Is it fame? In my 10+ years of traffic management, I’ve never once had someone stop me on the street and say, “Dawn Travelstead? I know you! You’re the Traffic Manager everyone is talking about!”

Is it respect? While I appreciate knowing my peers value me as a member of the team, I’ve never been one to covet respect from others. After all, aren’t we in this thing called, “advertising” together?

Is it fortune? How many Traffic Managers do you know who drive a Rolls-Royce? I’ll stick with my “soccer mom” mini-van, thank you very much.

Being part of something great.

That’s what motivates me. It’s not about the accolades or material things. It’s about being part of something bigger. It’s about knowing that my actions, day-in and day-out, affect not only the people around me, but this organization as a whole; whether positively or negatively is entirely up to me.

What’s YOUR motivation?

The traffic manager is responsible for scheduling and moving work along a Critical Path while the production manager is assigned tasks along said Path – estimating, buying and managing outside services, for example.

According to Tony Mikes, president of Second Wind Network, “The production manager is responsible for pricing all services the agency delivers, working with the various agency departments – creative, account service, public relations, media, interactive – in calculating in-house charges and requesting estimates from outside vendors.” Once gathered, the production manager compiles costs into an estimate. The estimate is then routed through the traffic manager and given to the account executive for client approval.

The traffic manager, on a daily basis, compiles a master workload schedule and talks with each employee, ensuring deadlines are met. This includes the production manager who confirms estimate, shipping and delivery dates.

The primary role of the production manager is to obtain the best possible prices from outside vendors. This requires building (and maintaining) strong business relationships and exploring unique opportunities. The traffic manager is strictly an inward-facing employee who works closely with all departments.

Now that you’ve a better feel for the separate roles of traffic and production, you can see why combining the two may not be the best option. Mikes states it best, “If the production manager is busy for most of the day, scheduling work and resolving conflicts, how can they honestly get the best possible price and delivery for the agency? If a traffic manager is not able to keep up with scheduling changes and new orders because they’re proofreading, estimating and expediting, the timelines and accuracy of the agency’s work will suffer.”

Being a small- to medium-size agency, you may not have the financial resources to divide the roles of traffic and production. You’re not alone. As your agency continues to grow, pay attention to the quality of work being produced by your traffic-production manager. If the increased work volume is impacting it, it may be time to consider a role division.

Throughout the review process, I’ve been intrigued by the broad spectrum of personalities involved. Now, more than ever, I believe that knowing employees on a personal level is critical to the success of the traffic department.

We’re all unique individuals. Numerous things motivate us and we each operate differently in the work environment. If you’re a traffic manager, step back for a moment and look at each member of your team. What do you really know about them? What do they value? What do they like to do in their spare time? What type of work ethic do they display?

By getting to know employees more closely, you gain an advantage as a traffic manager. You then know how to more quickly get the work done and how to reward employees in a meaningful way. Let me give you an example.

While the traffic manager of a medium-size agency, I worked with a designer named Christian. He was a pretty laid back guy who took pride in his work. He paid attention to detail and wasn’t afraid to ask questions, although most of the time he worked quietly at his desk. On the weekends, he loved to listen to music and spend time with his family. He’d been a part of the creative industry for many years so he knew how things worked. Although certainly a team player, Christian didn’t typically go “above and beyond” to help out around the office. He would help if asked, but didn’t volunteer.

Because I knew so much about Christian, I was able to more efficiently “traffic” him. I put tasks on his list as far out as possible. I knew he’d want a lot of job details (more than other designers), so I carefully gleaned requests and talked with the account executive(s) if anything was missing. Whenever possible, I included due times for tasks because he liked knowing that information. I also knew he needed to leave promptly at 5 p.m. each day to pick up his son, so I tried to give him a heads up if I thought something was going to take longer than usual. In the middle of a busy week, I might reward him with a $5 iTunes gift card just to say, “Thanks for working so hard!” While he didn’t seek approval from anyone, he liked knowing he was appreciated and that motivated him to work even harder.

Don’t get me wrong. I’m not saying you have to park yourself at an employee’s desk and ask a barrage of questions. You already know a lot of the answers. You simply have to take the time to step back and observe. Getting to know team members on a personal level will not only help you become a better traffic manager, but you’ll also gain the respect of your peers.

Embrace your role as a servant of the agency.

While the role of Traffic Manager carries with it a certain degree of “power,” it’s nonetheless a servant role. The agency doesn’t revolve around the Traffic Manager, rather s(he) is interwoven among the many people within the larger group. A Manager must think in terms of, “What can I do to help them do their jobs well?” not in terms of, “What are they doing wrong?” Being helpful may entail shifting deadlines or tracking down the estimate quantity. It may also mean physically walking from one department to another (as s(he) should already be doing) and asking, “Is there anything I can do to help you move things along?” Not only does this give the Traffic Manager insight into things that may not yet be in the system, but it also reaffirms (s)he is there to help everyone on the team.

Don’t choose sides.

It’s human nature to align oneself with individuals and groups. A Traffic Manager must remain impartial to not only people-related issues, but departments as well. While a Manager’s desk may be positioned in the creative department, for example, s(he) should dedicate an equal amount of time working with account service, media and interactive teams. If one department views the Traffic Manager as being aligned with another (i.e. “Always looking out for them,” “Protecting them from other departments,” etc.) it undermines the workflow structure and the influence of traffic.

Realize there are exceptions to the rules.

While Traffic Managers tend to be very linear in their thinking – step one, step two – they must also be flexible when it comes to the management of certain clients. A high-volume retail client, for example, may place ten different versions of an ad within a given week. It’d be nearly impossible to track each and every client-requested change (i.e. price point, locator, etc.) and enter them in the system. The Project Manager should be enabled to shepherd his/her project, in conjunction with the Traffic Manager. The Manager should allow him/her to speak directly with the artist regarding changes, for example, but ensure s(he) is made aware of the changes being routed.

Treat employees like individuals, not machines.

Happy employees are productive employees. A Traffic Manager should take a moment to ask Jason how his new dog is doing; ask Susan how the wedding plans are coming along. It’s important to establish personal connections with employees rather than constantly asking them if they’ve gotten their work done. If they know they’re respected as individuals, they’ll be much more inclined to work with traffic.

Understand employees don’t “want” to miss deadlines.

No one wakes up in the morning and thinks, “I’m going to miss three deadlines today and feel good about it.” Missed deadlines happen for a reason. It’s the Traffic Manager’s responsibility to determine why and, ultimately, preempt their being missed in the first place. S(he) must carefully monitor each employee’s workload and move deadlines – ideally, closer in not further out. Saying it’s the Manager’s job to ensure deadlines are met isn’t saying an employee(s) is absolved of any responsibility. It merely means a Traffic Manager should work with an employee(s) to ensure deadlines are met. If s(he) waits until Friday, expecting to receive copy, and finds it’s not done because the copywriter needed a phone number but didn’t take the time to ask, s(he) is as much at fault for missing the deadline.

Be proactive, not reactive.

When a Traffic Manager becomes reactive to missed deadlines, rather than proactive in avoiding them, s(he) becomes part of the problem… not the solution. It’s critical that a Manager think a project through from inception to completion, carefully analyzing what requirements the job may have (e.g. How long should I allow for a t-shirt embroidery sample? Is the delivery date going to fall on or around a holiday? How long will IT need to test the code and address any problems that may come up? Will the mailing list need to be re-formatted or edited in some way? What file type will the banner artwork have to go out in?). Thoroughly thinking a project through before building its timeline enables a Manager to be more proactive in pushing it through and eliminates future “crises.”

Don’t play “gotcha.”

It makes employees feel bad and, ultimately, can lead to their becoming even less productive – if not out of discouragement then merely to spite the Traffic Manager. S(he) will get a lot more work done by being a partner and sharing responsibility with employees than by being a hall monitor. No one likes a snitch – neither the people being “told on” nor the person hearing the complaints. Playing “gotcha” leads to an overall loss of respect for the Traffic Manager. Without the respect of peers, s(he) can’t effectively manage workflow and eventually becomes a distraction to others.

Since the time of their inception, the majority of agencies have used a paper job jacket system to keep documents together in a single place. Whether a large manila envelope or custom-printed file folder, the paper jacket has served its purpose well. But, is it quickly becoming a thing of the past?

While web-based project management systems have flooded the market within the past five to ten years, many agencies have held fast to tangible job jackets. It took me years to “go green” in the workplace and stop printing every single thing that came across my desk. Believe me, it wasn’t easy. Now, I only print what’s absolutely necessary.

Although an agency has implemented a web-based system, I don’t think it can completely do away with paper job jackets. They’re still useful for keeping track of things like disks, client sign-offs and printed samples. The size of the envelope used can, however, get smaller. Consider using an eco-friendly envelope.

When moving a project through the agency, ask yourself, “Do I need to print this or is it in the system?” If it’s in the system, step away from the print button… The Earth will thank you!

You have to meet deadlines. Period.
You have to stay within budget. Period.
You have to know who’s doing what (or nothing at all) and when.
And, most importantly, you have to have the right tools.

A centralized project management system, ideally overseen by someone whose sole responsibility is its maintenance, can save valuable time and money. Task, time and expense management, client access to materials, and instant retrieval of information are indispensable features of a strong workflow system. But perhaps the most important thing you can do to increase efficiency is to promote “efficient-thinking” among your employees.

Keeping your agency culture and current needs in mind, ask yourself the following questions. Do team members log in regularly to check the status of projects? Are they aware of “big picture” reports available to them? Does someone touch base each morning to discuss, “what’s hot and what’s not?” How can employees better plan their workdays (e.g. meetings, research, email, “groove time,” etc.)?

In terms of your agency’s physical environment, do employees have all necessary supplies, including up-to-date software, comfortable (ergonomic) work stations, proper lighting, etc.?

Next, consider the projects themselves. As soon as the estimate has been approved, outline the job’s Critical Path. Make sure the copywriter has what he needs (e.g. copy mandatories, an understanding of tone, etc.). Can the art director begin searching for stock photos? Can the account coordinator find missing information on the client’s website or via another source?

When dealing with slow-to-quote vendors, explore your alternatives. Research other providers on line. Can you purchase padded mailers now (on sale!) or have labels pre-printed? If you’re in danger of missing deadlines, revise the timeline(s) and let everyone know; making sure the client is in the loop. Think about what can be done, now, to speed things up once printed materials are actually in-house.

If incoming client revisions are minimal, consider re-arranging the artist’s workload. Can he make the change now rather than wait until tomorrow? If the account supervisor can approve the ad in the absence of an account executive, seek her out.

Every agency employee plays an integral role in workflow success. Through the combination of a centralized traffic system, managerial commitment and employee dedication, your agency can experience unparalleled efficiency and profitability.

In preparation for the seminar, the ReCourses team has asked that I take a brief, 20-min. survey – the DiSC PPSS Behavioral Profile. On several occasions, over the course of my “traffic” career, I’ve completed the Keirsey Temperament Sorter (KTS-II). Having never heard of DiSC, I was intrigued.

While Kiersey results have always been helpful, I find the manner in which my DiSC results were presented to be far more insightful (see example, below).

As Traffic Managers, I wonder how many of you share similar tendencies. Do any (or all) of the following statements describe you?

“Values accuracy, quality and correctness”

“Tactful and diplomatic in interactions with others”

“Analyzes situations or problems, weighing the pros and cons”

[Prefers] “a reserved, business-like atmosphere where people are task-oriented”

“Tends to avoid situations requiring personal disclosures”

So much emphasis is placed on understanding the personalities of those we work with on a daily basis – an art director vs. an account executive, a bookkeeper vs. a media buyer – that the most influential personality is often forgotten… ours.

Understanding how we reason and react to various situations is key to successfully managing those responsible for the work. Here are a few DiSC recommendations for improving my effectiveness in the workplace:

“Becoming more open to other people’s systems for doing things”

“Avoiding rigidity in thinking and being ‘dead right’”

“Sharing knowledge and information with others in a non-condescending manner”

“Practicing self-disclosure and appropriate expression of feelings”

How much more effective would we, as Traffic Managers, be with a better understanding of how we appear to the employees we manage?

In the immortal words of therapists everywhere, “That concludes our session for today.”

I need a drink.

In addition, s/he is responsible for evolving the traffic system to meet agency needs and for aiding management in evaluating its ability to absorb business from creative, production and account service standpoints. The Traffic Manager is an empowered facilitator.

Responsibilities:

• Opens Job Numbers upon Account Executive (AE)(or Account Coordinator) request

• Opens and distributes (paper) job jackets

• Checks initial input for accuracy and requests additional information (if needed)

• Counsels the Creative Director (CD) in job assignment

• Establishes (and revises) Workback Schedules (i.e. project timelines)

• Expedites the inevitable “crisis jobs

• Monitors stalled jobs and moves them forward

• Monitors information flow through all departments

• Provides continuity in times of Employee vacation, termination, etc.

• Obtains spec, closing and delivery details when not otherwise provided

• Obtains sequential sign-offs on all work moving in and out of the agency

• Routes materials to the appropriate person for shipment to Vendor(s)

• Maintains an electronic archive of all jobs

round and round, round and round, round and round.”

My apologies. Now you’re going to have that song stuck in your head all day.

Like the wheels on the bus, some projects seem to go on forever… and ever… and ever. What can you, as the Traffic Manager, do to help move things along? It depends where in the Critical Path that the job has stalled.

Obviously, some tasks are outside of your control (and even that of the account team). The client, for example, has to approve the estimate. An account executive can only make so many phone calls and send “x” number of e-mails before becoming a pest.

If the estimate has been approved and work can commence, outline the steps involved via a workback schedule. Make sure the copywriter has what he needs (e.g. copy mandatories, web site references, an understanding of the tone, etc.). Can the art director begin searching for stock photos or pull the ad from last year as a point of reference? Can missing tidbits of information (e.g. phone number, new address, etc.) be culled from the client’s web site or another source? Perhaps there’s a secondary contact in the client’s office that could help.

When dealing with slow-to-quote vendors, think of alternatives. Go on line and research other providers. Can padded mailers be purchased now or labels pre-printed? If you think deadlines will be missed, revise the Workback Schedule and let everyone know. Think about what you can do, now, to speed things up once printed materials are actually in-house.

If incoming layout revisions are minimal, consider shifting the art director’s workload around. Can he make the change now rather than wait until tomorrow morning? If the account supervisor can approve the ad, in the absence of the account executive, seek her out and let the account executive know you’ve talked.

As Traffic Manager, it’s your job to ensure projects are completed accurately and on schedule; ideally, in advance thereof. Always think ahead of the workflow. What can you do now to ensure work continues moving forward and doesn’t just go round and round, round and round, round and round.

Initially, the account executive (AE) meets with the client and obtains project details. The information is then entered into a creative brief (or contact report). The traffic manager (TM) is subsequently notified and opens a job number. He/she also creates an overall timeline for the project and schedules a kickoff meeting.

A Print and/or Production Estimate is compiled and reviewed. The AE and TM receive spec information via a print or broadcast insertion order (if applicable).

Once internally approved, materials are presented to the client and next steps are outlined via a change order or progress report. If the client has approved the media buy, space and air time is booked; if the estimate(s), the production manager files purchase orders and contracts with vendors. In the instance of a broadcast project, the CD discusses director and voice selections with the creative team.

Revised creative, estimates and media details (if required) are re-presented by the AE and final approval is obtained. Voice tapes are compiled for client approval and, upon talent approval, the broadcast job is awarded. A pre-pro schedule is formulated. The shoot or recording session is held and a post-pro schedule is formulated. Final client approval of rough cuts is obtained by the AE.

The TM requests materials be loaded on disk or posted to the job(s) on line creative folder for download by the vendor(s). A dub information sheet is routed to the broadcast producer. The TM alerts the production manager (or media department) that creative has been posted and they, in turn, alert vendors. Dubs (if applicable) are made and handed off to the TM who, in turn, gives them to the media department for distribution.

A proof of printed work is received and routed to the TM. He/she routes it to the appropriate parties and, ultimately, back to the Production Manager for delivery date confirmation. The TM requests final artwork be backed up internally. Materials are printed and delivered as specified.

The accounting manager completes billout and the TM removes the job from the active jobs area.

The project is complete.