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The Art of Business: Insider Tips for Working with Large Companies
They're big, they're bad, and they want little old you to help them on a project. Here are a few tips for making sense of the crazy pressures, unwritten rules, and unspoken insanity that drive the corporate world.
Written by Eric J. Adams on October 10, 2005
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One of my best clients is a very large technology company that shall remain nameless. This company is a leader in virtually every market in which it competes and regularly lands atop those prestigious lists of "Companies to Watch," or "Best Companies To Work For," or "Slam Dunk Investments," and so forth.
I'm sure all of the accolades are deserved. But often, I'm amazed at how non-strategic, illogical, and shortsighted the company can be. I've worked for other large companies and they're no different -- some are even worse. These experiences have led me to postulate Adams' Law of Corporate Inanity:
The sensibility of any organization is inversely proportional to its size.
Lunatic, But Lucrative
When you work with big companies, don't let them drive you crazy, too. Instead, follow, these tips:
1. Be prepared to work quickly. You'd think that corporations, with all their resources and strategic thinkers, would have the wherewithal to plan projects in a timely fashion. But most corporations seem to work in a panic mode with ridiculously short deadlines and convoluted constraints. "Need it yesterday" is standard operating procedure, so be ready to make big sacrifices for those big contracts.
2. Be ready for a cold shoulder. The average corporate employee spends an inordinate amount of time in meetings and countless hours on foolish paperwork. They're overworked and under appreciated; even more so in economic downturns because coworkers get laid off, and those left behind are asked to pick up the slack.
The remaining people often manage to keep afloat simply by ignoring unsolicited (and often solicited) emails and phone calls. So when a corporate employee fails to respond, don't take it personally. Persevere and sooner or later they'll return your calls, often starting with an apology for the delay.
3. Understand the underlying driving needs. In large companies, no one does anything "just because." Every project is driven by something, someone, somewhere. Every project always seem to be part of some larger initiative handed down from on high with its own set of parameters and immutable rules that will invariably be enforced only after the project is complete and late in the review stage. To help save you time later, ask about the big picture before getting started on a project.
4. Be ready to justify yourself. Small-business people can make decisions on any criteria they choose. Corporate employees, on the other hand, must justify their expenditures to someone else in the organization, often many people. Additionally, employees often are afraid to champion an idea or vendor for fear of being shot down by a manager or executive above them. So one of your key jobs is to provide ample evidence of your value and worth so that your contact feels bold enough to risk suggesting that you and your solution are the best choice. Rather than provide justification anecdotally or in person, provide it in a format that is easily understood and can move up the chain of command. This means comprehensive PowerPoint or Web presentations or written proposals.
5. Understand the Holy Grail of ROI. Large companies, especially in lean times, love that thing called return on investment. You may not be a numbers person by nature, but your proposals will be stronger if you show how your solution will affect or enhance the company's bottom line. Include real-life examples of results at other companies. Illustrations with charts and graphs are more convincing than any brochure. If you're more expensive than your competition, what added value will you provide? If hiring you will cost more than solving the company's problem in some other way, what tangible benefits will they receive that make the added expense worthwhile? Spreadsheets aren't artistic, but they're beautiful if they land you a big job.
6. Beware the budget axe. Even when a company needs you badly and you're obviously the best one for the job, the deal won't go through if there's no money in the budget. The budget axe can come crashing down at any moment; there's usually no warning and less recompense. You can ask your contact to try for a budget variance or offer delayed payment terms, but no budget usually means your project will be deferred until the next fiscal quarter or year.
That's why it's not a bad idea to ask your client early in the process if there's a firm budget for the project in question. Don't necessarily expect them to tell you how much it is -- price negotiations will come later. But if your contact can't answer budget questions, it's also a strong clue there is no budget or, worse, you're not talking to the decision-maker.
7. Understand chain of command. Your chance of landing a deal and remaining in good graces is in direct proportion to the number of actual decision-makers you sit in front of. Many creative professionals are content to speak with someone who must answer to someone else. Don't leave it up to anyone to sell your case. Be bold and ask who the decision maker is, and then create a relationship with the decision maker.
If you've never worked in the corporate world, find a friend who has, and ask him or her about the ways things really are inside those monster buildings. You'll be thankful for the relatively tame problems of being a creative professional.
Read more by Eric J. Adams.
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Another look from inside the corporate world
I work as something more than an Administrative Assistant in a closely linked subsidiary of a large corporation. Our creative work here focuses quite heavily on multi-page presentations, with some single-page advertising. The in-house creative and design tasks are taken on by those AAs with the interest and, in a few cases like myself, the training to take on such work. We still use professional designers for some presentation work but a lot of what used to go outside has now come in-house. As time has passed the overall amount of that type of in-house work has increased.
20+ years ago, all your print work and creative graphics work was turned over to professionals. Text reports and presentations for wide distribution were primarily offset printed so you sent that job out of house. Color brochures and other types of fancy presentations were handled in the same way, as these were also jobs beyond the abilities of the people and the tools available in-house. There was a mystique, if you will, to the process, that gave the outside designer some clout, especially when it came down to deadlines because of the costs incurred when deadlines were missed. People closely proofed their work before it went to print because of the cost and corporate embarrassment of not getting it right the first time.
Now the tools for such work have come in-house and the attitude has shifted. The mystique is gone because some head honcho's Administrative Assistant can turn out a color presentation in minutes with the help of the commercial word processing programs. If an AA can do a "good looking" presentation last minute then professionals should be able to do it at least as fast. The increase in the pace of the entire office workflow, made possible by ever more "convenient" office software, has people not taking time to think things through and the costs of doing things last minute and haphazardly are now seen as unavoidable. If someone finds something wrong just as the presentation is being packed for shipment you just have the old presentations tossed and have the corrected ones printed on your nearby laser printer, just like the first set. Your only unavoidable deadline is that of your overnight delivery service. When a major client conference approaches no consideration is given to better ways to get the same points across more effectively as there just isn't the time for anything other than a kitchen sink approach to the process, where you throw a bunch of previous presentations into a binder.
Progress has advantages, I'd never be able to do the stuff I'm doing now in the old environment because of a lack of a degree in design. I entered the world of computer graphics with the help of design professionals while I was doing temporary work, so I'm aware that it takes more than tools to put out a quality product. What has become obvious to me in the trenches here is that professional designers need to figure out a way reacquaint their clients with the value of truly good design at all levels, including the journeyman reports that are primarily text and graphs, probably the bulk of the work brought in-house. (Typography is still a necessary art.) If professional designers don't educate their clients on the value of truly good design then the overwhelming presence of the "good enough" output of products like the Microsoft Office suite will make that output the standard by which most of the professional work will be judged.
'tis Gospel
Sadly though, we are preaching to our own choir.
I too recently left Chaos (weren't they the 'bad guy' organization from the 1960's TV Series "Get Smart!"?... Seems metaphorically appropriate given today's topic!) In fact, I was working for a digital print manufacturer and service provider!
Too true, everything is "needed" yesterday, and bodies change offices more often than children's bottoms in a rousing game of musical chairs. The commitment to planning and quality control and the concept of actually *reading* when we ask a client to proof-read a document has sadly gone the way of the do-do.
(One of my favorite quotes, since mine has a Biblical subject line): Plan ahead. It wasn't raining when Noah BUILT the Ark!
Most definitely the project won't happen if there's no money in the budget. The problem is, when it comes to graphic design, there's rarely money in the budget. Like printers themselves, we're always asked to "sharpen our pencils". We pros - with 20+ years under our belts, diplomas and degrees on the wall and numerous scars to attest to our battlefield expertise - are still forced to compete with someone's whiz-kid nephew who will do it for the latest release of "Grand Theft Auto" for his Playstation. Or the well-greased and well-financed ad agency that wines and dines the decision makers in order to land the gig. Rock. Hard place. Gets uncomfortable.
Stephen raises a good point on that though... educating clients. It's actually part of my Master Plan <she laughs in an evil fashion> to do just that through my web site. I would like to discuss this further, once I get my site up and rolling.
Right now, I have to complete a project for a client that needed to go to the printer - yesterday...
SO TRUE. This article tells it like it is!
I am the in-house graphic designer for a billion-dollar industrial manufacturing company. Every single point Eric made in this article is SO true: from minute-short deadlines, to presenting proposals with dollar-savings explanations: it is amazingly true! One point I wanted to add: it seems that there is quite a bit of burn out and "ladder climbing" -- so even though you may be courting a decision maker today, be REALLY nice to those contacts that are not necessarily making decisions today, because you NEVER know when they will be! We have a mantra in our marketing department: be nice to EVERYONE, you never know, they just may be your boss tomorrow!