45 Ways to Not Blow Your Interview, Part 4: Showing Off – You

(Be sure you’ve read Parts 1, 2 and 3 before you dig into this one. That’s where you’ll get caught up on the first 24 out of 45 ways to not blow your interview. Unless you’re the type who enjoys reading things out of order. If that’s the case – well, good luck with that.)?

This might be the longest section. And possibly the most critical. Not all 45 tips are necessarily equally important. But this section includes some of the biggies, and I don't want you to overlook them.

So buckle up. We talked about your portfolio in the last section. Let’s now talk about you. Or, rather, it’s time for you to do the talking as you start taking me through your work.

#25 Flashback!

Go back and look at #13 and #14. Think about anything you’ve read about the position or that I’ve mentioned about the position, and think about possible ways to relate to anything you’re about to show me. Use some of the same words I’ve used or language you’ve seen on our website. You want to help me understand how relevant your work and past experiences are to what I’m looking for. You want to connect yourself and your work with me, our company and this job opening.

#26 Background info.

Whether the work you’re showing me was done in a class or in a professional setting, give me a little bit of background for each project. Tell me about any important parameters. Even if you’ve got an explanatory paragraph there on your portfolio page – do not rely on me to read it at that moment. Give me the summary – the important stuff to know – so I understand what I’m looking at.

#27 Give credit.

Be very clear about your part in the work. If you’re fresh out of school, most of your portfolio is probably made up of class assignments. And several of those could be group projects. That’s fine. And unless you’re interviewing with a smaller boutique shop, that’s what it’s like most of the time in most businesses – we’re all working in teams.?

Just be very clear about what you brought to the project. Whether it’s something in the final look and feel of the thing, or in how you helped manage the group dynamic – let me know about it because both are important to me.?

Obviously I want to know about your creative contributions, but I’m just as much interested in how you work with others. How you split up the workload/tasks. How you settled differences of opinion.?

Be very clear and take credit where you deserve it and give credit where it’s deserved. It’s OK if you didn’t conceive and execute the entire thing. But don’t let me believe you did more than you did. That will annoy me (#23) when I meet or interview someone else who worked on the same project and provides me with a different story and perspective. I will remember that. And that is not a good example of being (spoiler alert) – memorable (#38).?

#28 Tell me why.

When sharing with me a project from your book, don’t talk about the things that are obvious (“Here I used a photo of a monkey, and I made this headline red.”) and leave it at that. Duh.?

Tell me about the choices you made. Why is there a monkey? Why is it THAT monkey? Why make the headline red? EVERY component for EVERY piece in your portfolio constitutes a constellation of choice and decisions. As much as I’m interested in the quality of your work, I’m just as interested in how you think.?

Point out the things that give you a chance to help me understand your thought processes. For instance, I need to know that you considered other options – and how you settled on your final version. I want to hear how your choices relate to your intentions for the piece and for its intended audience. Talk to me about that. I love to hear that stuff as it gives me a glimpse into how your mind works. I mean, it better be working.?

WARNING AHEAD: Next up are two words that, if you say them out loud in the interview, will make me cringe.

#29a Fun.

Do not say the word fun. For the love of Milton Glaser, don’t say it.?

I know. It is so easy to use that word. “I wanted to make this piece look fun!”, “I wanted it to have fun colors!”, “It’s a fun font!” If you say fun – that’s the point in the interview where I silently scream inside. Fun is such a catch-all and easy-to-use adjective. And that helps make it such a selfish word as more often than not, it only truly relates to you. You’re the one who thinks it’s fun.?Aside from a few personal pieces in your book, I’d like to think that most of the things in your portfolio were created with someone else in mind – even within the confines of a class project.?

Fun. It’s just too easy of a word to use and ultimately it doesn’t mean a damn thing. If I’m in a good mood, I’ll let you use it once – as long as you quickly follow that up by defining what you mean by fun.?

Try it. Try avoiding that word. You might have to work a wee bit harder to explain yourself, but I think you’ll find yourself more clearly communicating your thinking and your intentions.

That’s the first of my two cringe-worthy words. Here’s the next one.

#29b Cool.

Cool is not quite as bad to me as fun – but watch out for it. Again, it’s sort of a selfish word. Your cool may not be my cool. And no one wants to be considered not cool.?

I know it can be difficult to always come up with just the right words when you’re nervous and stuff just comes tumbling out of your mouth. Be curious. Look at a thesaurus and identify and practice using some keywords that better describe what you’re aiming for – about your choices, your intentions, your involvement, your passion for what you do.?

So – why do I harp on these words like fun and cool? Because you’ll sound smarter and I’ll understand you much more clearly. And then there’s #30.?

#30 The ghost in the room.

How you talk about your work – the choices you made on the path to the final fun (ack) and cool (gag) ?execution – is being filtered through my head as exactly how you’d act and present something to a client.?

Think about that. Even if the job opening you’re interviewing for won’t involve much client contact, you’ll have to explain your work to someone. And I’m already thinking about your potential. I’m thinking about how you’ll talk to and convince your creative director or client about how smart and appropriate your work is.?

This interview is really an audition for how you’ll interact with team mates, your manager and your clients. Don’t be mistaken, I’m looking for stellar creative work. But I also want to find someone who shows potential to be a convincing advocate for great work. A great salesperson for it. And saying fun and cool will not convince any client I know.

#31 Don’t knock it.

For heaven’s sake, do not apologize for your creative work. Believe it or not, it often happens in interviews. And it pains me. If there’s something in your portfolio that makes you wince, then why, oh, why is it in there? Remember #30? I would never want you to go in front of a client and talk like that.??

If you have something in your book mainly to demonstrate a skill or accomplishment rather than creativity, then be clear about that. Make that part of your introduction to that item so that I understand that. Consider tucking it into the back of your book or backpack and only bring it out if you think it proves something about your abilities.

Or, here’s another tack you can take. If there’s some detail you don’t like about one of your key projects, you can use that as a talking point about how you’d like to revisit that project. Tell me how you plan to change and improve something. This can demonstrate something you’ve since learned. It can show me that you’re growing in your craft and your passion for improving yourself. You can be honest and constructively critical about your own work without knocking it or yourself. ??

#32 THEATER!

Hey. I know you’re probably nervous. That’s OK. I totally get that. But try channeling a little bit of the thespian arts. You are giving a performance of sorts. I want you to be comfortable and relaxed for this interview. And I want you to be yourself. I want to get to know you. The real you. Not something artificial.?

But understand that there’s nothing wrong with small touches of acting here or there. Not confident that you’re showing me your best stuff? Try not to let me know. Everyone can have a “down” day and not feel up to their best.?

I know this can sound contradictory –?be real and act. But during this interview – for this moment in time – do everything you can to show me the very best version of yourself you can muster. Pretend that you are confident and proud of each and every piece in your book. Pretend that you’re happy to meet me and that you are VERY interested in this job opening.?

Parts of interviewing are going to be awkward and not the way you’d like to spend your free time, but doing a bit of what I call “acting” and others might call “boosting one’s confidence” can help you navigate your way successfully.?

#33 Look at me.

Our bodies – God help us – give away so many clues about what we’re thinking and how we’re feeling. There are several small things you can do as we meet to help send me positive signals of your confidence and interest. But one of the key ways to connect and communicate confidence is simply to look at me. I need to know that you are interested in this job.

Have you ever met someone who never makes eye contact with you? That’s happened in interviews. I understand shyness. And nervousness. But if you want to know how the interview is going, you’re going to need to look at me. And you’ll need to do this via Zoom, as well as in person. And you’ll need it for the next tip.?

#34 Watch me.

Sound similar to #33? It isn’t.?

Do not get so caught up in only looking at your book or what you’re presenting, that you never look at me. I’m not talking about eye contact. Try to observe me. What I’m doing. What I’m looking at. Do I seem to be watching the screen or your book? Or are my eyes wandering and looking elsewhere – at a clock, out a window? Am I shifting in my seat a lot? Heavy sighs??

Everyone has their “tells” – their body posture, physical movements, facial expressions – all clues that let you know they may have lost interest or are getting impatient. Look for these and if you spot any tells, then move on to something else. ?

#35 Listen to me.

Just as you watch for visual clues, listen to me. If I’m asking questions about a project, stay with it. It shows I’m interested. You’ve got my attention.

If I’m quiet – well, that can be a bit harder to read. You might be doing such a great job explaining the work, that you’ve covered any questions I might have. But it can also mean, I’m just waiting for you to move on to the next piece. Either way: Move on.

#36 Watch the time.

How much time is the meeting scheduled for? Confirm how much time you have before you begin. Watch your time and pace yourself to make sure you have enough time to get through the best parts of your book. I may have another meeting right after this interview and may not have the flexibility to give you extra time if you need it. Practice what you will say about each project so you have a rough idea how much time they’ll take.

#37 Shhhh!

Do not go from one item in your portfolio right to the next one and then to the next one withoutevertakingabreakorbreath. I have had people show me their book and talk all the way through from start to finish without pausing for even a moment between items. Breathe! Please, breathe.?

I know the time we have may be short, but watch for signals of my interest (#34) and do not miss a chance to ask if I might be interested in knowing more about a project or if I might have a suggestion that might help steer you to the next thing you show me. After sharing a project, feel free to ask if it’s OK to go on to the next part of your book. Get me involved with what you’re sharing.?

Also: Give me a chance to talk. I do like to listen to how you take me through your work, but I’d like to know that you like to listen, too.? On rare occasions I might have something insightful to say. Besides, you’ll give yourself a chance to take a breath or a sip of water.?

Note that this tip also very much relates back to #30. How you listen to and ask for input from a manager or client will be so important to your success.??

#38 Be memorable.

Here’s something I hate to admit: I don’t remember everyone we interview. For me, the more people I interview (particularly if there’s more than one job opening), the greater the odds that a day or so later, I won’t remember much about certain people. And if I don’t remember someone, then there’s no way they’re going to get hired.?

Now, my memory can be kind of lousy, so some of this is on me. But there have been times I’ve checked in with colleagues and none of us can remember anything about some people we’ve interviewed. That’s not going to help you.?

So how can you avoid group amnesia? Ideally, the work you show should be so great that this won’t be an issue. But if you’re up against several outstanding candidates or a runner-up, then do what you can to help yourself stand out. Maybe it’s some outlandishly unique creative work in your book. Maybe it’s a story you told about yourself or about a crazy hobby you enjoy. Maybe it’s your unique name or ... something. It really could be anything.?

Some people naturally and easily stand out –?in their creative work, personality, actions. And let’s be clear: Stand out in a POSITIVE way. Oh, how we remember and tell stories about a few people who made themselves memorable for all the wrong reasons.?

Ask yourself what are one or two things you’d like me to remember about you. What are the things that will help keep you top of my mind and differentiate you from other candidates I’ll be interviewing? #45 will offer some safe and non-embarrassing ideas.

#39 Give yourself permission.

If you’ve just graduated from school – it’s OK. I know that this is all new to you. I know the class projects are opportunities to explore and try things that will never fly with many clients. I know that you might not have all the experiences and all of the skills that I’m looking for in a candidate. But let me know that you want those things. That you’re striving for those things. It’s OK. I get it. I try to keep all this in mind as we talk and you show me your work.?

It’s OK if you flip to the wrong page. It’s OK to be nervous. It’s fine. Incredibly, I’m a human like you. I want you to succeed. And if you goof up, I want you to recover and see how you move on and get past it. Laugh it off. Apologize. (But only once. Too many sorry’s is distracting and easily leans into #23.) Don’t obsess about mishaps. Chances are good that I’ll say something stupid during the interview myself. We’re both humans.?

Give yourself permission to make a mistake or two. It’s often the best way to learn. And since we’ve all been there, another way to connect.?

We’re close to wrapping this up. So close in fact, that the next post is Part 5: Wrap It Up. For the final section, I’ll finish off with #40-45 and offer my final thoughts.