Collaboration

Cathy Erway on How to Find a Literary Agent Right For You

In Chapter 5 of 17 in her 2013 Capture Your Flag interview, writer and healthy food advocate Cathy Erway answers "What Advice Do You Have for Writers Looking to Build a Literary Agent Relationship?"  Erway notes the two literary agent sources, the sole proprietor agent and the literary agency.  She gives advice on how to build a relationship with the agency and its agents that is in line with your long-term career goals as a writer. 

Cathy Erway is a Brooklyn-based author, part-time cook, freelance writer, radio host and teacher focused on healthy food advocacy.  Her first book, "The Art of Eating In" developed from her blog "Not Eating Out in New York".  She earned a BA in creative writing from Emerson College.

Andrew Epstein on Finding Personal Best by Facilitating Collaboration

In Chapter 6 of 23 in his 2013 Capture Your Flag interview, charter school CFO Andrew Epstein answers "When Are You At Your Best?"  Epstein finds he performs best bringing together teams to work on problems together.  He finds he brings people together in his personal life and sees it translate into his work. 

Andrew Epstein is CFO of the Ascend Learning Charter School Network.  Previously, Epstein was a finance executive at Democracy Prep Public Schools and an operations executive at Universal Music Group's Island Def Jam Records.  He is a former Teach for America corps member and middle-school science teacher.  He holds a BA from the University of Michigan and an MBA from Columbia Business School.

Andrew Epstein on How to Be a Better Partner to Your Boss

In Chapter 7 of 23 in his 2013 Capture Your Flag interview, charter school CFO Andrew Epstein answers "How Have You Learned to Be a Better Partner to Your Boss?"  As a CFO of a network of charter schools working with his boss, the CEO, Epstein focuses on being mission-aligned and being fully committed to the organizational vision.  He makes it a point of setting expectations early in the relationship - in the hiring phase - to make sure he and his CEO are on the same page. 

Andrew Epstein is CFO of the Ascend Learning Charter School Network.  Previously, Epstein was a finance executive at Democracy Prep Public Schools and an operations executive at Universal Music Group's Island Def Jam Records.  He is a former Teach for America corps member and middle-school science teacher.  He holds a BA from the University of Michigan and an MBA from Columbia Business School.

How to Manage Across Work Disciplines - Andrew Epstein

In Chapter 9 of 23 in his 2013 Capture Your Flag interview, charter school CFO Andrew Epstein answers "How Have You Learned to Work More Effectively Across Different Disciplines?"  Epstein shares how he first puts people he trusts in place to do very specific jobs.  He then is able to make a specialist to generalist transition in his own role to then be a more effective general manager. 

Andrew Epstein is CFO of the Ascend Learning Charter School Network.  Previously, Epstein was a finance executive at Democracy Prep Public Schools and an operations executive at Universal Music Group's Island Def Jam Records.  He is a former Teach for America corps member and middle-school science teacher.  He holds a BA from the University of Michigan and an MBA from Columbia Business School.

Andrew Epstein on Leading Teams by Nurturing Employee Growth

In Chapter 10 of 23 in his 2013 Capture Your Flag interview, charter school CFO Andrew Epstein answers "What Leadership Skills Are Becoming More Relevant as Your Career Progresses?"  Epstein believes the role of a leader is to get team members excited about their roles and engaged in their work.  He finds honesty, availability and presence help him nuture and develop his teams. 

Andrew Epstein is CFO of the Ascend Learning Charter School Network.  Previously, Epstein was a finance executive at Democracy Prep Public Schools and an operations executive at Universal Music Group's Island Def Jam Records.  He is a former Teach for America corps member and middle-school science teacher.  He holds a BA from the University of Michigan and an MBA from Columbia Business School.

Andrew Epstein on Solving Work Problems When Things Go Wrong

In Chapter 14 of 23 in his 2013 Capture Your Flag interview, charter school CFO Andrew Epstein answers "How Have You Learned to Adapt When Things Have Not Worked Out as Planned?"  Epstein first takes a deep breath.  He makes a point to be supportive of his team and problem solve by using a process that keeps the team working toward a goal.  He uses an example of a school busing problem and how he and his team resolved it. 

Andrew Epstein is CFO of the Ascend Learning Charter School Network.  Previously, Epstein was a finance executive at Democracy Prep Public Schools and an operations executive at Universal Music Group's Island Def Jam Records.  He is a former Teach for America corps member and middle-school science teacher.  He holds a BA from the University of Michigan and an MBA from Columbia Business School.

Kyung B. Yoon on How to Perform Under Pressure and Meet Goals

In Chapter 8 of 17 in her 2013 Capture Your Flag interview, non-profit executive Kyung B. Yoon answers "What Does It Mean to Perform Under Pressure in the Work That You Do?"  In her work raising funds in a challenging economic climate, Yoon learns to manage pressure by sharing responsibilities across her teams.  By creating team-oriented goals and supportive inspiration and motivation, Yoon is able to better achieve short-term and long-term goals. 

Kyung B. Yoon is the executive director of the Korean American Community Foundation (KACF) in New York City.  An award-winning journalist and documentary film producer, Yoon earned an MA in International Relations from Johns Hopkins University and a BA in History and Political Science at Wellesley College.

Jullien Gordon on What Marriage Teaches About Teamwork

In Chapter 5 of 21 in his 2012 Capture Your Flag interview, business coach Jullien Gordon answers "What Has Marriage Taught You About Teamwork?"  Gordon learns that communication and finance are two top challenges in a marriage relationship and makes it a priority to team with his wife addressing these key issues.  He learns there is a time and place for these conversations.  Jullien Gordon is a high performance coach and consultant to organizations, individuals and teams who want to increase employee performance, motivation, engagement and retention.  He earned a BA from UCLA, an MBA from the Stanford Graduate School of Business, and a Masters of Education from Stanford University.

Transcript:

Erik Michielsen: What has marriage taught you about teamwork?

Jullien Gordon: When you ask people about relationships, the two things that come up are communication and finance, in terms of the most difficult challenges in a relationship. In regards to communication, I’ve had to become a better listener. And a better question asker, which is what I am and who I am, to really try to get at the core of what’s the issue, otherwise, issues are gonna continue to come up, if you don’t address the root. And so I’ve been more diligent about trying to get at the root of situations because this is the person I’m gonna live my entire life with. And the only way to work through that is with communication. Now, there also is-- are times where you have to know when is the best time to communicate, just because I wanna answer right now doesn’t mean that she is ready to talk and vice versa. And so that’s been core. And then the financial side is really getting clear about what’s enough and what it’s gonna take to sustain the partnership from the financial standpoint. And how do both people contribute.

In a lot of ways it is like a business, it is like a business partnership, and with the exception of the unconditional love. I think some business partners can work together without it necessarily being unconditional love, but—I’ll be honest, we have room to be a better team, I mean we are the Gordons now. We got our jerseys. We got our jerseys and-- but we’re also like the Lakers, you know? We have great players on our team and we’re trying to figure out how to work together to actually move toward something amazing. And you saw it with the Miami Heat as well, we’re Lebron James fans so. You see it with any team that’s coming together, even when there are stars on the team, it takes time.

And we see the hopefully 60, 70 years ahead of us as a time to constantly grow closer and closer and closer together. We saw our marriage as an opportunity where we felt close enough to say we’re committed to this same path together. And I think and I hope that every day is just gonna bring us closer and closer and closer together. The other day she asked me, “do you really know who I am?” And I had to say no. I don’t. But I hope that through this journey together, I constantly get to know more and more of who you are.

We made a choice out of—with uncertainty. And almost every major decision that we have in our lives, whether it’s a new partnership, from a team-standpoint. Whether it’s choosing your spiritual source, or your career, some of the biggest choices in our lives or all of the biggest choices in our lives are filled with uncertainty. And so knowing that going in, knowing that nobody on the team knows the right answer, but together, you can get to the best answer for us. I like to use us. “Us” is a third entity, because there’s the individual, there’s your teammate, and then there’s “us”. And it’s helpful to talk about “us” as a third entity in the relationship, because what’s best for one individual and what’s best for the other individual may not be what’s best for “us”. And so you have to always put “us” at the forefront when you are on a team.

Jullien Gordon on Consequences of Starting a Business With Friends

In Chapter 12 of 21 in his 2012 Capture Your Flag interview, business coach Jullien Gordon answers "What Challenges Did You Face Going Into Business With Friends and What Did the Experience Teach You?"  Gordon shares lessons learned from going into a business partnership with a friend and having it not work out as planned.  He details his expectations and how they contrasted with results and how they impacted the business and friendship.  Jullien Gordon is a high performance coach and consultant to organizations, individuals and teams who want to increase employee performance, motivation, engagement and retention.  He earned a BA from UCLA, an MBA from the Stanford Graduate School of Business, and a Masters of Education from Stanford University.

Transcript:

Erik Michielsen: What challenges did you face going into business with friends and what did the experience teach you?

Jullien Gordon: I’m still processing that. This year, at the beginning of this year, I started a partnership with a friend and six months in, we realized that it wasn’t working out. Some of the challenges were that I was financing the business at the time, so he was coming on as a partner, and without necessarily bringing in equity to the table. And so there— I already felt like there was some unevenness though we were both committing the same amount of time and energy, with me being the primary investor into the new partnership that felt like there was an imbalance. And so if I could do it all over again, I would do it in such a way where it’s equally financed by both partners.

Second thing is that you tend to lose your friendship, tend to lose your friendship, because when you see each other, all the conversations are about the business and how do we grow the business, how do we grow the business, and we were able to carve out some friend-time. “We’re not talking about work, we’re just gonna go hang out and have fun together.” But that time became less and less and less, especially as the business got strapped. It’s like, no, we don’t have time to have fun. We need to grow the business.

Another thing that occurred was distance, the partnership started off being a long-distance partnership, and ultimately we ended up in the same city, but distance was a huge detractor from the partnership. What I know from working on larger teams before is that I vibe off the energy of another person, just like I told you about the energy in the room when I’m leading a training. And with that person being distant and you two working virtually, that added benefit of having that person at your back and you both going hard and being accountable to each other, it wasn’t there. And so I missed out on that even though there was a quote-unquote: partnership.

Our friendship is not in a good place right now. It sucks. And I don’t think it has to be that way for all partnerships. Wish I could do it over again, but those are lessons I’m learning and I’m still processing what went wrong as well as what went right.

How to Use Concepts and Storyboards When Planning a Photo Shoot

In Chapter 11 of 16 in her 2012 Capture Your Flag interview, art director Lulu Chen answers "How Do Concepting and Storyboarding Help You Direct a Shoot?"  Chen finds putting town ideas on paper facilitates more effective collaboration.  Writing down concepts and storyboards provide examples that help others understand your thinking.  This creates more effective collaboration that results in presenting photo shoot ideas to the creative director for approval.  She notes how limiting creative brainstorming can result in a game of telephone. 

Lulu Chen is a photo art director working in retail e-commerce in New York City.  Previously, Chen worked as a freelance stylist for leading fashion catalogs and magazines.  She earned a BFA in design and art history from the University of Michigan.

Transcript: 

Erik Michielsen: How do concepting and storyboarding help you direct a shoot?

Lulu Chen: You know, what we do is so visual. And it’s very hard to convey, just something that’s in your head, you have to put down on paper. And whether it be something that you mock up that’s just purely a vision that you have or an idea or, you know, you pull inspiration or swipe and I think it’s easier to collaborate and have talking points, and to show what you’re trying to convey. It’s very hard to be like, “Oh, I want the light to look like this.” You know, you start talking and it’s also what you’re expressing verbally may be totally different in somebody else’s head, or if their perception of, you know, it’s like telephone, except that, you know, you’re there in person and then it could just become a hot mess. Yeah, I think that it’s really important to have specific examples, so that everyone can understand exactly what you’re thinking.

Erik Michielsen: And is that more of an individual task or is it a collective task?

Lulu Chen: So, it can be both. You can work on it by yourself. But ultimately, in my past experiences, you’ve had to present it and there’s checks and balances. So you talk to your creative director about it or other people on the team, just to make sure that everybody’s in sync and on the same page.

Erik Michielsen: And is there a sign off process?

Lulu Chen: Sometimes. Yes. You know, it depends on how elaborate the shoot is.

Erik Michielsen: And how does that work?

Lulu Chen: Well, you present your ideas, and they say, yes or no. Or, you know, they might say that we like this aspect, maybe we should explore this direction a bit more or, you know, this chair looks a little funny, like maybe we should get some more options or I think that’s just, you know… off top with my head but, yeah, it’s definitely a collaboration.

Lulu Chen on Directing Models and Crew on a Fashion Photo Shoot

In Chapter 14 of 16 in her 2012 Capture Your Flag interview, art director Lulu Chen answers "What Do You Do to Bring Out the Best in the Fashion Models and Crew You Direct on Set?"   As a photo art director, Chen tries to let the models and crew do their jobs and verbalize encouragement and feedback during the shoot.  She bridges the constructive criticism by being sure to communicate what she is trying to accomplish and to try to be helpful in the direction she gives. 

Lulu Chen is a photo art director working in retail e-commerce in New York City.  Previously, Chen worked as a freelance stylist for leading fashion catalogs and magazines.  She earned a BFA in design and art history from the University of Michigan.

Transcript: 

Erik Michielsen: What do you do to bring out the best in the fashion models and crew you direct on set?

Lulu Chen: Well, I really try to let them do their own thing. I try and let them do their jobs, and I really—I try to encourage them. And so if things are going—if there’s a certain—if there’s a certain shot or a certain position or a certain thing that’s working, I definitely verbalize that and just, you know, I just keep giving encouragement, like, “Oh, that looks great.” And, you know, sometimes I’ll point out little things but, you know, ultimately I trust in the people that are working with me.

Erik Michielsen: How do you kind of bridge that, you know, constructive criticism and make sure that you’re providing the input you need to as a director without overstepping your grounds?

Lulu Chen: Well, I also—I’d like to add that I think it’s really important depending on what kind of project you’re working on to really let the team and the model know what it is that you’re doing, you know? Like to know the layout or if it’s a full page or what you’re trying to establish. Because they can’t do it unless they know. It’s like help me help you type of thing, so I definitely try and give them information without over saturating them with it.

And also, I’ll try and point out little things that they probably know but they’re not cognizant of, like some people have quirks, you know, so an example is, one of my models sometimes they do this with their hands, and the problem is, you know, if I don’t have enough frames without it, then I have this in a shot. And I know it’s not—I mean I couldn’t do it, you know, I probably have these strange quirks of my own, so I just try and watch out for it, I try not to point out anything too negative, you know, but I also try to be more constructive, so if there’s a couple of frames, I’ll just—that I really need like a safe shot or something really, really simple and straightforward, I’ll just say, “Oh, you know, can you just keep your hands like really straight,” or something. Just to cover it, you know, but I try not to make them feel self-conscious ‘cause I would never want to, and it’s something that you don’t even realize, I think, that you’re doing.

And also it’s a collaboration so sometimes people point out certain things to me and, you know, it’s also my job to point out, like, “Oh, you know, maybe that should change,” or, maybe we should fix something that they might not have seen right away.

Adam Carter: How to Find Micro-Philanthropy Project Work in India

In Chapter 9 of 13 in his 2012 Capture Your Flag interview, micro-philanthropist Adam Carter answers "What Did Doing Your Recent Micro-Philanthropy Project in India Teach You?"  Carter talks about his past experience traveling to India and how a recent trip collaborating with VANNI working with deaf children in Kolkata taught him the power of communication.  Carter travels to India to help the non-profit improve how it creates education materials for hearing-impaired children living in poverty. 

Adam Carter is a micro-philanthropist currently living in Rio de Janeiro, Brazil.  He is the founder of the Cause and Affect Foundation which raises small amounts of financing to provide direct-to-source project funding for individuals and communities in need across the globe.  To date, Carter has traveled to over 80 countries.  He earned an MA in International Development from George Washington University and a BA in Cultural Anthropology from the University of Michigan.

Transcript: 

Erik Michielsen: What did doing your recent micro-philanthropy project in India teach you?

Adam Carter: Well, I’ve spent a lot of time in India over the years, and it’s a place that has always attracted me. It’s something about the combination of the millennia of history and culture. It’s always kind of been that real exotic place in the world, and even now after having been to, I don’t know, 80 plus countries, I’m still drawn back to India time and time again. This recent trip I was in Calcutta in the eastern part of India and I think the most—what it really taught me, I guess, as far as a lesson is, I would say, the importance of communication, and the reason I say that is because I was working with a project called VAANI which is an amazing project, that’s kind of an award-winning project, really, really dynamic director, and what they do is they work with deaf children in the slums of Calcutta.

So as you can imagine, not a pretty place, a very, very rough place to live, to grow up, and for a lot of these families, you know, they have a lot of children, and often one of the children has some kind of deformity, or whether they’re born with some condition. Unfortunately, they don’t have the resources there to act upon that, and in the case of this project, what we’re working with are deaf children, and unfortunately, many of these families that have deaf children, first of all, a lot of them don’t even really realize that their kids are deaf. They haven’t really fully been diagnosed, so they kind of have this idea that, oh, well, he doesn’t really understand, he’s a little slow, this or that. And even if they know, that, okay, my kid can’t hear. They don’t know the resources that are out there, which is really a shame because these kids grow up, basically, kept at home, not going to school, and kind of ignored by their family, and these kids, their mind is perfectly functional. I mean, it’s horrific to imagine really being trapped inside your body where you can’t communicate with your family, and nobody knows what you’re saying, what you’re thinking.

So thankfully this project, first of all, they send social workers out into these neighborhoods to look for these children and to tell the families, “look, there’s an answer here. We’re gonna help your kid, and you’re gonna see that your kid is just as smart as all the others, and he can actually participate in a regular school setting.” So it was incredibly heartwarming to see these kids now that are getting one-on-one education, educational help from a trained practitioner, you know, that works with deaf children. They’re learning how to do sign language. They’re learning how to speak a bit. Some of them that don’t have complete deafness are getting the hearing aids that they need to be able to hear more and more. The mothers are brought in with the kids, so they’re both there, and they’re both learning sign language because it’s important for them to communicate. This is the bridge that’s gonna allow this kid to communicate with his parents and with his family.

Erik Michielsen: How did you get involved in that project?

Adam Carter: I knew I wanted to go back to India, so sometimes I focus on an issue. Sometimes I focus on a place. In this instance, it was kind of a combination of the two. I knew I wanted to go back to India, and I was speaking with my mentor. He had mentioned how he had come across some—a project helping some deaf people in Asia, and I thought, well, that’s a group that I don’t know much about, I haven’t worked with before, personally, but I think we can all understand it’s a pretty black and white issue. So I started to do some research before I went about to see if there were any organizations that were addressing this on a local or national level. There’s a project called VAANI, which is the first kind of nationally—it’s based in Calcutta, but they’re planning to expand it nationally. They now have projects in West Bengal which is the state of Calcutta and up in Assam which is further up in the northeast, and so I communicated with them. I did some research on the organization and found out that it has an amazing reputation. And, so, I met with them and I visited all of their projects, and then I sat down with the director and with a few other of the staff and we talked about what would be the most effective ways of improving the project, and what we came up with was—is wonderful because these kids are coming in so if you have a deaf child that’s coming in, let’s say, twice a week, with his mother for this training. They have different ways of teaching them. They have a lot of educational materials, and then a lot of it has to do with the teacher one-on-one. 

The only kind of gap in this process is the fact that when the kid goes home, until he comes back later in the week or the next week, he’s kind of at a standstill.  Sure he and the mother could practice what they’ve learned, but the problem is he has to leave the educational materials at the project because they need them for the next kid. So what we came up with was, well, why don’t we improve this process by producing more of these educational materials, producing kind of like, you know, sets of them like booklet sets, so that the kids can take them home with them, practice it over the course of the week with the rest of their family, the father who may be working, the brothers and sisters who are in the house. So we’re creating really nice, heavy laminated, very durable materials that will be able to really improve the interpersonal communication, which is so important.

 

Adam Carter on Helping Charitable Trusts Identify and Fund Projects

In Chapter 10 of 13 in his 2012 Capture Your Flag interview, micro-philanthropist Adam Carter answers "How Are You Learning to Apply Your Passions in New Ways?"  Carter talks about how he finds value in a liaison role between charitable trusts and the social impact areas they seek to affect.  Carter gives local assistance to global non-profit organizations, helping them identify, design, and implement projects in areas such as Brazilian favelas and shanty towns. 

Adam Carter is a micro-philanthropist currently living in Rio de Janeiro, Brazil.  He is the founder of the Cause and Affect Foundation which raises small amounts of financing to provide direct-to-source project funding for individuals and communities in need across the globe.  To date, Carter has traveled to over 80 countries.  He earned an MA in International Development from George Washington University and a BA in Cultural Anthropology from the University of Michigan.

Transcript: 

Erik Michielsen: What did doing your recent micro-philanthropy project in India teach you?

Adam Carter: Well, I’ve spent a lot of time in India over the years, and it’s a place that has always attracted me. It’s something about the combination of the millennia of history and culture. It’s always kind of been that real exotic place in the world, and even now after having been to, I don’t know, 80 plus countries, I’m still drawn back to India time and time again. This recent trip I was in Calcutta in the eastern part of India and I think the most—what it really taught me, I guess, as far as a lesson is, I would say, the importance of communication, and the reason I say that is because I was working with a project called VAANI which is an amazing project, that’s kind of an award-winning project, really, really dynamic director, and what they do is they work with deaf children in the slums of Calcutta.

So as you can imagine, not a pretty place, a very, very rough place to live, to grow up, and for a lot of these families, you know, they have a lot of children, and often one of the children has some kind of deformity, or whether they’re born with some condition. Unfortunately, they don’t have the resources there to act upon that, and in the case of this project, what we’re working with are deaf children, and unfortunately, many of these families that have deaf children, first of all, a lot of them don’t even really realize that their kids are deaf. They haven’t really fully been diagnosed, so they kind of have this idea that, oh, well, he doesn’t really understand, he’s a little slow, this or that. And even if they know, that, okay, my kid can’t hear. They don’t know the resources that are out there, which is really a shame because these kids grow up, basically, kept at home, not going to school, and kind of ignored by their family, and these kids, their mind is perfectly functional. I mean, it’s horrific to imagine really being trapped inside your body where you can’t communicate with your family, and nobody knows what you’re saying, what you’re thinking.

So thankfully this project, first of all, they send social workers out into these neighborhoods to look for these children and to tell the families, “look, there’s an answer here. We’re gonna help your kid, and you’re gonna see that your kid is just as smart as all the others, and he can actually participate in a regular school setting.” So it was incredibly heartwarming to see these kids now that are getting one-on-one education, educational help from a trained practitioner, you know, that works with deaf children. They’re learning how to do sign language. They’re learning how to speak a bit. Some of them that don’t have complete deafness are getting the hearing aids that they need to be able to hear more and more. The mothers are brought in with the kids, so they’re both there, and they’re both learning sign language because it’s important for them to communicate. This is the bridge that’s gonna allow this kid to communicate with his parents and with his family.

Erik Michielsen: How did you get involved in that project?

Adam Carter: I knew I wanted to go back to India, so sometimes I focus on an issue. Sometimes I focus on a place. In this instance, it was kind of a combination of the two. I knew I wanted to go back to India, and I was speaking with my mentor. He had mentioned how he had come across some—a project helping some deaf people in Asia, and I thought, well, that’s a group that I don’t know much about, I haven’t worked with before, personally, but I think we can all understand it’s a pretty black and white issue. So I started to do some research before I went about to see if there were any organizations that were addressing this on a local or national level. There’s a project called VAANI, which is the first kind of nationally—it’s based in Calcutta, but they’re planning to expand it nationally. They now have projects in West Bengal which is the state of Calcutta and up in Assam which is further up in the northeast, and so I communicated with them. I did some research on the organization and found out that it has an amazing reputation. And, so, I met with them and I visited all of their projects, and then I sat down with the director and with a few other of the staff and we talked about what would be the most effective ways of improving the project, and what we came up with was—is wonderful because these kids are coming in so if you have a deaf child that’s coming in, let’s say, twice a week, with his mother for this training. They have different ways of teaching them. They have a lot of educational materials, and then a lot of it has to do with the teacher one-on-one. 

The only kind of gap in this process is the fact that when the kid goes home, until he comes back later in the week or the next week, he’s kind of at a standstill.  Sure he and the mother could practice what they’ve learned, but the problem is he has to leave the educational materials at the project because they need them for the next kid.

So what we came up with was, well, why don’t we improve this process by producing more of these educational materials, producing kind of like, you know, sets of them like booklet sets, so that the kids can take them home with them, practice it over the course of the week with the rest of their family, the father who may be working, the brothers and sisters who are in the house. So we’re creating really nice, heavy laminated, very durable materials that will be able to really improve the interpersonal communication, which is so important.

 

Mark Graham on How to Create Original Content for Established Brands

In Chapter 13 of 17 in his 2012 Capture Your Flag interview, digital media executive Mark Graham answers "How Are You Learning to Create Original Content for an Established Media Brand?"  Graham talks about the roles audience research and advertiser relationships play into original content strategy and development at VH1. 

Mark Graham is currently a managing editor at VH1, an MTV Networks company. Previously Graham worked in editing and writing roles at New York Magazine and Gawker Media.  He graduated from the University of Michigan with a B.A. in English.  

Transcript: 

Erik Michielsen: How are you learning to create original content for an established media brand?

Mark Graham: Well, when you’re creating content, the first thing you want to really sort of understand is, is who your audience is. Over the course of the last year and some change, VH1 has worked really closely with a market research organization, gone all over the country, found out what people like about VH1, what they don’t like about VH1, what they see VH1 as doing and what they see them as not doing. So sort of armed with that deeper level of information about who our customers are, we’ve been able to come up with content that’s not just for television. We have web-specific content that we’re looking to put together and break. Obviously, we like our convergent opportunities where we can deliver a consistent message through web, through social, through linear. But there’s also we realize that people do consume content, our audience does, through different means and different platforms and something that would work, say on the web, might not necessarily work on TV. 

Over the course of the last year, I worked closely with a couple of comedians here in Brooklyn on a web show that was sort of putting together the best viral video moments of the past week. That was a really interesting project and something that we, you know, experimented and tried out with specifically on the web, it did really well for us, we didn’t end up – we ended up doing 8 episodes of that which was a great learning experience for me. And so really I guess what we’re trying to do with original content for an established brand is really understand and be cognizant that, you know, just because we have a television channel that people have tuned into over the years, that’s not always necessarily gonna be the case, people’s taste are changing, and we really wanna make sure that we create content to reflect those changing tastes. And be able to put together packages that are interesting and fun and great for people to consume.

Erik Michielsen: How much exposure do you have on—to the business side and the whole advertising supported element of—

Mark Graham: Yeah. Obviously, without advertisers’ support, and without people tuning into our projects, we wouldn’t have projects to do. There’s our channel and then there’s our digital, and as we’re continuing to grow our digital, you know, one of the great ways to do that is to partner with advertisers who have goals that they wanna put together, and are also able to support digital programs for us, so I work really closely with our advertising sales team to understand which clients are looking to do specific things, if they have new campaigns coming out, if they have new brand messaging they’re interested in, how they’re looking to attach themselves to cool things like music, and celebrity, and interesting and fun ways that helps elevate their status with their customers, and also helps elevate ours, so, you know, working with advertisers is a great way for us to fund and support original content. And so really sort of helping to understand their goals, and what they’re looking to achieve, is a huge part of it. 

Before I landed at VH1, I was on the other side of this equation, I was—I worked in marketing on the client side, where we were working with agencies and media partners to promote our products, so I sort of have a good 360 understanding of the process now, which I think really helps us put together packages and frameworks for things that are going to be interesting for advertisers, and also interesting to our readers and consumers. Because it doesn’t matter if an advertiser loves something, if the audience is isn’t going to love it, you need to create content and create ideas and packages that are gonna work for both places, and that’s something that’s a huge focus of my job and of our organization, in really making sure that we create things that people read, and that advertisers like that continue to support future programs like that.

Anatole Faykin: Why to Have Startup Co-Founders Who Are Lawyers

In Chapter 12 of 12 in his 2012 Capture Your Flag interview, entrepreneur Anatole Faykin answers "What Has Working With Lawyers Taught You About Business?"  Faykin joins a startup founded by two lawyers as a co-founder.  He quickly realizes each brings very different skills and, over time, learns to complement their negotiation and contract work with an operations and product development focus. 

Anatole Faykin is an entrepreneur currently working on a new startup as part of the Startup Chile incubator program in Santiago, Chile.  Previously, Faykin founded Tuanpin, a Shanghai, China-based daily deals site he grew to 25 employees and sold in the fall of 2011. He has worked for British Telecom in London, Intel in Shanghai, American Express in New York, and Oracle in San Francisco as well as several startups. He holds an MBA from the NYU Stern School of Business and a BS in computer science and biology from the California Institute of Technology.

How Band Builds a Team to Record New Album - Conrad Doucette

In Chapter 11 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "Where Has Outside Support Been Most Useful in Helping Your Band Improve as a Team?"  Doucette shares the stages and team members involved in recording his band Takka Takka's latest album, AM Landscapes.  From the engineering to the mixing to the producing to the arranging to the mastering, the band partners with top talent that brings the recording together. 

Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

The Role Patience Plays Making a New Record - Conrad Doucette

In Chapter 15 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "What Have You Found Most Fulfilling About Recording Your Most Recent Takka Takka Album?"  Doucette shares how each member of the Takka Takka band is a musician and also has responsibilities outside the band.  In making the AM Landscapes record, Doucette finds it rewarding the band was able to improve as musicians while living normal lives. He notes how the album recording process was spread out over time, which causes you to live with what you recorded and get to know the songs more intimately before finalizing the recordings.  Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.

How Networking Helps Develop Musician Career - Conrad Doucette

In Chapter 16 of 19 in his 2012 Capture Your Flag interview, musician Conrad Doucette answers "How is Your Network Helping Your Music Career Develop?"  First, Doucette notes how meeting people opens new doors to play with and be inspired by different people, different bands.  Second, he notes how playing in different groups or ensembles helps develop musician skills.  Lastly, making connections opens doors to unexpected opportunities.  Doucette shares how playing with The National opens doors to joining them in a Headcount sponsored concert with Bob Weir and select Brooklyn musicians. 

Conrad Doucette is a Brooklyn musician and the drummer for Takka Takka, which released its 3rd studio album, AM Landscapes, in late 2012.  He has performed with Bob Weir of the Grateful Dead, The National, Alina Simone, and many other leading acts.  When not performing music, Doucette is the communications and brand director at music licensing and publishing startup Jingle Punks.  Doucette earned a BA in History from the University of Michigan.