If you have time, nothing compares to a visit. Each place has its own personality. Talking to students and the people in charge will give you a feeling about the school that a phone call and a catalogue won’t convey. The pieces on the walls show what students are producing right now, based on the classes and teachers the school has right now. It’s the best indication of what you can expect if you signed up today. In a year it could be a complete 180.

For an industry that’s constantly evolving and trying new ideas, it makes sense that advertising schools mirror that environment. Right up there with helping students create portfolios, learning to meet deadlines and work with partners are huge perks of any advertising school. You won’t learn every lesson the first day of advertising school, but you’ll be expected to know them your first day on the job. Thank goodness you have two years to prepare.

You have just graduated from a great 4-year school that never told you what a portfolio was. You’re completely lost. You have no idea how to get a job as a writer or an art director. You want to know more. You’ve only got a couple of bucks left before your next student loan payment hits. What do you do. Simple. Find this book. It is by far one of the best resources for someone trying to find their first job. Written by Maxine Paetro, A former recruiter, this book will soon become your best friend. The format is fun and easy to read. No boring text. Maxine has tried to guess every question you are probably going to ask eventually. She writes a question on the top of each page and then, proceeds to answer it for you. Her responses are insightful, witty and frank. She pulls no punches, makes no promises, but disperses tons of encouragement for those with the desire to work hard. One of the most interesting parts is a collection of anecdotes and advice from people in the industry. While many of these folks are heavy-hitters, Maxine also includes the viewpoint of junior art directors and writers as well. This one is one of the most inspiring and helpful books around and as you can already tell. So go get it.

More Info:  http://www.amazon.com/exec/obidos/tg/detail/-/1887229132/qid=1041607468/sr=1-1/ref=sr_1_1/102-6689855-0530567?v=glance&s=books

If you want to be a good creative you have to seek inspiration outside of advertising. Rarely do great ideas spontaneously spring forth like Athena from the head of Zeus. You need fodder to generate them: weird magazines, hobbies, interests, fetishes, whatever. Seek out experience. And if you’re a copywriter, YOU MUST READ!

This seems like a no-brainer. But when you’re in school, or working 70-hour weeks to come up with a brilliant ad for dog kibble, you don’t always want to spend your free time reading. You want to go home and watch Married By America. Or drink. Or get drunk and watch Married By America. Bottom line, you don’t want to do anything that requires the use of your brain. Do these things. It’s important. But, before you experience total mental atrophy, put down the remote and pick up something with words on it.

Personally, if work is busy, I have problems committing to an actual book. My shelves at home are full of neglected half-read books that I started but never went back too. If I set a book down for too long I usually have to start from the beginning. It discourages me from reading at all. My solution in these busy times was to read shorter things – anything from comic books to Catcher In The Rye. My only requirement was that I had to be able to get through it while I was sitting on the toilet or, at the most, in a day or two. So here are some suggestions for fear-of-commitment readers like myself.

The New Yorker
This magazine is great for fear-of-commitment readers. The writing is generally excellent, the subject matter is broad and the articles are about 5 to 10 pages. The New Yorker has fiction, non-fiction, current events, poetry and photography. It also reviews the latest music, movies and books. If you subscribe, it comes every week. This alone can become a bit daunting because they pile up fast. But a stack of New Yorkers in your bathroom makes for a good reference library whenever you have time to read. Pull one at random. You’ll always find something intriguing.

The Best American Magazine Writing Anthology
Put out annually, every article makes you want to run out and buy this book for your friends just so you have someone to talk to about it. It’s the pith of what The New Yorker, Rolling Stone, Esquire, Outdoor, and lots of other magazines have to offer. Again, there is a wide range of subjects – stories that will make you howl with laughter and your jaw drop. One article documents the life of Inuit hunters on the polar ice caps. Another is the personal account of a man who discovers his childhood role model, his favorite high school teacher, is incarcerated for unmentionable sexual offenses. My favorite article details how The Sound of Music is gaining a cult following similar to that of the Rocky Horror Picture Show. Throngs of passionate fans head to the theater dressed up as Nuns, Nazi’s and “Brown Paper Packages Tied up with String.” No kidding. All the articles are great. Go buy or steal this book.

This American Life
This American Life is actually a public radio program. But, it’s narrated in a very literary way. The show itself isn’t easily pigeonholed. It lasts an hour and chronicles everyday life in America. They usually pick a topic, anything from pimp culture to the horrors of driving instruction, and focus on that for the entire show. It can be weird, emotional, sad, or funny but it’s always engaging. Everything they’ve ever done is archived on their website, www.thislife.org. Bring some headphones to work and spend a day listening to some of their shows. It’s infinitely more rewarding than any actual work you might do. You can also catch the show on your local public radio station. Times and stations are listed at the website.

Anything by David Sedaris
If you don’t know about David Sedaris, or haven’t read anything by him, stop reading this and go out and buy one of his books immediately. Sedaris is not only entertaining to read, but he does brilliantly what every copywriter must learn to do. Find the hilarious in the everyday and communicate it succinctly. He doesn’t use flowery vocabulary, he isn’t vulgar and he uses words judiciously. Most of Sedaris’ books are short autobiographical essays about his life or family. They’re fun quick reads, provided you can stop laughing long enough to hold the book still. Last year, I was reading his latest book, Me Talk Pretty One Day, on a plane to New York. Much to my embarrassment, I could not stop laughing. I’m sure the guy sitting next to me thought I had a few screws loose. Anyway, I was laughing so hard I accidentally, and quite audibly, farted. The guy ended up asking for another seat. Obviously, he hadn’t read the book or he would have understood it was laugh-out-loud/fart-out-loud funny.

Me Talk Pretty is his best book in my opinion. Naked, Sedaris’ autobiographical account of his formative years as a young gay man, is a longer read. Barrel Fever, his first book, has more fiction than non-fiction. All of his stuff is wonderful. Check it out.

Anything by Sarah Vowell
Sarah Vowell, another modern humorist like Sedaris, writes primarily short essays about her life experiences. She is ironic and funny, but takes on headier subjects than Sedaris. Many of her essays address her love for American history, and America in general, which is offset by her sense of liberalism and contempt for some of the things America does. It makes for a funny dichotomy because she plays both sides of the fence very well. She loves the idea of America, but not always the reality of it. It’s even evident in the title of her latest book, The Partly Cloudy Patriot. In her first book, Take The Cannoli, she compares her relationship to her country like that of a battered woman to her abusive husband. “Yeah, he beats me up once in a while. But, man! Can he dance!” She is far more analytical than Sedaris, but does so without sacrificing humor, simplicity or prose. Vowell’s insights revolve around being American and all the glory and pitfalls that go along with it.

Matthew Bottkol is a Brainco graduate and copywriter at Goodby, Silverstein & Partners.

In a recent interview, Neil Young was talking about his latest project “Greendale,” a song cycle that morphed itself into a movie. “I just let it out. I never tried to make things fit together or anything. I keep trying to do things that I can’t do. And then I’m always doing it for the first time. And that’s the look I want.”

I bet if Brenda Ueland, the author of If You Want To Write was still alive, she’d grab him by his graying hippie muttonchops and give him a big wet one. If You Want To Write was first published in 1938, and it’s a book for anyone who’s ever been stared down by a blank piece of paper. Or whose creativity’s been snickered at, belittled or taken a recent standing 8 count. At 179 pages, you can read it like women eat fudge, slowly and sexually. Or skip around to chapters such as “Microscopic truthfulness,” “Art is infection,” or the first one, “Everyone is original, talented and has something important to say.”

When I was taking third-quarter French at the U, I missed a week because of mono. I sucked supremely at French, even when healthy. Though I was taking it pass/fail, my back was against the wall. I wrote a story (in French) about seeing my French teacher on the 52B bus and wondering why nobody was sitting next to this “tres belle et intelligent jeune fille.” The comments on my paper were “Terrible grammar. Horrible pronoun usage. You made me smile. B” A 1-watt light bulb went on in my head. Maybe writing wasn’t about big words, indenting and proper semicolon use. Maybe it was about ideas. Maybe making someone laugh. And sharing. About nudging someone and saying “Here’s what I found, whaddya think?”

The best ads share. Or have microscopic truthfulness. This book does the same on every single page. It also shares thoughts from guys like William Blake and van Gogh. Been trashed lately by a panel of cynical, bored ad professionals with faces full of pizza and chests full of self-importance? Can’t get that third ad out, even with peyote and a crowbar? Even more important, can’t finish a song, poem or play? Here’s your book. It will open your brain as it lifts your chin.

By the way, there is a paragraph in which Brenda Ueland rips apart advertising and copywriters. Be happy you’re an art director or take it with a grain of salt. She never saw the student section of last year’s Show book.

Review by Jay Walsh. Jay is a Brainco instructor and copywriter at the Lacek Group.

This isn’t a “how-to” book or “how much you’ll make earning a living in the wonderful world of advertising” book — this is a story. A true story that lets you peer into the workings of an advertising pitch and the result of that pitch. You’ll follow author Randall Rothenberg as he tags along with four agencies trying to win the Subarau account. You’ll see the client’s marketing problem, the process they went through to find potential ad agencies, and the factors that led to their ultimate choice. You’ll watch each agency prepare for the pitch, their presentation, and the results. You’ll be there when the winning agency is announced and continue with the agency as it tries to not only resurrect but recreate the ailing image of a major car manufacturer.

The amazing thing about this book is that the author had unlimited access to all the parties involved. He sat in on major meetings. He traveled with the key players and picked their brains. He saw the clients smile and he saw them fume. He saw the agencies succeed and fail. He watched the whole enchilada roll out onto the table and he wrapped it back up and served it to us in an interesting and compelling story. This book gives an irreplaceable insight into the real world of advertising. Pick it up to get a true representation of what your life could be like in the business of advertising.

In addition to our world class comprehensive two year program, Brainco is proud to announce two new, affordable programs that can be completed in one year or less.

Fast Track:
This accelerated 5 quarter program is designed for students who want a nuts and bolts program that will get them up and running and working on their portfolios right from the start. Included in this program is the opportunity for an externship at a leading ad agency or design firm.

Portfolio Builder:

This new fast-paced 3 quarter program is perfect for students who have some previous experience or a partial portfolio.

Don’t wait! It’s not too late to register for the Fall. Get on the fast track with our new Fast Track or Portfolio Builder programs. We also have a great new lending program that will help you make your dream job a reality. Call now for more information 952-931-0303 or email us atadmissions@brainco.org.

“A year from now you will wish you had started today.” – Anonymous