Essays on creative leadership,
culture, and the human side of work.
Becoming
These are personal essays about growing up as a fostered, then adopted child — and about what that does to a person over the course of a life and career. The passivity you develop to survive. The shame that shows up uninvited in elevators and conference rooms decades later. The moment you finally recognize the bully pattern, in a boss, in a father, in yourself.
The most-read piece opens with a meat cleaver. My wife, coming down the hall. Me, curled under the covers at thirty years old, having just been fired and not yet told her. It’s not a comfortable essay. But by the end, it explains — more directly than anything else I’ve written — why I understand what happens to people when they’re made to feel small at work, and why that understanding is the foundation of everything I do professionally.
These essays aren’t separate from my advisory work. They are the source of it.
Advisory Notes
These are essays about the emotional realities of creative professional life — the anxiety of leadership, the psychology of negotiation, the particular ways creative people get in their own way, and the particular ways organizations let them down.
One of the most-read pieces, “Why Creative Firms Break Differently,” argues that creative firms don’t fail from bad strategy — they unravel from the inside, through fatigue, misalignment, and a gradual loss of trust no one can quite name. That piece captures what all of these essays are reaching toward.
I write from four decades of experience inside creative firms, but I write the way I talk: directly, without jargon, with stories. Each piece includes one of my own illustrations. If you work in a creative firm and ever feel like the game is rigged against you, this series is for you.
(Note: I’ve made changes in the following, to keep identities private.) “We are rescinding our offer.” Ariel was crushed. This was the biggest “fuck you” an applicant can get. It felt like a physical blow. Insulting to the core. Completely unnecessary. Mean. Unfeeling. And crushing. At first she couldn’t believe it. Thought she’d read the…
(Note: I’ve made changes in the following to keep identities private.) Three days later. “Ted, they offered 240. They stuck to the top of their range.” Ariel looked shocked, pale. Color gone. “I’m sorry, Arial. How did they present their offer?” Ariel, clearly shaken by the process, went on to say that a guy in…
(Note: I’ve made changes in the following to keep identities private.) “Ted, Dirk came to London to interview me. He’s their Chief Creative Officer, Global. We had coffee, and the next day he took me to lunch at his club, where we talked for two hours.” Ariel was beaming through our Zoom connection. I was…
I’ve been busier with client work than ever. Creative salaries are up, and more of my clients are negotiating new freelance opportunities and salaried positions than any time in memory. The following story is a composite of several of these ongoing negotiations. (Note: I’ve made changes in the following story, to keep identities private.) “They’re…
New essays, every week.
With an illustration.
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Also available on Substack.
You never cease to amaze me with your willingness to make your life an open book — especially the more hurtful parts. And I'm amazed by the lessons you draw from all of it.
— Larry Coffman, PublisherYour writing has revealed some very intimate, powerful lessons. You are a source of inspiration both professionally and, increasingly, on a personal level.
— Rick GoreWe can discuss the ugly, uncomfortable truths while always circling back to what matters: the people, the underdogs, the work we get to do, and the magical existence we get to share as creatives.
— Sarah EskandarpourI loved your article about how clients' emotions affect briefs. It's a huge part of the creative industry and it's always good to see somebody so knowledgeable write about it.
— Vuk Bojovic, JKR Account Director, Singapore