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.

Oh, yeah.

My youngest son wrapped up his first ever soccer season, last month. At age four, he was taught the rules of the game, how to be a part of the team and to move the ball toward the goal. [Unfortunately, on several occasions, that translated into whichever goal was the closest.]

When my eldest son entered second grade, he was handed a planner. At the end of each class, he was instructed to jot down homework, upcoming tests, events, etc. in the appropriate calendar boxes. He was told to have mom or dad initial each day, once the work was done, and then turn in the planner the next morning for teacher review. He was six years old.

The fundamental skills we learn as children – organization, consistency, planning, honesty – play a critical role within the agency (and other business environments), not to mention our lives outside of the office.

I’m guessing, as a Traffic Manager, you have a finely-tuned system in place for managing the wealth of information that crosses your path each and every day. [If not, I strongly recommend researching web-based project management software.]

Keeping the system you use in mind, think about how you can help other team members “get organized.” Do they log in regularly to check the status of projects? Are they aware of the “big picture” reports available to them? Do you touch base with them each morning to discuss, “what’s hot and what’s not?” Do you help them efficiently plan the work day (e.g. meetings, materials needed, etc.)?

In terms of the physical work environment, do team members have In/Out baskets on their desks so you can quickly drop off (and pick up) materials? Do they have the supplies they need to do their jobs well (e.g. up-to-date software, a comfy chair, proper lighting, etc.)?

A well-organized, and inviting, work environment will do wonders for team productivity. As the Traffic Manager, you’re in an empowered position to share your incredible talent to motivate, organize and plan.

Now, go straighten up your room!

It’s important to develop Schedules using reasonable timeframes. While it’d be great to have everything “yesterday,” that’s not realistic… at least not without a time machine.

While a Traffic Manager, I used the following Scheduling Guidelines for the five main types of projects the agency produced – collateral (annual reports, catalogs, brochures), print (newspaper, magazine, outdoor), radio and television (:15, :30, :60), and web site development.

Please keep in mind these Guidelines are simply that, “guidelines.” They’re by no means static and will change repeatedly over the course of a project’s life cycle. It’s also possible for steps to occur simultaneously, further compressing the Schedule.

Many of the projects that enter your agency won’t have enough turnaround time to apply standard Guidelines. In such cases, a reasonable delivery date should be assigned. If a project doesn’t have a stated delivery date, arrive at one by building the timeline forward from today.

Periodically, fine-tune your agency’s Scheduling Guidelines. You may find one designer works more quickly than another. Perhaps one client responds in a more timely manner than others. Experience will dictate how long it takes to complete various projects. A strong (and realistic) understanding of timing will enable you to more efficiently manage your agency’s workflow.

PROJECT SCHEDULING GUIDELINES

COLLATERAL = 41 working days (add 20% for large projects)

Concept development (<16 pgs.) = 5 days
Internal review, comp. production = 2 days
Presentation to client, initial Client input = 2 days
Artwork revisions, internal review = 2 days
Production estimate = 3 days
Presentation to client, client approval = 2 days
Illustrations or photography =  4 days
Retouching = 2 days
Copy corrections = 1 day
Proofreading = 1 day
Agency, client approval of proof(s) = 2 days
Final review of proof(s) = 1 day
Delivery = 14 days

PRINT MEDIA = 23 working days

Concept development = 3 days
Internal review = 1 day
Presentation to client, initial Client input = 2 days
Artwork revisions, internal review = 1 day
Production estimate = 2 days
Presentation to client, client approval = 2 days
Illustrations or photography = 4 days
Retouching = 2 days
Finished digital layout = 2 days
Agency, Client approval of proofs = 2 days
Delivery of digital files = 2 days

RADIO COMMERCIALS = 23 working days

Concept, script development = 3 days
Internal review, presentation to client, initial client input = 3 days
Script revisions, internal review = 2 days
Presentation to client, script approval = 2 days
Production, talent cost estimates = 3 days
Pre-production = 5 days
Recording, editing = 2 days
Final Client approval of spot = 1 day
Dubs for client, TV stations = 1 day
Delivery of dubs = 1 day

TELEVISION COMMERCIALS = 36 working days

Concept, storyboard development = 5 days
Internal review, presentation to client, initial client input = 3 days
Storyboard revisions, internal review = 2 days
Presentation to client, storyboard approval = 2 days
Director selections = 3 days
Production bids, estimate = 3 days
Estimate approval = 2 days
Pre-production = 5 days
Shoot = 3 days
Post-production = 5 days
Final client approval = 1 day
Dubs for client, TV stations = 1 day
Delivery of dubs = 1 day

WEB SITE PROJECTS = 25 working days*

*Schedule assumes a SIMPLE HTML project; shooting photos, Flash animation, dynamic database page generation, etc. may add weeks to the timeline.

Week 1 = 5 days

Kickoff
Collateral materials, budget input to new media
Timeline established, agreed to by all parties

Week 2 = 5 days

Page layout, design, navigation concepts formulated
Content submitted, collected, verified by all parties

Week 3 = 5 days

Presentation to client
Client approval of page layout, design, navigation
Web page, template production
Site population

Week 4 = 5 days

Web page, template production
Site population
Final client approval
Site proofing
Web testing (forms, download time, e-mail, consistency)
Pre-launch checks (DNS issues, web hosting, registration)

Week 5 = 5 days

Go live!
Post-launch checks (e-mail, registration)

In agency traffic management, as in life, it’s all about the details. Good customer service not only keeps work (and team members) moving productively, but it makes everyone feel good along the way.

I’ve said it before and I’ll say it again, “As Traffic Manager, you’re in a position to directly affect the attitudes of those around you.” Listen for the opportunity to brighten someone’s day and act on it.

Here are a few of my favorite “random acts of kindness,” in the workplace:

1.    Keep a pack of note cards in your desk drawer. When a team member does something great around the office, tell them you noticed. I’m fond of this designer’s Smile Mini cards – Isabell’s Umbrella.

2.    Bring a team member a cup of coffee. If there’s none made, brew a pot and let everyone know when it’s ready.

3.    Split a bouquet of flowers with your team members. I often buy an $8-$10 sleeve on my way to work and divide it up among two or three people. Who doesn’t love cheerful flowers, “just because?”

4.    Straighten up around the office. While you’re waiting for your printouts at the copier, tidy up the paper shelf. If there are printouts that haven’t been picked up yet, deliver them with a smile.

While the above acts fall outside of your job description, they’re nonetheless a selfless way to build team spirit. A positive work environment can only foster increased productivity and encourage others to perform random acts of kindness.

Who knows, someone might even bring YOU a cup of coffee!

Volney B. Palmer first set up shop as an advertising agent in Philadelphia, PA, in 1841. I imagine, in that year and well before, account executives and creatives disagreed on matters at hand.

Today is no different.

As in any work environment, an ad agency is filled with different personalities, no one type being better than another. Wouldn’t you agree this melding of the minds is what makes the creative process so fascinating?

“Ok, so the outcome may be great, but how do I get them to work together along the way?”

If you have a designated Traffic Manager, you have a definite advantage. He/she often serves as a “mediator” between departments (and individuals) — Account service and creative, creative and media, media and bookkeeping, and so on.

I’ve said it more than once, “Being a Traffic Manger is much like being a psychologist.” You have to understand which personality types you’re dealing with and how best to communicate with each. You have to be impartial to people issues; to set aside emotions (both yours and theirs) and focus on the workflow.

You also need to understand the overall creative process. How much time does he really need to write the copy? Is the deadline all that unreasonable? Why the resistance? What can I do to help move things along?

We’re all in this together. That’s the bottom line, egos and idiosyncracies aside. The work we produce is a direct reflection of the cohesiveness of our team. That’s true, regardless of who you ask.

It’s become my mantra.

No matter how witty your creative team, how organized your account executives or how cutting-edge your creative product may be, if your agency doesn’t actually ship its work out the door and, more importantly, get paid for doing so, your efforts are in vain.

While a Traffic Manager, my primary responsibility was to internally move creative along its Critical Path; on time and on budget. On numerous occasions, I also found myself uploading ads for publication, assembling mailing tubes, reviewing proofs, and chasing the FedEx truck down the block (literally).

My job, as “traffic,” didn’t end the moment the Client said, “It’s approved.” On the contrary, it went well beyond that, to the point it was time to archive the job because the Client had been billed and the spot had aired.

In most agencies, a dedicated Production Manger or Media Buyer, for example, is responsible for sending artwork to printers and materials to various outlets. Be prepared, as the Traffic Manager, to step in and help out. It’s your job, afterall, to monitor and manage your agency’s workflow from start to finish.

Now, could somebody get the door? I think I see the FedEx truck.